Captivating the King Review: Netflix’s Latest Gorgeous Yet Unsurprising Korean Period Drama

Transport yourself back to 17th century Korea with Captivating the King, an epic historical K-drama centered around the power struggles and forbidden romance within the Joseon royal court. Set after the Manchu invasion, the show throws us into the complex political dynamics between the conquered Joseon kingdom and the mighty Qing dynasty of China.

We follow Grand Prince Yi In (played by the talented Jo Jung Suk), a respected nobleman who gets taken hostage by the Qing as a political pawn. Forced to live among his country’s enemies, Yi In befriends the Qing royals over games of baduk, a chess-like board game. After years in exile, he returns home only to find his royal court rife with suspicion, plotting and dirty politics. Even his own brother, the ailing King Lee Sun, distrusts him.

Heartbroken, Yi In one day stumbles upon a mysterious baduk gambler, renowned for defeating opponents in risky wagers. To his surprise, this master player is actually Kang Hee Soo (Shin Se Kyung), a cunning noblewoman in disguise seeking to raise funds through gambling. Romance blossoms between the odd couple, but Hee Soo harbors a secret vendetta against the royals.

With lavish set pieces and intricate costumes true to the Joseon period, Captivating the King is a sageuk drama infused with palace intrigue, deadly power plays, ideological clashes between kingdoms, and an elegy to a dynasty in decline.

Navigating the Snake Pit of the Royal Court

Set in 17th century Korea, Captivating the King opens with the Joseon kingdom forced into political subservience under the invading Manchu or Qing dynasty. Grand Prince Yi In bears witness to the aftermath of yet another failed battle against the Chinese. Despite the bloodshed, the Joseon king has already surrendered and put their nation under tribute.

To keep his rivals in check, the Qing ruler demands Yi In to be sent to them as a political hostage. Heartbroken over leaving his people, Yi In hopes to learn about the inner workings of Qing to find Joseon’s path forward. After years in exile schmoozing with Qing royals over games of baduk, Yi In finally returns home.

But far from a heroic welcome, he’s met with skepticism and distrust. In Yi In’s absence, factions have formed in the royal court vying for power. Yi In’s brother King Lee Sun has grown paranoid and sickly, questioning his brother’s loyalty. The cunning Queen and her brother Minister Kim Jong Bae have also been spreading lies, hoping to install her young son as heir over Yi In. Others like the Dowager Queen still support Yi In’s succession.

Reeling from the court’s hostility, a dejected Yi In heads to the forest seeking comfort. There he discovers a masterful baduk player thrashing opponents in risky bets. Yi In is shocked to learn this gambler is actually Kang Hee Soo, a nobleman’s daughter in disguise trying to raise funds to save Joseon prisoners under Qing rule.

As Yi In and Hee Soo bond over their shared baduk brilliance, political turbulence continues to rip through the royal court. When King Lee Sun finally dies amidst vicious plotting and coups, a heartbroken Yi In claims the throne to protect the nation. But tragedy soon hardens his heart, leading him to betray those he once cared for. After barely surviving the king’s wrath herself, Hee Soo sheds her disguise and launches an intricate quest for revenge, setting up an impassioned showdown.

“Step back into a seductive slice of 17th-century royal scandal with our Mary and George review. This provocative series not only drips with opulence and intrigue but also delivers a cutting commentary on ambition, power, and the lengths one will go to rise above their station.”

Leads Locked in a Battle of Wits

At the heart of this political chess match is our protagonist Grand Prince Yi In, later crowned as King Lee In. Played with incredible range by Jo Jung Suk, Yi In begins as a tender-hearted royal who tearfully watches his people die in useless battles against the Qing invaders. Even when taken hostage in exile, his primary concern is learning ways for Joseon society to endure and fight back.

However, years stewing in resentment over his frosty welcome back home coupled with feeling backstabbed by his own brother hardens Yi In’s heart. As king, he transforms into a shrewd strategist willing to betray associates for the throne. Yet glimmers of his empathy and integrity occasionally pierce through his detached facade.

Yi In finds an unlikely emotional refuge in the mysterious baduk hustler Mongwoo, later revealed as the incognito noblewoman Kang Hee Soo (Shin Se Kyung). While her cross-dressing disguise borders on ridiculous, Hee Soo’s spunky charm and masterful baduk skills shine through. We learn she’s raising funds through gambling to rescue Joseon citizens imprisoned under Qing rule.

Hee Soo has secretly admired Yi In for years and hopes the prince will protect her people if trouble arises. But when Yi In dashes those dreams in his bid for power, Hee Soo’s hopes morph into an intricate quest for vengeance. Their ensuing rivalry simmers with a heated blend of attraction, deception and clashing agendas.

The series also spotlights various scheming authority figures like the ailing King Sun, the ruthless Queen and her brother Minister Kim Jong Bae, the Dowager Queen clawing to influence succession, along with Qing royals and turncoat ministers. Their power plays shape our central duo’s predicaments, fuelling the intertwining forces of politics and heartache.

Where the Show Shines and Falters

Anchoring the series is Jo Jung Suk’s outstanding performance as the brooding King Lee In. He adeptly captures both the monarch’s icy ruthlessness and his underlying heartache, breathing multidimensional life into the role. When emotions subtly play across Jung Suk’s stoic expressions or manifest in forceful outbursts, we feel the gravity of his turmoil. His chemistry with Shin Se Kyung also heightens the star-crossed intimacy of their sparse yet impactful scenes together.

Shin Se Kyung has her moments as the feisty noblewoman masquerading as a male gambler. However, her performance falters when conveying complex emotions, often relying on awkward facial tics. Coupled with her patently unbelievable visual disguise, it stretches credulity whenever other characters express shock over her cross-dressing reveal.

Luckily, Captivating the King’s weak spots are buoyed by its lavish cinematography, transporting us convincingly into the royal Joseon era. The gorgeous set pieces, intricate hanboks and regal trappings fire up the imagination. Even minor scenes feel cinematic thanks to meticulous lighting and framing choices mirroring traditional Korean painting compositions. The beautiful score also shines whether accentuating moments of intimacy or amplifying dramatic tension.

Unfortunately, these visual splendors outpace the show’s flimsy plot. Early episodes crawl along overexplaining every character dynamic before events finally gain momentum. But then the payoff overindulges in foreseeable tropes, like yet another fresh betrayal or impulsive miscommunication further tangling the central duo’s relationship web.

Side characters had potential for compelling side stories, especially Shin Se Kyung’s childhood betrothed Myung Ha (Lee Shin Young) on his inquisition for the truth. But intriguing backstories for the calculating Dowager Queen, Qing envoys and other court figures ultimately lead nowhere. Instead of deepening conflicts, these dangling threads make the courtiers’ perpetually shifting alliances feel random.

By centering on a fascinating antihero in King Lee In and the perilous trials confronting him and Hee Soo, Captivating the King shows glints of a genuinely fresh sageuk. But uneven performances coupled with an over reliance on genre clichés often leaves this courtly drama feeling more pretty than powerful. Still, Jo Jung Suk’s magisterial presence alone may justify watching for some.

The Allure of Control and Betrayal’s Fallout

While political games fuel much of Captivating the King’s plot, these scheming characters are ultimately pawns to larger themes. We witness the corrosive effects of paranoia and entitlement, as those drunk on power resort to vicious means to triumph over perceived enemies. Initiatives like Hee Soo’s hostage rescue lose significance amid these ideologues obsessed with influence, no matter the collateral damage.

The story also remains grounded in universal experiences of human connection despite the melodramatic setting. Stoic facades crumble in the wake of betrayal, showing how piercing wounds from loved ones cut the deepest. Yet glimpses of compassion suggest all is not lost, holding out hope for reconciliation.

Most potently, the series highlights how quick thinking and sangfroid can empower the oppressed to determine their own fates even when the odds seem hopeless. Like pieces moving across a baduk board, careful strategy and logic can turn circumstances upside down. Of course personal feelings often complicate outcomes, for better or worse. But Captivating the King argues one’s destiny ultimately lies within one’s own hands.

Arresting Cinematography and Rousing Music Entrance Viewers

Even viewers lukewarm on plot and acting will find themselves awed by Captivating the King’s stunning aesthetics. The regal Joseon-era sets like the lavish palace with its ornate wood carvings and boldly painted facades prove utterly mesmerizing. Showrunners clearly invested in authenticity, evident equally in the spectacular landscaped palace grounds and Hee Soo’s more modest noble quarters.

These dazzling backdrops are matched by the equally resplendent costumes draping the aristocratic cast. The striking color coordination of the hanboks according to character, exquisite embroidery illuminating everything from prince regalia to hair ornaments—every outfit captivates. Shin Se Kyung’s disguise as a rough gambling vagabond also affords plenty of play with gender-bending fashions.

Momentum builds thanks to the score’s haunting zither melodies and pulsating percussion amping up tension behind scheming courtiers. More emotional moments shine when the music pulls back, allowing the dialogue and facial expressions to speak volumes. The occasional modern ballad also peppers touching scenes.

Altogether these technical elements foster immersion into this treacherous royal realm, even as the story itself hits occasional lulls. For many sageuk fans, reveling in the sights and sounds of eras past outweighs all else. By those measures, Captivating the King delivers.

Should You Invest 16 Hours in this Royal Romance?

At its best, Captivating the King transports viewers back to 17th century Joseon, immersing us in the perilous power plays confronting star-crossed royals. Political conspiracies come alive through the palace’s ominous claustrophobia and shadowy schemers around every corner. Jo Jung Suk also shines in embodying the monarch’s complex emotional evolution from innocence to ruthless strategy.

Yet Shin Se Kyung’s performance lacks depth, while her visual disguise triggers too much incredulity. The plot also thickens at a glacial pace early on before stumbling into predictable tropes. Interesting side characters had potential for deeper political stories but end up fading into the background.

Still, between the magnetic leads, elegant score, and lavish set pieces, Captivating the King weaves enough complexity to please die-hard sageuk fans, especially those partial to romantic palace melodrama. The central dilemma around sacrificing empathy for control in the face of betrayal proves sufficiently thought-provoking.

More casual period drama fans may lose patience with the first half’s languid table-setting. But if you plan to watch anyway for beloved star Jo Jung Suk or seek a visually resplendent tearjerker, Captivating the King showcases enough poignant moments to warrant tuning in. Just brace for occasional lulls before its faster-paced second half. Either way, keep tissues handy for this angst-filled courtly tale.

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