Bittersweet Hell: Episode 1 (First Impressions)

by mistyisles

Every family has its secrets, but the family of Bittersweet Hell is riddled with them. The show, however, makes no secret what it’s about: we’re in for a twisty ride full of lies, manipulation, and the downfall of one family’s seemingly blissful life. Because while some people wear their hatefulness on their sleeve, others hide their terrible deeds behind a smile and a pair of welcoming arms.

Editor’s note: This is an Episode 1 review only. For a place to chat about the entire drama, visit the Drama Hangout.
 
EPISODE 1

Heavy on the drama from the very first frame, Bittersweet Hell gives its leading lady a striking entrance via flash-forward: A woman drives through snow-covered mountains until road closures force her to abandon her car and hike the rest of the way in designer boots — all interspersed with images of fiery trauma. At the end of her trek, she finds another woman reading. The two share A Look before we jump back in time to unravel the events that led them to this point.

Celebrity psychologist NOH YOUNG-WON (the snow-traversing woman, played by Kim Hee-Sun) appears to have it all — an award-winning career, a doting (and also award-winning) husband, a studious teenage son, and a luxurious home with her wealthy in-laws. But there are deep cracks in this picture-perfect family, and this first episode takes its time exposing each in turn.

During a TV interview, Young-won looks directly into the camera as she explains the concept of gaslighting and warns against excusing toxic behaviors as being motivated by love. The second woman from the opening sequence turns out to be Young-won’s mother-in-law, crime novelist HONG SA-KANG (Lee Hye-young), and it’s clear that she’s being painted as the toxic family member in question.

Sa-kang turns up her nose at the family’s breakfast, pressures Young-won into accepting an influential acquaintance as a last-minute patient, and sniffs jealously at the mention of Young-won’s upcoming award (and famously stylish outfits). Most unnerving of all, she stares ominously at her sleeping husband and the ominous artwork she insisted he hang above his head. (Sa-kang sleeps in a separate bed because, you never know, it might fall on him. Which would be threatening enough even if she didn’t sound so hopeful when she says it.)

For Young-won, though, the real hints that a storm is brewing begin when she sees a new patient, LEE SE-NA (Yeonwoo), whom I can best describe as intense. Se-na tells Young-won that she’s in love with someone who’s married, and that this person’s family is all wrong for them. She’s not wishing for their divorce out of selfishness (she says); she simply wants what’s best for the object of her affection. Something about the way she asks whether Young-won knows everything about her own family deeply unsettles Young-won, who nevertheless tries to brush off the personal questions.

But if an unsettling patient weren’t enough, Young-won also receives an unsettling (to say the least) gift: a decapitated bird, alongside a photo of Young-won’s family and the message: “Is your family well?” Which is a loaded question, because Young-won’s family dynamics are a bit more complex than they appear on the surface.

Many years ago, her father was accused of embezzlement and sexual assault, but took his own life before he could be convicted of either. His friend — Young-won’s present-day father-in-law, CHOI GO-MYEON (Kwon Hae-hyo) — took teenage Young-won in, and she’s been part of their family ever since. Thanks to them, her father’s disgrace has remained hidden from the public eye… until now, when someone leaks it, smearing Young-won’s name and childhood trauma all over the media.

Thus far, Go-myeon has appeared to be the nicer, more approachable counterpart to Sa-kang’s standoffishness. He’s trying to build a better relationship with his son (Young-won’s husband), CHOI JAE-JIN (Kim Nam-hee). Plus, he’s friendly, kind to Young-won, and loves playing with his loyal golden retriever. But then more of those cracks start to show, because the reason Sa-kang forced a rift between Jae-jin and Go-myeon was because Go-myeon had a string of mistresses. And wouldn’t you know it, the day after Sa-kang and Go-myeon argue about that exact issue, Go-myeon is killed in a landslide.

At the funeral, one of those mistresses makes a sobbing spectacle of herself, and the family quickly ushers Sa-kang out before the scene can escalate. That’s when Young-won comes upon another crying woman. It’s Se-na, and though it doesn’t take much to conclude that she must be another mistress, I’m more inclined to think the person she wants all to herself is someone else. (And speaking of wanting other people’s spouses, Jae-jin’s female colleague is awfully keen to capture his time and attention, though he seems rather oblivious to her intentions.)

Given their constant passive-aggressive sniping at each other, it’s not terribly surprising that Sa-kang dances euphorically while tossing out Go-myeon’s belongings. But there is one more terrible surprise in store for Young-won this episode. While helping the staff clean out Go-myeon’s office, Young-won discovers a secret wall safe… which contains evidence that he helped stage the accusations against her father.

It may seem like Young-won’s whole world is already crumbling around her, but I have a feeling this is only the tip of the proverbial iceberg as far as this family’s dark secrets are concerned. And while Sa-kang has been painted as a villain, this final reveal about Go-myeon does make me wonder how much of her alleged toxicity is real and how much of it is just what certain family members have made other family members (and us) believe about her. (I’m guessing there’s a bit of both.)

Just like that mountain road Young-won drove up at the beginning of the episode, Bittersweet Hell promises plenty of twists and turns to come. Almost every character, Young-won included, has their moments of shiftiness, and I get the impression that more than one family member uses love as an excuse to manipulate others into doing what they want. The question is, who, if anyone, will actually get what they want in the end? And at what cost?

Intriguing questions and specific character motivations aside, I wouldn’t say Bittersweet Hell has much to distinguish it from other shows like it. But it does have a powerhouse antagonistic pairing in Kim Hee-sun and Lee Hye-young, and though the story itself hasn’t fully captivated me, I have half a mind to continue just for the two of them.

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