KDrama Review: Tempest (2025). The recently concluded K-Drama Tempest…

The recently concluded K-Drama Tempest is an example of what I’d call a “Hollywooded K-Drama.”

If you’ve seen the movie Parasite, it added a typical Western element, which is the sensual scene on the sofa — something not usually present in Korean storytelling. At its core, Parasite still exudes that distinct Korean eeriness — where characters feel unsettling and strange, much like those in Light Shop or Strangers from Hell. The wealthy family with their avant-garde house and the struggling poor community on the other side of the city are classic Korean contrasts.

But Tempest is different. Watching it feels like being transported back to the ’90s era of American dramas like The West Wing or the more current drama Designated Survivor, where conflicts around politics and justice are dramatized.

What’s refreshing, though, is that while the setting leans American, the Koreans remain Korean for being composed on conflicts even though their real culture thrives on the ppalli ppalli (“hurry, hurry”) mentality.

The series feels Hollywood-heavy, especially because of the frequent English dialogue. The Korean actors spoke in English so naturally that when they switched back to Korean, the American vibe lingered.

I feel that the heavy Western influence diluted the unique Korean storytelling style.

Storyline

The most distinct part of the story for me is when Ju Ji-hyun’s character is helped by her mother-in-law, who plays the role of a queenmaker. I’ve seen several queenmaker plots, but here the MIL’s role was professional and pragmatic, rather than conflict-driven, which made it stand out.

The overall plot itself isn’t groundbreaking — at one point, I couldn’t even predict where it was headed, though I think some viewers might have.

What I did enjoy, though, was the dynamic between the male and female lead. Their leader-subordinate relationship (despite not sharing the same citizenship) reminded me of Roman Holiday, where the leader must make choices that prioritize duty over personal desire.

Among the recent “bodyguard series” like Rain’s Red Swan and Ju Ji Hoon’s Blood Free, the romance here feels more natural and satisfying — the kind of chemistry we wished existed in those other shows.

The ensemble cast was also a strength. Even though many were top-billed names, no character felt forced in. Each had significance, and everyone was given a chance to shine.

Where the drama stumbled was with its villain. The backstory wasn’t well fleshed out — it came across almost in passing. As a result, the final episodes felt abrupt, with the narrative shifting into “telling” us what happened in the past rather than “showing” it. That’s a bit disappointing, because backstory depth is one of K-Drama’s strongest suits — and one of the main reasons I keep coming back.

Watch this if:

You’re new to K-Dramas and don’t want to feel overwhelmed by typical Korean acting styles.

You’re a fan of lead actors.

Skip this if:

You prefer the classic, distinctly Korean style of storytelling.