It's a psychedelic collaver by Kim Eun-suk and Lee Min-ho. The King, which has rarely overcome the harsh criticism and concerns that have been poured in the first week of broadcasting, is visible in the crisis of the fall of legend as it falls to single-digit TV viewer ratings in two weeks.
The SBS gilt drama The King: The Lord of Eternity, which started broadcasting on the 17th, is a romance drama depicting the two worlds of Yi-Gwa (Lee Min-ho), the Emperor of Korean Empire, who is trying to close the door (foreign) against the demon, and Jung Tae-eul (Kim Go-eun), a Korean detective who is trying to protect someone's life, people and love.
The King, which draws the Parallel World in the background of the Korean Empire in 1994 and the Republic of Korea in 2019, has been criticized for its relationship between the esoteric world view and the overly distracted central characters, as well as the charm of the characters.
Nevertheless, thanks to the power of star writer Kim Eun-sook, Lee Min-ho, who returned to the house theater three years after his departure, and Kim Go-eun, who succeeded in the previous-class box office with 'Dokkaebi', the first broadcast recorded double-digit TV viewer ratings. 11.4 percent in one inning, 11 in two innings. The King, which seemed to succeed in the face-to-face show despite the harsh criticism of 6 percent of TV viewer ratings, was shocked by falling into single-digit TV viewer ratings in just three times. Even though TV viewer ratings are an age of meaning that has not been the same, considering that it is a 'Kim Eun Sook' drama with a powerful brand power in itself, single-digit TV viewer ratings are far below expectations.
In this result, Kim's signature, 'Prince of White Horse' fantasy, which lost power, was valid. Kim, who shook the hearts of female viewers so strongly that it was called the so-called TV viewer ratings guarantee check, has been dominated by the male protagonist who is close to perfection and the Cinderella story of the ordinary and dependent female protagonist. His previous works, 'Lovers of Paris', 'Secret Garden', 'Heirs', 'Dokkaebi' show his signature romance.
However, in the drama market, it is difficult to find the demand for 'dependent Cinderella type' female characters anymore. The main characters of 'capable', who are subjective, challenging, and more proud than the male protagonist, are attracting and resonating with viewers. The age of the male protagonist who throws a 'straight-line' romance ambassador, Ograd rather than the narrative, and plays with visuals is long. What viewers want now is the story and the story that has been firmly established as an epic and attractiveness while satisfying reality and fantasy at the same time.
If the figure that the age wants has changed, the character in the work should also keep up with it, but unfortunately, Kim still chose to stay in the glory of the past. The results proved to be ‘hook’. Jeong Tae-eul, who seemed to have tried to differentiate himself from his job as a detective by his outspoken tone, still appeared in the Prince of White Horse (even this time in the real White Horse Maximus). In the fateful love story with Igon, Koo Seo-ryeong (Chung Eun-chae), the first female prime minister, is only playing a role in raising the approval rating of the state by wearing a see-through dress and shouting Wire-in-Bra and scandal with a young emperor. The emperor of one country is more in love with his fateful love than the country, and he has only come across the parallel world. "I just made a very important decision. I will welcome you to my Empress.” It is natural that the charm and probabilities of the main character, Igon, have also fallen. It is a 'following Kim Eun-sook's romance' that may have been guaranteed some TV viewer ratings in the past, but it is difficult to find those who are enthusiastic about it.
In addition to Kim, who had been looking for another hit in the 'lost romance', Lee Min-ho's developmentless act was also on the board.
The biggest criticism over the Acting of Lee Min-ho, The King, is his 2013 appearance and his similarity to Kim, the heirs, who first met with Kim. In fact, it is possible to explain his acting at once with the words 'Kim Tan, who changed the chaebol from high school student to Korean Empire emperor'. It is difficult to find a difference between the 'boys over flowers' in 2009 and the 'boys', so I can not help but write.
Lee Min-ho, who has been a full-fledged Korean Wave star since Men Over Flowers, has been loved by similar characters in his masterpieces such as Heirs and Blue Sea Legends before joining the military.
After three years of absence in the military, was this public love poisonous? Instead of transforming into a new image, he chose "safety" that was always well received. He chose the “set” of the characters he had been working on. His Acting was safe, too. Emotional Acting, eye treatment, and dialogue tone have repeatedly reminded me of my previous work, and I have been pointed out about the ability to deliver dialogue. I blamed the unlikely character setting on the first broadcast, but I think it is the result of the 'extraordinary collaver' of the artist and actor.
Of course, the responsibility for the 'The King' slump is not only for the two. The privacy issue of Jung Eun-chae, which was broadcast before the first broadcast, would have had a considerable impact, and Kim Go-eun's Acting is not at all applauded. Nevertheless, the reason why they keep looking at them is because of their heavy presence in The King.
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