Radio Times
type: channel
link: https://www.radiotimes.com
date: 2026-03-19T17:49:39.000Z
update period: hourly
update frequency: 1
update base: 2000-01-01T12:00+00:00
items: The Other Bennet Sister centres on Mary Bennet for better and worse
items: The Other Bennet Sister's Ella Bruccoleri on stepping into Austen's world and stepping away from Call the Midwife
items: The War Between the Land and the Sea shows where TV is failing with disability representation
items: Star Trek: Strange New Worlds needs to avoid a grave Captain Pike mistake
items: Austin review: Ben Miller's comedy delivers strong autism representation – but few laughs
items: Netflix's Doctor Slump embodies one of K-drama's most frustrating tropes
items: Netflix's The Bequeathed turns mental illness into a creature feature
items: Doona! ending explained: The bittersweet finale hides a more clichéd resolution
items: Is The Glory on Netflix based on a true story?
items: The Glory ending explained: What happened to Park Yeon-jin?
items: The best Korean TV and films you can stream right now
items: Netflix's Little Women isn't just another adaptation
items: Netflix's Extraordinary Attorney Woo is breaking the mould - here's why

The Other Bennet Sister centres on Mary Bennet for better and worse
type: item
creator: Geoffrey Bunting
subject: App
subject: App features
description: Sarah Quintrell’s re-imagining of Pride and Prejudice, like its protagonist, hits notes that sound right but lack feeling.
encoded: Add The Other Bennet Sister to your watchlist The Other Bennet Sister, the BBC adaptation of Janice Hadlow’s novel of the same name, retells and expands upon the events of Jane Austen’s Pride and Prejudice through the narrow perspective of Mary Bennet (Ella Bruccoleri). She is the cloistered and bookish middle sister of the Bennet family; a serial refuser to join in. "I prefer facts to whimsy," she says with an inflexibility she maintains throughout much of the series, even as the Bingleys move into Netherfield and throw a ball that will introduce Elizabeth (Poppy Gilbert) to Mr Darcy (Victor Pilard). When, however, Mary threatens to open up at Netherfield, Mrs Bennet cruelly admonishes her. She sees little value in her "plain" daughter – cemented by costuming Bruccoleri in drab dresses and spectacles – and is keen she does nothing to impede her sisters; sisters with real marriage prospects. It’s a cruelty that defines The Other Bennet Sister, framing Mary as a victim of Longbourn, her family, and particularly her mother. It’s a defensible framework; one that lends itself to a modern audience who might have a different definition of family to that of Austen. A combination of excellent period costuming and production design, with casting that brings a refreshing number of regional voices into an adaptation in which we might otherwise expect to hear received pronunciation, should combine into an accessible period drama. But while Mary taking on her father’s tone as she proclaims her sisters are 'silly girls' makes sense, The Other Bennet Sister chooses to move Pride and Prejudice into a stereotypical high school tone in which Mary becomes a misunderstood intellectual who is bitter at anyone having more fun than her. This is taken to the extent that she becomes cruel to anyone she deems foolish – which is everyone. Fools are far from unusual in Austen. Indeed, Mary is arguably the most sympathetic fool of them all. An obnoxious and shallow girl in Pride and Prejudice, …

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The Other Bennet Sister centres on Mary Bennet for better and worse
type: item
date: 2026-03-15T18:00:27.000Z
creator: Geoffrey Bunting
subject: Drama
subject: TV
subject: BBC
description: Sarah Quintrell’s re-imagining of Pride and Prejudice, like its protagonist, hits notes that sound right but lack feeling.
encoded: The Other Bennet Sister, the BBC adaptation of Janice Hadlow’s novel of the same name, retells and expands upon the events of Jane Austen’s Pride and Prejudice through the narrow perspective of Mary Bennet (Ella Bruccoleri). She is the cloistered and bookish middle sister of the Bennet family; a serial refuser to join in. "I prefer facts to whimsy," she says with an inflexibility she maintains throughout much of the series, even as the Bingleys move into Netherfield and throw a ball that will introduce Elizabeth (Poppy Gilbert) to Mr Darcy (Victor Pilard). When, however, Mary threatens to open up at Netherfield, Mrs Bennet cruelly admonishes her. She sees little value in her "plain" daughter – cemented by costuming Bruccoleri in drab dresses and spectacles – and is keen she does nothing to impede her sisters; sisters with real marriage prospects. It’s a cruelty that defines The Other Bennet Sister, framing Mary as a victim of Longbourn, her family, and particularly her mother. Read more: Miss Austen's future is finally confirmed Ruth Jones reveals what she told Gavin & Stacey icon Alison Steadman about the beloved Jane Austen role they now share It’s a defensible framework; one that lends itself to a modern audience who might have a different definition of family to that of Austen. A combination of excellent period costuming and production design, with casting that brings a refreshing number of regional voices into an adaptation in which we might otherwise expect to hear received pronunciation, should combine into an accessible period drama. But while Mary taking on her father’s tone as she proclaims her sisters are 'silly girls' makes sense, The Other Bennet Sister chooses to move Pride and Prejudice into a stereotypical high school tone in which Mary becomes a misunderstood intellectual who is bitter at anyone having more fun than her. This is taken to the extent that she becomes cruel to anyone she deems foolish – which is everyone. Fools are far from unusual in …

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The Other Bennet Sister's Ella Bruccoleri on stepping into Austen's world and stepping away from Call the Midwife
type: item
date: 2026-03-15T08:00:10.000Z
creator: Geoffrey Bunting
subject: Drama
subject: TV
subject: BBC
subject: Exclusive
subject: The Big RT Interview
description: The Other Bennet Sister star talks about stepping into a lead role for the first time, discovering Austen late, and moving on from Call the Midwife.
encoded: “I love doing something different every few months.” That makes Mary Bennet, lead in the BBC’s 10-part drama The Other Bennet Sister an interesting move for actress Ella Bruccoleri. Nebbish, bookish, and, at least outwardly, pious, the middle sister of Pride and Prejudice’s Bennet doesn’t have change in her bones. You’d be forgiven for thinking that piety comes naturally to Bruccoleri, who was brought up Roman Catholic but tells Radio Times she’s now agnostic. She’ll be familiar to many as Sister Frances in Call the Midwife, others might have recognised her in a small role as Sister Rosita in Paddington in Peru. Those roles don’t find her because of her upbringing, however. “I just have this kind of nun-like face!” she says. “I maybe find it more difficult to play pious characters than would be expected because I've broken away from [Catholicism], and maybe I feel a bit of guilt because my family is still very Catholic,” she continues. “It would feel easier maybe to play a role that's more cynical of, or being worn down by, organised religion.” Appropriately, Mary Bennet’s relationship with religion is hard to decipher, even as the BBC’s adaptation of Janice Hadlow’s novel of the same name expands her beyond Pride and Prejudice. It grants Mary a complexity lacking in other adaptations but for Bruccoleri, in her first lead role, it was a new experience. “I was filming every day, sometimes six days a week, for four months,” she says. “It tested my stamina in ways that I’d never experienced.” For which, she suggests, Call the Midwife was the perfect training ground. Read more: The Other Bennet Sister star reveals why she left Call the Midwife and talks beloved Pride & Prejudice character Ruth Jones reveals what she told Gavin & Stacey icon Alison Steadman about the beloved Jane Austen role they now share Drama school hadn’t prepared Bruccoleri for interacting with the camera, so she learned on set. The fast-paced production of Call the Midwife – 15 seasons in 15 years …

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The War Between the Land and the Sea shows where TV is failing with disability representation
type: item
date: 2025-12-18T17:00:58.000Z
creator: Geoffrey Bunting
subject: Sci-fi
subject: TV
subject: BBC
subject: Comment
description: As the Doctor Who spin-off nears its conclusion, it leaves behind a tepid, overly careful look into the disabled experience.
encoded: Doctor Who is back in Russell T Davies’s five-episode spin-off, The War Between the Land and the Sea. Having previously introduced viewers to Ruth Madeley’s Shirley Bingham, the show has doubled down on disability representation — quite literally. Davies not only brings back Bingham but adds another wheelchair user to UNIT in computer expert Steve Chesney (George Robinson). Unfortunately, these casting decisions are as far as considerations about disability representation go in The War Between. Following a long history of media that believes representation ends with simply putting disability on-screen, the show, so far, exhibits no interest in disability beyond what can be gleaned at a glance. To its credit, The War Between does cast two disabled actors in these roles, something that has always been, and remains, uncommon; even in more positive examples of disability representation. Just this month, Wake Up Dead Man dropped onto Netflix with exemplary chronic pain representation in ambulatory wheelchair user Simone Vivane (Cailee Spaeney), and yet still cast a non-wheelchair user in the role. Beyond that, however, in the first four episodes of the new Doctor Who spin-off, Bingham and Chesney have been given little to do but spout sci-fi-isms and partake in UNIT’s roundtable discussions. In one especially revealing scene, one of those discussions is around a literal table – of the illuminated sci-fi variety. While colleagues casually lean over the display, Bingham and Chesney are made to crane over the table’s edge. Granted, this is a government organisation with all the baggage that entails in an ableist society. But The War Between is keen to be seen as progressive and inclusive, using UNIT as its mouthpiece. Yet, little consideration has been made to show how wheelchair users interact with their environment outside of the odd ramp. That may all be enough for many to celebrate. But don’t we deserve more in 2025? If The War Between’s writers are sincere about repres…

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Star Trek: Strange New Worlds needs to avoid a grave Captain Pike mistake
type: item
date: 2025-09-08T11:00:26.000Z
creator: Geoffrey Bunting
subject: Sci-fi
subject: TV
subject: Comment
description: As we come to the end of Strange New Worlds’ third season, a troubling and ableist discourse continues to rumble on.
encoded: After a strong end to its previous season, Strange New Worlds’ third outing has been an uneven affair as it’s attempted to embrace Star Trek’s goofier side. But, beneath the baffling soap opera of Spock’s love life, another theme has emerged: the wonders of 23rd century medicine. We’ve watched Captain Batel (Melanie Scrofano) manage a previously untreatable parasitic infection, Erica Ortegas (Melissa Navia) immediately recover from having her guts rearranged by a Gorn, and Doctor M’Benga (Babs Olusanmokun) casually try to regenerate Ensign Gamble’s (Chris Myers) eyes as if it’s the most normal thing in the world – sorry, galaxy. Yet, as those miracles multiply, for some they begin to butt against the franchise’s future: specifically the disability of Captain Christopher Pike (Anson Mount). If, a small but growing online discourse asks, medicine is so advanced, surely Strange New Worlds’ writers can find a way to ‘save’ Pike from a disability that sees him using a combination of a power-wheelchair and an iron lung, paralysed and unable to speak. Ableist as this already is – and it’s an argument that often extends to magic in fantasy, too – as is often the case, it’s a smokescreen for a more troubling and revealing ableist sentiment. The argument here is less that 23rd century medicine should erase disability (which is bad enough) but because Mount has made Pike so likeable he especially ‘deserves a real happy ending’. Anyone else and it doesn’t matter. But Pike – we like that guy. It’s an odd argument for any purported Star Trek fan. Star Trek has historically treated disability with a similar acceptance as the other issues upon which it comments. This building on Star Trek creator Gene Roddenberry’s ethos – as communicated to a reporter who, in response to Sir Patrick Stewart’s casting as Jean-Luc Picard, suggested that baldness would be cured by the time of The Next Generation – that, “No, by the 24th century, no one will care.” It’s not a philosophy Star Trek, or …

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Austin review: Ben Miller's comedy delivers strong autism representation – but few laughs
type: item
date: 2025-04-04T13:03:36.000Z
creator: Geoffrey Bunting
subject: Comedy
subject: TV
subject: BBC
subject: Review
description: Love on the Spectrum star Michael Theo is a bright spot in an otherwise tepid comedy whose representation possibly deserved a better platform.
encoded: It’s rare to see autism represented on screen; rarer still is seeing an autistic character played by an autistic actor. Yet, Ben Miller and Darren Ashton’s new BBC comedy, Austin, does both as it grants a sincere and positive glimpse into a broader spectrum of autism outside the usual tired trope of autistic savants. Even if it remains, across eight episodes, only a glimpse. The series opens with the titular Austin Hogan (Love on the Spectrum’s Michael Theo), an autistic forklift driver in Canberra, leaving work. His co-workers wish him bonne chance as he prepares for what appears to be a long-planned meeting with beloved children’s author Julian Hartswood (Miller). Julian is travelling around Australia (Austin is a joint Australian and British production, though it feels predominantly British) to promote his new book with wife, and illustrator, Ingrid (Sally Phillips). When Julian retweets a well-known neo-Nazi’s opinion on free speech, however, his immediate engagements are abruptly cancelled and his reputation sullied. In the now immortal words of Justin Timberlake, this could "ruin the tour". Things go from bad to worse when he and Ingrid attempt to salvage the Canberra leg of their tour by booking a gig independently, only to find themselves setting up in the Mein Kampf-laden store of the politest neo-Nazi in Australia ("I get it, I know all about finding things abhorrent," she says when Ingrid expresses reservations about the whole neo-Nazi thing). Into this developing farce walks Austin, claiming to be Julian’s long-lost son. Read more: Ben Miller: 'Cancel culture can ruin or boost careers – that’s worth making fun of' Professor T, starring Ben Miller, confirmed to return for season 5 Extricated from the bookshop, the three discuss Austin’s quest to find out where he came from in a local coffee shop. "How long can you commit to the bonding process?" Austin asks. For the self-obsessed Julian, the answer is not long at all. Not least when Ingrid does the maths …

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Netflix's Doctor Slump embodies one of K-drama's most frustrating tropes
type: item
date: 2024-02-09T17:30:53.000Z
creator: Geoffrey Bunting
subject: Drama
subject: TV
subject: Comment
subject: Netflix
subject: On demand
description: Netflix’s latest South Korean series is watchable, if unoriginal. But you have to get past its rough first episode to get to it.
encoded: Doctor Slump, Netflix's latest K-drama, gets off to a rough start. The much-anticipated series, which sees Park Shin-hye and Park Hyung-sik reunite for the first time since 2013's The Heirs, has a tough act to follow as it takes over from Welcome to Samdal-ri. But while it comes in hot in terms of expectation, does it live up to its potential? The South Korean romance centres on overworked doctor Nam Ha-neul (Park Shin-hye) and superstar plastic surgeon Yeo Jeong-woo (Park Hyung-sik). Having jostled through high school over the billing of top student, now their lives have diverged. Ha-neul is fighting the physical and psychological cost of working towards professorship under an abusive and incompetent mentor. Meanwhile, things are going well for Jeong-woo until a patient dies on the table in a seemingly freak accident – an incident that robs him of his reputation and almost bankrupts him through compensation payments. As he downsizes to pay off his debts, the only place he can find to live is the rooftop apartment owned by Ha-neul’s mother (played by Jang Hye-jin). It brings the erstwhile foes into each other's orbit once more. Though they reignite their rivalry almost immediately, as Ha-neul tries to find a healthier life and Yeong-woo attempts to prove his innocence, they slowly find solace in each other. It's not an original setup for a drama. There's room for surprises, but in spite of the series's surprisingly sincere exploration of depression and burnout, four episodes in we know where this is going. That's not a bad thing. Many South Korean series thrive on clichés and making only incremental changes to established formulae. Indeed, Doctor Slump is watchable and, at times, even endearing. There's enough here to keep audiences who aren't just here for Park Shin-hye and Park Hyung-sik entertained. The problem is, to get to Doctor Slump's more interesting elements, one has to make it through the exposition-heavy and mostly directionless first episode. An episode…

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Netflix's The Bequeathed turns mental illness into a creature feature
type: item
date: 2024-01-26T14:51:26.000Z
creator: Geoffrey Bunting
subject: Drama
subject: TV
subject: Comment
subject: Netflix
subject: On demand
description: In its portrayal of mental illness as violent and monstrous, The Bequeathed maintains a tired and harmful cliché that has no place in 2024.
encoded: Warning: This article contains discussion of subjects including mental health issues that some may find distressing. New Netflix limited series The Bequeathed is a K-drama of two halves. Created by Train to Busan director Yeon Sang-ho and directed by Min Hong-nam, the South Korean drama is an atmospheric, paranoia-inducing thriller in its first three episodes that evokes the creeping, ambiguous dread of K-horror. But in search of a twist, and powered by an insensitive misrepresentation of mental illness, it delivers a second half that lacks punch, cohesion and pushes an ending it doesn't at any point earn. The series begins with Yoon Seo-ha (Kim Hyun-joo) swiping through photographs of her husband leaving a motel with another woman when she receives a call from the police notifying her that an uncle she's never had any kind of relationship with has died. Little goes right for Seo-ha as she navigates an exploitative job and unsatisfying marriage, yet despite their estrangement, her uncle has left her a valuable tract of burial land. It's not a piece of land of that we see physically much of, but as her uncle's death turns into a murder investigation, it becomes central to the swirling agendas that filter through The Bequeathed's bloated six-episode run. A curiously festive mood settles on Seo-ha's uncle's funeral, until it's interrupted by a shambling, slack-jawed figure with a vacant look and jittery manner. He introduces himself as Yeo-ha's half-brother, Kim Young-ho (Ryu Kyung-soo) before grabbing her and screaming that he has just as much right to the family burial ground as she does. Had The Bequeathed kept its focus around the initial death and fashioned a gloomy thriller about a suspicious death linked to a development project, it might have made for an interesting story, especially as Min Hong-nam's direction is an expert lesson in pacing and creating a brooding tension. Yet, as the bodies pile up around Seo-ha and Young-ho is repeatedly cast as the culprit w…

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Doona! ending explained: The bittersweet finale hides a more clichéd resolution
type: item
date: 2023-10-25T14:37:38.000Z
creator: Geoffrey Bunting
subject: Drama
subject: TV
subject: Netflix
subject: On demand
description: Doona! may look like it ends on an unhappy note, but not all is as it seems.
encoded: Doona!, Netflix's latest South Korean hit, which is based on webtoon The Girl Downstairs, is a quiet meditation on letting go wrapped in a typical K-drama romance. K-pop superstar Lee Doo-na (Bae Suzy) leaves showbiz behind to live a normal life, retreating to a house in Seoul where she meets newly arrived student Won-jun (Yang Se-jong). This being a K-drama, they fall in love… and Won-jun takes a lot of showers. It's not that simple, however. First, Won-jun's high school crush Kim Jin-ju (the excellent Ha-young) arrives at university. Then, as Won-jun and Doo-na appear to work it all out, Doo-na's manipulative manager Park In-wook (Lee Jin-uk) works to split them up and bring Doo-na back to K-pop stardom – to the point that Doo-na's management company threatens legal action, while Won-jun devolves into an uncomfortably jealous K-drama cliché. That all comes to a head in the final episode, with Doona! concluding its emotional story of letting go and the importance of community with Won-jun and Lee Doo-na torn apart – or does it? Doona! ending explained What happens to the gang? While the love triangle in Doona! looms over the series for most of its runtime, the series is about a group of friends coming together under one roof and being best buds. But, as real life seeps in during later episodes, the group splits. Doo-na returns to showbiz as a solo performer and Won-jun continues his studies. Jin-ju, having shed the cute bob that marks her as the third-party in a K-drama love triangle, jets off to Brazil, while I-ra (Park Se-wan) shacks up with the taciturn Koo Jung-hoon (Kim Do-wan). And Seo Yun-taek (Kim Min-ho) finally teaches women who feel unlucky in love how to get back out there. Miserable as Won-jun is, because that's his personality by this point, things appear to be moving smoothly for everyone – until Jin-ju comes to visit. She catches up with Won-jun and mutual pal Kook Su-jin (Joo Yeon-woo) in the latter's seafood restaurant, showing them her photos of …

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Is The Glory on Netflix based on a true story?
type: item
date: 2023-03-15T11:11:53.000Z
creator: Geoffrey Bunting
subject: Drama
subject: TV
subject: Netflix
subject: On demand
description: We explain all on whether the harrowing drama is rooted in real-life events.
encoded: This article contains details of bullying and violence that some readers may find upsetting. In Netflix's recently concluded The Glory, we're introduced to a fantastical Korea in which people are the worst versions of themselves. In both the first and second parts of the hit K-drama, we witnessed horrifying and extreme acts of bullying carried out by a young Park Yeon-Jin (Ye-Eun Shin) and her group of friends, tormenting Moon Dong-Eun (the young version played by Jung Ji-So) and others. And sadly, the drama is rooted in real-life events, as has been seen in numerous other Korean dramas. Speaking at a press conference prior to the release of The Glory part 2, screenwriter Kim Eun-Sook suggested that inspiration for the drama initially came from her daughter asking her about bullying. She later spoke to real survivors of bullying and school violence, which cemented the idea in her mind. View Green Video on the source website But looking at Korea's recent history reveals that, as is so often the case, truth really is stranger than fiction – or in this case, more brutal. Read on to learn more about the inspiration behind Netflix's The Glory. Is The Glory based on a true story? Back in May 2006 at a girls' school in Cheongju, South Korea, a student was reportedly subjected to 20 days of intense bullying by three other girls, who have not been identified. The teenage students allegedly assaulted the classmate after she refused to give them money they demanded from her. This included apparently pushing the girl around with a baseball bat, scratching her with a barrette, beating her, and burning her arms with a curling wand. In an interview with The Korea Herald, the victim claimed that her body was unable to heal because the bullies would burn her every few days, even peeling her scabs with their nails as punishment. Korean publication Hankook Ilbo (via K-Pop Post) also replayed the victim's testimony: "I couldn’t escape because two people were holding my arm so tight I c…

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The Glory ending explained: What happened to Park Yeon-jin?
type: item
date: 2023-03-14T16:57:40.000Z
creator: Geoffrey Bunting
subject: Drama
subject: TV
subject: Netflix
subject: On demand
description: Let's break it down.
encoded: Hit drama The Glory, which has captured a global audience with its blend of K-drama cliches and unpredictable revenge plot, has reached its brutal conclusion. Part 1 ended with Moon Dong-eun (Song Hye-kyo) finally gearing up to unleash her revenge in earnest, but two questions loomed as we headed into the home straight: would Dong-eun succeed? And if so, what would follow? The final eight episodes of The Glory answered that and more. So, without further ado, let's examine what unfolded. Warning: Spoilers for the ending of The Glory... obviously. The Glory ending explained What happened to Park Yeon-jin and her brutal band of bullies? Despite the many characters involved in The Glory's web of revenge, the story hinged on the conflict between Dong-eun and Park Yeon-jin (Lim Ji-yeon). As ringleader of the bullies that tormented a young Dong-eun, she remained the focus of the retaliation plot throughout the series. Dong-eun used Yeon-jin's crimes to bring her down in a series of brilliant, if somewhat far-fetched, twists (it's a K-drama, we don't come here for realism), with Dong-eun always at least seven steps ahead. It was apt given how much Go figured into both the story and Dong-eun's adult life – a game Dong-eun was simply too sharp to lose. First, a former target of Yeon-jin's, Yoon So-hee, was murdered. When young Yeon-jin spotted her in a matching dress, she demanded So-hee strip. She then fled but later found herself trapped on a roof while Yeon-jin continued to torment her. When So-hee finally pushed back against the abuses Yeon-jin and her gang inflicted on her, Yeon-jin set her alight and in the ensuing struggle pushed her off the roof. Though a cold case – literally, So-hee's body was kept on ice at the Seoul Joo General Hospital - Dong-eun pushed a formerly apathetic detective towards the evidence to incriminate Yeon-jin. The final sting of The Glory's first part came with the murder of Myeong-o (Kim Gun-woo). As he attempted to blackmail Yeon-jin with the…

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The best Korean TV and films you can stream right now
type: item
date: 2023-01-06T13:17:39.000Z
creator: Geoffrey Bunting
subject: Drama
subject: Movies
subject: TV
subject: Amazon Prime Video
subject: Disney
subject: Netflix
subject: On demand
description: Dive in.
encoded: For the past few years, we’ve been lucky enough to receive a steady stream of high-quality Korean programming, much of which has captured the minds of western audiences. Popular shows like Squid Game and Crash Landing on You have served as introductions to Korean media for many, while in Extraordinary Attorney Woo and Little Women we’re continuing to receive some of Korea’s highest-performing shows. But what’s next? With such a range of options, it can all feel a little overwhelming. If Squid Game was your jam, where do you get your next sci-fi fix? If you loved Crash Landing on You, how do you find more Korean romance? RadioTimes.com is here to help with this list of the best Korean TV and films you can stream right now. Expect corruption, adorable couples, gross boyfriends, and a whole lot of love. Stranger View oEmbed on the source website After the murder of a former prosecutor with high-ranking political ties, fellow prosecutor Hwang Si-mok (Cho Seung-woo) is assigned to discover the identity of the killer. Unable to feel empathy due to childhood brain surgery, he teams up with the effervescent Lieutenant Han Yeo-jin (Bae Doona) as an intricate web of lies and corruption unravels before them. Stranger is the perfect introduction to Korean thrillers. One of Netflix’s first Korean originals, it contains all the tropes seasoned campaigners have come to expect, with a solid mystery at its core. But if you come for the intrigue, stay for Lieutenant Han and Prosecutor Hwang. In the face of Si-mok’s lack of empathy, Han makes it her mission to make him smile and their friendship is one of the most adorable things you’ll see on TV. The chemistry between Bae and Cho is electric, and it’s great to see a show cast its leads as best friends rather than romantic partners. Seriously, I love everything about them. They’re even my phone lock screen. You can stream Stranger now on Netflix. The Wailing View oEmbed on the source website After a Japanese stranger (Jun Kunimura) ar…

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Netflix's Little Women isn't just another adaptation
type: item
date: 2022-09-16T11:51:59.000Z
creator: Geoffrey Bunting
subject: Drama
subject: TV
subject: Netflix
subject: On demand
description: If you want a faithful retelling of Louisa May Alcott's novel, the new Korean drama is a resounding failure – and that’s a good thing.
encoded: What would you do if you had money? This is the central question in Netflix’s latest Korean original, Little Women. If you’re expecting a faithful adaptation of Louisa May Alcott’s novel, that question should make you think again. In the annals of Little Women adaptations – from the first lost film in 1917, to the Japanese anime of the 1980s (yes, Little Women anime is a thing), through to Greta Gerwig’s 2019 version – this iteration stands out. Directed by Kim Hee-won (Vincenzo) and written by Jung Seo-kyoung (The Handmaiden), Little Women follows the Oh sisters. Three women living in a different kind of poverty to their novel counterparts. Gone is the soft-natured Marmee encouraging her daughters to be kind and self-sacrificing while their father serves as chaplain in the Civil War. In their place is a cruel, inept mother and an absent father who gambled away the family savings before fleeing to Singapore. The first chapters of Little Women the book cement the March family’s charitable nature as they donate their Christmas dinner to a poorer family. Little Women the series' first episode, however, sees Oh In-joo, played by Kim Go-eun (Guardian: the Lonely and Great God) and her sister In-kyung, Nam Ji-hyun (365: Repeat the Year) save money for their younger sister In-hye – played by Park Ji-hu, fresh from her breakout role in All of Us Are Dead – so she can take a school trip to Europe for her birthday. Only for their mother to steal the money and abscond to Singapore herself. Despite this tonal change, the parallels between the Oh and March sisters are apparent from the off. Much like Meg, In-joo, who works as a bookkeeper for Orchids E&C, feels responsibility to provide for her sisters in their parents’ absence. In-kyung, rather than an aspiring writer, is a journalist for OBN who swigs tequila from a mouthwash bottle to keep from crying at sad stories. In-hye is a reserved artist, like Amy, attending a prestigious art school on a scholarship. View oEmbed on the…

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Netflix's Extraordinary Attorney Woo is breaking the mould - here's why
type: item
date: 2022-08-12T10:18:03.000Z
creator: Geoffrey Bunting
subject: Drama
subject: TV
subject: Comment
subject: Netflix
subject: On demand
description: The Korean drama tackles ableism in a way rarely seen on-screen.
encoded: Did you know that 3.1 per cent of characters on television are disabled? This is concerning when you consider that, in the UK, 21 per cent of working age adults and 42% of pension age adults are disabled. In children's television, that meagre representation drops below 1 per cent – and that's a 10 year high, which means when a show that centres disabled characters arrives on our screens, such as Extraordinary Attorney Woo, it matters. Like Squid Game and Twenty-Five Twenty-One, Netflix's new Korean hit has topped the streamer's television charts and captured imaginations globally. Extraordinary Attorney Woo follows the titular Woo Young Woo, played by allistic actress Park Eun-bin (The King's Affection), an autistic lawyer who has recently been hired by the Hanbada law firm. The series takes the time to explore the challenges she faces while navigating an allistic world – well, ish. When disability is represented in film and television, it is overwhelmingly for the benefit of able-bodied, neurotypical viewers. We are inspirational stories; objects of sympathy and pity. Extraordinary Attorney Woo, unfortunately, is no different. It gets a lot of things wrong in its approach to autism. But it does succeed in one particular area. As a disabled viewer, what I find most relatable is how the series portrays ableism. We're all familiar with how prejudice is typically presented on-screen. It's overt and aggressive, showcasing the most extreme forms of right-wing ideology. By contrast, covert discrimination, which is often much more prevalent, rarely features in TV shows and films. By always centring the former, it creates complacency for viewers. They come away thinking, 'I'm not like that, so I can't be bigoted.' And it also makes them blind to the discrimination unfolding around them every day, from systemic bigotry that has seen tens of thousands die within the UK’s welfare system to the casual discrimination disabled people face every day that props up all other forms o…

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