9/4/2023 0 Comments Snowdrop drama![]() ![]() We don’t get a glimpse of how she copes exactly, nor do we get to see if she tries to win back her friends, make peace with her father, or avenge Soo-ho by enacting the justice he died for. She is left with no family, no friends, and no lovers, and we are expected to accept that deal with no follow-through. But sadly, the Snowdrop finale is just as (if not more) infuriating than the show’s entire run it is one of the most ridiculously rushed endings in recent K-drama history.įor one, Yeong-ro, already incredibly wasted in the show (which is a shame, considering Jisoo’s warm and affecting portrayal of the character), gets absolutely no reconciliation or redemption in the end. You would also be forgiven for thinking that the drama efficiently used this time to explain the plot holes and tedious decisions away. With all the action and head-turning reveals crammed in the finale, you would think, then, that the resolution of this sad trainwreck of a show would at least be explosive. Except for the rare, profound exchanges regarding ideology and morality (more on that later), the drama was mostly bells and whistles, with everyone just waiting for a merciful end. ![]() The custodian reveals he is a spy, but at this point, who isn’t? The real juicy developments were saved for the finale, and so the episodes that preceded it operated in a kind of hazy, purgatorial state, where no one really dies and nothing actually happens. A trap is laid, but of course, no one is caught. A bomb goes off, but of course, no one is seriously harmed. Unfortunately, the hostage situation was there to stay, and with that came more plot twists that ceased to surprise. With the hostage situation out of the way, the drama could have explored the trauma that results from it, followed how ANSP agents Gang-mu ( Jang Seung-jo) and Han-na ( Jung Eugene) change the system from within, and even test the love and loyalty between Yeong-ro ( Jisoo) and Soo-ho ( Jung Hae-in) as they navigate their very different but converging lives. It was (perhaps naively) hoped that the second half would get out of this rut and move the story in bigger and better ways. Much has already been said about the confusing decision to make Snowdrop about a hostage crisis in the previous review. Ultimately, Snowdrop is a mere spectacle that has nothing to show for its excess. With the airing of its disappointing finale, the drama proves that it was never interested in the issues it raised nor in the characters it introduced. And what a ridiculous end it was! For Snowdrop to go through all that drama, all those needless twists and turns, just to end up with nothing of actual importance to say is simply frustrating. But with that too, it fumbles by the end. The main thing the drama had going for it was its earnest desire to highlight the hypocrisy of politics and the resilience of mankind. These issues are all still very much present in Snowdrop’s second half, unfortunately crippling an already unstable premise. The use of multiple genres resulted in an inconsistent and sometimes inappropriate tone as the drama asked us to laugh at violence at some times and swoon at kidnapping at others. Plot twists were recycled and thus rendered null. ![]() An increase in filler stories and protracted sequences made it infuriating to watch. Then, as noted in the mid-series review, the drama’s structure started to slowly but surely gave way. The bombast was almost enough to distract from its bare foundations. Amidst the uproar it caused with its shaky historical accuracy, it dared to stand its ground on dazzling visuals and heavy, serious acting. It was massive in scale and ambition, and seemed primed to become a K-drama classic of epic proportions. When Snowdrop first aired, it impressively pulled out all the stops in its big-budget production.
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