K-dramas & Social Progress + News on RM's Upcoming Doc, Film Festivals, and the GRAMMYs!
Hello, there! 👋
How are you today?
A few weeks ago, I stumbled upon an article on Tatler Asia with the title: “The K-drama renaissance: 6 ways Korean television has evolved and broken new ground.” Very well written by Lainey Loh, the feature mentions several K-dramas that have broken the mold, letting go of or twisting old-fashioned tropes to approach more modern themes. It says:
“The K-drama evolution suggests a future where television not only entertains but also serves as a catalyst for social progress.”
As a more “modern” K-drama fan (I started watching K-dramas about 10 years ago, much later than some “senior” fans out there), I’ve always appreciated K-dramas exactly because it’s incredibly easy for me to relate to its characters. Back in the day when “K-dramas were all about a rich, arrogant heir falling in love with a poor, innocent girl and transforming through love,” my friends tried to bring me into the fold but I didn’t really respond to their excitement — I might’ve been too obsessed over The X Files to think about something else then, but that’s beyond the point.
When I joined the K-drama universe, Misaeng was already out, pointing the finger at the madness of the job market and the struggles of young workers. As I saw it, K-dramas were a more grounded, more relatable source of entertainment — and that’s what brought me here.
I’ll never forget the first time I watched tvN’s Because This Is My First Life, for instance. I was Ji-ho, yearning for a roof over my head, struggling to find a job that truly fulfilled me, and facing the challenges that young women have to overcome in the world we live in. As she walked through that dark tunnel in episode 2, her words resounded around me:
“When I decided to follow my dream, I thought my life would be like walking through a dark tunnel. But I didn’t know it would be this dark. I didn’t know it would be this lonely. How much longer do I have to go?”
Since then, there are hundreds of K-dramas that have mesmerised me with their ability to tackle social themes. From tvN’s My Mister to jTBC’s Miss Hammurabi, from tvN’s It’s Okay to Not Be Okay to Netflix’s Daily Dose of Sunshine, from jTBC’s Itaewon Class to ENA’s Extraordinary Attorney Woo, among many others, K-dramas are, in one way or another, constantly raising questions.
Question after question, K-dramas not only entertain but, if watched with a critical perspective, make us reflect on our lives, ideals, and beliefs. The very ideals and beliefs that, put together, compose the fabric of the society we live in.
Last week, The Korea Times also released an article called “K-dramas spotlight female desire and challenge social taboos,” exploring how jTBC’s A Virtuous Business and tvN’s No Gain, No Love allow female desire to take centre stage. According to the piece, culture critic Gong Hee-jung explained that:
“Sexual desire is a fundamental human need, yet women have long been confined to the box of modesty,” adding that these dramas “highlight how such repression has rendered women vulnerable, while creating empathy for those denied recognition of their basic rights.”
Meanwhile, culture critic Bok Gil stated that:
“These dramas gently argue that respecting female desires and dismantling biases are keys to addressing demographic challenges.”
Way to go, K-dramas!
[A Virtuous Business airs its last episode next Sunday, the 17th — you can follow it on Netflix.]
Here’s to the hope that K-dramas will continue exploring and embracing social themes that can make our lives better — not just by bringing a smile to our faces but by giving us the courage we need to raise our voices and make changes to this big, blue planet we live in.
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What You Should Know This Week:
The official trailer for RM: Right People, Wrong Place is now out! The documentary, which follows the recording of RM’s second solo album, is coming out on December 5th in 90 different countries. To find a showing near you, make sure to check the documentary’s official website.
Chansung (2PM)’s latest venture into Japanese television, Junkissa Inyeon, is airing on Fuji TV on November 20th. The show, which came out on Fuji TV TWO in March, is now receiving a wider broadcast thanks to its domestic and international success, says Soompi. In Junkissa Inyeon, Chansung plays Si-woo, the master of a coffee shop where a fantasy love story takes place. He also sings the theme song, Korekara No Kimi No Tame Ni, which will come out on December 4th. Let’s hope the show is also released on an international streaming service soon! 🤞
The 37th Tokyo International Film Festival came to a close last Wednesday with an award ceremony that crowned Yoshida Daihachi’s Teki Cometh as the big winner of this year’s festival. Not only did the film received the Grand Prix but Yoshida also received the Best Director award and Nagatsuka Kyozo, the leading actor, the Best Actor award. For the complete list of winners, you can check the festival’s official website.
All shot in black-and-white and based on a novel by Tsutsui Yasutaka, Teki Cometh tells the story of a retired professor (played by Nagatsuka Kyozo) whose quiet and solitary life is shaken when he receives a mysterious message telling him that his “enemy” is coming. International release is yet to be announced.
The great Sakamoto Ryuichi has been nominated for a Grammy! The nominations for the 67th Grammy Awards, which will take place on February 2nd, 2025, were announced last Friday. Opus, his final solo piano concert, was included in the Best New Age, Ambient, or Chant Album category. You can listen to it on Spotify.
Last week, we talked about the London Korean Film Festival. Today, I’d like to recommend an article about it on The Korea Times: “Korean film festivals in London captivate audiences with cinema, food” The festival ends on Wednesday, the 13th, so if you’re in London, make sure to stop by!
Meanwhile, on The Blossom Review:
Last week, we talked about Hoshino Gen’s Lighthouse, a documentary/talk show that was released on Netflix last year.
Over on YouTube, we reviewed Yim Soon-Rye’s Little Forest (2018) and discussed the differences between the Korean and the Japanese adaptations.
This week, we’ll be talking about Mr. Plankton on Wednesday and Thursday and about The Kamogawa Food Detectives on Friday — so don’t forget to stop by! 😉
I hope you have a wonderful day today and a fantastic week ahead! I’ll see you very soon! 😊