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Pierce Conran

1/5 stars
Lead cast: Song Kang, Lee Jin-wook, Go Min-si, Lee Do-hyun, Lee Si-young
There is a moment in the first episode of Sweet Home season 3, the concluding chapter of Netflix’s big-budget monster series, when Go Min-si’s Lee Eun-yu headbutts the “monsterised” Cha Hyun-su (Song Kang) to bring the normal Hyun-su back out again, if only briefly.
It is a moment that may elicit a wistful sigh from those watching at home, as, by this point, any hope that the show might snap back to its senses after the lamentable season 2 has already been dashed.


Rather than the improvement we had hoped for, season 3 marks the nadir of a series that has experienced a clear downward trajectory. Simply put, it may be the worst Korean drama we have seen in 2024.
As with season two, the main problems with this new batch of episodes have been how unwieldy the story has become, the disappointing digital creature design, and the befuddling world-building and mythology.
The first season of Sweet Home focused on a manageable group of characters, all living within the same building and, for the most part, working towards a common goal of survival.
It is a narrative structure that has worked on screen time and time again for creators: from America’s The Towering Inferno to Indonesia’s The Raid, as well as Korean hits such as the disaster film The Tower and the zombie survival drama series Happiness.

Sweet Home season 2 followed the survivors of that first batch of episodes as they spilled out into the wide world and broke off into various factions. The cast ballooned when they were joined by a dizzying array of soldiers, civilians, mad scientists and new monsters.
This more-is-less approach extended to the creature designs as well. Many of the earlier monsters we loved were created through tactile and memorable practical effects. Seasons 2 and 3 abandoned these designs in pursuit of adding more monsters than ever before, all of them digitally created, none of them memorable.
The second season also struggled in the way that it built out its mythology.
Sweet Home’s core concept may be fantastical, but it is based on a few simple ideas, such as having people turn into unique monsters that show their fears or desires, which viewers can understand, and to some degree, relate to. There were a few inconsistencies, but the thematic and narrative clarity of the concept made for easy viewing.

In season 2, the mythology spewed out all over the place, resembling the unruly weeds sprouting in all the cracks and crevices of Sweet Home’s dreary urban dystopia.
Recalling the similarly poorly thought-out creature concepts seen in shows like Dark Hole and Monstrous, the monsters were not governed by any coherent rules. They could swap between bodies, interact with confusing inner “mind” worlds, and so on and so forth.
Rather than seeking to address them, the new season embraces the problems created by season 2. This is not all that surprising, since seasons 2 and 3 were shot concurrently; it would have been difficult for the creators to incorporate any viewer feedback from the second season.
Yet despite going all in on the dubious elements introduced in season 2, season 3 strangely lacks conviction. It is as though the creators knew there was a problem but just ploughed through until the end anyway.

Take, for example, all those extra characters carried over from the second season, many of them members of the stadium survivors camp. For the most part, these were not great characters, but they had more to do in season 2.
This time they are still around, with the show routinely catching up with them, but it’s not clear what, if anything, they are supposed to be adding to the narrative.
Sadly, even the core characters from season 1 had become so twisted that they were simply unrecognisable from the protagonists that drew us to Sweet Home in the first place.
There was Lee Jin-wook’s Pyeon Sang-wook, a hero who transformed into a villain in season 2 and closes out the series as a convoluted antagonist, and Lee Do-hyun, who returns this season as a “neohuman”, the final stage of monsterisation which turns humans into immortal but utterly vacuous beings who shuffle around listlessly like lobotomised zombies.

By the time Sweet Home season 3 winds to a merciful close – let’s hope there is no season 4 – you may find yourself feeling like one of those neohumans, drained of emotion and wandering aimlessly.
Sweet Home season 3 is streaming on Netflix.


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Go Min-si as Lee Eun-yu (left) and Song Kang in a still from Sweet Home season 3. Photo: Netflix

Song Kang as Cha Hyun-su in a still from season 3 of Netflix K-drama Sweet Home. Lee Jin-wook, Go Min-si, Lee Do-hyun and Lee Si-young co-star. Photo: Kim Jeong Won/Netflix

Lee Do-hyun as Lee Eun-hyeok (left) and Go Min-si as Lee Eun-yu in a still from Sweet Home season 3. Photo: Kim Jeong Won/Netflix

Lee Jin-wook as Pyeon Sang-wook in a still from Sweet Home season 3. Photo: Kim Jeong Won/Netflix

Lee Do-hyun as Lee Eun-hyeok (left) and Song Kang as Cha Hyun-su in a still from Sweet Home season 3. Photo: Netflix

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Season 2 of Sweet Home was bad enough, but the third season of this unwieldy monster series from Netflix is the worst K-drama of 2024 so far


Korean drama series on Netflix has gone from bad to worse with each series; its unwieldy plot lacks conviction, and there are too many disappointing digital monsters and characters.


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An assessment or critique of a service, product or creative endeavour.  Film reviews, restaurant reviews, reviews of art exhibitions. (Eg. Crazy Rich Asians: an important film, yes, but a good one?)


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.css-1mniedq{color:inherit;font-weight:inherit;font-size:inherit;font-family:inherit;line-height:inherit;}Season 2 of Sweet Home was bad enough, but the third season of this unwieldy monster series from Netflix is the worst K-drama of 2024 so far

Season 2 of Sweet Home was bad enough, but the third season of this unwieldy monster series from Netflix is the worst K-drama of 2024 so far