Korean dramas have been garnering a huge viewership in many parts of the world. The new JTBC K-Drama King the Land, which features Junho and YoonA in leading roles, has also received love from various quarters, but a certain section of the audience has now reacted negatively to the seventh episode of the hit series.
The seventh episode of King the Land introduces a new character, Prince Samir, played by Anupam Tripathi. For those not in the know, Tripathi rose to fame with his well-received performance in Netflix’s Squid Game, which is currently in production for its second season. Many people are angry with the way the Arab Prince was shown in the said episode.
While fans are upset with the fact that an Indian actor has been cast to represent a person from the Arab community, their disdain is further fuelled by the misrepresentation and problematic portrayal of the character. It came across as “insulting” to Arab people that Prince Samir appeared obsessed with alcohol and women. Here’s how they are reacting to the same:
“King the Land was that cheesy summer K-drama we all needed until they portrayed Arabs in their latest episode in the most ridiculous, offensive way ever like it’s 2023; it’s not hard to SEARCH about other cultures before using them in a show," a user wrote.
They brought an Indian actor, put him in Arab traditional clothes, and make him act as if he’s uneducated and obsessed with alcohol and girls… this is extremely disrespectful and offensive. We need an apology.#JTBCAPOLOGIZE#KingTheLandEp7#KingTheLand
Viewers requested an apology from JTBC. The production team released a statement via SPOTV News in response, saying, “All characters, areas, and nominations that appear in the drama are works of fiction. We never specified the prince’s country of origin.”
Directed by Im Hyun-wook, King the Land is currently streaming on Netflix.
Adrian Lester, best known for his work on television and film, returns to the stage in the eponymous role of Edmond Rostand's 1898 comedy, Cyrano de Bergerac.
Rostland’s play centres around Cyrano - a little-known romantic 17th century French libertine poet, soldier, and philosopher. The play is based partly on his letters written on behalf of his love rival Christian de Neuvillette as he tries to charm Cyrano’s cousin, Roxanne with whom Cyrano is also in love.
Cyrano is cursed with an overt self-consciousness in the form of a large nose. His insecurity is such that he prohibits anyone to refer to it directly or indirectly. Together with his wit, his skills as a swordsman, and the directorial splattering of our own vernacular, they provide the play with a certain infectious - albeit teenage - humour.
Despite Cyrano unexpressed love for Roxanne, the latter has fallen for Christian who is handsome, but useless when it comes to expressing his feelings in words. But then, he is also useless as a swordsman and clearly no match for Cyrano’s mastery and maturity. Realising this and being utterly selfless, Cyrano offers his help to the youthful Christian to woo Roxanne by writing for him poetic and hyperbolic proclamations of love and longing. All he wants is Roxanne to be happy even if he himself has to do with nursing a broken heart.
Christian Patterson and Levi BrownMarc Brenner
The result is a farce of the highest order and mistaken identity, coupled with threat and violence
This RSC production is directed by Simon Evans who has provided a very lively and engaging interpretation by all accounts. Apart from a skilled, highly polished ensemble of cast, there’s interesting theatricality at work. Every now and then, for instance, one gets a sense that the stage is a reflection of our own world and vice versa. Characters mingle with the audience, they break the fourth wall, and the theatre band wander around with the characters and referred to with some bemusement and fun.
In a 17th century French world – not unlike our own, 21st century – external beauty, speech, language are prized. Expression has become almost secondary. It’s a world in which fakery, deception and lies are paced above sincerity, honesty, and truth. Looks and external beauty outweigh the inner beauty of man.
Evans removes the original piece from its French setting to England, littering it with a Brummie accent, and accentuating our preconceptions about hopeless romantics and those with meaningless verbiage. The effect is one of joyous atmosphere and true entertainment.
Adrian Lester provides a magnificent performance as the wordsmith, Cyrano. His character is verbose, comedic, and sympathetic in equal measures. Lester is enticing, hilarious and – judging by the reaction of the audience –appreciated as a versatile actor who can do comedy just as well as drama. Levi Brown’s Christian is a fiery - overtly hopeless - romantic who cannot paint his feelings into words. Brown gives a very energetic and magnetic performance. Similarly, Susannah Fielding provides a sprightly Roxanne who is heart-warming and an utter pleasure to watch.
Adrian Lester (front right) and companyMarc Brenner
It’s hard not to notice but as an audience, we are invited to consider the value of language that may sound romantic, but may – in actual fact – be little more than a shallow expression of fancy. Whereas, the seemingly absence of language – though painfully inadequate - may actually embody real sincerity and the true meaning of love.
Whatever you may think, one thing is certain: you will enjoy this production. It’s a real treat.
The play started at the Swan Theatre in Stratford-upon-Avon in early September, with its run lasting until 15th November.
Rating: ***** (5 stars)
(Cyrano de Bergerac is playing at the RSC Stratford until 15th November 2025.)
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