#park sang young

[waitmyturtles]

Love In The Big City: An Homage to the Best Queer Show I Watched This Year*

(*that actually aired this year, because I watch a lot of old shows.)

(TW: suicide attempt)

The time I spent reading the novel and watching the television drama series of Love In The Big City by Park Sang-Young was some of the very best time I invested in art this year.

(credit: @/khunkinn)

I wanted to try to keep up with the amazing LITBC Book Club (click the tag below to see all the club's meta!) earlier this year, but I couldn't on my mom schedule. So here's a wrap-up homage to my overall thoughts about this amazing book and its equally amazing drama adaptation, and hopefully I won't repeat anyone's points from earlier meta.

Earlier this fall season, as the drama was just released, I noted my overall thoughts on Park Sang-Young's 2021 novel. What's so great about the moment in time when a book and its drama adaptation meet the same levels of excellence in art, is that you get to see what each artistic medium can really offer by way of its specific ability to penetrate and dissect certain emotional states. With the drama adaptation, we got a more in-depth sense of the visual and behavioral whimsy of Go Young's T-aras friend group. We got a living, breathing sense of the simultaneous quiet and frantic pulse of the Seoul that Young occupied. We could almost taste and smell the sweat, the tequila, the apple martinis of the nightclubs that Young danced in at all hours.

I happened to love the novel, as I wrote in my previous piece linked above, because I love to cringe at really well-written, pathetic narrators. Like Proust's narrator, like Karl Ove Knausgard in his hefty autobiographical series, "My Struggle," you can read the internal musings of these narrators, and you squirm and cringe, being all like.... "really, bro? I know I have trouble getting it together -- emotionally, physically, sexually, everything -- but, dude, YOU are taking the CAKE."

The reason for the squirm is because excellently-written narrators like Proust's narrator, like Knausgard himself (okay, we can argue about "excellently written," but that's for another piece), are emotional pathologists, dissecting every minute whim of a feeling into words, cutting words that account for every last iota of mental anguish that these narrators feel at every given moment.

It's a brutal accountability test for us readers to weather. And, of course, as the very best art does -- it forces us, the readers, to face our own recognition of the kinds of emotions these narrators are detailing, and asks us to relate to them, vis à vis how we ourselves understand these emotions. Thus, a resulting squirm and cringe, as we reckon with our own emotional accountability in that very moment.

I had so many of these wonderful moments when I was reading the novel version of Love In The Big City. Go Young was so cringe. So pathetic.

(credit: @/my-rose-tinted-glasses)

And while the novel delved brutally into the reasons WHY Go Young was so pathetic and cringe, I enjoyed the drama's ability to sensually and holistically take me into that WHY place as well.

For me, Go Young's journey into the adulthood he ends up in begins with the intergenerational trauma and the avoidant attachment he must have with his mother. I say "must" because he's all she's got, and Go Young, to his misfortune, knows this, and must deal with it, and with her.

This is despite her utterly rejecting his identity, his sexuality, and forcing him at a young age to face conversion therapy in as abusive a situation as possible, literally being kidnapped into the therapy. We know from the novel that his therapists end up realizing that his sexuality is not his "issue," and that the "issue" is his actually deranged, Christian-devoted mother.

The drama doesn't get into that level of details. I will absolutely estimate that it COULDN'T get into that level of detail due to potential censorship, and the portrayed meaning of such a comparison as to show a devout Christian mother as a neglectful, bigoted mother.

But what the drama showed me, in real time, were the spontaneous movements and moments that punctuated Young's life, that were totally derived from the low self-esteem, the lack of internal love and respect he had for himself for most of the series. The emptiness, the lack of BELIEF that he had in himself, that stemmed from the refusal of his mother to accept him lovingly and holistically. I'd recommend LITBC to any potential parent as a guide on how to NOT parent your kid.

As someone trained in the social services, and as a steadfast lover of intergenerational trauma in shows -- and how dramas demonstrate the long-term impact of intergeneration trauma unto their characters -- Love In The Big City is utterly SUPERLATIVE in this category.

And this kind of neglect that young queer people so very often face in their families NEEDS to be depicted in art, so that we can see the risks of what these young people could, and will, grow up to be, without nurturing love in their life.

So. Man. Go Young goes fucking ham on fucking hipster doofus Yeong Su in a restaurant. Yeong Su, who himself deals with a kind of internalized homophobia that results in him producing bigoted "research" on homosexuality. And Go Young, unconsciously hoping that he could find love with a most unlovable man, subsequently attempts suicide.

Go Young breaks up with Gyu Ho minutes before Gyu Ho is to depart to China. I saw that moment as Go Young "releasing" Gyu Ho from the burden that Go Young assumes himself to be -- emotional baggage, Kylie, and all.

Go Young cavorts with Habibi, a man escaping just about everything by way of luxury hotels and unfulfilling work. After his real relationship with Gyu Ho, Go Young follows Habibi on Habibi's orders, having little to no agency in the coupling until the absolute end, as he leaves Habibi with a note. Habibi, who himself is also a subject of clear internalized homophobia, another example of the absolute wrath that social bigotry can lay waste on a queer individual.

Love In The Big City balanced these brutal moments of internalized trauma, bigotry, and homophobia with LIFE as it could be lived: life spent working, writing, drinking, partying, sucking dick and moving mattresses, catching up with old friends, supporting engagements, comforting friends after break-ups, BEING PRESENT for yourself and your family and your friends.

There was a shift of growth and responsibility in Go Young's life when his cancer-addled mother sank her head down on his lap in the sunlight of a park at the end of the second chapter of the drama. But what was so OUTSTANDING about the drama version of Love In The Big City, is that the drama didn't assume that that shift would be a great dramatic moment. Go Young certainly got into a relationship with Gyu Ho afterwards.... but he damn fucked it up at the end.

AND IT WAS OKAY. Even though we viewers were fucking heartbroken, IT WAS OKAY....

... because I believe Love In The Big City was communicating to us that it's perfectly okay to stumble in one's continued growth, in the movement forward of one's life. Go Young gets a new apartment, new light in his windows and his life, and celebrates the move (and the end of Eun Su's engagement) on his rooftop with his besties.

The novel ends a bit more brutally than the drama. In the drama, we do very much get to see Go Young doing a moving-forward thing. I was screaming and pacing at @lurkingshan when I finished the novel, and I felt slightly more uplifted when I watched the drama.

I love that I felt those two ways about my experience with each medium. Again, it shows what I GOT from the experience of reading and watching this story separately. And the drama very much played up the T-aras group more for kicks and lights (especially in the hospital), but I still got such a brutal sense of Go Young's internal mishegoss, that maybe I needed those gworls, too, the way Go Young always did.

The other best queer show that I watched this year did not actually air this year. That one is 2022's The Miracle of Teddy Bear from Thailand, which I will review soon for my Thai QL Old GMMTV Challenge project. The Miracle of Teddy Bear was rooted in anger and accountability against parents, adults, and society, for the wreckage that bigotry and abuse can render, internally and externally, on the bodies and minds of young queer people. It was an utterly exacting exercise in a brutal breakdown of queer pain.

Love In The Big City, in comparison, was a visual meditation on the mundanity of an individual's life -- depicting all the cringe and the pain associated with it -- vis à vis broken and incomplete love from family and lovers. But Love In The Big City also had LIFE, LIFE LIVED, woven through it all. Go Young kept clubbing with his friends, because he needed it, because he needed his friends, because his FRIENDS needed the club, and because his friends needed HIM.

While I felt a broken heart for his relationship with Gyu Ho at the end of the drama, what I had for Go Young was hope -- a hope that, while I knew the man, in fiction, would still experience hurt while moving forward, would still very much move forward nonetheless, on his own accord.

(credit: @/khunkinn)

(tagging @neuroticbookworm for awareness <3)

[averagekpoppermideko87]

I finished watching the queer KDrama "Love In The Big City'. I must say the drama was excellent. The drama was full of emotions. The cinematography was fantastic. The acting was also fantastic. I love the drama. I recommend the drama. It's a must-watch drama.

[gillianthecat]

Books Tag Game

Thank you for the tag @littleragondin! I've actually been reading books again these past few weeks so I have answers now lol

hardcover or *paperback* (i am but a weak little woman and those hardcovers are heavy) // bookstore or *library* (probably I would usually say bookstore but I was going to many different libraries to study at towards the end of the semester) // standalone or *series* (really depends on my mood, but the most recent books were a series) // nonfiction or *fiction* (fiction is an indulgence, and while I'm interested in a lot of non-fiction, reading it usually feels more like work) // thriller or *fantasy* (I've never been into scary stuff) // under 300 pages or *over 300 pages* (otherwise it goes by too quickly!) // children's or *ya* (i have not connected with the YA I've read in recent years but at times I have devoured it) // friends to lovers or *enemies to lovers* (there are some amazing friends-to-lovers I adore, but I'm compelled by even mediocre enemies-to-lovers) // *read in bed* or read on the couch (either but recently it's been all in bed) // *read at night* or read in the morning (through the night and into the next morning) // *keep pristine* or markup (I don't try to actually keep books pristine, but I also never bother to mark up anything but textbooks) // *cracked spine* or dog ear (historically I read most books on one sitting, but if not I'd just search for the page again/use a random receipt as a bookmark)

Currently Reading:

I'm not in the middle of anything, but I've read more in recent weeks than I have in a long time. (Well, technically I'm in the middle of Solomon's Ransom by Corey Kerr, because I read the sample and now am waiting for the book to be released in a few weeks.)

Several months ago I got from the (physical!) library a (physical!) copy of She Who Became the Sun by Shelly Parker-Chan, and I finally finished after the semester ended, and then found an ebook of the sequel, He Who Drowned the World. (Compelling, though I think the ambitiousness of the project inevitably meant that parts of it didn't quite work.)

Then I read a bunch of romance ebooks, and even found a m/f one that I liked! Jodi McAlister's Not Here To Make Friends. (It was also the reality dating show romance I had been low-key hoping would exist.)

I also read RF Kuang's Babel: An Arcane History (which I appreciated and was provoked by, but didn't exactly love), and then read that she was inspired by/responding to Donna Tartt's The Secret History, so I reread that. (When I read it years ago my reaction was, I'm too old for this. It felt like a book you need to read in your teens or early twenties to get swept up into. My thoughts this go around were pretty much the same.) Then Kuang's Yellowface, which was also compelling.

Speaking of enemies to lovers, quite enjoyed The Sorcerer's Omega, also by Corey Kerr, which is why I'm awaiting her latest release. (The other two books in that world are also good, just not catnip for my tastes in the same way.)

And your post reminded me—I too read Love in the Big City, which was good and also unsettling in that way of most autobiographical novels about the authors fucked up twenties. Now I can go and unblock the tag and see all the fascinating discussions y'all had in your book club.

I have no idea how they'll manage to turn it into a BL (which is what I think I read is happening?). Although it's about relationships it's very much not a romance. Are they just pulling out some random plot points and building a whole new story around them? I hope they don't try to smush it into BL shape at all, and just tell the narrator's melancholy story as written.

(Oh, technically I'm in the middle of Mari Kondo's The Life Changing Magic of Tidying Up, but I'm not sure if I'll read any more. Other people's advice can be counterproductive at times.)

(Most most recently was a bunch of Untamed and Drarry fanfic, but I'm not counting that.)

I'm not sure who's done this already, but I'll tag @lelephantsnail, @petrichoraline and @tungtung-thanawat.

[fictionalbond]

Love In the Big City (2024) - EP. 3 & 4 PART TWO - A BITE OF ROCKFISH, TASTE THE UNIVERSE

[kdram-chjh]

Kdrama: The Judge from Hell (2024)

When Demons live with humans 😅 | Drama: The Judge from Hell | kdrama edit #shorts #funny

Watch this video on Youtube: https://www.youtube.com/shorts/wWRg44OSsaU

[reuels]

The Glory Episode. 9 (2023) dir. Ahn Gil-ho

[allarica]

In the end, I left just two syllables on the lantern. Gyu-ho. My only wish.

disclaimer: i drew this after i read the book and before i started the show

Commissions are open! || Support me on Patreon

Prints on RedBubble || Follow me on Instagram!

[junkobato]

Upcoming Kdrama December 2024 ✨

4/12: Light Shop with Joo Ji Hoon, Park Bo Young, Kim Seol Hyun. 8 episodes; supernatural, thriller, mystery.

5/12: Sorry Not Sorry with Jeon So Min, Choi Daniel, Gong Min Jung. 12 episodes; rom-com.

18/12: Who Is She with Jung Ji So, Jung Jin Young. 12 episodes; fantasy, comedy.

21/12: Check In Hanyang with Bae In Hyuk, Kim Ji Eun, Jung Gun Joo. 16 episodes; historical, romance.

23/12: The Starry Night with Ko Hyun Jung, Ryeoun, Yoon Sang Hyun. 12 episodes; life, drama.

26/12: Squid Game 2 with Lee Jung Jae, Wi Ha Joon, Im Siwan, Kang Ha Neul. 6 episodes; thriller, mystery.

Wrapping up the year with new stories!!

[nabiiyu]

"Maybe home is nothing but two arms holding you tight when you're at your worst. "➷♡

[xbethelight]

[waitmyturtles]

Love In The Big City: Reflections on the Novel, and Episodes 1 and 2 of the Television Series

(Writing this with big ups to the LITBC Book Club, led by @lurkingshan and @bengiyo -- I only wish my mom life allowed me to have participated in real time in that project! I am taking the LITBC club's lead and watching two episodes a week of this series. SPOILERS from the novel that may make their way into the series are below -- read at your peril if you're pacing yourself on the series.)

In the midst of my reading the novel version of Love In The Big City over the last two weeks, I've been posting news updates (here, here, and here) about South Korean conservatives, many of them (maybe all of them) Christian, trying to censor and prevent the airing of the subsequent drama series, which dropped this week on TVING and Viki.

I want to note how important and ironic it is, macro-systemically, to note that Christianity has such a looming presence outside of the story itself, with "protestors" (bigots) leveraging "Christian values" as a means of trying to keep this already-brilliant show from being aired.

And if you're pacing on the series like I am, and you *haven't* read the novel, then you've only gotten a little taste for how Christian zealotry, among other issues, has and will affect Go Young throughout this story.

But I'm getting ahead of myself: when I picked up the novel, I was more familiar with the noise and drama associated with the television series than I was with the story itself. I'm going to talk a little about my reactions to the novel, and then offer thoughts on the first two episodes.

I read Proust's In Search of Lost Time (yep, all of it) in my freshman year of college, and Hemingway's The Sun Also Rises two years after. I felt the power of both of these stories strongly in Park Sang-young's novel, from the impact that memories and depression can have on a young man, to the permanence of medical conditions that can drive a young man's life towards otherwise unexplored cliffs of grief and pain.

Even reading a synopsis of In Search of Lost Time is a monumental feat, so let me just say that I felt Proust's madeleine-driven devices of memory, within the novel, from Young's frozen blueberries to the chill of the Marlboro Reds in the freezer. The impact of Young being really, really alone, as connected to the empty freezer and the dwindling blueberries after Jaehee's (Mi-ae in the series) wedding, caught me in a hole of loneliness that I felt for Young -- well before I knew enough of his backstory to be truly devastated.

I'm jumping ahead of myself vis à vis the series, but I also felt Proust even more heavily as I was reading about Philosopher Hipster Doofus Hyung, and I threw back to @lurkingshan as I was reading the book, "goddamn it, we are in yet another circle of hipster doom, huh," well before I learned about the medical turning point this story hinges on. Young's incessant attraction to that POS had me thinking about Proust's narrator's simultaneous incessant attraction and disdain for his companion, Albertine, who is a lesbian in early 20th-century France. While the story between the narrator and Albertine is ultimately a devastating one, Proust's narrator winds through the devastation with an equally devastating arm's-length distance, continually avoiding the true depth of pain that his obsessions would have otherwise rendered.

For me, it's such an apropos comparison to think about as we see Young, time and time again, rationalize the avoidance he has to commitment, all while throwing his energy into the relationships he's able to find himself in, ones that he essentially stumbled upon and never instigated.

The pain of his loneliness only grows as he grows into adulthood, and that, paired with his medical reveal, left me with a boulder in my stomach by the time I finished the novel.

Because I'm me (intergenerational trauma auntie), as soon as I finished the book, I couldn't help but think about Young's own boulders that he silently shouldered -- the thought that Young's medical Kylie would rear its head as a means of aiding Young in rationalizing his own assumptions about wanting vs. deserving long-lasting love, and his habit of taking commitment too lightly, even in the context of an already-established relationship with Gyu-ho.

But I also consider the lifelong trauma he suffered vis à vis his mother as an equally heavy boulder: the fact that Young absolutely internalized his mother's disdain for him as a gay man, his mother trying to "correct" his sexuality through conversion therapy, and then seemingly seeing past her son's reality, horrifically ignoring the emotional development of her son. Besides physical abuse, you couldn't do better than Young's mother in permanently psychologically traumatizing a young man who will already face obstacles as a queer individual in a highly conservative society.

All of this combined rendered me unsurprised -- but, of course, still equally devastated -- by Young's eventually pinball-style life, jumping from menial job to increasingly flippant flings.

What we are treated to in the novel are the thoughts that Young can put together as he steps back and assesses his life, especially at the crushing end of the novel. On the surface, someone on the street could absolutely write off Young as another aloof and aging hipster, disconnected with the world; but we know that that's not the case as Young assesses his dashed hopes for the kind of permanent love that he had once pooh-poohed.

Both Proust's narrator, and Hemingway's Jake Barnes in The Sun Also Rises, could join Young in that aloofness, and our own misreads of these men, to an extent. Not only is Barnes held back in life by a previous wartime injury (to me, this is screaming of inspiration to Park Sang Young's novel and the timing of Young's medical condition, but I'll never know if Park was directly inspired by Hemingway's book), but Barnes and Proust's narrator are also both young men growing into their adulthood, within circles of friends in impactful societies that seem to be full of intelligence and engagement, but are ultimately larded with loneliness and the pain of static ambition and conformity.

The last takeaway from the novel that I'll think about for now, one that I think is already leading beautifully into the television series, is the fallacy that we all have or had as young adults: that our youth would last forever. Young says, at the end of episode two,

"As I looked down at those blueberries, I realized that a time I had thought would last forever had come to an end."

Young has to reckon with the fact that his life, as it stands still in his early 30s, hasn't moved forward. It's only gone backwards, into deep habits of disconnection, despair, and loss. That youth itself could serve as a modality of movement for a young person to hopefully grow into a person with more potential is both heartening and brutal to consider -- especially as Young clearly could not take time in his life to take care of himself, as busy with his mother as he ends up being.

There's a lot more I'll likely say about the novel as the series unwinds, but I'm honestly still internally processing it. I'm also amazed to think that both In Search of Lost Time and The Sun Also Rises have significant connections to queer sexuality in both novels, and I just couldn't help going down this comparative literature brainrot cycle for a few minutes.

As to the first episodes of the series: what can I say? No one does it like South Korea. The acting, the cinematography, what Nam Yoon-su is bringing by way of his mere presence, let alone how he bodily channels Young's sexuality and personality. We're in prestige drama territory -- and already by episode 2, we've been taking into multiple facets of Young's internal strife, and his soon-to-be-revealed lifelong aloofness to commitment, while he still yearns for infinite love.

God, those internal contradictions, huh? In our real life, with our friends who are like that -- those friends drive us INSANE, RIGHT? Proust's narrator is SO THIS. A guy who sits in a chair and whines about what he wants, and complains even more when he HAS what he wants, because it's not perfect? He HAS Albertine at so many times, but he can't make her fully love him, because guess what, she's a lesbian, womp womp? Pick a battle, homey.

And yet. We're still devastated by Proust's narrator. Because one of his ultimate flaws is that he'll never remain still, he'll never be truly satisfied, and that conflict DOES keep him from being able to attain permanent happiness. At least we get to see him age, while we're left to wonder with Young and Jake Barnes.

I'm just too excited to see how Nam Yoon-su renders Young's own conflicts, as they simply grow, throughout his life in the series.

*****

I want to make one quick, totally unrelated note, about the airing of this series. At least to me, maybe only to me, the opening animated title cards of LITBC are really close to the imagery and symbolism of the title cards of Netflix Japan's The Boyfriend, a recent dating reality show featuring gay men in Japan trying to find permanent love. The ultimate pairing of DaiShun has been HUGE in Asia this year, with DaiShun doing fan meets across Asia, including in South Korea.

As @lurkingshan and others have emphasized: Love in the Big City is NOT a BL, it is NOT a romance. It is a deep exploration of the life of a gay man in the city of Seoul.

Inspired in part by Sex And The City? Probably. But LITBC is not nearly as flippant as SATC regarding social obstacles that its main characters face. LITBC delves painfully into the various obstacles that queer men face in Seoul, from social to medical discrimination.

The Boyfriend actually touched a lot on these obstacles as well. Some of the participants were out, but not all of them; one participant, Tae-heon, used the show itself as a means of coming out to his parents.

While some of us have seen the majority of queer content in Thailand turn very primarily towards BL romances, I still believe that Thailand can and will produce high-caliber media about queer life aside from romance, as it did in 2022's The Miracle of Teddy Bear (which I just finished this week, I'm fine, thanks for asking, devastated actually) and in other cinematic pieces. But I also want to note how incredibly refreshing it is to see Japan and South Korea also pick up this thread through The Boyfriend and LITBC, respectfully, producing content out of the usual romance loops that we've come to expect from BL media.

Anyway. If there's a connection between LITBC and The Boyfriend, with both entities talking MUCH more about holistic queer life in society, then I celebrate it, and I want more, more, more of it.

[averagekpoppermideko87]

To LGBTQ+ allies and supporters and open-minded people who don't have any ill intent toward homosexuals. Please support the KDrama, "Love In The Big City." The series will be released on Oct 21. So make sure to watch the series. I'm going to watch the series.

[bl-bam-beyond]

Mandatory Military Service Completed. PARK SEO HAM is back in circulation.

In honor of that a Semantic Error APPRECIATION POST

The First Official Meeting of Jae Young & Sang Woo

Semantic Error (2022, SOUTH KOREA)

Chu Sang Woo (PARK JAE CHAN) is an emotionless take no prisoners college student forced to do the work of a group project all alone. The other group members in his phone as FREELOADERS.

One of those freeloaders is Jang Jae Young (PARK SEO HAM) labeled as FREELOADER # 3 and because Sang Woo removing the names of the members of the group project Jae Young has been denied graduation and he wants revenge. Sang Woo avoids him successfully until Sang Woo sets himself up to meet Freeloader # 3 as a designer for his game.

@pose4photoml @lutawolf @kingofthereblog-boysloveed

[fictionalbond]

Love In The Big City (2024) - EP. 3

Part 2 - A BITE OF ROCKFISH, TASTE THE UNIVERSE

[visionsofgideontheninth]

it was so good!

[neo-zone]

Alright, I finally got my hands on this full ... presscon? cast reaction? Whatever.

I already shared some screenshots from this before (by some people on Twitter) and after finally watching the full version, I fell like I need to share the rest of the season 2 world building and character lores mentioned and discussed to you guys in here (and also major spoilers for season 3)

P.S. I could be wrong on some of the points here (either misinterpreting or not paying enough attention), so please correct me if I do in the reply section

Season 2

I'm still confused af on this line : "he killed his original body as well as his personality, eventually turning into the twisted monster that he is now". Like so, does it refer to Sang-won killing his original body in season 2 or is it about monster Sang-won killing the real Sang-won?

I still don't get this line too, so interpret it however you want : "The child covered in black?" "This is where what's remaining of Sang-won disappears, uncovering the child."

Chan-young was a baseball player. Ye-seul was one of the cheerleaders

Oh, apparently monsterization does still happened inside the stadium. That's why there's a regular daily checking. Anyone showing symptoms will be out in the isolation place (yeah that place where they put the sick mom in). Some lived, some died inside the isolation => might be why Chief Ji keeping her monster son secluded somewhere deep inside the stadium

Hyun-su cut Yi-kyung's daughter hair the same style as him, hence how they're being similar appearance wise

The live action crew is adapting Shotgun Boy into Netflix Sweet Home

Yi-kyung blames herself for how her child turned out to be with her monster-turning power

Yi-kyung's inability to give affection or even touched her child stems from the fact that monsters are created from human desires, so she didn't want her child to have desire (awfully familiar with a particular old man *side glance*)

Yep, you guessed it. These three (Hyun-su, Eun-yu, and Chan-young) are dense as fuck about their own feelings to each other (minus Hyun-su to Chan-young and vice versa ofc)

Yi-kyung's daughter views Hyun-su as her own family even more than her biological mother. Because they're similar and he's the only person she could hold hands with without her power reacting

Hyun-su uses red ribbons to mark the safe area for Eun-yu because color red stands out among the greenery of Seoul post time skip

The monster cocoons are shaped like a heart because monsterization manifests from human desires

The "real Jung Wui-myeong" is one of the scientists. Sang-won (or monster Sang-won depending how you interpret the earlier points) took his identity and used it as his own, probably to separate himself from his old human self

Lmao, not them calling Sang-won's family as family of evil and there's no good apple in it. That's so fucking foul

Sang-wook is still there somewhere (I already shared this one before)

Sang-won's original abilities include the Medusa touch he did to Hyun-su in episode 3

Oh wait, Yi-kyung survived?! I thought she died after her fight with Hyun-su (uh oh *nervous glance to every instance of me mentioning "her death" in replies*)

Monster Hyun-su act according to what Hyun-su thinks and desires (I had shared this one before)

Monster Hyun-su is more proactive and extrovert (is the extrovert part really necessary?")

Season 3 rough summary

Family drama : Nam Sang-won starts a bunch of trouble (this bitch) in order to create a world he dreams of. There are family reunions and conflicts between spouses. He also meets his child (uh oh). They fight for her custody. This custody case didn't need a court (fuck, oh come on 😂). Yi-kyung wouldn't just talk it out. She'd fight until one is dead

Sibling drama : Eun-yu will meet Eun-hyeok again, but I'm not sure it'll make her happy

Second male lead struggle : Chan-yeong faces even more hardships as the story progresses. But even then, he gives up a lot just to protect Eun-yu. He starts to understand the monsters more. There's a lot on his mind as the story goes on.

More monster Hyun-su : Hyun-su lets go of himself and lets out the monster. But the monster doesn't just do its thing. He reads Hyun-su's mind and acts as he wants.

Another Hyun-su and Yi-kyung interaction : And later on, he interacts with Yi-kyung as well. The emotion it brings also felt huge. In the narration, he tells Eun-yu how much pain Yi-kyung is in and that he has to stop it all himself. So I'm sure Hyun-su sparked a change in Yi-kyung's heart. That'll continue in Season 3.