I have noticed that some people tend to make excessively categorical judgments about Seung-hyo's parents, not only in their relationship, but also in how they raised Seung-hyo. In fact, it is not the first time that the show contrasts the almost sidereal differences between Seok-ryu's family and that of Seung-hyo, where the first is united, convivial, chaotic, although Seok-ryu's parents, his mother especially, live with a sense of regret for a lack of professional fulfillment due to the difficult economic situation of her family that did not give her any choice; while in the second each member lives alone, they do not eat together, everyone is busy with their own successful career and the house, like the family, is cold, detached, almost non-existent. This is emphasized in the flashback where Hye-suk has a furious argument with Gyeong-jong about putting her career before her role as a mother, making her say the most terrible thing, that she should never have had Seung-hyo, where unfortunately the latter, at the age of seven, heard everything and it left an indelible impression on him. In addition to this, it must be said that, throughout the series, it is implied that Hye-suk may even be a cheating woman for years with her colleague vice minister, casting Hye-suk in an even more bad light as if she were a negative character. On this last point, I don't want to give away any spoilers, since there hasn't been an answer yet, so I'll keep quiet about it, but for everything else, especially in light of the last episode, I think that, as usual, a good job of writing was done, because if on one hand we have Mi-sook struggling with her inferiority complex towards Hye-sook for the career she had and that she would have loved to have too, on the other hand Hye-sook had to constantly fight to maintain her successful working status in a society that doesn't favor women, especially those with families, having to make a painful decision for herself, which was then the one that saw Mi-sook act as a surrogate mother in her absence. That outburst in the flashback, similarly to what happened with Hyeon-jun, does not make Hye-sook a bad mother and wife, but a human person, therefore fallible, who had to struggle in a very imperfect world and who, in the most difficult moment of her life, allowed herself that unfortunate outburst which, rightly, she regretted immediately afterwards, because it is undoubted that she does not really think so, but it is also true that it is a sad reality that combining family and work, especially a job like hers, was complicated and required sacrifices from everyone. From my point of view, I think that a good job was done in representing this difficult theme and the characterization of Hye-sook, her husband and Seung-hyo, in this circumstance, was done very well. Beyond that, as often happens in dramas (here is another cliché, but used with a certain cunning) in the end the problems of this family are all dictated by the lack of communication, often for fear of having their fears confirmed, Seung-hyo's outburst in the forest I think was the best thing for everyone, in which he highlighted all their mistakes and allowed them to start over with a new perspective. Communication is always the best thing, but it is often the most difficult thing to do and we have already seen it with Seok-ryu. Aside from that, I can't help but find the whole plot about Mo-eum, Dan-ho and Yeon-du hilarious and tender, especially when I think back to Mo-eum's funny dream about the superhero Mudflat Man, portrayed as if it were a late seventies Japanese tokusatsu like Super Sentai or Kamen Rider, which is strange, since I thought Mo-eum's passion was American Marvel superheroes like Spider-man or Iron Man. Aside from that and the constant awkwardness that Dan-ho and Mo-eum have in being in the same place, the scene at the sauna between Mo-eum and Yeon-du is a further step forward in the relationship, in which Mo-eum, more and more, demonstrates her maternal skills even in complicated contexts in which she had to console Yeon-du when she missed her mother. It's a couple that gives us satisfaction every time. But Seok-ryu and Seung-hyo also give us just as much satisfaction (and they will give us, you'll see), even though this episode was largely monopolized by the secondary stories, there were tender moments between them and the ending, where they finally take the step we were all waiting for, was a beautiful scene (thanks also to the Van Gogh-esque setting with the sunflowers): I appreciated how Seok-ryu declared herself using the banana milk as a metaphor, but also, perhaps for the first time, Seung-hyo's confidence when he went towards her to kiss her. It's a new beginning for them too and it will be very interesting how the authors will handle this thing, because up to now they have been able to ride intelligently, without giving up careful writing, the various clichés. Thanks for the reaction.
![[ENG] 241120 Teayii's Talk x Pong-Tong | full interview](/img/1.gif)
I have noticed that some people tend to make excessively categorical judgments about Seung-hyo's parents, not only in their relationship, but also in how they raised Seung-hyo. In fact, it is not the first time that the show contrasts the almost sidereal differences between Seok-ryu's family and that of Seung-hyo, where the first is united, convivial, chaotic, although Seok-ryu's parents, his mother especially, live with a sense of regret for a lack of professional fulfillment due to the difficult economic situation of her family that did not give her any choice; while in the second each member lives alone, they do not eat together, everyone is busy with their own successful career and the house, like the family, is cold, detached, almost non-existent. This is emphasized in the flashback where Hye-suk has a furious argument with Gyeong-jong about putting her career before her role as a mother, making her say the most terrible thing, that she should never have had Seung-hyo, where unfortunately the latter, at the age of seven, heard everything and it left an indelible impression on him. In addition to this, it must be said that, throughout the series, it is implied that Hye-suk may even be a cheating woman for years with her colleague vice minister, casting Hye-suk in an even more bad light as if she were a negative character. On this last point, I don't want to give away any spoilers, since there hasn't been an answer yet, so I'll keep quiet about it, but for everything else, especially in light of the last episode, I think that, as usual, a good job of writing was done, because if on one hand we have Mi-sook struggling with her inferiority complex towards Hye-sook for the career she had and that she would have loved to have too, on the other hand Hye-sook had to constantly fight to maintain her successful working status in a society that doesn't favor women, especially those with families, having to make a painful decision for herself, which was then the one that saw Mi-sook act as a surrogate mother in her absence. That outburst in the flashback, similarly to what happened with Hyeon-jun, does not make Hye-sook a bad mother and wife, but a human person, therefore fallible, who had to struggle in a very imperfect world and who, in the most difficult moment of her life, allowed herself that unfortunate outburst which, rightly, she regretted immediately afterwards, because it is undoubted that she does not really think so, but it is also true that it is a sad reality that combining family and work, especially a job like hers, was complicated and required sacrifices from everyone. From my point of view, I think that a good job was done in representing this difficult theme and the characterization of Hye-sook, her husband and Seung-hyo, in this circumstance, was done very well. Beyond that, as often happens in dramas (here is another cliché, but used with a certain cunning) in the end the problems of this family are all dictated by the lack of communication, often for fear of having their fears confirmed, Seung-hyo's outburst in the forest I think was the best thing for everyone, in which he highlighted all their mistakes and allowed them to start over with a new perspective. Communication is always the best thing, but it is often the most difficult thing to do and we have already seen it with Seok-ryu. Aside from that, I can't help but find the whole plot about Mo-eum, Dan-ho and Yeon-du hilarious and tender, especially when I think back to Mo-eum's funny dream about the superhero Mudflat Man, portrayed as if it were a late seventies Japanese tokusatsu like Super Sentai or Kamen Rider, which is strange, since I thought Mo-eum's passion was American Marvel superheroes like Spider-man or Iron Man. Aside from that and the constant awkwardness that Dan-ho and Mo-eum have in being in the same place, the scene at the sauna between Mo-eum and Yeon-du is a further step forward in the relationship, in which Mo-eum, more and more, demonstrates her maternal skills even in complicated contexts in which she had to console Yeon-du when she missed her mother. It's a couple that gives us satisfaction every time. But Seok-ryu and Seung-hyo also give us just as much satisfaction (and they will give us, you'll see), even though this episode was largely monopolized by the secondary stories, there were tender moments between them and the ending, where they finally take the step we were all waiting for, was a beautiful scene (thanks also to the Van Gogh-esque setting with the sunflowers): I appreciated how Seok-ryu declared herself using the banana milk as a metaphor, but also, perhaps for the first time, Seung-hyo's confidence when he went towards her to kiss her. It's a new beginning for them too and it will be very interesting how the authors will handle this thing, because up to now they have been able to ride intelligently, without giving up careful writing, the various clichés.
Thanks for the reaction.