[2024 Year in Review] I owe my bean to you

by solstices

When the Bean Count rolled around this year, I was fully prepared to cash in all my beans on Dongjae, however measly the amount. Surely I wouldn’t have enough to spread them thin over all my top favorites? After all, I spent a ton of time in theaters this year, rather than in front of the screen.

Imagine my surprise when I tallied up my beans, and it turned out I’d watched way more dramas than I thought! As it turns out, I somehow managed to squeeze a fair bit of drama-watching into my schedule, whether that was through making good use of the fast forward button or covering a drama for the wonderful Beanie community.

Amidst all that, there were some shows that were well worth it, too. Over the years, I’ve grown less reluctant to drop a drama that just isn’t working for me — but also more stubborn in sticking with a show if it’s gotten me invested one way or another, and sometimes that persistence pays off. So without further ado, here are some of the titles that survived — for better or for worse — and the reasons why.

We all knew I was going to watch this

With how much I love the Forest of Secrets series, it’s no surprise at all that I dove headfirst into Dongjae the Good or the Bastard, immediately asking to cover it the moment it was confirmed. Dong-jae alone would have kept me watching no matter what, but the drama exceeded my expectations and then some. I’ve already gushed about it in my recaps, but what stood out most was its distinct color. Not only did the show maintain the spirit of the original series, but it also carved out its own identity to make Dong-jae’s time in the spotlight memorable, masterfully blending astute social commentary with hilariously subtle and snarky humor befitting our favorite weasel. I’m sitting at the front door waiting for Forest of Secrets 3 or Dongjae 2 to come home, whichever arrives first.

In a similar vein, my respect for Forest of Secrets’ scriptwriter led me to Blood Free, which I admittedly enjoyed despite its disorienting ending. Elevated by incredible performances from a stellar cast, it was a gripping and nuanced watch. While it may have faltered somewhat in its unresolved plot threads, it gave me much food for thought — to ponder over, and to reflect upon my values. Sometimes I wonder what Lee Soo-yeon’s writing would look like as a research paper, which speaks to the depth of critical analysis and social relevance that undergirds her scripts.

I took a leap of faith, and it paid off

Another narrative that left me winded in a good way was the film Exhuma, an occult thriller that intrigued me with the unsettling horror of its premise and stunned me with its viscerally poignant execution. Steeped in folklore, shamanistic traditions, and the scars of colonialism, Exhuma’s narrative resonated achingly deep. It is very much a Korean film at its core, founded upon intricate layers of culture and history. Meticulously crafted with deliberate symbolism, from character names to production design to even the two-act structure of the film itself, Exhuma was a riveting watch from start to finish.

It’s rare that I enjoy adaptations as much as the original novel, but Love in the Big City held the fort in all three of its mediums. Taking the candid authenticity of the book’s voice and imbuing it with the vulnerable pathos of Nam Yoon-soo’s emoting, the drama wrung my heart with its vignettes of love and loss, unequivocally winning my Bean of Greatness. In turn, its movie boldly put an empowering spin on the book’s first quarter, highlighting Kim Go-eun and Noh Sang-hyun’s ride-or-die friendship alongside a particularly sympathetic portrayal by Jung Hwi.

Connection had me skeptical in the first week, but quickly affirmed my faith in its narrative with complex characters and tight plotting — I wrote a whole essay praising it in my final recap, and I daresay it was the best thriller of the year. Similarly, Doubt took me entirely by surprise as the last drama I completed this year, impressing me enough with its controlled tension to earn my Bean of Hiddenness. As for actors, I’ve watched many shows for Lee Jong-won — whether it’s the endearing hilarity of Knight Flower (congrats on the Bean of Squee), or the sensitive empathy of Brewing Love, I’d be happy to follow him anywhere. Except for one drama in particular, that is…

Why did you lead me here, please refund my bean

Lee Jong-won, why oh why did you choose the mess that was Bad Memory Eraser?

Moving on to My Happy Ending, I placed my trust in the Jang Nara and Sohn Ho-joon reunion, only for it to betray me with makjang angst. Alas, I couldn’t tear my eyes away — it had just enough suspenseful intrigue and emotional beats to keep me hooked, even while some plot twists left me bewildered. It doesn’t quite warrant a refund, but I’m still scratching my head wondering how I finished that (admittedly addictive) whirlwind. On the other hand, No Way Out – The Roulette, I want my time back. I held fast to my faith in the veteran cast, but even their solid performances were marred by a subpar script and unfocused directing. Bean of Disappointment, here you go.

In hindsight, perhaps I might have been better off dropping it like a hot potato, the way I did with Goodbye Earth. I gave it a chance for Jeon Sung-woo, but I just could not make it past my First Impressions review because of how disorganized the narrative was, and it got the boot. The same might have happened with The Fiery Priest 2 and its slapstick ridiculosity, especially given Jeon Sung-woo’s disappointingly paltry screen time — but I stuck with it for Kim Nam-gil and I got rewarded with our pretty priest in a dress, so I suppose I can’t complain all that much.

I love you on stage, I’ll love you on screen

Just like last year, I followed a number of musical actors to their drama projects, and they led me to shows I ended up really enjoying. The Bequeathed was one of my standout titles this year, with its foreboding suspense and disquieting occult horror, and I have Kim Jae-bum to thank for his mesmerizingly creepy performance. On a lighter note, the lovely Lee Bom-sori made me cave and watch The Midnight Studio as it was airing, thus giving me the delightful surprise of Seo Ji-hoon’s cameo. The drama’s plot did have contrived solutions and a fair number of holes, but it also delivered heartfelt storylines of grief and closure, so it was still worth it in the end.

My bean for Chief Detective 1958 actually has a funny story behind it, because I started watching it for Park Jung-hyuk’s screen debut. Then after his character arc ended and he stopped appearing, I ran out of steam at Episode 8. It was an entertaining watch, but I didn’t think I’d pick it back up. That is, until months later, when I discovered Lee Bong-jun through the musical Eternity and realized he was also in Chief Detective 1958. And of course, he only appeared in Episodes 9 and 10. *facepalm*

Needless to say, I ended up watching those last two episodes, and I wouldn’t have had it any other way. Though the plot of Chief Detective 1958 was predictable in a classic old-school style, seeing the adorably baby-faced Lee Bong-jun play a despicably arrogant rich boy was loads of fun. Contrasted against his portrayal of an earnest fanboy full of hope and dreams in Eternity, I was thoroughly impressed by his versatility, and I can’t wait for I Am a Running Mate to be released next year.

With 2024 drawing to a close, I wrote this essay fully prepared to wrap up my year of dramas, with no new additions. Though I did briefly consider speed-watching Hwarang just for the tiny glimpses of Kim Jun-young in the background, but um, no matter how much I like him, I don’t think I want to subject myself to all that treasure-hunting. So I thought that was it for this year, and I could maybe start thinking twice before jumping into shows next year…

Except I just picked up Namib at @missvictrix’s recommendation of a, and I quote, “deliciously sleazy Lee Ki-taek” — and I’m already so invested. I mean, the ever-charismatic Go Hyun-jung, the rising star Ryeoun, and a classic underdog tale? I’m sold. Will it sink or swim? Who knows. Will I watch to the end anyway, just for the reasons outlined above? You bet. I suppose some things never change, heh.

At the end of the day, we all have our reasons for staying with a drama till the end — what’s yours?

 
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