We thankfully still have the good dramas like Nightmare Teacher who isn't afraid to take the lead and bring a who new take on the Korean drama genre. everyone has their own taste when viewing Kdrama, Its just that having a good looking guy in a drama is not good enough to over look the more than mediocre storyline or the bad acting that some of the super popular dramas tend to showcase. I know some people wont agree with me and i'm ok with that. Many great Kdrama still exist out there but you have to dig through the bad in order to get to the good. I've been buying my Korean dramas since the early 2000s and I must say the production and scripts for Kdrama has greatly declined in quality over the last decade. I don't normally watch them online unless there is absolutely no way for me to buy what I want to see. Let me tell you a little bit about my background with Korean dramas. It is a classic tale of crime, sex, ambition and love.I'm trying to increase the number of posts I have talking about Korean drama but I don't watch that many. The exquisitely beautiful Kim Min-hee is excellent as the heiress with all her gamine innocence, petulance and entitlement, and Kim Tae-ri is superb as the handmaiden herself: smart, worldly, talented in the ways of deceit and yet with an unsuspected streak of romance. But things go terribly wrong, and there is an unforgettable whiplash plot twist which sends us all the way back to the beginning of the story. The plan is that she will assist his sinister plan to seduce this heiress, elope with her and then have her incarcerated in a lunatic asylum – in return for which the “handmaiden” is promised a few jewels. In Japanese-ruled colonial Korea of the 1930s, a con-man posing as a nobleman persuades a pickpocket of his lowlife acquaintance to get a job as a handmaiden to a beautiful, wealthy young woman, who is being exploited by her hideous old father. It is a film to compare with Hitchcock’s Rebecca or Nagisa Oshima’s In The Realm of the Senses. Park Chan-wook, a veteran of extreme cinema with his “Vengeance” trilogy (Sympathy For Mr Vengeance, Oldboy, Lady Vengeance) in 2016 created a glorious erotic suspense thriller in The Handmaiden, a sumptuously designed period drama based on Sarah Waters’s novel Fingersmith. Veteran player Song Kang-ho – who has become the face of Korean cinema - projects such pathos and even gentleness in his muddle-headed need to do the right thing by his family. The film has a crazy and exuberant theatricality, with broad streaks of farce, and also a strong if unexpected element of sympathy. Parasite is about the perennial topic of class and 21st-century servitude, and it is about the fundamental issue of inequality. Cunningly, he gets his elder sister in as an “art tutor” to the kid brother of this wealthy household, and it isn’t long before mum and dad have scammed jobs there also as chauffeur and housekeeper, all pretending to be not related, brilliantly playing on their rich employers’ smugness, fastidiousness and cocooned naivety. The teenage son flukes a plum job as an after-school tutor to a teenage girl who lives in a colossal modernist mansion. Bong Joon-ho’s upstairs-downstairs satirical masterpiece Parasite, the Palme D’Or and best picture Oscar-winner features a low-achieving family living cheek-by-jowl in a scuzzy, stinky basement flat.
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