“The Remarried Empress”: The true value hidden behind Ju Ji-hoon’s complexion… Beyond the unfamiliarity lies entertainment [Kim Na-yeon’s Four Lines]

*This content was translated by AI.View Original

• A personal perspective by reporter Kim Na-yeon on films and OTT content

It is unfamiliar, but not clumsy. The Disney+ original series “The Remarried Empress” overcomes the barrier of its alien worldview through the power of a story that constantly stimulates viewers’ dopamine.

“The Remarried Empress” is a romance fantasy epic in which Navi (played by Shin Min-a), the perfect empress of the Dongdae Empire, is notified of a divorce by Emperor Sobieski (played by Ju Ji-hoon), who has fallen for the runaway slave Rasta (played by Lee Se-young). In accepting the divorce, she demands approval to remarry Heinrey (played by Lee Jong-suk), the prince of the Western Kingdom. The series is based on a popular web novel and webtoon of the same name.

The greatest strength of “The Remarried Empress” is undoubtedly its dopamine-inducing story. From the emperor’s infidelity to the empress’s divorce, and from new love to power struggles, the desires of the characters clash sharply, and unpredictable events sweep in relentlessly. Just as one conflict begins to resolve, another erupts, leaving no time for a breather before a new phase emerges. Its ability to make viewers curious about what comes next is certainly effective.

Of course, barriers exist that must be overcome to reach this powerful narrative.

“The Remarried Empress” has been embroiled in heated debate over the actors’ costumes and styling since its release. In particular, Ju Ji-hoon, who plays Emperor Sobieski of the Dongdae Empire, became the center of attention for his bold see-through outfits and a complexion that felt somewhat unfamiliar to viewers. Many responded that the lavish costumes intended to express the emperor’s dignity actually hindered their immersion in the story.

It is not just an issue with the costumes. The series features Western-style palaces and attire, as well as characters with foreign names, yet they are portrayed by Korean actors. Korean dialogue is exchanged among characters who follow Western etiquette, and Hangul appears in various ornate props. This worldview, where the familiar and the unfamiliar are mixed, sometimes evokes a peculiar sense of alienation.

This is also why some viewers say it reminds them of “Mysterious TV Surprise.” Because Korean actors embody Western settings and characters, an unfamiliar scene unfolds.

However, this unfamiliarity does not equate to clumsiness. The sense of alienation shown in “The Remarried Empress” is closer to the sensation that arises when Korean dramas challenge worldviews they have rarely attempted before.

Moreover, it was clearly a courageous choice. Previously, Director Jo Su-won directly explained the reason for implementing Western-style costumes and settings at the GV of the 31st Busan International Film Festival.

At the time, Director Jo began by saying, “I imagine some viewers may wonder, ‘Why are the clothes Western-style and the background Western?’”

He continued, “When I was first offered the project, the original fandom was very solid, and many people loved the source material, so I wanted to keep the names Navi, Sobieski, Heinrey, and Rasta as they were. That was the biggest reason.”

This means it was a choice made to preserve the identity of the original work. Instead of adapting it into a more familiar Korean-style setting for the general public, they chose the path of faithfully recreating the world of the source material, even if it felt unfamiliar. Of course, this choice does not justify all awkwardness. However, it cannot be definitively labeled a failed attempt simply because it is unfamiliar.

This holds true whether the viewer knows the original work or approaches the series with no prior information. As one focuses on the relationships and emotions of the characters, they naturally immerse themselves in a worldview that initially seemed only strange. Once you step in, it is hard to easily pull out—the sense of immersion. This is “The Remarried Empress”’s most powerful weapon.

The actors’ performances play a significant role in this. In this unfamiliar genre, what viewers rely on most is, once again, the actors’ acting. The more unfamiliar the worldview, the more important the role of actors who can convincingly convey their characters’ emotions becomes.

Among them, Lee Jong-suk is the actor who most naturally embodies the appeal of the “romance fantasy” genre. Playing Heinrey, the prince of the Western Kingdom, Lee freely moves between a playful demeanor, the dignity of royalty, and sincerity toward the woman he loves. Even the formal lines unique to the royal court, which could easily sound exaggerated or awkward, become his natural language when delivered by Lee Jong-suk.

His characteristic nonchalant expressions and delicate emotional delivery lend credibility to the detached-from-reality settings of romance fantasy. He also plays the role of guiding viewers who have not yet adjusted to the unfamiliar worldview into the story.

Shin Min-a and Lee Se-young also demonstrate their presence in their respective roles. Shin Min-a, who plays the perfect empress Navi, maintains her character’s dignity through an elegant bearing and restrained emotional expression. In addition to her undeniable visuals, she calmly and firmly portrays the inner strength of an empress who does not easily crumble in the face of her husband’s betrayal.

In contrast, Lee Se-young delicately expresses the dual nature of a character who hides desire and malice behind an endlessly fragile and pure appearance, heightening the tension of the drama. The contrasting atmospheres of the two actresses make the confrontation between Navi and Rasta even more distinct.

Ju Ji-hoon may have been given the most difficult task among the four actors. This is because he must convincingly portray the character who should be the target of viewers’ anger.

His loss of Navi, a precious person, due to being deceived by familiarity, and his blind affection for Rasta evoke viewers’ fury. Although the character could easily appear ridiculous, Ju Ji-hoon convincingly portrays the foolishness and contradictions hidden beneath the emperor’s maintained dignity.

What sustains the precarious boundary between humor and anger is Ju Ji-hoon’s acting depth. Sobieski, who sometimes asserts his imperial authority but is swayed by emotion in an instant, provides a peculiar kind of fun that goes beyond mere frustration. Separate from the reactions surrounding his costume and complexion, Ju Ji-hoon firmly imprints the character’s presence with his solid acting skills.

“The Remarried Empress” is not a flawless work. There are regrets in both how the worldview is realized and the process of visually expressing it. However, it is difficult to deny the entertainment value of this work simply because it is not perfect.

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*This content was translated by AI.View Original