It’s Okay to Not Be Okay kdrama

It's okay to not be okay

The K-drama “It’s Okay to Not Be Okay” unfolds the narrative of two siblings, Moon Gang-tae and his elder brother, Moon Sang-tae.

Summary of the drama:It’s Okay to Not Be Okay kdrama

Moon Kang-Tae works in a mental health unit where she carefully logs patients’ conditions and handles emergencies. He receives a meagre monthly pay of 1.8 million won  while playing a crucial function. Renowned children’s book author Seo Yea-Ji, on the other hand, suffers from an antisocial personality disorder characterised by rudeness, conceit, and selfishness. Her admiring readers are unaware of her relationship difficulties despite her success in the literary world. When fate connects their paths, the disparate worlds of Moon Kang-Tae and Seo Yea-Ji converge. Moon meets Seo while navigating the difficulties of mental health treatment; he may not be aware of her internal conflict. Their relationship can have unintended effects that reveal the precarious equilibrium between duty and desire, sanity and creativity. Their divergent lives come together to form a narrative that digs deeply into the complexities of human nature and the careful balancing act between perception and truth.

Storytelling in detail:It’s Okay to Not Be Okay kdrama

Following the demise of their mother at a tender age, Moon Gang-tae assumes the role of primary caregiver for Sang-tae, who grapples with Autism Spectrum Disorder. Bearing witness to their mother’s tragic end, Sang-tae is plagued by traumatic nightmares featuring butterfly assaults, compelling the brothers to remain ever ready to relocate at a moment’s notice to restore Sang-tae’s sense of security and maintain their semblance of a life.

Prior to their next relocation, the siblings encounter Ko Mun-yeong, Sang-tae’s cherished children’s book author, catalyzing a romantic entanglement between her and Gang-tae. Mun-yeong, too, contends with personal mental health struggles and trauma. Undoubtedly, “It’s Acceptable to Not Be Okay” excels in its portrayal of mental illness, healing, and fraternal bonds. However, the narrative falters when delving deeper into the enigma shrouding the murder of Gang-tae and Sang-tae’s mother, veering dangerously close to mediocrity.

 

it's okay to not be okay kdrama
Netflix

A highlight of “It’s Okay to Not Be Okay” lies in the depiction of Sang-tae’s character. Unlike the common relegation of characters with Autism Spectrum Disorder to peripheral roles or mere plot devices, Sang-tae assumes a pivotal role in the narrative, with his thoughts, emotions, and needs accorded significant importance. Mun-yeong must earn Sang-tae’s approval before formalizing her relationship with Gang-tae, underscoring the significance of his role in the dynamics. The evolution of their relationship into a “found” family, characterized by mutual acceptance and love despite their mental health struggles, is profoundly moving.

Gang-tae’s background further enriches the narrative; burdened by the responsibility of caring for his brother since childhood, he grapples with the notion that his desires are selfish and inconsequential, concealing his true emotions to avoid distressing Sang-tae. Mun-yeong emerges as Gang-tae’s romantic interest and eventual confidante to Sang-tae. Though casually labeled with antisocial personality disorder, Mun-yeong’s disregard for societal norms and consequences fuels her pursuit of desires, particularly evident in her relentless pursuit of Gang-tae.

Her unconventional behavior is mirrored in her children’s books, which serve as a conduit for her emotions. The trio’s collective journey through trauma is sensitively portrayed, yet the narrative veers off-course with the revelation of Mun-yeong’s haunting past, diluting the overall impact. Despite its merits, “It’s Okay to Not Be Okay” falls short in maintaining realism, particularly in its portrayal of mental health treatments. The normalization of Mun-yeong’s behavioral issues post-romance and the oversimplified therapy sessions detract from the narrative’s credibility.

Furthermore, the depiction of Sang-tae’s autonomy and functionality appears exaggerated, straining believability. While the central characters receive commendable attention, peripheral elements such as secondary characters and institutional settings lack depth and authenticity. In conclusion, “It’s Okay to Not Be Okay” particularly in its portrayal of Sang-tae and Mun-yeong, buoyed by stellar performances. However, lapses in narrative cohesion and realism detract from its overall impact. Viewers seeking a nuanced exploration of mental health in K-drama may find more satisfaction in alternative offerings such as “It’s Okay to Not Be Okay.”