Written by Heo Da-joong and Directed by Yoo In-sik
Production companies Nangmancrew, Kakao Entertainment & Fantagio

What if people do not become extraordinary by gaining power, but by continuing to care for one another despite their flaws? Perhaps that is the real “superpower” this drama is interested in exploring.

I am deeply in love with the way this story embraces imperfection:

imperfect powers
imperfect morality
imperfect friendships
imperfect healing

Ordinary people are not “less cinematic.”

These characters are not polished heroes. They are complainers, pushovers, socially awkward civil servants, and emotionally impulsive people trying to navigate lives that rarely feel simple or graceful. Their humanity matters far more than their competence.

Chaos and comedy coexist with loneliness. Beneath the absurdity and the Y2K aesthetic, which honestly feels surprisingly real to me, there is a recurring emotional undercurrent about isolation, fear of insignificance, and the longing for connection before “the world ends,” both literally and emotionally.

Perhaps that atmosphere resonates with me so strongly because I still remember working all night on December 31st, 1999, during the widespread fear that computers would collapse once the calendar changed to the new millennium. Looking back now, it feels almost surreal, yet it was such a strange and fascinating moment in time. The drama captures some of that emotional uncertainty remarkably well.

In my humble opinion, this may be one of Park Eun bin’s best performances. So much of the series rests on her charm and charisma, but beyond that, there is something deeply affecting in the quiet sincerity she brings to the character. It is a beautiful and deeply human interpretation.

And Cha Eun woo continues to impress me. His talent often transcends the conversation surrounding his appearance, and there are moments in his performance here marked by restraint and emotional honesty that genuinely linger with you long afterward.

Image courtesy of Netflix