Praised for its fast-paced narrative and solid direction, the sudden and poorly justified plot developments have left viewers exasperated, with many calling the twist “nonsensical”.
Premiering on November 30, “The Tale of Lady Ok” is about the journey to success of a female slave, whose name, status and even her husband were fake. Portraying Ok Tae-young, Lim Ji-yeon shines in her first lead role in a historical drama, delivering an exceptional performance that seamlessly transitions between humor and tragedy.
Joining her is Choo Young-woo, who impressively plays dual roles and builds a 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 the viewers’ immersion.
“The Tale of Lady Ok” has been lauded for its swift 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 within just four episodes. However, this rapid pacing may have backfired, as increasingly forced developments are starting to disrupt viewers’ engagement.
The most jarring twist comes in the form of Ok Tae-young’s husband, Sung Yun-gyeom (Choo Young-woo), being revealed as an LGBTQ+ character. While the presence of LGBTQ+ characters is not inherently problematic, the setup felt inconsistent and abrupt. In earlier episodes, Sung Yun-gyeom was shown expressing romantic interest in Ok Tae-young, saying things like, “You’re the woman I like most” and “I can’t bear the thought of you with another man.” However, in just one episode, he suddenly confesses “I cannot hold a woman”, shocking both Ok Tae-young and viewers alike.
The problems don’t end there. Yun-gyeom is also revealed to be the leader of Aesimdan, which is dedicated to rescuing and mentoring minority children, teaching them martial arts. This sudden revelation feels contrived, especially given the political climate of the drama, where the king is relentlessly hunting down rebels. The necessity of gathering these children in a hidden space to teach martial arts is questionable. Moreover, Yun-gyeom’s abrupt confession of his secret to his magistrate father feels inconsistent with his previously cautious character. Adding to the confusion is Yun-gyeom’s decision to abandon his family and leave alone 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 feels like a mere plot device, discarded after serving his purpose in the early episodes.
Even if Yun-gyeom was intended as a temporary character, his storyline needed to maintain logical coherence. If these forced developments persist, viewers’ patience and interest may wane. As “The Tale of Lady Ok” continues its upward trend in ratings, it remains to be seen whether it can overcome the criticism and win back the trust of its viewers.
The post Saved by Lim Ji-yeon, But Drowned by Forced LGBTQ+ Plotlines: “The Tale of Lady Ok” Faces Harsh Criticism appeared first on KBIZoOm. KBIZoOm – Breaking news about K-pop, K-drama, Anime/Manga and worldwide entertainment KBIZoOm – Breaking news about K-pop, K-drama, Anime/Manga and worldwide entertainment
