K-Drama Report: Twenty-Five Twenty-One Part III — A Perfect Episode

Just before starting episode 13, I wondered, “When’s the plot gonna start?” and on cue, it’s here that the story begins to come into focus. Or, if not “story,” at least the nexus of all the show’s elements, delivered by our most intriguing character, Coach Chan-mi. I think it’s a little bit funny how Twenty-Five Twenty-One posits that most ancient rivalry, between fencers and news reporters, but it does make sense especially when abstracted from the framing. Part of what weighs the drama of this episode is our knowledge of Baek Yi-jin’s struggle to regain his place in society. While bearing a his mark of shame, he’s taken up odd jobs and eaten a lot of shit at the bottom rung. Though every authority figure in his life advises against a personal relationship with Na Hee-do, he can’t simply leave the newsroom because we know what starting over means. And suddenly, standing there in the snow outside Yi-jin’s house, the times have once again conspired against Hee-do. … More K-Drama Report: Twenty-Five Twenty-One Part III — A Perfect Episode

K-Drama Report: Twenty-Five Twenty-One Part II

I have to stress that Twenty-Five Twenty-One is beautiful. Of course, there’s the delicate soundtrack, and the story itself is people rebuilding themselves in the wake of economic recession, but I honestly, chiefly, mean the visuals. Where I’d expect any ‘90s-set period piece made 30 years later to desaturate, the colors of Twenty-Five Twenty-One are boosted. Grass is green, the gym is orange and red, the night sky is blue, and Na Hee-do actually gets orange and pink with emotions. I’ve already covered the camerawork, but there’s also the editing, like that small moment in episode nine where Coach Yang beckons Hee-do with a quick gesture and we punch in on it for just a second. It’s a super-confident production, and while that helps the big moments land, it’s also just a very pleasant watch. … More K-Drama Report: Twenty-Five Twenty-One Part II