The tvN drama "Queen of Tears" is sparking enthusiastic responses across social media platforms in Western countries and Indonesia, following its fresh portrayal of sons-in-law preparing ancestral ritual food, traditionally a task that falls to daughters-in-law in Korea.
This twist in the drama, where over ten men, clad in aprons, prepare the ceremonial food, reflects a deliberate departure from entrenched patriarchal traditions within the fictional Queens Group family.
The drama's lead character Baek Hyun-woo (played by actor Kim Soo-hyun), a Seoul National University law graduate and the eldest grandson-in-law of Queens Group, laments the perceived waste of talent in preparing ritual food, highlighting the exhaustion and frustration commonly associated with such tasks. This scene not only offers comic relief but also mirrors the real-life grievances of married Korean women, subtly critiquing the gender disparities embodied in patriarchal customs.
"Queen of Tears" is not just a drama but a mirror held up to society, reflecting the absurdity of gender discrimination. It satirizes the remnants of the patriarchal culture by having men take on roles traditionally reserved for women in Korea, particularly during the preparation of jesa or ancestral rites. This task, historically the responsibility of women in the family, is portrayed with a twist, as the drama employs a "mirroring" technique to critique the expectations placed on women.
The drama's reach extends beyond Korea, resonating with viewers in countries like Indonesia, where patriarchal customs are similarly entrenched.
A 22-year-old Indonesian viewer expressed solidarity with the drama's themes, saying, "In Indonesia, the youth marriage rate is falling. Like Korea, patriarchal customs are deeply rooted in society. Many women still live with the perception that they must cook for their husbands and their families. It was refreshing to talk about patriarchal culture with my family through a K-drama. In some ways, 'Queen of Tears' was educational."
Drama critic Gong Hee-jung praised "Queen of Tears" for its satirical take on the core of the patriarchy, marking a significant step in mainstream pop culture toward challenging and changing gender norms.
The drama, penned by Park Ji-eun, known for reigniting the hallyu wave with "Crash Landing on You" (2019), and directed by Kim Hee-won, celebrated for "Little Women" (2022), showcases the growth of three sisters through its narrative, underscoring the impactful role of women creators in leading cultural change.
"Queen of Tears" also subverts the traditional rom-com formula by ditching the cliched "prince on a white horse." Instead, Hong Hae-in, played by Kim Ji-won, a woman executive of Queens Group, takes the lead in the relationship, reversing traditional gender roles and offering a new perspective on the Cinderella story. She takes the initiative in romance by flying a helicopter to the countryside to confess her love to Baek Hyun-woo.
This gender role reversal, combined with a narrative that questions the conventional pursuit of happiness through romantic fantasies, has been identified as a key factor in the drama's popularity, offering a blend of black comedy and a fresh take on love and personal empowerment.
Cultural critic Jung Duk-hyun attributes the drama's popularity to its gender role reversal and humor akin to black comedy, stating, "It has flipped the script of romantic comedies once again with a story that suggests even becoming Cinderella does not guarantee happiness."
As "Queen of Tears" continues to captivate viewers with its innovative storytelling and social critique, it stands as a testament to the changing dynamics in Korean entertainment and the global resonance of its themes. The drama's current success and the conversations it has sparked suggest that its impact will continue to be felt, both in the realm of entertainment and in the broader discourse on gender equality.
This article from the Hankook Ilbo, a sister publication of The Korea Times, was assisted by generative AI and edited by staff at The Korea Times.