Entertaining, but not for people wanting more substance.

The King: Eternal Monarch is difficult to review because, at face value, it is an entertaining drama: interesting premise, excellent cinematography, addictive soundtrack, strong female lead, suspenseful, and romantic. The problem with The King: Eternal Monarch, however, is that it fails to meet expectations, leaving many viewers feeling as though they watched an early, conceptualized version of a drama released as it was being written by an author with a vague concept of where the plot was going and no knowledge of how many episodes were left until the ending. We know what could have been, so our disappointment leads us to be overly critical of what we have been given.

**Story: 7.0**
While the plot devices of interdimensional travel and a modern day Korean monarchy are nothing new, the combination of the two are unique enough to excite any fantasy lover. Throw in a dashing king, a tough female cop, and a villain traveling between dimensions, killing people and replacing them with their doppelgangers, and you have the building blocks for something special.

Sadly, someone somewhere thought more would be better, and all the elements that could have made this drama great were poisoned by the the addition of a time travel plot device, a surplus of ridiculously blatant examples of product placement, a female villain who served no real purpose other than to be an unlikable annoyance when convenient for the plot, a multitude of supporting characters and their doppelgangers who were difficult to keep track of, and a sometimes non-linear story-telling style that made the whereabouts and actions of the villain difficult to follow, with very little mystery or payoff because of it.

The addition of so many minor characters was, perhaps, the biggest downfall to this series because it detracted from the time that could have been better spent developing the main characters, in particular the relationship between the male and female leads. For a show that is built around a love story that spans multiple dimensions, it sure didn’t spend a lot of time developing the romance, and instead it relied heavily on the concepts of fate and destiny to carry the relationship while the leads spent a large amount of time apart in their respective worlds.

The main antagonist and biggest external conflict for the leading couple, villain Lee Rim, also suffered due to shared screen time with his many, many doppelganger minions. His villainy would have been much more impactful if his motivations for world domination had been expanded upon and all the corrupt doppelgangers were introduced as they were exposed, the extent of Lee Rim's reach being unveiled one doppelganger at a time. It was a missed opportunity that would have created suspense and kept viewers guessing as to who was good and bad along with the leading characters.

As the show went into its final four episodes, the plot began to feel rushed, as though the writer anticipated the series being 20 episodes long but was told half-way through production it was only going to be 16 episodes instead. Moments previously depicted in the first episode (Lee Rim being interrogated at the police station) turned out to be insignificant and irrelevant, and the downfall of the villain was less impactful and grandeur because it happened three different times, all rather abruptly and without much fanfare.

I suspect that a lot of fans were satisfied with the “happy” ending, but I found it to be a cop-out. While all our secondary characters found endings in the reset timeline deserving of their good--or bad--deeds in the original timeline, it was clear that the writer didn’t know how to resolve the love story that spanned two worlds and various timelines. While a together-but-separate ending worked in Crash Landing on You, it’s hard to imagine such a situation working out in the long-term for this couple, despite the clear implication that they do somehow manage to grow old together, when one of them is the king of a country that still expects its monarch to produce heirs.

I personally would have liked an ending where everyone, including Jung Tae Eul and Lee Gon, lost their memories of the other world after the reset--which would have been more in line with traditional time travel logic--allowing us to see Jung Tae Eul meet Lee Ji Hun and Luna meet Lee Gon and fall in love in their respective worlds, suggesting that the two souls are destined to be together no matter the universe. Of course, such an ending would have had to exclude the cute moment between Luna and Kang Shin Jae, but it’s a sacrifice I would have made, especially since he seemed to have chemistry with the therapist/doctor, who could have turned to be his love interest in the reset.

**Acting/Cast/Characterization: 7.5**
Woo Do Hwan stole the show with his dual roles as Jo Young and Jo Eun Sub, and I would watch this drama again solely for his performance. While the two characters were foils for each other, there were moments when you could see flashes of Jo Eun Sub’s personality in Jo Young, showing that the four-year-old Jo Young introduced in the first episode could have also grown up boisterous and carefree, had his parents not divorced and he not become the King’s Sword. Woo Do Hwan did an excellent job of portraying them as two sides of the same coin.

Lee MIn Ho fit the role of dashing, attractive king, but much like Prince Charming in Disney’s Cinderella, he had very little personality outside of being perfect. To be honest, I’m not sure if this is a symptom of Lee Min Ho’s acting abilities or a combination of the director and writer pushing for the idea of a fairy tale romance, complete with a royal leading man who excels at literally everything. If that’s what they wanted, then they succeeded. Unfortunately, as a viewer, I found that level of perfection unbelievable, and I feel like opportunities for Lee Min Ho to express deeper, less flattering emotions were skipped over in favor of having him look pretty for the camera. While I don’t mind seeing Lee Min Ho being paraded around in a bunch of dashing uniforms while riding in slow motion on the back of a gallant steed, the reality is that if he’s placed on such a high pedestal, both socioeconomically and personality-wise, it’s hard to imagine a police detective who values comfort over appearances forming a meaningful bond with him, definitely not in the time allotted to them as a couple in this series.

Kim Go Eun’s acting was hit or miss for me. As Jung Tae Eul, she had some real standout moments, such as the last twenty minutes of episode 11, but for the majority of her scenes her facial expressions were kind of flat and wooden. Perhaps that was an intentional choice in order for her to appear more like a tough-as-nails cop despite her petite appearance, but instead it felt like she had no personality outside of being a detective, which further widened the emotional gap between her and Lee Gon. I found her role as Luna much more intriguing and complex, and the blank-faced delivery of her lines felt more befitting of the street hardened thief dying of cancer than of a cop with a lot of friends, a loving father, and a princely suitor.

Most of the supporting cast did well in their roles, including several standouts, but there were a few characters that I wish had been excluded from the drama (Looking at you Prime Minister.) in order to tighten the plot.

**Music/Cinematography: 10**
I was extremely happy with the cinematography and music. With Netflix funding the production, it’s no surprise that the special effects and camera work seemed more on par with a Hollywood production. Every scene in which time stops is gorgeous, especially the moment it paused as Jung Tae Eul was tying her hair and the warm hues of fall dominated the color scheme.

The soundtrack was extremely catchy and was used effectively to compliment the various scenes. I am particularly fond of “Gravity” and “Orbit.”

**Rewatch Value: 9**
Despite all of its flaws with the plot and the disappointing resolution, this drama is immensely entertaining. If you acknowledge it for what it is, a drama that capitalizes on cliches and romance tropes, and that is your bread and butter, then you will be pleased with this drama and want to rewatch it for the vicarious fairy tale thrills. However, a lot of people want more from their dramas than unrealistic entertainment; this drama isn’t for those people.

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