It is undeniable that even amongst the drama-watcher community, there tends to be a notable problem of more well-known dramas being “ overrated” or “ glossed over” from noticeable flaws by biased fans of certain actors, actresses or directors, and “ It’s Okay, Not To Be Okay” is certainly no exception .

Written by lesser-known screenwriter Jo Yong ( After The Rain, Jugglers), ‘It’s Okay, Not To Be Okay’ plays itself upon being an “ atypical” romance between a stoic, yet kind-hearted psychiatric health worker called Moon Gang Tae ( Kim Soo Hyun ) and the eccentric children’s writer Ko Moon Young ( Seo Ye Ji) as they both try to find new ways to heal and recover from their past traumatic wounds along the way ...

Before talking about the interesting joys and delights of characterisation in the show, it is first prominent to commend most of the cast for their performances. Oh Jung Se was undeniably brilliant within his role as Gang Tae’s older autistic brother Moon Sang Tae; a performance which was angst-ridden and heartwarming for viewers over the course of series . Parallel to Jung Se, of course, was undeniably Seo Ye-Ji’s performance as the witty, sardonic yet complicated children’s writer Ko Moon Young; purposefully comical and flamboyant, yet intricately heartbreaking as well.

Truthfully, however, the show’s acting quality could sometimes be a mixed bag, not least from Kim Soo Hyun as our main lead. Although Soo-Hyun is undeniably a brilliant and talented actor, his role as Gang Tae was a little lacklustre and “ wooden” at times to say the least. This is not to say that his performance was unwatchable nor was it “ dire” , however, considering his reputation as a top-notch actor, it was a little surprising that Soo-Hyun didn’t truly add anything to his character . On the other hand , perhaps some of this can also be attributed with screenwriter Jo Yong’s deliverance of characterisation and several plot inconsistencies as well.

As a concept, ‘ It’s Okay, Not To Be Okay’ did not truly step upon new ground with its setup of the recently popular “ reversed gender trope ” in Korean dramas (where the female lead “ calls the shots”, and the male lead is nothing more than the “ object of obsession” in her eyes at first). Nevertheless, one of the undeniable great strengths of ‘ It’s Okay, Not To Be Okay’ was its ability to write several fairly “ fleshed-out” main characters who gradually grow over the course of the series .

Ko Moon-Young wasn’t supposed to be your typical “ Princess” heroine ( even labelling herself to be the “ Pretty Witch” of the story) ; she is successful and a talented writer, but intrinsically insecure and traumatised by her complicated past and her estranged relationship with her seemingly mentally-ill father as well. It remains apparent after finishing the show that Moon-Young often allowed her dark and twisted fairytales to adorn her view of the world; fairytales were once used commonly as morality tales to scare children and adults away from danger, a bittersweet belief (, which despite Moon-Young’s often reckless behaviour, )she applied full-heartedly to her own reality and comes to several harsh wake-ups calls by stepping away from these beliefs over the course of the series.

It is therefore apparent that just whilst Moon-Young is your “ atypical, yet typical” heroine, Moon Gang Tae is your “ usual, yet unusual ” knight in shining armour.

Gang-Tae is hard to really describe or feel true emotional attachment towards as a character ( perhaps explaining why Soo Hyun’s performance felt a little lacklustre at times) , due to his often stoic expressions and unreadable personality ( especially in comparison to Moon-Young) over the course of the series.

Nevertheless, it’s wrong to entirely dismiss Gang-Tae as a “ terribly-written character” , as his “ apathy” is often broken in the face of his trauma and clearer feelings( particularly towards his brother and later Moon-Young) in the second-half, however, the biggest problem about Gang-Tae’s characterisation was often a consequence of his sudden transition feeling a little purposeless.Although the show attempted to explain this characterisation by having to look after Sang-Tae as the “ carer” in their fraternal relationship, as well as evidently irked by Moon-Young in the beginning of the show, considering the extent of some of his traumas, Gang Tae’s reactions and coming to grips with them often felt lacklustre and perhaps resulted in Gang Tae merging into a “ stock male lead” over the course of the drama.

Naturally this draws us up onto the aspect of relationships in ‘ Its Okay, Not To Be Okay’. Perhaps the most praiseworthy thing to note about the programme is that although it is a “ romance” drama, it points out many different types of relationships ; from paternal ( such as the case of Kim Mi Sung’s character Kang Soon Deok and her adoration for her daughter Nam Joo Ri played by Park Gyu Young) ,to the fraternal bond between Gang Tae and Sang Tae and to the obvious romantic bond between Gang Tae and Moon Young over the course of the series.

In the case of the latter relationship , the show had an odd balance between genuine and striking similarities between the polar opposites acting as their magnetic force to stick together, as well as later riding upon several cliches which intrinsically took certain earlier driving factors from their fairly well-written and blossoming relationship. The ending was undeniably sweet, though perhaps a little anticlimactic for some watchers (considering the darker themes tackled).

The obvious and evident pairing overshadowed in the show by Gang Tae and Moon Young’s romance , occurred between Nam Joo Ri(Gang-Tae’s “ lovelorn” best friend) and Moon Young’s colleague and CEO of the publishing company Lee Sang In ( Kim Joo Heon). By default their pairing should have perhaps been the most grounded portrayal of the most “ normalised” romantic relationship in the show , however, by investing so much time into Gang-Tae and Moon Young’s, Sang In and Joo Ri’s pairing felt lacklustre , incredibly forced and a cliche setup between the “ extras”, rather than fleshed-out and realistically built-upon over time.

So, is ‘ It’s Okay, Not To Be Okay’ actually worth watching? Although there were a couple of questionable acting moments, cliches and plot inconsistencies, ‘ It’s Okay, Not To Be Okay’ was still a good drama, and certainly shouldn’t be dismissed as “ mediocre” ; the plot was intriguing, the cinematography was creative and beautifully shot, the OST was eclectic and themes of mental-health as well as psychology were fairly well-tackled and portrayed. ( Perhaps one of the most gripping scenes in the whole series came from a veteran soldier experiencing a bout of PTSD and the horrific scenes through the cinematography he was seeing on a normal bus ride.) ‘ It’s Okay, Not To Be Okay’ is undeniably not a flawless show, however, it is certainly still worth a watch ( not least for Moon Young’s more and more extravagant attires by each passing episode).