In the first March of the pandemic, a friend in Pennsylvania e-mailed me about the slim pickings on TV. I told him about “Crash Landing on You,” a Korean drama series on Netflix. “The setup: a high-powered female business owner, next in line to take over her father’s conglomerate , is testing one of her company’s products—a paraglider. A tornado transports her up over the border and into the Demilitarized Zone. A North Korean soldier takes her in.
It was becoming clear that our trip to Seoul, planned for late June, 2020, was not happening. We kept watching K-dramas straight through the summer. The plotlines have tangled in my mind. There was “Romance Is a Bonus Book” , “My Shy Boss” , “Love Alarm” , and “It’s Okay to Not Be Okay” . I can’t remember the title of the show where a rich twentysomething layabout finds that his ne’er-do-well friends are now his roommates.
Then, at some point, the K-hole closed. The wild plot twists grew repetitive. The Netflix home screen became overwhelming, the algorithm serving up an endless menu of multipart Korean fare. We fell into separate routines as school started up again, carved out our own spaces in the apartment. As fall turned to winter, I associated K-drama with the early, most frightening phase of the pandemic.
So when the Netflix-produced K-drama “Squid Game” turned into a ubiquitous hit, becoming the platform’s most-viewed title in some ninety countries, I wasn’t inclined to watch. But then, on a FaceTime call, my parents mentioned finishing it; I could tell they’d been riveted, although they emphasized that it was not appropriate for kids. The next evening, I met a couple who’d just binged it with their daughters, ages fourteen and twelve, watching most of it in a single day.
AMAZING SERIES ! I frikkin loved it and I HATE , no I frakkin despise reading movies.
sudah sesat karena angkuh....
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