Unable to send herself to school and support them at the same time, So-young joined the workforce, her mother working late hours at a pojangmacha (street food tent) while her bratty younger sister SO-JIN (Oh Yeon-seo) had continued her spoiled, selfish ways of buying expensive clothing (ruining So-young’s credit) and flitting around being an insufferable social butterfly. Yet when she returns to beg for her job back, she finds that he’d lied — he’d actually just replaced her with a young thing fresh out of school, the kind of new employee all the older men love for her novelty and cuteness, no matter that she has no experience or competence with the job.
So-young grits her teeth and continues on her job-hunt, only to be turned away for reasons beyond her control — one boss is 33 and doesn’t want to hire a subordinate older than him, while another professes to care nothing for age but won’t hire people with bad credit.
She manages to land a lowly position doing alterations for a neighborhood seamstress — but her sister takes advantage of this and swipes a customer’s Chanel jacket (to borrow, not that that makes the theft any better), and that gets her fired.
There are hints that he’s from a wealthy background, but he regularly turns down his parents’ offers of money — he’s determined to make it on his own.
Ah, I know the feeling, having once been that kind of stubborn brat convinced that accepting money from Mom meant I was failing to be independent. Anyway, Jin-wook’s hyung takes him to a club, and think they’ve scored the jackpot when the hot, model-eque So-jin starts chatting them up.
In actuality, she’s using them to hide from So-young, who’s followed her here and is chasing her down to retrieve the jacket.
I know, I’m way behind on weighing in on Baby-Faced Beauty, with it almost halfway done with its 18-episode run.
Most of the time if I fall behind on a drama, I’ll just let it go, but I’ve been finding this one sweet and charming — and incredibly pretty to look at — that I wanted to give it a proper introduction, at least.
The drama, like many others past and present, is based on one lie that snowballs out of control, which in this case is about age/identity.
The show therefore plays a lot with the concept of age, seniority, and rank in the workplace, which is an interesting motif upon which to hang a story since age is one of those things that plays a huge part in the social fabric of modern Korea.
It’s a part of every introduction between people, and built into every interaction big or small, since the very language used between people is determined by one’s age/rank relation to the other.
The drama manages to work in the topic without being too heavy-handed about it, which I appreciate, and Jang Nara does a good job being cute, conflicted, and compelling as the 34-going-on-25 heroine.