This article contains mild spoilers of the show.
In its early run, Mr. Queen was all about the cocky chef Bong-hwan (Choi Jin-hyuk) trying to find ways to escape the body of So-yong (Shin Hye-sun), Queen Chorin of the Joseon Era, and return to the present day. Yet apart from a mysterious figure shutting off Bong-hwan’s life support and briefly putting So-yong into a coma at the end of episode 6, the show has shifted its focus and is now firmly rooted in the past.
Mr. Queen has been dealing with identity issues ever since arriving in the Joseon Era, and these have grown more confused over time. After waking from her coma, the queen’s inner voice is now that of So-yong, instead of Bong-hwan. The actor Choi has not been seen, or heard, since.
Also during her recovery, So-yong’s sense of smell starts to bring back the real So-yong’s memories. On top of that, So-yong has become increasingly flustered when around King Cheol-jong (Kim Jung-hyun), as she slowly finds herself swayed by his charms. Is this a remnant of So-yong’s feelings for him, or has Bong-hwan himself developed an affection for him?
In spite of their “no touch” rule, and no matter how much So-yong tries to resist, the pair frequently find themselves in each other’s arms and they often help one another, sometimes secretly, to succeed in their plans, like when So-yong heads into the kitchen and saves the king’s banquet in episode 12 after the Kim Andong Clan conspired to have most of the planned ingredients spoiled or stolen.
As Bong-hwan’s character becomes more intertwined with So-yong’s, Mr. Queen’s desire to return to the present has all but disappeared. She’s far too busy dealing with all the power games between the King, the Kim Andong Clan and Jo Pyongyang Clan, cooking modern cuisine for the grand queen dowager (Bae Jong-ok), and lusting after the concubines she has selected for the king but intends to keep for herself.
Mr. Queen preview: body-swap comedy meets palace scheming
In the absence of So-yong’s goal to return to Bong-hwan’s body, Mr. Queen has delved further into king’s court scheming but thankfully, compared to earlier episodes, the plots have been easier to follow – partly because by now we know who’s who – and have also led to some very exciting set pieces.
The highlight of the series so far has without a doubt been the banquet that plays out over two episodes in the middle of the series. In episode 11, we’re treated to several thrilling demonstrations, including a paper fan duel between the rivals for So-yong’s heart: the king and Kim Byeong-in (Na In-woo), and a painted arrow hunt to which royal concubine Hwa-jin (Seol In-a) sneaks in a real arrow.
The excitement continues with the next episode, when the king presents some surprising dishes prepared by So-yong to his guests, many of whom have been plotting – and failing – to ruin the ceremony. The dishes include some modern Korean street food and a Joseon variant of McDonald’s. Back in the royal kitchen, Shin is in her element as So-yong, bossing around the hapless royal chef, played to perfection by ace character actor Kim In-kwon.
Beyond bringing modern dishes and food delivery to the Joseon Era, the queen continues to import elements from the present to the past, including K-beauty, in the form of a beauty mask she makes for the grand queen dowager to soften her up.
Another modern day import, and one which the show has been dancing around quite delicately, are queer themes. The images of the king and queen embracing or laying in bed together are innocuous on their own, but with the help of So-yong’s constant inner monologue, the implication is that we are seeing the soul of Bong-hwan, a man, willingly locking lips with another man.
By the start of episode 14, So-yong fears that she may have finally slept with the king. She’s not entirely sure whether it was a dream or a memory, but regardless, she acknowledges that whatever it was, she was not “disgusted by it”.
To what extent So-yong (or Bong-hwan) is engaging in homosexual behaviour is up for debate, and part of the sly charm of the premise is that the series can play it both ways and not worry about losing its audience, much of which still remains conservative. Either way, it’s an encouraging step for a South Korean series, particularly one that is now the country’s 10th highest rated cable series of all time.
As the comedy continues to land and the characters grow more compelling in a narrative that has run smoothly in its midseason run, Mr. Queen is well positioned for a strong finish over the next three weeks.
Mr. Queen is streaming on Viu.
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