[HanCinema's Drama Review] "W" Episode 7

Korean Drama Preview | August 11, 2016 | 380 viewed

A lopsided measure of vitality in "W" is spent on author Song Jae-jeong advocating her own particular story. All things considered, in fact Yeon-joo is the one legitimizing why Cheol's story needs to proceed, however the script in "W" continually feels like Song Jae-jeong laying out her own particular scriptwriting process uncovered for every one of us to see. What's more, yes, Kang Cho-yun is in truth a genuine individual who truly competed at the Olympics some time ago. Wherever Kang Cho-yun is today, I envision she's somewhat confounded that her name has come up in popular culture now out of the blue. 


Little touches like this that truly conflate the limit amongst author and primary character in "W". It helps that at whatever time Yeon-joo needs to legitimize herself to Cheol, she generally winds up getting hit entirely hard. It's entirely hard to acknowledge the presence of "W" with the exception of theoretically as a touch of fiction apparently expected to amuse the masses, yet as a general rule as the declaration of Song Jae-jeong's own standards toward life and adoration. 


Maybe the greatest issue I have with "W" is that it makes such a decent showing with regards to clarifying what it's doing that it regularly feels like there's not particularly I can add to the point. For a feeling of viewpoint, one plot point truly includes one of those books that is just photos of a couple doing loads of adorable things together. A book that, as Kang Cho-yun, I'm certain is totally genuine and motivated Song Jae-jeong to think of this plot bend in any case. 


The main trump card remaining is the means by which obviously the antagonist of "W" still exists, and is apparently unsatisfied with Yeon-joo's devised endeavor to keep the story going. That much isn't generally a spoiler-it's really one of only a handful few pacing stumbles in "W". A scene from last scene's sneak peak appears in this current scene's review, and it's a long while before the lowlife makes its nearness felt regardless. 


Meanwhile, we're simply occupied by Yeon-joo's clarifications and Cheol's as regular hard to envision yet very genuine responses to Yeon-joo's clarifications. It figures, for instance, that while Cheol is totally impenetrable to Yeon-joo's rationale he's very touched by her enthusiastic responses. Any essayist who's needed to answer questions from a fan crowd has likely felt the same way. Which is further incongruity, obviously, since with regards to the scene Yeon-joo is the creator not Cheol

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