Good Ol’ Review: Season 2 of “Pachinko” Delivers Another Incredible Television Experience

TYPE OF REVIEW : GOOD OL’ REVIEW
No spoilers.

I haven’t been able to get my regular fill of Korean drama this year, especially compared to the last few. Pachinko was my favorite Korean drama of 2022. So as soon as season two of Apple TV+’s Pachinko finally had a premiere date, I eagerly awaited its eighth episode to premiere so I could finally enjoy and be pulled back in to this enthralling world, uninterrupted.

For those not familiar, Pachinko is a stunningly captivating series following the life of Kim Sunja and her family as they fight to navigate the ever changing and tumultuous world around them. The second season jumps between Sunja’s life during and after World War II and in 1989.

Season one introduced us to Sunja and the people in her life, especially as an example of the Zainichi population in Japan. That is, ethnic Koreans living in Japan. The season explored the difficulties and struggles Zainichi Koreans experienced in Japan in the pre-war era as well as in the more modern late-1980s.

I definitely suggest brushing up on season one before jumping into season two, especially considering the long wait between these seasons. These eight new episodes very much draw upon the story developments and emotions of season one. And having that refresher absolutely powers the potential impact of the many emotional twists and turns of this season.

As Pachinko is partly a slice of life drama, season two follows Sunja raising her two sons in the middle of wartime Japan, all while having to deal with Koh Hansu continuing to insert himself in her life while also continuing his dealings in organized crime. In 1989, elder Sunja faces feelings of loneliness as she helps her son Mozasu at their pachinko parlor and grandson Solomon works to pick up the pieces of his career.

A major theme of Pachinko has always been about finding your place in the world and how one responds to that ever-changing world. Personal growth and relationships are tested and strengthened through those interactions. And Pachinko effortlessly weaves together character-driven stories with insightful depictions of real moments in history.

Once again, the stunning cinematography and detailed set and costume design immerse you into both the historical context and necessary backdrop for the character-driven stories.

Some of the major highlights during this season are quieter, but emotionally impactful scenes between family. Such as scenes between Sunja and her two sons. Or a beautifully poignant scene between her husband Isak and their young son Mozasu. And the brothers Noa and Mozasu as well. The relatability factor for the scenes are high. Even set in a very specific time and in very specific situations that couldn’t be any more further from what any of us experience today, it’s hard not to be affected by these truly wonderful and emotional scenes.

Of course, a huge part of what makes these scenes work are the performances of this incredibly talented cast. “Effortless” is a word that can be used to describe all of them. “Care” and “nuance” are two others.

Kim Min Ha and Youn Yuh Jung as the younger and older Sunja are very much the heart of the series. Their captivating performances center the series, the stories and the characters. And they again lead an excellent ensemble.

Season 2 offers more opportunities for the rest of the cast to really shine as well. There are some standout performances especially from Kim Kang Hoon and Kang Tae Ju as the younger and teenage Noa, respectively. As a character, Noa takes on a major role in these eight episodes with many of the most affecting scenes involving him. Both young actors effortlessly deliver.

Kwon Eun Seong as the younger Mozasu offers up some fun and lighthearted moments, including the aforementioned moment between Mozasu and father Isak. Mansaku Takada as teenage Mozasu, meanwhile, has no problem tagging in for the character in the final episodes and he especially shares a wonderful moment with Kang Tae Ju as Noa.

Noh Sang Hyun/Steve Sang Hyun Noh as Isak delivers an effortless performance in some of the most powerful scenes from this season. And Jung Eun Chae, Kim Sung Kyu and Han Joon Woo are able to play with a very engaging subplot that runs through the course of the eight episodes.

Jin Ha as grandson Solomon has no problem navigating his character’s bumpy, but engaging trajectory. Fresh Emmy winner Anna Sawai (for Shogun) gets more opportunity to prove she definitely deserves much more material as Naomi here.

And finally, Lee Min Ho as Koh Hansu infuses a strong charisma and even gravitas to a character that is certainly the most questionable, but very much multi-faceted.

But again, these amazing talents really are a huge part of why this series is so enthralling. As stunning as the direction and visual undertaking is and as tight as the writing can be, the performances from this cast truly make Pachinko the immersive, profound experience that it is.

Pachinko shows how to do a prestige drama in a way that isn’t pretentious or self-flattering. It is a legitimately engrossing character drama that is powered by a heart and sincerity that keeps it relatable, nostalgic and involving. It doesn’t need to be fluffed up by anyone. The end-product speaks for itself.

Season two ends with many cliffhangers for several characters, with the final scene particularly moving. At the time of this post, there is no news on a season three yet. Though executive producer Soo Hugh is hopeful for not one, but two more seasons. I’m not sure about a fourth, but a third season seems like it would be enough to wrap up the stories of these characters that, for now-16 episodes, have been a part of a unique and fulfilling television experience. Hopefully if a third season is confirmed, we won’t have to wait as long as we did for this one.

I can use the exact same words I used at the end of my review of season 1. So allow me to copy and paste them here:

Pachinko is just a stunning epic. Unlike anything you will see on Korean television, whether on a traditional broadcast network or other streaming services. It presents a kind of cinematic experience in both production and storytelling that you just don’t see often, if ever on Korean TV. Or any television, for that matter.

But Pachinko is an experience. An emotional, relatable and captivating experience that you won’t soon forget even as the final credits roll.