돌아온 황금복 (The Return of Hwang Geumbok)

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돌아온 황금복 (The Return of Hwang Geumbok)

SBS – 120 Episodes
An SBS Plus Production
Timeslot: Weekday Evening, 07:20 PM
Genre: Home Drama
Format: 1080i Dolby Digital 2.0 – 35 Minutes
Runs from: 2015/Jun/08~

WITH 신다은 (Shin Da-Eun) as Hwang Geum-Bok; 이엘리야 (Lee Elijah) as Park Ye-Ryeong; 정은우 (Jung Eun-Woo) as Kang Moon-Hyeok; 김진우 (Kim Jin-Woo) as Seo In-Woo; 전미선 (Jeon Mi-Seon) as Hwang Eun-Shil; 심혜진 (Shim Hye-Jin) as Baek Ri-Hyang; 김나운 (Kim Na-Woon) as Oh Mal-Ja; 전노민 (Jeon No-Min) as Kang Tae-Joong; 이혜숙 (Lee Hye-Sook) as Cha Mi-Yeon; 김영옥 (Kim Young-Ok) as Madame Wang; 김윤경 (Kim Yoon-Gyeong) as Kang Tae-Ra; 선우재덕 (Seonwoo Jae-Deok) as Kim Gyeong-Soo;

CREW Production Director 윤류해 (Yoon Ryu-Hae) Main Writer 마주희 (Ma Joo-Hee) Executive Producer 김용진 (Kim Yong-Jin) Planning 박영수 (Park Young-Soo) Producer 민연홍 (Min Yeon-Hong) Directors of Photography 김형호 (Kim Hyung-Ho) Lighting 조종성 (Jo Jong-Sung) Art Director 김민정 (Kim Min-Jung) Editor 한옥금 (Han Ok-Geum) Music 전창엽 (Jeon Chang-Yeop) Assistant Writer 문지영 (Moon Ji-Young) Assistant Producer 민정아 (Min Jung-Ah)

RATINGS
AGB Nielsen Nationwide
HIGHEST: 7.2% (06/08 - E01)
LOWEST: 5.4% (06/12 - E04)
AVERAGE: 6.15%

OFFICIAL WEBSITE

Photo © SBS, SBS Plus

SYNOPSIS

A drama of Chaebols and secrets of birth. Park Ye Ryung (Lee Elliya) is the daughter of a poor and crass single mother. Meanwhile, Hwang Geum Bok (Shin Da Eun) is Ye Ryung’s friend. [...which in itself is already enough of a weakness, by all accounts] [KoreanDrama]

FIRST LOOK

In a recent article for entertainment news portal eToday, somewhat (in)famous reporter Bae Guk-Nam argued that defining makjang dramas “low quality” – like the broadcasting commission did on its now famous May 19 meeting which indirectly led to Im Seong-Han's announced retirement – was a bit of an oxymoron: low quality implies that what you're trying to define is not completely devoid of redeeming qualities, whereas what has quickly become a veritable genre unto itself doesn't have any. Actually, I'd go beyond that definition: there is nothing inside them but random, restless and reckless chaos. There is no structure to be found if not that of constantly upping the ante in terms of shock value, regardless of how many flights of fancy it takes to even suspend your disbelief; you can't even find stereotypes there, because characters are nothing more than passive drones whose existence thrives and depends on histrionics (call them “agents of chaos,” if you will). Any semblance of story you can find has the sole purpose of provoking shock – being created, developing and dying in a vacuum.

Makjang dramas are black holes, nothing more.

What's becoming a little tiresome at this point though is how writers, producers, actors and broadcasters try to argue otherwise with apologetic press propaganda to the tune of “this is not a makjang drama” (whereas in the 1990s when the term was still in its infancy writers like Im Seong-Han and Moon Young-Nam would just defend their shows by throwing the knife in the viewers' hands, by essentially telling people that they were getting what they asked for, as the ratings would attest), to then throw everything including the kitchen sink and Ikea's entire collection at the viewers in the desperate hope of capturing their attention. Even the act of describing the plot of one of these shows has become a redundant exercise in futility.

You know what you'll get here: urgency and fabricated angst dominates everything. Characters go from joyous, sprightly ingenues to cold-blooded supervillains in the blink of an eye; class consciousness and the role money plays in their social interplay becomes the only defining trait that sets characters apart, and nothing is ever blessed with the elusive gift of fortuity – because your life is a collection of coincidences here, and you better be prepared to be run over by a cargo truck full of them. Performances range from the flippantly cute (Shin Da-Eun is such a promising young talent, and yet look at what an insipid performance she ends up giving here) to the eye-gougingly over-the-top (Lee Elijah makes Hwang Jung-Eum's most grating thespian antics look subtle by comparison), and nobody can escape from that fate when directing is this ham-fisted.

This is an horrendous and insulting disaster, written with no restraint whatsoever by people who think they can just come to work every morning and churn out creative excrement that could possibly only appeal to people who need background noise to make shirt ironing palatable, along with the advertisers who profit from it. And it's embarrassing that this industry still feels the need to degrade itself to this level.

ACTING GRADES

62 김영옥 (Kim Young-Ok)
61 전미선 (Jeon Mi-Seon)
60 신다은 (Shin Da-Eun)
60 김나운 (Kim Na-Woon)
60 김윤경 (Kim Yoon-Gyeong)
59 선우재덕 (Seonwoo Jae-Deok)
59 전노민 (Jeon No-Min)
56 심혜진 (Shim Hye-Jin)
54 정은우 (Jung Eun-Woo)
53 이혜숙 (Lee Hye-Sook)
50 김진우 (Kim Jin-Woo)
42 이엘리야 (Lee Elijah)

~ Last Update: 2015/06/13