S Line – Season 1 Episode 6 Recap, Review & Ending Explained
S Line Episode 6 brings us to a café where a woman receives an intimate video. When she attends her university class, it's obvious that she's today's hot topic. At home under her duvet, she cries, continuing to receive threatening texts. That evening, she attempts to walk into traffic, but Kyu Jin stops her. Before leaving, Kyu Jin innocently presents her the glasses.
Zip to Hyun Heup, who waits at the bus stop for Jun Seon. She asks him for a favor that lands them in a hotel room. Afterwards, she sees the S Line connected between them. Walking toward the bus, he suddenly runs off to get them some snacks. While she waits, Hyun Heup notices her new S Line disappear and turns towards an uproar in the area.
It's Jun Seon with what looks like metal rods sticking out of his back. Thinking of herself as cursed, she sees another person who is close to her die. Next, Hyun Heup checks a video message of her school friend tied up, along with a Happy 17th message and an invitation to the 'room of boundaries.' She calls Detective Han for help.
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In the car together, Han is still thinking about Seon-a's horrible S Line. Hyun Heup disrupts him to explain that someone has been counting down to her 17th birthday and that something is required of her. She shows him the texts.
Han starts putting the pieces together – how she was lured to the school, how he acquired the glasses, etc. Could it be the same person? Han notes that her teacher, Kyu Jin, doesn't exist.
Together, they race into the school building toward the lit classroom. Hyun Heup finds her friend, who says she came to meet Hyun Heup. The girls race out to find Han, but every time they take the stairs, they return to the same floor again. Han heads up to the roof and hearing a door, the girls do too. But they're not in the same place.
Han approaches a group of people, one remarking how lucky she was to have met her. She remembers their conversation where Kyu Jin asked if she still wanted to die or would rather kill. The woman testifies that with the glasses, she found a new purpose in life, getting rid of a line every time she kills someone else. She uncovers a man, raising her knife, ready to sever her last sin and be reborn.
On Han's roof, he sees Kyu Jin approach with millions of red lines from her head. When she spots him, she uncovers Han's father, who's tied and covered in blood. Handing Han a blade, she wonders whether he wants to save Seon-a. Han turns the knife on her, but she easily takes it from him, stabbing Han's father instead. When he shoots at her, the bullets deflect as she continues to walk toward him, grabbing him by the neck.
On their own roof, Hyun Heup tries to explain what's happening, but then see that Gyeong Jin is wearing the glasses. Gyeong Jin tries to strangle Hyun Heup, but when they tussle, Hyun Heup smashes the glasses and Gyeong Jin returns to her senses. She notices that Hyun Heup's eye color has changed.
Drops of blood distract Hyun Heup and she finds herself among the crowd surrounding Kyu Jin, who tells her that her ability to see S Lines from birth is a blessing. The crowd removes their glasses, surrounding Hyun Heup. Kyu Jin raises a long sword, ready to slash. But Hyun Heup's mother steps in front, protecting her daughter and falling to the ground instead. Her mother admits that she had the glasses too, that it wasn't Hyun Heup's fault.
Getting up from her mother, Hyun Heup runs at Kyu Jin, straight into her sword, but Hyun Heup's blood floats away in droplets. Soon she rises too, lines bursting out of her and pulling her toward a ball of red. After a few moments, she's gently lowered to the ground as the ball comes for them. As Kyu Jin watches, Hyun Heup stabs her. But she says it's too late – they've already done what they came to do.
The crowd begins to scream and run as all the glasses are lost, including Han's. And suddenly Han, Hyun Heup and Gyeong Jin are on the roof together. He reaches for his glasses, but they fall. While in the streets, people stare at the red night sky. And everyone can see everyone's red lines.
On a new day on the subway, everyone wears glasses and Hyun Heup talks of finally being normal. Seon-a awoke from her coma and was reborn without an S Line. And as for the rest, Hyun Heup is alone again. She visits Jun Seon's grave and hears someone calling her name – it's Kyu Jin.
Ending Explained
Who is Kyu Jin?
Someone working toward a 'rebirth' where every person can see S Lines. It's got the trappings of a cult with some supernatural thrown in.
How is Hyun Heup involved?
Kyu Jin believes Hyun Heup's blood will trigger the rebirth, giving everyone the ability to see S Lines and some people the ability to cleanse their S Lines.
How does Seon-a wake from her coma?
Possibly as a result of the rebirth. She's reborn without her non-consensual S Line and seems a lot happier.
What happens to Han's father?
Although Han tries to save him, Kyu Jin kills him with a stab to the throat.
What happens to Hyun Heup's friends?
Jun Seon dies in what looks like an accident, but was probably helped along by Kyu Jin in an effort to get to Hyun Heup. Meanwhile, Gyeong Jin survives, but we don't see what happens to her – just that Hyun Heup is alone again at the end.
What happens to Detective Han?
It looks like he goes back to being himself after all the drama. He does seem to be more protective of his niece and they also have a better relationship.
The Episode Review
Well, that was unexpected. While I've loved the creativity and incessantness of this drama, I was a little disappointed with this final episode. Yes, this is based on a webtoon and the supernatural is part of the narrative, yet I felt like they were getting to a real revelation then gave up and went paranormal to quickly wrap things up.
There's a fantastic story of competitiveness, greed, revenge and superiority complex here. Up until episode 6, I was absolutely loving it. Even the cult was interesting, with people sucked into the possibility of rebirth and renewed purity. I would have been more interested in a human using the S Lines for selfish purposes – turning people's greed on themselves.
Even with this ending, many of our favorites survived. Now that everyone can see S Lines, do you think it changes anyone's behavior? Or how they judge others?
Anybody love the finale of S Line? I'd love to hear your thoughts in the comments below.
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Telegraph
2 hours ago
- Telegraph
Lynda La Plante on crime-ridden Britain: People live in fear. Politicians don't know what to do
Many of us lie awake wondering whether we can pay the mortgage. The night before we meet, Lynda La Plante lay awake worrying whether it's possible to find DNA on a body obliterated by a bomb explosion, including the teeth. The plot of the novel she is currently writing, the sixth and final to feature her sensitive, much-loved detective Jack Warr, apparently depends upon it. 'I got on the phone to a scientist friend this morning and he told me he was pretty sure even very badly charred clothing can retain DNA,' she says cheerfully. 'Particularly the waistband of trousers. So that was a relief.' The 82-year-old La Plante is sitting in the panelled sitting room of her 17th-century home in Kingston. Her hair is bouffant, her gold earrings sparkle and her bellowing voice is positively aristocratic. The interior of her house is so grand it resembles a baronial castle – enormous fireplaces, stag heads on the walls – the fruit of an estimated £30 million fortune amassed from four decades as a best-selling crime novelist and writer of groundbreaking TV hits such as Widows and Prime Suspect. At one point, her enormous poodle-wolf hound cross, Theo, wanders in, as tall as the table and almost the size of La Plante, who is tiny. She is the grand dame of British crime fiction and by goodness she looks the part. Yet if La Plante is sheer glamour, her writing is pure grit. Her novels (there are 50 and she has sold 15 million copies of them) bulge with the painstaking minutiae of behind-the-scenes detective work rather than gun-toting police heroics on the street. Her current obsession is forensics, and her latest novel, The Scene of the Crime, introduces a new protagonist who is an expert in the field: Jessica Russell, head of the Met's newly-formed and experimental Serious Crime Analysis Unit and a typical La Plante heroine – tough, self contained and, inevitably, the victim of ingrained dinosaur sexism within the force itself. The team's first job involves the attempted murder of a wealthy wine trader, and Russell exhaustively coordinates the DNA analysis and digital forensics data. 'You tend to see all these impossibly young female detectives on TV, running around chasing people and arresting them,' says La Plante slightly sniffily. 'But if you meet the experts, the specialist scientists who today are the ones really solving crimes [through forensics], there is a real quietness and concentration about them.' That there are women on TV solving crimes at all is arguably down to La Plante, who throughout her career as a crime writer has invariably placed determined, battle-hardened women centre stage. She initially started out as an actress, graduating from Rada in the mid-1960s, and spent several years starring in TV cop shows such as The Sweeney, Z Cars and Bergerac, and also working with the RSC. Yet in the early 1980s, fed up by the paucity of strong roles available to women in crime shows, she successfully pitched Widows to Thames Television. That show, in which three bereaved wives of armed robbers pull off a bank raid, was an instant hit, attracting a staggering 18 million viewers. In 1991 she followed it with Prime Suspect, which ran for 15 years on ITV until 2006 and starred Helen Mirren as the indomitable Jane Tennison – the first female character to lead a police force in a prime-time TV crime drama. 'A character like Tennison had never been seen before,' says La Plante. 'A high-ranking female police officer, leading a murder squad, and with all the misogyny and discrimination she faced.' From the outset La Plante was determined to ensure her books were as realistic as possible, her constables and criminals as gutsy and authentic as their real-life counterparts on the streets. Her novels are always impeccably researched, sometimes at considerable personal risk. For Widows she spent time with drug addicts in Kings Cross and ex-cons in East End pubs, basing her main characters on the people she met. When she was researching her 1990 novel Bella Mafia, which centres on the fall-out of a mafia mass shooting, she spent a couple of weeks in Italy researching the Sicilian underworld, interviewing various mafia dons. Sensing one morning that someone had been inside her Palermo hotel room while she was out, she placed a hair across her desk. 'And when I came back, it had gone,' she said. So the mafia were looking through her work? 'Yes, to check what I had written. They didn't want any identities inadvertently revealed.' She has also interviewed several of Britain's most violent offenders. 'Peter Sutcliffe was pitiful,' she says. 'And Charles Bronson still sends me cartoons. I have literally hundreds. They always have the same line: 'Never walk backwards into a madman's cell'.' She gives a dark little laugh. 'He asked me to be his bridesmaid twice. He's such a showman. Because of the biopic that was made about him [2008's Bronson, starring Tom Hardy] he has amazing kudos in prison. But the prison officer he took hostage in his cell [Adrian Wallace, in 1994] was so traumatised he was forced to retire early from his job.' How on earth did she keep her cool being around such dangerous people? 'I was able to do it because I'm an actress,' she says. 'I learnt very quickly not to show disgust, not to show anything in fact but enjoyment. Don't take the notebook out. Don't turn on the tape recorder. You have someone turn on you once, and you never forget it.' Politicians don't know what to do It sounds a brutalising business. What motivates her is 'the terrible trail of destruction criminals leave in their wake'. She is not remotely hardened to either the consequences of crime or to the social breakdown that often lies behind it. But the day-to-day news cycle horrifies her. 'I hear about the mothers who lose their children to knife crime on the way to school and my heart breaks,' she says, her eyes watering. 'People are living in so much fear, on the Tube, on the streets.' Moreover, she thinks it's getting worse. 'My driver took the car to the car wash and another car cut in front of him in the queue. He was about to get out to remonstrate when the attendant signalled to him not to. Apparently the driver of the second car had waved a machete. There were three more young men in the back. So what are you supposed to do?' Does she have any insight into why people are becoming more aggressive? 'I've no idea. I just know that these days it's everywhere. Speeding cyclists almost knocking you down in Richmond Park... ' She's not sure how to solve it, either. 'Politicians seem to have no idea. They don't seem able to cope. And releasing prisoners early is not exactly helping. Those people have committed a serious crime and they should serve their sentence. Imagine being the victim of a domestic abuser, thinking he's been put away for five years and one day being told he's been released early. How would that make you feel?' She starts talking about the recent pro-Palestinian marches. 'I get terribly upset about the children in Ukraine and Gaza, but the pro-Palestine marches are so confrontational. You want to take them aside and say, why? Why are you here? Vanessa Feltz was attacked by a protester recently, who hurled an anti-Semitic remark at her. You think, 'What is this?' 'People say, 'Be more guarded,'' she continues. 'They say, 'Pull your cuffs down if you have a nice watch.' And you think, 'I don't want to live like that.' So I rarely go into town these days. Soho is terrifying after dark. Instead I invite all my actor friends [who include Richard E Grant and Celia Imrie] to dinner here.' She has, inevitably, over the course of her career, thought an awful lot about whether people are inherently evil. Much of the time, when she interviews serial killers (she has also talked to Dennis Nilsen and the Kray brothers) she is trying to find out what drives them. She rarely does. 'People often ask if people are born that way,' she adds. 'And they are not. If a boy is taking a knife into school, it's possibly because he is being bullied. Or because there are people at the school gates selling fentanyl and he's got sucked into a gang. 'But then you have to go further back [in that child's life], to the start of primary school where teachers can't cope because children aren't potty trained and they don't know how to behave. So it means you have to put more money into primary schools because there are inadequate parents. And so on.' Jeff Bezos's 'revolting' wedding She throws her hands up. 'The problem with getting politicians to solve all this – there is no one above them with any vision. And they keep changing their minds. Their policies keep changing. One minute you are encouraged to get a mortgage, the next it's gone up by £300. People wonder how to map out how they are going to live. And then they think, 'Well, I won't bother, I'll just stay on benefits.'' She's gone a bit off topic. 'Politicians then try and reform the benefits system but find they have to prove who is needy because you can't be seen to be taking benefits from the needy. Of course, it always comes down to money.' So how would she raise it? Tax the rich more? 'The problem there is that wealthy people are moving out of Britain rather than paying more tax. But it worries me that they don't think they should pay more tax. They don't feel they should contribute. You don't get this in America. Say what you like about Musk and Bezos and that revolting $40m wedding, but at least they give millions to charity. 'People in this country don't. Whereas I'm one of those people who finds it very hard watching TV because I go, 'Dear God, the donkeys'. I'm sitting there on my phone, donating to the starving children, donating to the life boats.' La Plante grew up in Crosby, in Liverpool. Her father was a salesman and her mother a stay-at-home housewife, and she describes her childhood as 'idyllic' and 'impossibly free'. At Rada, to which she won a scholarship at the age of 16, her peers included John Hurt (who kept nervously and vainly trying to ask her out) and Anthony Hopkins. Her memoir Getting Away With Murder is stuffed with waspish anecdotes about this time in her life and her later career, including the many celebrities she has rubbed shoulders with: Mick Jagger and David Bowie, who wanted her to write them a film but were too hungover during their first meeting with her to decide what it ought to be about; Paul McCartney, who she dismisses as 'vacuous'. She also, in 1978, got married to her husband Richard (they divorced in 1996; the marriage was childless) who at the time dabbled in property and rock music. 'I finally understood grief when my dog died' More soberly she writes about her sister, Dail, who was run over by a lorry and died at the age of six before Lynda was born (she also had a younger sister Gill, a casting director, whom she talks to every day, and a brother Michael who has since died). Her mother was so capsized by the death of Dail she would occasionally disappear for long periods ('Your mother has gone away for a rest', her father would tell Lynda) and, when she died, insisted on being buried with Dail's teddy bear and school hat. Yet La Plante is at pains to stress that, at the same time, both parents made huge efforts to ensure the household didn't collapse into despair. 'My sister was always part of our lives even though she was missing. But they never let her death impede our childhood. The house was always full of laughter.' It's tempting to wonder if the loss of Dail has motivated La Plante's career, as though, through her crime procedurals, she is seeking to find justice in some oblique way for the sister she never knew. 'No, not really. For decades grief was never something I personally understood. But, and this is almost embarrassing, last year I had this Borzoi dog, Hugo. Beautiful. And one day he died. He was only a few years old. About a month earlier he'd eaten some pampas grass which is terribly dangerous for a dog, and although he survived the operation, we think perhaps there was some internal bleeding, or he had a heart attack because one day he suddenly couldn't breathe. 'Anyway, I broke. I've never known such incredible grief. Ever. And it made me realise, for the first time, an inkling of what my parents went through.' She's sobbing as she says this, aware on one level that it is madness to compare the loss of a dog to the loss of a child, but at the same time unable to help it. 'The weird thing is I often write about grief, but that was the first time I'd experienced it.' Pictures of the exquisite Hugo adorn every window sill. She turns to look at poor Theo, who even a dog fanatic would agree is an absurd looking creature. 'We got him a few months ago. I deliberately went for a dog as different to Hugo as possible.' La Plante leads a disciplined existence, swimming daily in her indoor pool, walking Theo, although given his size this is hard to imagine, and writing every day. She tends to write from 7am until lunch and spends her evenings watching TV. Not that she thinks much of it is any good. 'You do still get terrific TV in this country. I loved Ripley. But the problem is you no longer have people who say, 'This is good, let's do it'. Instead you have a panel. And that panel often don't know good writing and they don't encourage it either. It's very hard as a writer to hear, 'This is a great script, the best we've had in years, but we don't have room for it'. That happens to me all the time.' La Plante has written many times for TV, including adaptations of her own novels: the Anna Travis books featuring the eponymous London-based detective were adapted into the TV series Above Suspicion starring Kelly Reilly in 2009. Recently, though, she has struggled to land a new script. In the past she has put this down to ageism within the industry. She demurs on this now. 'I don't know whether it's ageism. I don't know if people look at me and think, 'Well, we've had enough of her'. But if it's happening to me it must be happening to an awful lot of writers, given how much crap gets foisted upon us. More game shows and more dreadful game shows. 'We used to have soaps which were great training grounds for writers and actors,' she adds. 'These days the soaps deal in such horrific story lines, rapes and murder, that they are taking precedence over beautifully cultured drama. I see all these actors coming through and all they have on their CV is EastEnders because that's the only work they can get.' When she was 57, four years after she divorced Richard, she adopted a baby boy, Lorcan. He is now a trainee pilot and lives in a cottage in her garden with his girlfriend. The pair are extremely close: when, a few months ago, she went to hospital with chest pains (it ended up being a chest infection), he stayed with her all night, terrified she was going to die. 'It was his birthday too, the poor boy.' He often pops in to cook dinner. 'Partly because I'm such a terrible cook. I can't stand poncy food [this is true; as I am leaving, a delivery driver arrives with a Domino's pizza for her lunch]. Whenever I go to a restaurant, I have fish and chips.' The newspapers had a field day when she adopted him because of her age, and two decades on she remains very hurt by how they treated her 'Ronnie Wood can have a child at the age of 68, but I was attacked. I had the press rifling through the bins to find out if he was black, white, Chinese. I didn't understand that something that was so beautiful could become so cruel. But I think people didn't realise at the time how many miscarriages I had had [she suffered four with Richard and endured years of failed fertility treatment]. I now realise I've given so much confidence to other women who feel they can now adopt.' She is not impressed by a recent report detailing a rise in people in their 70s and 80s having children through surrogacy. 'It's not fair on the child. You're going to leave them too soon. Surrogacy can be a blessing for some women, but I have a feeling it's also being misused by women who can't be bothered to become pregnant. 'I fear IVF is another scientific wonder that will become abused. There are so many babies that could be adopted. It's awful to think people are ridiculed for doing it at the age I did it when you can give your son a wonderful life, a wonderful house.' I look around at her living room again, stuffed with sofas and flowers and ornaments and a hundred photographs of her and Lorcan and yes, it certainly does seem a wonderful life. She is happy, too, not to be sharing it with anyone else. 'God no, I don't date. Having been through it once, I can't be doing with all that. When I was writing my memoir I looked back on my marriage and thought: 'What was I doing?'' Anyway there would be no time. There is her true-crime podcast Listening to the Dead, her next novel to research and write. 'Fortunately I have all these lovely experts I can call on for advice. They pick up the phone and go, 'Oh God Lynda. Not another murder'.'
The Review Geek
6 hours ago
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Glass Heart – J-drama Episode 6 Recap & Review
A Reconciliation Episode 6 of Glass Heart begins with Toya in the hospital. When he doesn't turn up, Tenblank is asked to go on stage. The news of his stabbing breaks and the fans become restless as well. Seeing this, Akane starts playing the drums and Sho and Kazushi follow, giving Naoki leave to go and look after his half-brother. A flashback shows Toya's mother being frustrated when he isn't able to play the piano correctly, comparing him to Naoki. She storms off and Toya In the hospital, Toya wakes up. Naoki arrives and asks Toya if his fingers are okay. As a child, he never asked Toya. Naoki says that while music is everything to him, he doesn't have Toya's passion to fight for his music. Another flashback shows that Toya continued practicing piano even with bandaged fingers. The kids seem to get along but we see that Naoki soon left the house. At present, Naoki tells Toya that he's grateful. Toya and his mother accepted Naoki even though he was from another family. Toya then tells Naoki to help him up and get him to the concert. He says he promised someone. Another flashback shows that it wasn't the young fan who stabbed Toya. A man in a hood was about to stab the young woman when Toya jumped in the middle. He recognised the girl as a regular at his concerts and promised her that he will sing. At present, Toya and Naoki begin a live stream from the hospital. For the first time, Toya calls Naoki his older brother and all of them, Overchrome and Tenblank, play together. Everyone loves it! Afterwards, Akane comes to the hospital and Toya asks her if she's enjoying finding her own sound. She says she's loving it. As, Toya and Mahiro head back to his hospital room, they talk about happiness. Mahiro says he'll be happy when Toya gets them to the top. A flashback takes us back to their studio where Toya tells Mahiro he will take them to the top. Back in the hospital, a doctor recognises Naoki and approaches him. She turns out to be the doctor who treated him after he got hit by lightning. She says his body won't hold up if he keeps doing concerts. When he refuses to stop, she asks him if he's okay with losing music through death. The Tenblank members get drinks to celebrate the concert. They also play a game with Frisbees at the end of which Naoki tells the others they are officially going on tour! The Episode Review Episode 6 focuses on Toya and Naoki for the most part and we get a fair bit of insight into their childhood and their relationship. It's definitely nice to get a larger backstory to Toya's broken fingers and even more heartwarming to see that Toya still didn't give up on music. We also get a picture of the brother's relationship in all of its complexity, flaws and all. Their reconciliation is touching and the combined song is the cherry on top of the whole thing —another banger for the show's solid soundtrack. On the other hand, the stabbing itself and the plotline around the fan does feel a tad too melodramatic. While it does prove that Toya can be kind and empathetic to his fans, the whole thing feels engineered to bring the brothers together. It is all a bit drawn out as well. But the drama knows how to keep its viewers hooked as that ending bring troubling news about Naoki's health. Could this show be leaning more towards melodrama than we expected? Previous Episode Next Episode Expect A Full Season Write-Up When This Season Concludes!
The Review Geek
6 hours ago
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Beyond the Bar – K-drama Episode 1 Recap & Review
Induction Episode 1 of Beyond the Bar begins with an introduction to Yullim Law Firm. Ko Seung-cheol is the managing partner of the firm, while Seo Yeon-su, is the head of financial Law. We also have Jung Ji-ung, who's the head of Antitrust Law, and Hong Do-yun, the head of Corporate Law. Finally, there's Yoon Seok-hoon, the head of Litigation. These guys are viewed as the pillars for the business, and oversee their respective departments with a keen eye for detail. It's a big day at the firm though as a group of Entry Level candidates vie for a place in the firm. Unfortunately, Kang Hyo-min doesn't make a great first impression. She's one of the recruits and she shows up late for the group interview. Her shoes are scuffed, she's got a stain on her shirt and she's flustered. Unfortunately, time is money when it comes to these cutthroat lawyers and she's kicked out before it even begins, with Seok-hoon leading the charge in booting her out the door. However, Hyo-min is no joke. 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I'm guessing though, they'll be important in the chapters ahead. The new recruits aren't limited to just Hyo-min though, and while the others haven't picked litigation as their first choice, they've been thrown into the lion's den all the same. Hyo-min's boisterous friend, Guk-hyeon is here, while they're also joined by Sang-cheol and Ho-yeon. Hyo-min's first task comes from the Gangdong City Gas advisory case. After delivering a decent claim, she sits in on the shareholder meeting but notices a discrepancy in their numbers. Over the last seven years, only Onpyeong's revenue has dropped sharply. Hyo-min shows up at Onpyeong Hot Springs to take a closer look, but she winds up neglecting work as a result. Seok-hoon is not happy when she shows up two days later, sporting wet hair and flimsy excuses. Seok-hoon is ready to hit her with disciplinary measures for skipping work, but Hyo-min bites back, explaining what she's been up to. She points out that she's been 'working off-site'. Hyo-min reveals that the bathhouses are the biggest consumers of gas and Onpyeong has been open for over 30 years. So why the sudden drop in revenue? Well, given they're open 24 hours a day, she deduces that the usage amounts have been manipulated. Some of the gas has been stolen, which amounts to 2486839 cubic meters to be precise! Hyo-min has the documents to back up her theory too, and the court case looks set to be settled in the region of 3.8 billion won. This puts Hyo-min in a very favourable light, and she even makes her mark at the courthouse too, while Seok-hoon watches on. Despite getting the right outcome, Seok-hoon is quick to remind her that this doesn't excuse her absences and Hyo-min will need to tighten up her act if she wants to stay in litigation. The Episode Review Beyond the Bar is the latest law drama on Netflix and this first episode gets off to a decent start. We've got the usual cold, confident male protagonist alongside the plucky underdog protégé, not to mention a whole host of different characters to bolster out the supporting group. What's here though has the makings of something really endearing. The episode is nicely paced too and certainly doesn't drag on unnecessarily. The introduction to Hyo-min is a nice way of showcasing her talents, including her intelligence and tenacity to succeed. However, nothing here is over the top and it would appear that the show is going to play it straight rather than throw in a lot of comedy to lighten the mood. There's already some interesting threads at work, including the nuggets about Hyo-min's family and her seedy boyfriend, whom I'd imagine she's going to break up with soon. The concept in Beyond the Bar is interesting but we'll have to see whether Hyo-min is going to steamroll her through every case or if there will be some bumps along the way. Roll on the next episode. Next Episode Expect A Full Season Write-Up When This Season Concludes!
