If an actress avoids nudity, she is criticized for being too reserved. If she does so she is accused of tarnishing her image. At this point, the real problem lies not in nudity itself, but in outdated views that separate actresses from their roles, seeing them only as “female” actresses rather than performers.
In this light, actress Cha Joo-young has become a controversial figure. In Netflix’s “The Glory,” he played a school bully whose only notable feature was his surgically enhanced appearance. His character’s confrontation with Lim Ji-yeon, during which his surgically altered chest was revealed, became a hot topic. At the time, public attention was focused solely on Cha Joo-young’s “on-screen chest,” sparking debates over whether she was real or a body double. The uproar also dragged an unrelated model into the controversy, forcing them to deny involvement.
Recently, Cha Joo-young starred in “The Queen Who Crowns,” a new drama from tvN and TVING that premiered on January 6. From the first episode, an intense bedroom scene attracted attention. While the scene was partially edited for the 15+ rated tvN broadcast, the uncut 19+ version on TVING included explicit depictions of Cha Joo-young’s body. As with “The Glory”, debates erupted over whether his chest was real, with later reports clarifying that parts of the scene had been enhanced with CG.
The audacity of these intimate scenes has drawn criticism beyond the physical exposure. Some wonder whether Cha Joo-young’s repeated nudity reflects an overuse of her image or highlights a lack of acting skill. Critics argue that after making a strong impression in “The Glory,” she should rely on her acting skills rather than strip down again. Such criticisms might have merit if nudity were gratuitous. However, in “The Queen Who Crowns,” the bedroom scenes serve a symbolic purpose. They highlight the evolving dynamics between Wongyeong (Cha Joo-young) and Lee Bang-won (Lee Hyun-wook), whose relationship moves from intimacy to a politically charged alliance. Lee Bang-won’s subsequent relationship with Wongyeong’s beloved maids is not just an act of physical domination but a calculated blow to his emotional core. The scene vividly portrays the complex mixture of love and hate, capturing the essence of Wongyeong. Replacing this pivotal moment with, say, a symbolic shot of mandarin ducks would rob the drama of its emotional depth. Plus, with the dual broadcast option (15+ and 19+), such a scene is justifiable.
However, Cha Joo-young continues to face criticism for “exposing herself.” But if her nudity were the only appeal, ratings for “The Queen Who Crowns” would have steadily increased: 4.9% for episode 1, 5.5% for episode 2 and 4.9% for episode ‘episode 3 (based on data from Nielsen Korea’s domestic pay platform) )? Without his acting, such scenes would likely have been reduced to short clips circulating online or timestamped moments shared for shock value. While the initial buzz generated by these scenes may have attracted viewers, the drama’s enduring appeal suggests that “The Queen Who Crowns” stands on its own merits.
