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k-nonsense · 1 year

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My updated rankings/reviews of all the k dramas I have seen so far (up to 54 now). I would recommend any show I gave a C grade or higher, which is most of them. I bolded recently added shows.

1. Hometown Cha Cha Cha: An absolute masterpiece. It’s a heartwarming fish out of water story about a big city girl who finds herself in the quirkiest little seaside town. I wanted to stay in Gongjin forever. Grade: A+(Netflix)

2. Extraordinary Attorney Woo (S1): Delightful! Never have I ever rooted for a lead harder. She is the most endearing lead you will ever find. And the male lead is so so swoony. Grade: A+(Netflix)

3. Alchemy of Souls: The wildest of rides and the perfect blend of fantasy, adventure, mystery, comedy, and romance. The characters are just so lovable, you’ll never want it to end. Season 2 just as good as Season 1. Grade: A+ (Netflix)

4. Love To Hate You: New fastest binge of my life. 10 episodes and I didn’t fast forward at all. There were no bad/slow parts. Also the funniest KDrama I’ve ever seen. Just watch it. You won’t regret it. Grade A+ (Netflix).

5. My Demon: This show had me utterly enthralled, it was so mysterious and suspenseful and yet incredibly goofy and romantic. My new favorite main couple in all KDrama land. Yes it wasn’t perfect but I enjoyed it so much, it really encapsulated everything I love in a tv show. Grade: A (Netflix)

6. Business Proposal: It’s got every trope you can think of and it does them all to perfection. Plus it’s hilarious. Grade: A (Netflix)

7. Healer: This super romantic action mystery drama will keep you on the edge of your seat. Ji Chang Wook is equal parts sexy and adorable which is a seriously winning combination. Grade A (Viki). One caveat: I was very disappointed by a certain wardrobe decision in episode 3.

8.Her Private Life: Super funny and charming. The romantic leads have incredible chemistry. The premise is so good! Might be the one of the most rewatchable kdramas. Grade: A (Netflix)

9. Castaway Diva: Just utterly heartwarming. An instant classic. Ultimate underdog, redemption, story that teaches us what real love and family is. Also Ki-Ho is the new standard by which all men will be judged. Grade: A (Netflix)

10. Rookie Historian Goo Hae Ryung: Great strong female lead. Very good messages. Couldn’t stop watching. The most adorable prince I’ve ever seen 💜Cha Eunwoo💜 Grade: A (Netflix)

11. Bad Prosecutor: Absolutely thrilling and hilarious. It’s like a heist, detective, lawyer, action comedy that will keep you wondering who is outsmarting who? Super shocking plot twists. Amazing OST. Stuck the landing with a truly satisfying finale. Grade A (Viki)

12. Sh**ting Stars: Probable the biggest turnaround of any show I’ve seen (The “Africa” part was so problematic). However it turned out to be one of the funniest and swooniest KDramas out there. There are 5 couples and you will cheer for all of them. Grade: A- (Viki)

13. Strong Woman Do Bong Soon: The main couple is absolutely everything! Just fast forward through pretty much every side plot (they are not important) and you’ll love it. Grade: A- (Viki)

14. So I Married the Anti-Fan: It’s campy, fluffy, goodness, with a fierce female lead and a K-pop star enemy/love interest. 2nd fastest binge of my life. Grade: A- (Viki)

15. 100 Days My Prince: An absolute classic period drama romcom. Who knew D.O. could kiss like that? Such a great strong female lead. I LOVE a show with adorable, quirky, townspeople. Grade: A- (Netflix)

16. Romance is a Bonus Book: Might be the most romantic K-Drama I’ve ever seen. Nothing about the trailer or setup intrigued me but I’m so glad I watched it anyway. It was a truly beautiful love story. Grade: A- (Netflix)

17. Because This Is My First Life: This drama really does everything right for me… A slow burn romance built on mutual love and respect. Supporting characters who I genuinely cared about and had incredible side stories of their own. A critique of the patriarchy. Women supporting women. An adorable cat. Maybe a bit melodramatic at times but not too much. Grade A- (Netflix)

18. Start-Up: Exceptional acting, compelling storylines, intriguing plot twists, great cinematography, intense love triangle. It’s just all around high quality. Grade: A- (Netflix)

19. Run On: Cute, fun, silly and pretty light. I especially loved the supporting cast. Strange storyline but it was a fun easy ride. Grade: A- (Netflix)

20. Forbidden Marriage: This is a weird show, but weird in the best way. It’s like a comedy, horror, romance, fictional-historical. I don’t know how to describe it but it’s really fun. B+(Viki)

21. Soundtrack #1: Short and beautiful. I just loved it. No one does heart eyes better than Park Hyung-Sik. Grade: B+(Disney+)

22. Weightlifting Fairy Kim Bok-Joo: A bad-ass yet vulnerable female lead. The main couple just had a lot of fun together. Refreshing. Grade: B+ (Viki)

23. Doctor Slump: This show was a really nice journey of both mental health and romance. Grade: B+ (Netflix)

24. Welcome to Samdalri: Very heartwarming and beautiful story about love, family, friendship, and going home. It has quirky townspeople and Ji Chang Wook 😍 what’s not to love? Grade: B+ (Netflix)

25. My Lovely Liar: Creative and engaging premise, intriguing mystery, and a swoon worthy romance. A very fun viewing experience. Grade: B+ (Viki)

26. King the Land: This drama pretty much has no stakes or conflict and the main couple has THE MOST chemistry I have ever seen in my entire life. So if you just want to turn your brain off and be happy, this is the drama for you. I absolutely loved it. Grade: B+ (Netflix)

27.Law Cafe: This drama has so much to love, a strong/fierce/brilliant and morally righteous female lead, lovable side characters, steamy romance. But what I loved most was how the show spotlighted important issues like consent and abuse in nuanced and progressive ways. Yes it’s a fun rom-com but it felt like the beginning of a new chapter of more egalitarian storytelling which made me really excited for the future of k-dramas. Grade: B+ (Viki)

28. Not Others: A lovely Gilmore Girls type show about the relationship between an immature mother and her very mature adult daughter. It was a pleasure seeing them grow in their relationships with each other, others, and themselves. I want more! Grade B+ (Viki)

29. Cheer Up: Sports, comedy, romance, mystery, suspense, coming of age, this show had everything. The female lead was the lovable, feisty, driven, and brave. The male lead was adorkable, considerate, and sweet. It’s all very enjoyable and wholesome. Grade: B+ (Viki)

30. I Am Not A Robot: Zany premise but it was surprisingly pretty grounded for how crazy the set up was. It’s funny, emotional, good story telling. Great character development. Grade: B+ (Viki)

31. See You in My 19th Life: The shared experience of watching this mystical mystery drama week to week made it a really enjoyable watch. Not sure if it was totally satisfying, or that any of the couples’ chemistry felt authentic, but it was a very interesting and creative storyline. Grade B (Netflix)

32. Summer Strike: This show made me cry a lot. It’s heartbreaking yet healing. I’m still not sure if I liked watching it or not but it was a beautiful story of found family. Grade B (Netflix).

33. Shopping King Louie: Adorable! So many light fluffy feels for this show but it does drag a bit in the second half. Grade B (Viki)

34, Fight For My Way: Such lovable leads. Love the fierce female lead and adorable himbo male lead. It’s like a coming of age story but for 30 year olds. Storyline was ok. Second couple was skippable. Grade: B (Viki)

35. What’s Wrong with Secretary Kim: More PSJ is always a good thing. This drama did all the tropes in ways that didn’t always feel fresh, but it was very romantic and hilarious. A true classic. Grade: B (Viki)

36. Touch Your Heart: If you can just stick it out through the first few very shaky episodes, you will enjoy this adorable, fluffy, series. Grade: B- (Netflix)

37. Doom at Your Service: It was sometimes real sad yet ultimately a heart warming mystical story. Grade: B- (Viki)

38. True Beauty: Fun, cute, teen drama however, it’s a little too “antsy teen” for me. Cha Eunwoo though💜 Grade: C+ (Viki)

39. Destined With You: The chemistry between the main couple was absolutely sizzling. Rowoon was both hilarious and next level adorable. However, the plot and the characterization of women occasionally made me very frustrated. Grade: C+ (Netflix).

40. Suspicious Partner: Great story, great characters, attractive actors, beautiful romance, interesting plot, sometimes funny, sometimes suspenseful, but with 40 episodes, the plot was dragged. Grade C+ (Viki)

41. Crash Landing On You: The first half is GREAT but the second half is way too melodramatic for my taste. It’s a very interesting storyline, the main couple has insane chemistry, and there are very lovable side characters. Grade: C+ (Netflix)

42. Secret Romantic Guesthouse: First few episodes were a fun scooby gang mystery, middle episodes were super boring, last 3 episodes were crazy fast paced and thrilling. It ended well- I’ll give it that. Grade: C (Viki)

43. Dear.M: It was inoffensive and decently entertaining. If you like school dramas, you’ll probably enjoy it. Grade: C (Viki).

44. A Good Day To Be A Dog: The storyline is bonkers but very intriguing. It started off so well but the storyline lost its way in the back half. But hey, Cha Eunwoo + dogs, it’s worth the watch. Grade: C (Viki).

45. Angel’s Last Mission: Love: This drama was very similar to Doom At Your Service but it was more a bit more redundant with all of the tragedy and crying. I LOVED the chemistry of the main couple but I found myself fast forwarding a lot. Grade: C- (Viki)

46. Marry My Husband: Episodes 1-11 were phenomenal. Such an interesting premise with shocking twists and turns. After episode 11 it seemed like there were new writers who had never seen the show. Very disappointing but top tier villains. Grade: C-

47. Our Beloved Summer: I LOVED V’s “Christmas Tree” OST however I struggled to keep watching. Boring storyline but great acting. Grade: D+ (Netflix)

48. Heavenly Idol: An absolute hot mess. It was completely convoluted and just low quality but I also weirdly liked it. I can’t bring myself to rank it higher because I know how bad it was but I actually enjoyed it better than many shows I ranked ahead of it. Grade: D+ (Viki)

49. My Secret Romance: The story of a total screw up female lead falling for a manipulative, gaslighting, hottie. It was problematic yet fun? So 🤷‍♀️ Grade: D+ (Netflix)

50. My Man Is Cupid: Pros: many cute dogs, sometimes those dogs wear human clothes, cute ending. Cons: Makes no sense, not much chemistry, murder plot takes up too much time. Grade D+ (Prime).

51. She Would Never Know: As handsome as Rowoon is, I found his character problematic at the beginning (no means no buddy) but he did get a lot better as the show went on. I just ended up skipping to watch just the scenes with the main couple, which made the show way more enjoyable. Grade D (Netflix)

52. My Love From the Star: I found myself fast forwarding a lot through all the parts that didn’t involve the main couple and most of the flashbacks. Grade D (Viki)

53. Goblin: The age gap is too disturbing for me, like call the police disturbing. However, the Grim Reaper who is one of the most adorable characters I’ve ever seen. Grade: D- (Viki)

54. Extra-Ordinary You: I have never felt so betrayed by a second half of a series as I did in this one. All of the character development that it seemed to be leading to was replaced by a pretty sickening codependent relationship. Grade: D- (Viki).

Currently Watching: Wedding Impossible (I think I like it)

Dramas I’m Thinking About Watching: Gaus Electronics, Bad and Crazy, Hospital Playlist, Another Miss Oh, Oh My Venus, My Roommate is Gumiho, She Was Pretty, Crash Course in Romance, Soundtrack #2, Queen of Tears

Dramas I just couldn’t Finish (I’m sorry I tried): Today’s Webtoon, Once Upon a Small Town, Love in Contract, Hotel Del Luna, Kings Affection, Record of Youth, Behind Your Touch, Sparkling Watermelon, Tale of Nine Tailed 1938, Strong Girl Nam Soon, The Story of Park’s Marriage Contract

What are your thoughts on these shows? Do you agree or disagree with my rankings? Any k-romcom recommendations that are not on the list yet?

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the-smut-analyst · 6 months

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A defence of the Good Guy / Bad Boy love triangle

It is no secret that mainstream YA & NA fantasy gravitates towards an angsty love triangle. But is this trope's popularity due to vapid teenage vanity... or something far deeper?

Warning: in this post, I will be referencing: True Blood/The Southern Vampire Mysteries, Legendborn, A Court of Thorns and Roses, The Shadow and Bone Trilogy, Buffy the Vampire Slayer, The Hunger Games, Chilling Adventures of Sabrina, and The Vampire Diaries. Some minor spoilers, mostly relating to the romance side of things, may be involved.

I have stumbled across a bunch of articles lately analysing why love triangles are popular in YA and NA fiction - and all of them, in my opinion, missed the entire point.

Firstly, they focus entirely on the "love interests", while wilfully ignoring the fact that the romance element is often a subset of these stories, rather than the main focus (more on that later).

Secondly, these articles often attribute the appeal of the love triangle to "teenage vanity". They either directly state or imply that young women are drawn to the idea of "provoking" two men into a fight for their affection.

Look, I get it.

Or at least I get how a middle-aged man tap-tap-tapping away on his computer might draw that conclusion. Especially if the crux of his knowledge regarding female-centred fantasy rests on blog posts ripping apart Twilight.

But regardless, the fact remains that labelling YA love triangles as a conceited sexual fantasy is a gross over-simplification. Why? Because romance is rarely the point of the story. Instead, the love triangle is a vehicle through which the author complements and elevates the standard Hero's Journey plot beats.

To demonstrate this argument, I will go through each of the critical plot beats in the Hero's Journey. For each beat, I will demonstrate (with examples) how dual love interests can underscore the character development of the protagonist and highlight her emotional struggles during each stage.

The outline for this analysis will be as follows:

Introduction of the Female Protagonist / Refusal of the Call

Meet the Good Guy / Meeting the Mentor

Meet the Bad Boy / Tests, Allies, and Enemies

Death of Innocence / The Ordeal in the Abyss

Heartbreak / "Death" of the Mentor

Grief for Lost Innocence / Refusal of the Return

Self-Discovery / The Road Back Home

Female Protagonist Accepts Her New Self / Master of Two Worlds

For reference, here is a rough outline of the major plot beats in the Hero's Journey:

Alright. Time to rip apart some assumptions.

Let's go!

Introduction of the Female Protagonist

Refusal of the Call

Mainstream fantasy love triangles almost always centre a female protagonist hence why people love to hate on them. The introduction of this protagonist generally follows your fairly standard Hero's Journey opening.

We meet the protagonist, usually a teenager or young woman, going about their "everyday life" in the ordinary world.

But then the Call to Adventure comes - sometimes referred to as the Inciting incident. For Feyre (ACOTAR), this moment is when she kills a wolf who turns out to be Fae. Or for Katniss (HG), her sister's name is drawn, prompting her to offer herself as a tribute instead.

The Call to Adventure or Inciting Incident marks a point of no return - even though the protagonist might not realise it at the time. It is the moment when life as they know it ends. Afterwards, nothing will ever be the same, including the protagonist.

The following beat is usually the Refusal of the Call, where the protagonist resists any change coming their way. Buffy (BTVS), for example, wants to continue her life as a regular teenage girl instead of being burdened by the duties of being the Slayer. Similarly, Sabrina (TCAOS) is hesitant to participate in the dark baptism, scared of its implications for her ties to the mortal world.

But for the plot to move forward, something or someone needs to prompt the protagonist to leave the "ordinary" world behind - and in turn, take those first few tentative steps into the "special" world (unknown).

Enter...

Meeting the Good Guy

Meeting the Mentor

The Mentor doesn't always have to be an Obi-Wan-style character who teaches the protagonist everything they know about lightsabers. In its simplest form, the Mentor archetype is a guide. Someone who takes the protagonist by the hand, either literally or metaphorically, and leads them from the ordinary world into the special one.

This transition is known as Crossing the Threshold and it is the beat that marks the shift from Act I to Act II.

Now, there is a good reason why the Meeting the Mentor plot beat often serves as a precursor to Crossing the Threshold. And no, it isn't because the protagonist is incapable of doing anything by themselves.

Instead, the Mentor character is often employed to explain how this new world works to both the protagonist and the reader alike.

Through the protagonist interacting with a "guide", the rules and systems of the new world can be revealed through dialogue and action, rather than excessive exposition and info-dumping.

And this is where the "good guy" as a Mentor character stand-in comes into play. His arrival serves the dual purpose of propelling the protagonist into the Crossing the Threshold beat and guiding her once she does.

For example, Sookie's budding romance with Bill is what introduces her (and us) to the Charlene Harris's world of vampires in True Blood. Or, in Tamlin's case, he takes his role in "helping" Feyre to cross the threshold quite literally and abducts her, forcing her to leave the human world behind in place of the world of Fae.

Now, there are quite a few exceptions to this good guy/mentor rule and they generally occur when the good guy is a childhood friend or sweetheart. Examples include Harvey (TCAOS), Gale (HG), and Malyen (SAB).

When this happens, the good guy often provides the protagonist with a much-needed link to her previous life and/or the ordinary world. He takes on more of a "grounding" role, rather than a guiding one.

But regardless, what these good guys have in common is a fairly standard set of traits. They are protective, have a strong moral compass, and are incredibly loyal to the protagonist.

Furthermore, they are almost always the protagonist's "first love". They offer her the emotional support she needs in order to move forward by making her feel less alone in the world.

Regardless of whether the good guy is a childhood friend or a mentor-like character, his relationship with the protagonist usually marks a time of both innocence and self-discovery. He is a source of love and companionship while the protagonist takes those first few tentative steps into the unknown.

Meeting the Bad Boy

Tests, Allies, and Enemies

The Hero's Journey is, at its essence, a Bildungsroman-like story. Or at least it is in the YA/NA genres. It is a coming-of-age tale, with Crossing the Threshold being a symbol for leaving the child behind in order to discover the adult that awaits.

What follows is a collection of plot beats known as Tests, Allies, and Enemies. This stage of the story is often fraught with missteps and small triumphs, good times and bad times - much the same as adolescence.

And this is where the bad boy comes in.

Sometimes the bad boy manifests as an enemy who the protagonist must face in some kind of test like Spike to Buffy. Other times, he presents as a Temptation beat, like the Darkling does to Alina (SAB), trying to lure the protagonist away from their path.

But regardless of how he makes his entrance, the initial purpose of the bad boy is almost always to bring the protagonist face-to-face with the dangers of this new world.

For example, through Eric, Sookie realises that not all vampires are polite and restrained like Bill. Similarly, Feyre's first encounters with Rhysand show her an even darker side to the Fae.

Even bad boys who are not outright evil still tend to behave in a way that the protagonist finds confronting, like Peeta (HG), whose ruthlessly practical survival tactics disturb the very moral Katniss.

In this sense, the bad boy fashions himself into a symbol of the harsh realities of adulthood. Much as a child might find their first encounter with the cruelty of the world shocking, the protagonist is shocked and appalled by the bad boy.

We're not in Kansas anymore, Dorothy.

However, it is important to note that the bad boy is usually just one component of the beats involved in the Tests, Allies, and Enemies section. Again, this ties in with my argument that these stories are a Hero's Journey first - with the love triangle simply underscoring that fact.

The friendships that Buffy forms with Willow and Xander are shown to be her two most enduring relationships, while her love interests come and go. In Legendborn, Bree's quest to learn the truth about her mother's death has nothing to do with romance at all. And Sabrina's rivalry-to-friendship arc with Prudence gets significant screen time across multiple episodes and seasons.

During the Tests, Allies, and Enemies stage, the protagonist is usually starting to come into her own. She faces challenges, forms friendships, and encounters enemies. And yes, with love triangles there's usually some lust and romance thrown in there, too.

But the main focus of this stage is that the protagonist is starting to learn who she is. She is becoming more and more powerful with each setback and triumph.

The Death of Innocence

The Ordeal in the Abyss

The Ordeal into the Abyss, also known as The Belly of the Whale, is a plot beat where the protagonist encounters their greatest test thus far.

Rather than this beat being the climax of the story, The Ordeal is generally a challenge that the protagonist must face before the final confrontation or battle - and they must do so alone. It sees them hitting rock bottom and coming face-to-face with their greatest fear, whatever that may be.

This plot beat is a transformative one. It forever changes the protagonist and readies them for the final battle ahead. It is a death of innocence. The moment when the "girl" becomes the "woman", so to speak.

And in this sense, The Ordeal in the Abyss comes with loss and gain in equal measure. Yes, the protagonist is stronger for the experience, but not without cost.

To get to this point, she has been to hell and back. Sometimes literally (cough, cough. Sabrina). The protagonist is now well acquainted with the darkness of this new world but, in order to survive it, she has to absorb some of that darkness into herself.

If you gaze into the abyss, the abyss gazes into you.

The aftermath of The Ordeal usually sees the protagonist having conflicting feelings over what she has discovered about herself.

On the one hand, she might relish her newfound power and strength. But on the other hand, she may also be afraid of who she had to become in order to emerge triumphant.

Heartbreak

"Death" of the Mentor

The Death of the Mentor isn't always a literal death, but rather, it is a plot beat that forces the protagonist to stand on their own two feet.

By losing the mentor, the protagonist's safety net is ripped out from underneath them. It places them in a "sink or swim" situation that is critical to their growth as a character.

This is why the relationship with the good guy must either falter or end at some point, even if only temporarily. Their breakup serves as a stand-in for the Death of the Mentor plot beat.

Because despite romance featuring heavily in these stories, there is still an inherent idea within them that there are certain steps in a woman's coming-of-age that she must take alone.

The cause of this breakup is almost always due to the transformation that the protagonist underwent during The Ordeal. The good guy no longer understands her, even though he may want to.

For example, Feyre's experience Under the Mountain sees her outgrow her coddled life with Tamlin. Similarly, when Katniss returns to 12, Gale can't fully comprehend what she went through, nor the role she is being forced to play as a result.

Grief for Lost Innocence

Refusal of the Return

The combination of The Ordeal and the Death of the Mentor take their emotional toll on the protagonist. She mourns for the girl she once was, the loss of her first love, and the ordinary world that is now a stranger to her.

What follows is a low point called The Refusal of the Return. Sometimes this beat sees the protagonist running away from her problems, as Buffy does when she flees Sunnydale after killing Angel.

Other times, The Refusal of the Return is a period of rebellion. Grief manifests itself into rage and the protagonist leans more heavily into that darker side of themselves that they discovered during The Ordeal. Like when Elena turns off her humanity following the loss of her brother.

It is usually during this stage that the bad boy begins to take on a more prominent role. (Welcome back to the plot, bad boys!)

At some point, either during this beat or perhaps earlier, we see a different side to the bad boy. Most often, this occurs when the bad boy shows the protagonist some kind of vulnerability, leading her to second guess her first impression.

In the Darkling's case, Alina recognises his profound loneliness. Sookie witnesses Eric's grief at the loss of his maker, Godric. And Rhysand confides in Feyre about the horrors he endured at the hands of Amarantha.

However, seeing this "other" side isn't just a plot device to justify the protagonist's developing feelings for the bad boy. But rather, it serves as a mechanism through which the protagonist's assumptions and beliefs are thrown into question. Not just about the bad boy, but about the world in general.

Disrupting the protagonist's foundations is essential to nearly all emotionally-driven storytelling. Through shattering the her beliefs - whether it be in a system or person - the narrative is propelled forward as the protagonist is then forced into come to her own conclusions.

And this - THIS! - is where the "good guy / bad boy dynamic" becomes so much more than just a blatant over-simplification of male archetypes pandering to female sexual fantasy.

The dichotomy of "good" and "bad" expands here to represent larger choices that the protagonist has to make. Comfort or danger? Honour or Power? Altruism or ambition?

Furthermore, the protagonist's conflicting feelings about the two love interests underscores the very real push-and-pull we all feel during adolescence. Where we crave the adventure and independence of adulthood while simultaneously mourning the safety and protection of childhood.

And this is why the good guy / bad boy love triangle can be such a great plot device. It's not only fun to read (when done well) but it makes sense that the protagonist might find herself drawn to someone whose darkness matches her own.

Who the bad boy is - and what he has done - creates a safe space for the protagonist to explore this darker side of herself. To rebel. To fall apart. To be selfish for once, instead of selfless.

At a time when others in the protagonist's life, like the good guy or her friends, my judge or simply not understand her, the bad boy offers a reprieve. But whether this reprieve positively or negatively influences the protagonist tends to vary from story to story.

Sometimes he is the one who encourages her Refusal of the Return, as the Darkling does for Alina. Other times, the bad boy helps the protagonist in returning to her path, rather than luring her away from it, by offering her his understanding.

Peeta gets what Katniss is going through in a way Gale never can because he went through it, too. Similarly, Stefan can't provide Elena with the reassurance she needs after becoming a vampire because he has never come to terms with his own loss of humanity - therefore, enter Damon.

Self-Discovery

The Road Back Home

The Road Back Home sees the protagonist emerging from her Refusal of the Return. It is when she embarks on the journey to fully reconcile the girl she once was with the woman she has become. To do this, she needs to confront her trauma from The Ordeal and forgive herself for whatever darkness it might have awakened.

This is usually a gradual process that takes place over many chapters or episodes. In many ways, it is a mirror to the Crossing the Threshold beat. Except this time around, the protagonist is looking inwards not outward - instead of discovering the new world, she is discovering herself.

During this time, the bad boy's relationship with the protagonist is often explored more deeply. Being loved by the bad boy - darkness and all - is usually a precursor to the protagonist beginning to accept this darker side of herself, too.

But a distinction needs to be made here between "accept" and "embrace". The former does not necessitate the latter, and whether or not the bad boy gets his own redemption arc usually serves as the distinction between the two.

In the Darkling's case, he certainly helps Alina to come into her power, but ultimately, Alina rejects the path that he is trying to lead her down. The Darkling might have helped her to accept her darkness, but she does not fully embrace it the way he does.

Other times, when the bad boy gets his own redemption arc, we see a precursor to self-love through their relationship. Because in pursuing her feelings for the bad boy, the protagonist has to reconcile the fact that people are nuanced, and no one is entirely good nor evil. In forgiving the bad boy for his past wrongdoings, the protagonist sees that it is possible to forgive herself, too. Damon and Elena's arc (in the TV adaptation) is a good example of this.

But regardless of where things may or may not go with the bad boy, the next plot beat has nothing to do with romance at all. Now, the protagonist is ready for the final battle.

The Female Protagonist Accepts Herself

Master of Two Worlds

Everything the protagonist has been through has been leading her to this moment. Her triumphs, her defeats. Her discoveries and lessons. Her friends and mentors and lovers.

She's faced evil, maybe even embraced a little of it, and come out stronger and better for the experience. She has finished mourning the child she once was and accepted the woman she has become.

Now she is ready, as a master of both worlds, to face whatever comes next. And we, as readers, now get to enjoy the final battle!

Basically, the protagonist is a certified badass now - and she's going to win.

Now, where the romance goes during or after this plot beat is very, very varied. Sometimes, the protagonist stays with the bad boy, like Feyre does with Rhysand. Other times, the relationship is temporary, like Eric and Sookie. Or, in the case of Buffy, neither the good guy nor the bad boy remains in the picture. In fact, a very deliberate choice was made with her story to avoid an "end-game" romantic pairing.

And the reason why the romance is pretty damn varied is because, well, it doesn't really matter. The romance is the cherry on top of the story, not the whole damn cake.

Conclusion

I understand that love triangles might not be everyone's cup of tea - and that's okay. But to paint the entire trope under the broad strokes of teenage vanity and wish fulfilment is to do it a disservice.

Because for the most part, it isn't just some vapid romance. A lot of the most popular stories within the genre are actually complex YA fantasies in and of their own right, driven by your standard emotionally-driven, coming of age beats. They just happen to feature a female protagonist who falls in love.

Okay, maybe in this example she falls in love a few times. But so what? Getting your heart broken and mended again is a part of growing up, so why shouldn't it have a place in YA/NA fiction?

If young men are allowed to froth over some guy getting bitten by radioactive a spider and getting superpowers, then we can have two sexy vampires pining over the same girl.

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