Praised for its fast-paced narrative and solid direction, the sudden and poorly justified plot developments left viewers exasperated, with many calling the twist “nonsensical.”
Premiering Nov. 30, “The Tale of Lady Ok” chronicles the journey to success of a slave, whose name, status and even her husband were false. As Ok Tae-young, Lim Ji-yeon shines in her first leading role in a historical drama, delivering an exceptional performance that transitions seamlessly between humor and tragedy.
Joining her is Choo Young-woo, who impressively plays the dual role and creates romantic chemistry with Lim Ji-yeon. Veteran actors Sung Dong-il, Kim Jae-hwa, and Kim Mi-sook further enhance the drama with their commanding performances, deepening viewers’ immersion.
“The Tale of Lady Ok” was praised for its rapid plot progression, with significant developments such as Ok Tae-young’s rise from slave to noblewoman, her marriage, and the downfall of her in-laws occurring in just four episodes. However, this rapid pace may have backfired, as increasingly forced developments are starting to disrupt viewer engagement.
The most shocking twist comes when Ok Tae-young’s husband, Sung Yun-gyeom (Choo Young-woo), comes out as an LGBTQ+ character. While the presence of LGBTQ+ characters isn’t inherently problematic, the setup felt inconsistent and abrupt. In previous episodes, Sung Yun-gyeom was shown expressing romantic interest in Ok Tae-young, saying things like: “You are the woman I like the most” AND “I can’t bear the thought of you with another man.” However, in just one episode, he suddenly confesses “I can’t hold a woman down,” shocking both Ok Tae-young and viewers.
The problems don’t end there. It turns out that Yun-gyeom is also the leader of Aesimdan, who is dedicated to rescuing and tutoring minority children, teaching them martial arts. This sudden revelation seems contrived, especially considering the political climate of the play, in which the king relentlessly hunts rebels. The need to gather these children in a hidden space to teach martial arts is questionable. Furthermore, Yun-gyeom’s abrupt confession of his secret to his magistrate father seems inconsistent with his previously cautious character. Adding to the confusion is Yun-gyeom’s decision to abandon his family and leave peacefully after causing their downfall, leaving viewers baffled.
Although the drama’s premise suggests that Cheon Seung-hwi, who shares Yun-gyeom’s appearance, will eventually take on the role of Ok Tae-young’s fake husband, Yun-gyeom’s characterization seems like a simple plot device, discarded later having served its purpose in the film. first episodes.
Even though Yun-gyeom was intended as a temporary character, his plot had to maintain logical coherence. If these forced developments persist, viewers’ patience and interest may wane. As “The Tale of Lady Ok” continues its upward ratings trend, it remains to be seen whether it can overcome the criticism and regain the trust of its viewers.
