cinnahh
Joined Feb 2019
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cinnahh's rating
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cinnahh's rating
I'll admit that I didn't have high hopes for this drama, so I wasn't the least surprised when I got to the end and felt completely and utterly deflated. Bubble Gum is just another case of two childhood friends turned workaholics who end up falling for one another, and everything is pretty much an eyeroll from thereon. Storylines like this can either be such a hit or miss depending on how it's executed, and I don't mean in terms of how it's directed or produced, but whether there is an exhilarating character or plot development - both of which were absent throughout the whole 16 episodes.
Looking back, Park Ri-hwan (Lee Dong-wook) and Kim Haeng-ah (Jung Ryeo-won) were meant to be these two very easy-going and likeable leads who were successful in their respective fields, private, low-key, and no-drama kinds of people. Yet somehow, these characteristics also happened to be their biggest downfall because they turned into these boring, uncharismatic, and passive puppet protagonists who never took it upon themselves to reel the story forward. Rather, the driving force ended up being the supporting characters, each of whom made you want to claw your eyes out. They were frustrating, annoying, and unbearable to watch for the opposite reason given above in describing Ri-hwan and Haeng-ah's character traits. A few examples include but are not limited to the stereotypical rich mum or tiger mum, overbearing best friend, irritating or desperate second female lead AND male lead, and pushy/cringey ancillary characters who contributed nothing to the plot.
By the end, all the decision-making authority in moving the story forward came from the supporting characters, which if you think about it, effectively negates the purpose of the main characters whose roles were meant to be of far more significance and weight. However, all Ri-hwan and Haeng-ah did was engage in self-blame and immaturity despite being two fully-matured adults who were capable of making their own decisions in life.
To make matters worse, the second female lead (Hong Yi-seul) was portrayed as this academically intelligent woman turned hopeless romantic caught up in a one-sided love. The woman was just clingy, relentless, and increasingly petty when it came to wanting to get Ri-hwan's undivided attention, and understandable that one would get jealous upon hearing from her arranged suitor (Ri-hwan) in person that he was in love with his best friend, but nothing changed for this was not breaking news, and it was pretty clear from the first episode that Ri-hwan had absolutely zero interest in pursuing her but just stuck around to be the nice guy he was.
Similarly, Haeng-ah's ex-boyfriend, Kang Suk-joon (second male lead) was just as infuriating to watch as Yi-seul. His character was stubborn, arrogant, and desperate, and not one bit of me felt sorry for him each time he tried to convince Haeng-ah into giving him a second chance but was instead turned down. Although he wasn't a toxic or malicious person per se, his presence inhibited Haeng-ah's growth in the drama and there was just no second male syndrome to simply put.
Perhaps the most annoying character though was Ri-hwan's mother, Park Sun-young, who was controlling and slightly calculating. If she had accepted that Ri-hwan and Haeng-ah were meant to be together from the start, then she wouldn't have had to make things so difficult for herself and the couple. But every decision she made was outright selfish even though she claimed it was for the best for the two adults.
Other annoying characters included Haeng-ah's best friend and co-worker, Noh Tae-hee, who became increasingly intense, annoying, and controlling as each episode went by, as well as a radio host in her 40s, Oh Se-young, whose character just screamed "baby". Although I liked that Se-young's character challenged the stigma surrounding big age-gap relationships, and Tae-hee made all these attempts to woo a divorced man at her workplace, both the females' acting was just too over the top for my liking, and their characters' struggles seemed to overshadow that of Ri-hwan's and Haeng-ah's.
I couldn't also help but get frustrated as a viewer when Ri-hwan was confronted by Yi-seul's older brother, Hong Jung-woo, during a heated scene. Involving overprotective chaebol siblings who use bribes to get what they want is such an overused cliché which dumbs down the plot. This is even more so the case when Jung-woo is so afraid of heartbreak getting to Yi-seul and says to Ri-hwan of words to the following effect: "I want my sister to marry the man she loves. More than that, I want her to marry someone who loves her. If you can't change to be that person... why don't you go somewhere where you will not be seen. For example, a place where neither I nor Yi-seul can suddenly appear like this." ... *EYEROLLS*
In the end, the dialogue was watered down by petty remarks and mundane rants about love and life which had little impact on the plot. Although I appreciated this drama helping shed light on a lot of the stigma surrounding mental health including taboo relationships prevalent in modern society, I thought both of these aspects could have been better developed into something that was less cringeworthy. On the flipside, I gave it some well-deserved stars for the chemistry between the leads, and the ratio show setting which acted as a place of solace for people to call in and talk about their personal problems.
"To lose something and to forget something ... There's no way to be sad about those things... If the bubble pops, then you can just blow another one. The small happiness that you feel when chewing bubble-gum... It's not any different from any other kind of happiness." - Ri-hwan
Looking back, Park Ri-hwan (Lee Dong-wook) and Kim Haeng-ah (Jung Ryeo-won) were meant to be these two very easy-going and likeable leads who were successful in their respective fields, private, low-key, and no-drama kinds of people. Yet somehow, these characteristics also happened to be their biggest downfall because they turned into these boring, uncharismatic, and passive puppet protagonists who never took it upon themselves to reel the story forward. Rather, the driving force ended up being the supporting characters, each of whom made you want to claw your eyes out. They were frustrating, annoying, and unbearable to watch for the opposite reason given above in describing Ri-hwan and Haeng-ah's character traits. A few examples include but are not limited to the stereotypical rich mum or tiger mum, overbearing best friend, irritating or desperate second female lead AND male lead, and pushy/cringey ancillary characters who contributed nothing to the plot.
By the end, all the decision-making authority in moving the story forward came from the supporting characters, which if you think about it, effectively negates the purpose of the main characters whose roles were meant to be of far more significance and weight. However, all Ri-hwan and Haeng-ah did was engage in self-blame and immaturity despite being two fully-matured adults who were capable of making their own decisions in life.
To make matters worse, the second female lead (Hong Yi-seul) was portrayed as this academically intelligent woman turned hopeless romantic caught up in a one-sided love. The woman was just clingy, relentless, and increasingly petty when it came to wanting to get Ri-hwan's undivided attention, and understandable that one would get jealous upon hearing from her arranged suitor (Ri-hwan) in person that he was in love with his best friend, but nothing changed for this was not breaking news, and it was pretty clear from the first episode that Ri-hwan had absolutely zero interest in pursuing her but just stuck around to be the nice guy he was.
Similarly, Haeng-ah's ex-boyfriend, Kang Suk-joon (second male lead) was just as infuriating to watch as Yi-seul. His character was stubborn, arrogant, and desperate, and not one bit of me felt sorry for him each time he tried to convince Haeng-ah into giving him a second chance but was instead turned down. Although he wasn't a toxic or malicious person per se, his presence inhibited Haeng-ah's growth in the drama and there was just no second male syndrome to simply put.
Perhaps the most annoying character though was Ri-hwan's mother, Park Sun-young, who was controlling and slightly calculating. If she had accepted that Ri-hwan and Haeng-ah were meant to be together from the start, then she wouldn't have had to make things so difficult for herself and the couple. But every decision she made was outright selfish even though she claimed it was for the best for the two adults.
Other annoying characters included Haeng-ah's best friend and co-worker, Noh Tae-hee, who became increasingly intense, annoying, and controlling as each episode went by, as well as a radio host in her 40s, Oh Se-young, whose character just screamed "baby". Although I liked that Se-young's character challenged the stigma surrounding big age-gap relationships, and Tae-hee made all these attempts to woo a divorced man at her workplace, both the females' acting was just too over the top for my liking, and their characters' struggles seemed to overshadow that of Ri-hwan's and Haeng-ah's.
I couldn't also help but get frustrated as a viewer when Ri-hwan was confronted by Yi-seul's older brother, Hong Jung-woo, during a heated scene. Involving overprotective chaebol siblings who use bribes to get what they want is such an overused cliché which dumbs down the plot. This is even more so the case when Jung-woo is so afraid of heartbreak getting to Yi-seul and says to Ri-hwan of words to the following effect: "I want my sister to marry the man she loves. More than that, I want her to marry someone who loves her. If you can't change to be that person... why don't you go somewhere where you will not be seen. For example, a place where neither I nor Yi-seul can suddenly appear like this." ... *EYEROLLS*
In the end, the dialogue was watered down by petty remarks and mundane rants about love and life which had little impact on the plot. Although I appreciated this drama helping shed light on a lot of the stigma surrounding mental health including taboo relationships prevalent in modern society, I thought both of these aspects could have been better developed into something that was less cringeworthy. On the flipside, I gave it some well-deserved stars for the chemistry between the leads, and the ratio show setting which acted as a place of solace for people to call in and talk about their personal problems.
"To lose something and to forget something ... There's no way to be sad about those things... If the bubble pops, then you can just blow another one. The small happiness that you feel when chewing bubble-gum... It's not any different from any other kind of happiness." - Ri-hwan
Upon a quick glance at the title and the promotional poster, you're probably already thinking wow, this sure looks underwhelming! Well, dare I say that those were precisely my first thoughts - but now, I don't even hesitate for one second when someone asks me whether this drama is any good, because my answer will always be the same, and that is: 'exceptional' doesn't even begin to cut it.
Initially, I thought the premise was very lacklustre - set in the early 1900s, this mini-series focuses on Righteous Army activists fighting for Korea's independence against foreign forces, but the more I watched, the more I began to realise how fascinating this was. Not only did it act as a device to help viewers establish the rationale behind each of the character's motives, but it also contributed to the story's development in more ways than I could have imagined. The idea of a premise is that it lays down the most basic foundation of a writer's work, and just like a movie post or an illustrated cover of a book, it paints a simple image of what's inside, but not much more. And here's the thing, it's incredibly unfortunate to still see so many K-drama writers (whether old or new to screenwriting) fall into this rut when it comes to bringing an idea to life. However, for Mr. Sunshine screenwriter Kim Eun-sook, this doesn't ever appear to be a problem she faces.
Kim is one of the most accomplished and sought after screenwriters in the industry, and it's a no-brainer as to why this is the case. In the last 10 years, she has written the script for some of the most commercially successful dramas: Secret Garden (2010), A Gentleman's Dignity (2012), The Heirs (2013), Descendants of the Sun (2016), Goblin (2016), The King (2020), and this drama included. Yes, she may have incorporated overused clichés in a few of her written work (e.g. rich guy-poor girl, evil mother-in-law, etc), but at the same time, it's evident she continues to develop narratives which are so unique and enthralling; a talent which is unsurpassed in the industry. Unlike many writers whose dramas flopped, each one of her projects has stood the test of time, and this drama is no exception.
But the success of Mr. Sunshine ought to be shared equally with director Lee Eung-bok, whose creative direction and vast use of cinematic techniques in this drama was seriously not like anything I've seen before. Together, they raised viewers' awareness of Korea's history, and shed light on those deemed peripheral in society. Many with very little understanding or are quick to judge will say that everything portrayed is historically inaccurate or rubbish, but what these people fail to acknowledge is that these very cruel and tragic events did happen, and whether or not this drama perfectly encapsulated that 101% accuracy is irrelevant. Mr. Sunshine was a cleverly crafted masterpiece to simply put, and I have no doubt the producer called in a historian to ensure the historical and factual basis of the premise was presented in such a way that had more to do with the storyline and character development, rather than the accuracy value it would have added to the plot.
The storyline was wonderfully perplexing, with each dramatic turn adding all these unexpected twists. It was fuelled with long-awaited revenges, political debacles, and palace shambles, all atop a crumbling social class system and a country's disastrous attempt at stopping the Japanese from invading. Unlikely friendships formed, loyalties tested, identities challenged, and moral compasses questioned, but till the very end, not one person flinched, nor did they flee their allegiance to join another simply for the sake of love or friendship. But what I really appreciated about Mr. Sunshine would be this: the delivery of a poignant love story without the need for any kissing scenes.
I'm not going to lie when I say that there's got to be smooching involved to make the chemistry somewhat convincing, but even when there was none of that here, I wasn't the slightest bit concerned or disappointed. Because when there was grief, I ugly cried; when there was suspense, I went numb; when characters embraced, my heart melted; when a character experienced pain, I too felt my heart being ripped out of my chest; whenever a villain or antagonist appeared, my insides burned with rage; when a character showed their quirks, I chuckled with amusement; and last but not least, when a scene was so profoundly sad, it did more than just move me beyond tears.
I also admired Kim's screenwriting, because instead of cheapening the plot with unnecessary exchanges, I found myself immersed in eloquent poetry and an engaging dialogue that actually built towards something, whether it was revealing important information about a course of action or disclosing a certain character's disposition. And every time a flashback or sentimental object re-appeared, I knew what purpose it served because the story behind it was so powerful that it became an etched memory (e.g. Lady Yun's norigae (ornament), ragged shoe floating in the well, wooden music box, red paper windmill, etc). The stunning cinematography was also something to marvel at; not just acting as a visual aid, but in creating this immersive historical experience. With a beautifully composed soundtrack to match, I was well and truly enchanted. (Two songs in particular which struck a chord was Park Hyo-shin's "The Day", and Baek Ji-young's "See You Again"; both of which evoked so much soul, emotion, and lyrical meaning).
But what this drama could really not have done without was the outstanding performance of its talented cast (whether lead or supporting). The main cast comprising of Lee Byung-hun, Kim Tae-ri, Yoo Yeon-seok, Kim Min-jung and Byung Yo-han all had a unique charisma and stage presence about them, and I'm so thankful that their talents did not go to waste when they auditioned for their respective roles as Eugene Choi, Go Ae-shin, Gu Dong-mae, Kudo Hina and Kim Hui-seong. To be able to see each individual connect with their characters by immersing themselves in the script was one thing, but then the ability to translate and deliver the right amount of expressive energy and a certain personality on-screen was another. Thus, it was really pleasing to see that actor was emotionally, mentally, and physically invested in whatever challenges their character faced.
Not only did Mr. Sunshine record the 6th highest rating for any given episode in cable television (previously coming in 3rd place before the release of Hotel del Luna (2019), Crash Landing on You (2019-20) and the World of the Married (2020)), but it also netted an overall average rating of 12.955%, making it the second highest-rated K-drama of all times in cable television. What makes this latter figure far more significant than the first is because not only does it reflect the popularity of the series during its broadcast, but it also evidences strong audience engagement.
No doubt that Mr. Sunshine is probably my most favourite drama to date (along with Crash Landing on You and Signal), but if you ever just need to know why again, please don't hesitate to re-read this review.
Initially, I thought the premise was very lacklustre - set in the early 1900s, this mini-series focuses on Righteous Army activists fighting for Korea's independence against foreign forces, but the more I watched, the more I began to realise how fascinating this was. Not only did it act as a device to help viewers establish the rationale behind each of the character's motives, but it also contributed to the story's development in more ways than I could have imagined. The idea of a premise is that it lays down the most basic foundation of a writer's work, and just like a movie post or an illustrated cover of a book, it paints a simple image of what's inside, but not much more. And here's the thing, it's incredibly unfortunate to still see so many K-drama writers (whether old or new to screenwriting) fall into this rut when it comes to bringing an idea to life. However, for Mr. Sunshine screenwriter Kim Eun-sook, this doesn't ever appear to be a problem she faces.
Kim is one of the most accomplished and sought after screenwriters in the industry, and it's a no-brainer as to why this is the case. In the last 10 years, she has written the script for some of the most commercially successful dramas: Secret Garden (2010), A Gentleman's Dignity (2012), The Heirs (2013), Descendants of the Sun (2016), Goblin (2016), The King (2020), and this drama included. Yes, she may have incorporated overused clichés in a few of her written work (e.g. rich guy-poor girl, evil mother-in-law, etc), but at the same time, it's evident she continues to develop narratives which are so unique and enthralling; a talent which is unsurpassed in the industry. Unlike many writers whose dramas flopped, each one of her projects has stood the test of time, and this drama is no exception.
But the success of Mr. Sunshine ought to be shared equally with director Lee Eung-bok, whose creative direction and vast use of cinematic techniques in this drama was seriously not like anything I've seen before. Together, they raised viewers' awareness of Korea's history, and shed light on those deemed peripheral in society. Many with very little understanding or are quick to judge will say that everything portrayed is historically inaccurate or rubbish, but what these people fail to acknowledge is that these very cruel and tragic events did happen, and whether or not this drama perfectly encapsulated that 101% accuracy is irrelevant. Mr. Sunshine was a cleverly crafted masterpiece to simply put, and I have no doubt the producer called in a historian to ensure the historical and factual basis of the premise was presented in such a way that had more to do with the storyline and character development, rather than the accuracy value it would have added to the plot.
The storyline was wonderfully perplexing, with each dramatic turn adding all these unexpected twists. It was fuelled with long-awaited revenges, political debacles, and palace shambles, all atop a crumbling social class system and a country's disastrous attempt at stopping the Japanese from invading. Unlikely friendships formed, loyalties tested, identities challenged, and moral compasses questioned, but till the very end, not one person flinched, nor did they flee their allegiance to join another simply for the sake of love or friendship. But what I really appreciated about Mr. Sunshine would be this: the delivery of a poignant love story without the need for any kissing scenes.
I'm not going to lie when I say that there's got to be smooching involved to make the chemistry somewhat convincing, but even when there was none of that here, I wasn't the slightest bit concerned or disappointed. Because when there was grief, I ugly cried; when there was suspense, I went numb; when characters embraced, my heart melted; when a character experienced pain, I too felt my heart being ripped out of my chest; whenever a villain or antagonist appeared, my insides burned with rage; when a character showed their quirks, I chuckled with amusement; and last but not least, when a scene was so profoundly sad, it did more than just move me beyond tears.
I also admired Kim's screenwriting, because instead of cheapening the plot with unnecessary exchanges, I found myself immersed in eloquent poetry and an engaging dialogue that actually built towards something, whether it was revealing important information about a course of action or disclosing a certain character's disposition. And every time a flashback or sentimental object re-appeared, I knew what purpose it served because the story behind it was so powerful that it became an etched memory (e.g. Lady Yun's norigae (ornament), ragged shoe floating in the well, wooden music box, red paper windmill, etc). The stunning cinematography was also something to marvel at; not just acting as a visual aid, but in creating this immersive historical experience. With a beautifully composed soundtrack to match, I was well and truly enchanted. (Two songs in particular which struck a chord was Park Hyo-shin's "The Day", and Baek Ji-young's "See You Again"; both of which evoked so much soul, emotion, and lyrical meaning).
But what this drama could really not have done without was the outstanding performance of its talented cast (whether lead or supporting). The main cast comprising of Lee Byung-hun, Kim Tae-ri, Yoo Yeon-seok, Kim Min-jung and Byung Yo-han all had a unique charisma and stage presence about them, and I'm so thankful that their talents did not go to waste when they auditioned for their respective roles as Eugene Choi, Go Ae-shin, Gu Dong-mae, Kudo Hina and Kim Hui-seong. To be able to see each individual connect with their characters by immersing themselves in the script was one thing, but then the ability to translate and deliver the right amount of expressive energy and a certain personality on-screen was another. Thus, it was really pleasing to see that actor was emotionally, mentally, and physically invested in whatever challenges their character faced.
Not only did Mr. Sunshine record the 6th highest rating for any given episode in cable television (previously coming in 3rd place before the release of Hotel del Luna (2019), Crash Landing on You (2019-20) and the World of the Married (2020)), but it also netted an overall average rating of 12.955%, making it the second highest-rated K-drama of all times in cable television. What makes this latter figure far more significant than the first is because not only does it reflect the popularity of the series during its broadcast, but it also evidences strong audience engagement.
No doubt that Mr. Sunshine is probably my most favourite drama to date (along with Crash Landing on You and Signal), but if you ever just need to know why again, please don't hesitate to re-read this review.
