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lurkingshan · 9 months

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The Ride or Die Drama Couples List

So the other night I got a little sassy on main because some of the girlies were complaining that King the Land is focusing more on the couple moments (aka relationship development) between Gu Won and Sa Rang and doesn’t have enough plot. Which is a very typical fandom complaint about romcoms that I absolutely hate, because in a good romance the relationship is the plot, people! It’s bizarre attitudes like this that get us random murder plots spliced into every other romcom for the ratings, and I am begging y’all to stop the madness.

Ahem. Anyway, that post seemed to resonate with some folks and get them discussing other dramas, and so inevitably @troubled-mind wandered into my notes and said gee Shan, it seems like maybe you should make a list of dramas that show us couples in a relationship and explore how they make it work and ultimately stay together. And I’ve warned y’all before, if you make a stray comment in my direction there will be a list coming your way. So here I am again, doing the absolute most.

Today I present to you a list of my favorite dramas that show you not only how the couple gets together, but also how they stay together. Criteria:

The couple doesn’t have to be together when the drama starts, but they do have to actually begin their romantic relationship no later than halfway through the drama’s run so that we have substantial time with them as a couple

The relationship development between the couple is a primary plot driver (so no dramas where there’s a great long term couple just hanging out in the background)

The relationship story may include some physical separation or even a temporary breakup, but not the betrayal kind–these are the sort that actually force an unaddressed issue to the surface and ultimately bring the couple even closer

Happy endings only, these pairs are sticking together

Ride or Die Drama Couples

Bad Buddy - Pat and Pran

(Thailand, YouTube)

This is tumblr so do I really need to tell y’all about Pat and Pran? There is a reason we all lost our minds over this show and it’s because we got to be in this relationship with them so intensely and see them fight to stay together despite it all. Their ending is bittersweet because of their families, but the show leaves us no doubt that they both think the other is worth it and they will always stick it out together.

Dark Blue Kiss - Pete and Kao

(Thailand, YouTube)

Shout out to the OGs! Pete and Kao originally got together in the Kiss series (you can watch it, but you really don’t have to, fam) and Dark Blue Kiss brings them back three years into their long-term relationship to give us a peek into their struggles with the closet and the toll it takes on both of them individually as well as the strain it puts on their relationship.

Flower of Evil - Hee Sung and Ji Won

(S Korea, Netflix or Viki)

Hee Sung and Ji Won are already married (with an adorable daughter) when this drama begins, and the backstory of their relationship is unspooled alongside the larger mystery at the heart of the show. One of the most fascinating and heart wrenching love stories I have ever seen, centered on a character who is so emotionally damaged that he genuinely believes he is incapable of love even as love pours out of him. Damn, I’m gonna make myself cry into my oatmeal.

It’s Okay, That’s Love - Jae Yeol and Hae Soo

(S Korea, Viki)

Speaking of crying, lord. Ahhhhhhh. Let me pull myself together. It’s Okay, That’s Love is a healing drama about two people who fall in love and support each other through serious mental health challenges. I don’t really want to say much more than that. Bring tissues, besties!

La Pluie - Patts and Saengtai

(Thailand, iQIYI)

My beloved! This Thai drama is about a pair of soulmates–or are they–who find each other and try to make their relationship work. That’s it, that’s the show. In this drama, the relationship truly is the plot, despite some of the fantasy elements being used to highlight its themes. La Pluie is about the importance of choice and a rebuke of romantic fantasies that fate and destiny will handle your love life for you. I and many others have written about it extensively, so if you decide to watch, you can go nuts on meta.

Lighter & Princess - Li Xun and Zhu Yun

(China, Viki)

I really love this show. This is a long format drama so there will be longer stretches where the couple still has not officially gotten together, but the relationship between them is the heart of the entire show, and we get the distinct pleasure of watching them fall in love twice, and the second time figure out how to make it stick. Such a treat.

One Spring Night - Ji Ho and Jung In

(S Korea, Netflix)

Oh how I love this quiet little drama about two people who fall for each other while one is still in a relationship with someone else, and figure out how to untangle the mess they’re in. We get to see them not only fall in love, but figure out how to become a unit who can withstand the harsh judgment coming their way and become a family on their own terms. Bonus adorable child alert!

Tomorrow With You - So Joon and Ma Rin

(S Korea, Viki)

This time travel melodrama is one of those that I started with no expectations and then sat up part way through and said what gave you the right to be this good! This is another one where the relationship begins for dubious reasons, but the suspect motives are quickly taken over by genuine feeling. We really get to live with the relationship in this one and the message is all about treasuring the life and time we have together.

The Rebel Princess - Awu (Wang Xuan) and Xiao Qi

(China, Viki)

I think the phrase Ride or Die was actually invented for them. Talk about a power couple. Once these two get to know each other (this is a historical so as per usual, their marriage wasn’t actually their choice but rather the result of some asshole’s machinations in a quest for power, joke’s on them though) they are in, baby, and their devotion and loyalty never wavers. This is a historical epic in war time, so the couple will be physically separated multiple times, but it only makes them stronger and each of their reunions sweeter. Their relationship is the heart of the show and the throughline in their chaotic lives.

What Did You Eat Yesterday? - Shiro and Kenji

(Japan, the ether)

Saving the best for last because this right here is the GOAT in this category. It sits at the top of my all-time favorite dramas list and I love it passionately. Because y’all? This drama is explicitly about a middle-aged couple learning how to be together in a long-term relationship. That is the entire plot. And it’s fantastic. Stop reading this and go watch it!

Honorable Mentions

Yumi’s Cells - Yu Mi and Goo Wong

(S Korea, Viki)

This one is not on the list proper because (gasp) the couple doesn’t end up together. I know, I’m still sad about it, too, even though I went into this drama fully aware of the concept (a season about each of Yu Mi’s major relationships). But man. Yu Mi and Goo Wong just have that something, you know? Even knowing they don’t stick it out, it’s a delight to watch them fall in love and settle into a relationship together. Technically there is a second season featuring Yu Mi’s next relationship (Babi? I don’t know her), but I don’t want to recommend it and you can’t make me.

I must also give a shout out to the bl season 2s that exist expressly for the purpose of showing how the characters settle into a relationship after the first season get together:

Gameboys 2 (Philippines, Gaga) - Cairo and Gavreel

Minato’s Laundromat 2 (Japan, Gaga)- Shin and Minato

SOTUS S and Our Skyy (Thailand, YouTube) - Kongpob and Arthit

Still 2gether (Thailand, YouTube) - Tine and Sarawat

Utsukushii Kare 2 (Japan, Gaga) - Hira and Kiyoi

And because this is my post and I make the rules, I am also doing some honorable mentions of the friends to lovers slow burns where technically they are not together until the final arc of the story but let’s be serious they are together the whole time and just don’t realize it yet so you know exactly what their relationship is going to look like:

Fight for My Way (S Korea, Viki) - Dong Man and Ae Ra

Happiness (S Korea, Viki) - Sae Bom and Yi Hyun

Hospital Playlist 1 and 2 (S Korea, Viki) - Song Hwa and Ik Jun

My Only 12% (Thailand, iQIYI) - Seeiw and Cake

My Ride (Thailand, Gaga or YouTube) - Mork and Tawan

Romance is a Bonus Book (S Korea, Netflix) - Dan Yi and Eun Ho

Weightlifting Fairy Kim Bok-Joo (S Korea, Viki) - Joon Hyeong and Bok Joo

Whoops you woke the beast @troubled-mind. @rocketturtle4 @neuroticbookworm @chickenstrangers here are more for your mile long rec lists. :)))

#bad buddy #dark blue kiss #flower of evil #it's okay that's love #la pluie #lighter and princess #one spring night #tomorrow with you #the rebel princess #what did you eat yesterday?#yumi’s cells #shan recommends #drama recs

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cere-mon-ials · 1 year

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2022 in kdramas

*that I finished

I spent my January nursing all that The Red Sleeve broke (my heart), nourishing what it gave me (provocation to write, notes here), cursing what it did for my overall k-drama viewing expectations. I am still mad that Lee Se-young wasn’t recognised for what she did in TRS, a show that belongs to Deok-im and her alone. I had finished Good Manager a day before, a long-winded bromance between Namkoong Min and Lee Jun-ho. I didn’t think much and truth be told, I don’t remember much either. Happiness fell flat after three episodes; stayed for the remaining episodes because of the excellent chemistry between the main characters. I evidently watched Coffee Prince many years too late but I saw every reason why I might have never finished school if I had seen it earlier.

Run On kept me thrilled on occasion, became white noise otherwise. I loved seeing my two joys, running and translation, woven into the show, loved the miracle of found friendships and homes, and a defiant writing philosophy that healthy relationships are worthy of being probed. Despite how unbearable Our Beloved Summer was about Ji-woong’s unrequited love, I could see the good-naturedness of the story writer-nim was trying to tell. I loved watching why the two leads fell apart and what brought them together. I loved that this had something to do with communication but I loved even more, that it just had to do with having grown up and realising you can love something you’re not and that’s one way to experience life. Kairos is the most underappreciated show that tackles time-travel. Great writing with exceptional attention to detail.

February was spent with the duology of the Ahn Pan-seok—Kim Eun—Jung Hae-in universe, the k-drama equivalent of Austenian bliss. Both shows benefit from Kim Eun’s thesis that romance may be intimate but love, in a patriarchy, demands a public that must accept it. Ahn Pan-seok is the finest orchestrator of moments that feel like the time lapse that falling in love is, that thing that people often reduce to soulmatism or violins at first glance. In One Spring Night, it works. In Something in the Rain, it fails because Kim Eun was still finding her voice as a writer who is stumped by what makes for the ‘right’ kind of conflicts in a 16-episode arc. I don’t think that’s the only problem with SITR but it’s the one she solved with marvelous elegance in OSN. In both shows, the main leads are charmingly, refreshingly communicative with each other. But it is in OSN, where Kim Eun figures out that being vulnerable is not the same as talking about vulnerable things, and how to make it count for all relationships that matter. Son Ye-jin and Han Ji-min, I love you both equally.

In March, I began paying an honorarium to the guard of my Jang Hyuk horny jail. Deep-rooted Tree made me cry in at least 14/24 episodes. A Joseon murder mystery wrapped in a drama about accessible language as the beginning to breaking down class barriers and nation-building, with nerdy love for character interiority? I ate that up. Han Seok-kyu is the only reel King Sejong ever. Just like Jang Hyuk is the only reel Bang Won ever. My Country: The New Age is a shallow show with hilarously lofty dialogues and masterful action sequences. In my most generous reading, MCTNA attempted to ask if Bang Won’s modernity could have come at a lesser price; is modernity not equivalent to audacity? Woo Do-hwan is almost as good at portraying audacity as Jang Hyuk.

Having Park Eun-bin and Kim Min-jae play Brahms in a riveting duet is exactly what Do You Like Brahms? set out to do. Introverts are rarely done well on the screen and getting it right with not one, but two leads is an achievement too. If you are a person fuelled by that mystical "passion," the creative arts industry can be a cruel place. Chae Song-ah is, by all accounts, not as talented as the others around her, and this is not a story of stick-with-it-till-you-rise-from-the-ashes. Even the hope that it might be is wonderful writing because Song-ah is far more assertive than anybody gives her credit for, like a baby who holds onto your finger with shocking strength. In classical music especially, there is no such thing: you are good or you are out. Park Joon-young is great and yet, he is begging for an out, because being good is just the beginning. These two and the other characters are deeply in love with music and they want to protect that love. They all find out that in the end that love needs sustenance, not protection.

I binged Fated to Love You in April, in a private experiment to see how much Jang Hyuk brainrot I can take. (Let’s remember this is a summary of the shows I finished.) I came out of it with brainrot for one more Jang. Outrageous show, outrageous star power. Soundtrack No. 1 was a forgettable experience save for the fact that I am now a person who looks up Park Hyung-sik’s MDL page on the reg. I think everybody is right about Twenty-Five Twenty-One: (a) Baek Ye-jin and Na Hee-do were always going to break up (b) It was a terribly-conceived finale. Two other opinions I am going to leave here: (c) Ji Seung-wan, darling of my heart, should have been the lead for the show that writer-nim actually wanted to do. (d) More people would see this, and also may have responded with thoughts beyond ship discourse, if Na Hee-do was played by anyone other than Kim Tae-ri.

I think people were right about criticising Lee Soo-yeon’s Grid too. The science of time-travel took some leniency. I get why the finale would have been unsatisfying, even as a setup for a potential second season. But I offer that the thesis of LSY’s shows is never in how they end, because they are not moral science lessons for the future. Grid’s deeply introspective themes of time-travel and the greater good begins with the the sun, the most reliable force in a human's life, turning against mankind. This immediately takes away a human as ultimate antagonist, when it easily could have been. For LSY, the future is the darkest place with unknowable power and we have the task of paving a path of light towards it. Time-travel is not the science-fiction component with which to imagine our behaviour in an unrecognisable, but possible, place. It’s the fucking fantasy. Even if we got the chance to change the past, we really couldn't. The future is what we have got to change and the present to make the first move. Those dreams of going back, repenting hard enough, flirting with what ifs? Not going to cut it. LSY's meta elegance is in bringing the intensely personal version of this theme in parallel to the big one: divorce. FWIW, she had all these threads tie together by Episode 7. I get why she said Grid is the next iteration of her life's work—an exceptional mind.

Park Min-young could have chemistry with a rock, and thank god, Seo Kang-joon isn’t one. When The Weather Is Fine is the rightest show about life in the countryside. It nails the fine line of a tight-knit community that shows up for you and also, how easily they can be the first source of judgement, as people who know your secrets. Best book club in a k-drama. Very well done pining. Imo is my favourite character and she should publish that novel because “Hey. Who do you think killed my brother-in-law?” is a banger opening line. I first saw Lee Jae-wook in this show.

During the weekends of April and May, there was My Liberation Notes. I watched it like a scheduled therapy session, although I do not think Park Hae-young is aiming for catharsis with her works (despite it seeming like the most common outcome). I didn’t have the word “healing” in my everyday vocabulary so often before k-dramas. It’s a genre of k-drama that is meant to be comforting, to inject slowness into everyday life as an antidote for the ills of modern society. Bullshit. There are multiple wide shots of the Yeom family tending their farms, eating in peace amid the greenery, and they are claustrophobic. It might feel like complaints, and you’re free to think that. But PHY knows, as most people my generation do, finding an escape is actually really easy. That’s not the point. The point is to be less sad about being who you are; to know that who you are is enough to make a living, find love if you want it, make peace with your family. This show is about siblings as the real loves of your lives.

I don’t remember what I was doing in June.

Pachinko is not a k-drama strictly speaking, but let’s do it. I adore Min Jin Lee and I am afraid to admit how emotionally attached I am to the world of Kogonada’s eyes. In MJL's book, the linear structure is meant to make you feel like the history of a family can also be a history of the other themes that consume intellectual space. In the show, there is no such thing as a past, or a history. Nothing is done, nothing is over and under the rug. You see Sun-ja’s and Solomon’s stories at the same time because there's no distance that makes what happened then far enough from what's happening now. For this alone, Pachinko is a superior adaptation. I have a shrine for every woman in this show. Watching Yumi’s Cells 2 has been among the happiest experiences of my TV viewing life. Bloody Heart could have been bloodier. I respected that it reached a conclusion without feeling the need to give a neat answer to its central question of assertive power as driver of both unity and chaos—there’s humility in realising that the answer need not be determined in one generation. Jang Hyuk thirst got me into the show, Kang Hanna’s outstanding face and smarts kept me there. Lee Joon’s Lee Tae nearly made me quit. Park Ji-yeon, muah. I watched the back half of Signal in July. It is no fault of the show that I was zapped out of will to see women being killed. There were two scenes of Kim Hye-soo’s that wrecked me bad, I had to quit watching for couple of days. Thank you to the makers for giving a genre-defining template. (Kairos did do it better.)

Alchemy of Souls was super fun as a weekly watch. Daeho is boring to me as a setting and the plot ventures into territories worthy of critical thought once in a blue moon. But I admire the ambition, and the storytelling does have its moments. Lee Jae-wook is a menace. Inhaled Rookie Historian Goo Hae-ryung over four days; I enjoyed it. Extraordinary Attorney Woo tried. I also binged Reply 1997. Reply 1988 is always going to be my favourite and I am not going to watch R1994 for a conclusive test of veracity.

Between these shows, their endearing efforts at being fulfilling shows about love of different kinds, I nibbled on episodes of My Mister. I couldn’t watch two episodes together; it was so potent, so unbelievably demanding of my attention in every way imaginable, and I gave it willingly. I wrote about the show here.

October brought the best mystery/thriller show of the year: May It Please The Court. It was written with a clear idea of how much to bite, knew how to chew on it, and that’s why it also landed the best conclusion of the year. The show is astute about forgiveness and justice, and well, forgiveness in justice. I think the show’s success is in how it trusted both its characters and the audience to process what this means to them. Jung Ryeo-won and Lee Kyu-hyung have impeccable married energy from first scene. Lee Sang-hee is the best, the hottest, the finest.

Little Women is the mystery/thriller show with the most potential of the year. It wasn’t until episode 11 that the show lost me but I do think the flaws began revealing themselves a lot earlier. I didn’t appreciate the show’s insistence that the central crime of the show was Sang-ah’s murders and not the patriarchal cult that pretends to be a meritocracy. I thought the Vietnam War references were in conversation for a whole different reason: I viewed it as a nod to the first war where losing means more than winning. That war is the blueprint for the 21st century exertion of control for the right to capital and target audience, rather than mere territory and pride. But this symbolism wasn’t what came through and I understand those who pushed back on how the war's references, along with an exotic flower, rang hollow. LW did get characterisation right, particularly the way poverty alters how intelligence is perceived and valued. It’s ambitious premise—that Louisa May Alcott was wrong in deciding these sisters would taper their poverty with unusual politeness—is radical.

I will rewatch the first 11 episodes of May I Help You in several trying days of my future. Baek Dong-joo and Kim Tae-hee, butlers to the dead and the alive respectively, are companions, friends and lovers, in that order. What's not to love? The acts asked of them are rarely grand but they are delivered with emotional heft. I forgive all the detours taken from episode 12. I tend to find it dull when everybody and everything is connected to each other. In this one's ending, it's quite lovely. I see the vision in saying that we only know Dong-joo’s story because that’s the story we have tuned into. The miracles could be happening to anyone at all. I wish writer-nim wasn’t so Christian throughout—the throwaway line about suicide put me off. Best piggy-backing scenes in a rom-com and also, favourite kiss, I am going to say.

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