Since its original airing in 2016, ” Love In the Moonlight ” ( based upon the successful books Moonlight Drawn by Clouds, which was serialized online in 2013 and then published as five separate books in 2015), was a phenomenal success in both South-Korea and amongst the international drama watcher community, drawing particular focus upon the talents of its cast ( particularly Park Bo Gum being critically-acclaimed by netizens for his acting quality) and South-Korean culture. Yet whilst the series is undeniably still popular, there’s something which honestly must be addressed forthright about screenwriters Im Ye Jin and Kim Min Jung’s adapted premise; it is a fairly predictable storyline, anticlimactic in parts and certainly cliche-ridden.

The premise of the drama is set during the 19th century, Joseon era, where female lead Hong Ra-on (played by Kim Yoo-jung), crossdresses as a man in order to support herself. She has multiple jobs but is still struggling with debt. Due to both romantic and comical circumstances, Ra-on comes to meet kind-hearted nobleman Kim Yoon-sung (played by Jung Jin-young) and the seemingly childish and spoilt Crown Prince (played by Park Go-bum).

Due to being sharp-witted, Yoon -sung immediately figures out that she is a woman. The prince is fairly oblivious to Ra-on being a woman , however, after Ra-on is sold to the eunuch’s training academy, she befriends the Prince and his close confidant and personal bodyguard Kim Byung-yeon (Kwak Dong-yeon). As events begin to lead to another, Ra-on finds herself conflicted between Ra-On and the Prince, whilst the Prince begins to feel uncertainty for his growing feelings for the seeming eunuch.

Against all odds of its surreal premise, ” Love In The Moonlight” did follow the typical cliches that you can expect with a cross-dressing scenario, however, it did not prevent the series from being oddly entertaining with a setup mirroring ”Shakespeare’s Twelfth Night ” in a fairly lighthearted way. Ra-on is brazen in her attempts to escape the palace and get back to the city outside by imitating and joking like her male associates in an often over-the-top manner.

Whilst it easy to dismiss the acting of Kim Yoo-Jung, Park Bo-Gum , Jung Jin-Young and Kwak Dong-yeon as an ” ensemble of good-looking people” rather than by their acting alone, the quartet certainly did give an all-around good performance , alongside main stylist and designer Lee Jin-hee’s exquisite artisanship ( especially within the styling of hanboks) perfectly reflecting the time setting, characters and moods of certain scenes.

The second-half of the drama notably shifts towards the political setup behind closed doors. Whilst undeniably intriguing, the biggest problem of this shifted focal point in the series boiled down to pacing and a shift away from developing the characters and their relationships (by regressing in some cases).The heroine Ra-on quickly goes from an intrepid, outgoing heroine to being a demure, angst-ridden soul who is nearly always subject to needing a saviour from a situation.

Then of course there’s the biggest issue with the drama’s long-held and complicated friendship between of the crown prince, his bodyguard, and the prime minister’s grandson ( to clarify Yoo Jung). It is important to add this is a fictionalised romance drama where enmity between male leads is not uncommon and is used to add fuel to the fire of drama and tension. However ( without spoilers), considering the intimacy of the trio during childhood as well as the potential at times towards the characters being able to set aside their differences or at least develop respectful mutuality , was often upturned in favour of enmity at times between both male leads over Ra-on as well as widely forgotten about in the second-half.

The romantic setup becomes overly predictable with forced marriage for the would-be crown princess Ha Yeon (Chae Soo Bin), tormented puppy dog glances and chaste kisses or pecks on lips out of seeming modesty( despite the characters often not batting an eyelid towards the entering private and more intimate spheres of their chambers as well as the more sexualised jokes in the beginning ) which does slowly begin to grow irksome in parts. In addition to this, flashbacks become an incessant feature in later episodes, leading to a formulaic and repetitive structure ( which soon grows a little tiresome). Sadly, not even the soundtrack is entirely spared as the eclectic OST from earlier episodes, begins to shift to pretty the same couple of K-Pop ballads during every pivotal moment or heartbreaking scene.

The ending undeniably will always have mixed reactions among watchers. Some will appreciate the sweet ending as well as denying the cliches of Ha Yeon being unlikeable or vilified as the second female lead whilst others may rise eyebrows at the anticlimactic finale ( and to some extent logical incoherency).

Ultimately it is wrong to suggest that " Love In The Moonlight” is by any means a dire or unwatchable drama, however, inherently it was not entirely common in K-drama’s either; a sweet and intriguing story, but peppered with cliches, and slow-pacing near the final part of the second hand which sometimes felt a little out of place. Nevertheless, it was a fairly enjoyable drama with interesting characters, a phenomenal cast and an oddly heartfelt romance. Entertaining for the most part," Love In The Moonlight" is worth watching if you’re fan of romantic dramas, or simply looking for something to binge-watch and pass the time.