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We get another mysterious opening, but this time it’s a woman in danger, running from an attacker.
Our prosecutor duo Tae-yeon and Soon-bum arrive on the scene the next morning, and Soon-bum explains that the victim is an up-and-coming director, just about to debut with a script he spent ten years perfecting while holed up in his apartment. Behind his sunglasses, Tae-yeon goes vampy blue-eyes to see the final moments of the murder in reverse. They laugh to themselves as they watch the overeager Jung-in rifle through the bushes like Scooby-do, but she surprises them both by retrieving the murder weapon. She sneers and then notices the actress standing in the background, suddenly very upset when she sees Jung-in holding up the murder weapon. She notes it curiously, and then takes the knife back to the lab, where she ruins the intern’s day by catching him just before closing time. And then she takes out another hair sample, one she snagged right off the actress, at the crime scene.
In his office, Tae-yeon drinks the victim’s blood sample, reliving the moment of the murder. While Tae-yeon gets in quality brooding time in his office, Soon-bum tries to track down creepy mugshot guy, first through police cooperation (that doesn’t go so well), and then by hiring a group of thugs to scour the streets. Meanwhile, Jung-in follows up on her hunch about the starlet, and armed with a 100% DNA match between the two hair samples, she marches over to the beauty salon to have a word. The actress doesn’t even flinch at the accusation, and admits that they fought that night, after the shoot. She warned him that pointing the finger at a random suspect would just end in a lawsuit, and he drunkenly slapped her. The medical examiner calls the crew in after the autopsy to demonstrate how the stabbing could only have been done by a left-handed person. Tae-yeon goes to question the movie producer next, who’s sporting a brand new cast on his left hand. In flashback, the actress leaves after her fight with the director, and the producer stays behind to try and talk him into finishing the script.
Tae-yeon rushes back to the lab to see if they can find a copy of the voice recordings on the director’s hard drive. At the same time, Soon-bum meets with the uncooperative cop who handled the original murder case again. Tae-yeon calls with news about the recordings, and Soon-bum puts him on speaker phone in the car. It’s Soon-bum (YAY!), prancing around on his tippy-toes and scaring the life out of them.

Tae-yeon shares what he’s found so far, and they guess that the murderer saw the magazine story and got squeamish, and started killing again to cover his tracks.
They get the confessed killer – the original victim’s older brother – in the interrogation room. He clearly knows a big chunk of Tae-yeon’s backstory, considering his string of pointed questions every time they cross paths. He goes to see the movie’s producer, who hands him the final script pages that the director had written just before his death.
At home he flashes back to receiving a deed transfer, and he wonders aloud why he left him this house.
He wanders around the house, looking for something to explain why he’d leave the prosecutor his home.
He opens it and steps inside, and finds a massive collection of newspaper clippings, covering an entire wall.
Ooh, I like the series-long mystery of this vampire serial killer and all the different players in the underground world who help Tae-yeon along. While I like that this show is essentially a crime procedural with just a few supernatural elements thrown in, I’d like to see a little more vampire mythology worked in, for my taste.
That’s really my only gripe, because the show is nicely balanced with a mystery-of-the-week and an overarching personal journey, and some fun side characters.
But if they have more freedom than KBS, SBS, and MBC then I am so excited for cable to start putting out more dramas.
If South Korean television ratings did include content descriptors or viewer advisory like the United States what would it be?
The South Korean television rating system has been in force since 2000, and it started with only four classifications which are All, 7, 13 and 19. South Korean television ratings do not include content descriptors or viewer advisory as they do in the United States and Australia. Whether animated or live-action, the themes and elements in this program are specifically designed for a very young audience, including children from ages 0–6. When a show with a TV-Y7 rating has noticeably more fantasy violence, it is assigned the TV-Y7-FV rating. Although this rating does not signify a program designed specifically for children, most parents may let younger children watch this program unattended.
This rating signifies that the program may be unsuitable for younger children under the age of 9 or 10 without the guidance of a parent.
Parents are strongly urged to exercise greater care in monitoring this program and are cautioned against letting children under 14 watch unattended. Live programming like televised awards ceremonies, concerts, and some specials are sometimes issued a general TV-14 rating, because of the possibility that profanity or suggestive dialogue may occur. The implications of these ratings, particularly the TV-MA rating, vary greatly depending on the situation.
Q: If South Korean television ratings did include content descriptors or viewer advisory like the United States what would it be? The Korean FCC (known as KCC stands for KCC – Korean Communications Commission) might penalized. Funny thing, I guessed the bit about the moment-of-death-pain from the blood in the first episode :D.
First of all, there’s really no telling about vampire rules because as far as i know, vampire stories are all fiction. But seriously, i think im gonna like this drama, it has a different feel to it than any other drama. The Gluteboost product is made in FDA approved facilities with over 250,000 pills sold to date. Gates is charged with three counts of fraudulently using TennCare by doctor shopping, or visiting multiple providers in a short period of time to obtain controlled substances. That gets director huffypants in a mood, until the producer steps in and makes it worse by taking the starlet’s side. We go in reverse and watch her get stabbed all over again, except this time, she teeters on the edge of the pool, but then we cut to a real murder. He sees the director get stabbed with a knife that looks exactly the same as the prop version from his movie. She holds up the bloody knife like she just won the lottery, and Tae-yeon walks right past her, refusing to acknowledge the job well done to her face. Tae-yeon sees an article on the movie (aptly named Murderer) that says that a murderer will be revealed through the film.
She had packed a bag and threatened to walk off the movie, accusing him of not knowing how to write the ending. Tae-yeon asks why he came back to the set that night, and he says he came to try and reconcile the director-actress feud that had erupted. He chastises him for doing that magazine interview without consulting him, and brashly announcing that he’d reveal the true murderer in the film.
He adds that it’s all on his voice recorder, and points to the magazine photo – the one with the director holding up the nano device Tae-yeon saw in his vision.
He pleads with the detective to share info, because he’s certain their suspects are the same guy (creepy mugshot man) for both cases. They listen as the director excitedly describes his story idea to a friend: what if there was a murder where the prime suspect was a made-up person… and the real killer was the cop who led the investigation? The brother doesn’t believe him at first, but then the director dies a few days later, confirming his suspicions. Tae-yeon works out his aggression as he flashes back to glimpses of his sister, his human past, the accident where her body was found with puncture wounds in her neck, him identifying her body in the morgue, and then crumpling to the ground. He reads the ending, astonished to find that he had predicted exactly what happened in real life. Tae-yeon (as the stand-in for the fictional prosecutor) tries to stop him, saying that it’ll make him a killer too. The producer says that life is a movie, movie is life, and points out that Tae-yeon went easy on the brother in the courtroom, just like the fictional prosecutor let the brother go. Tae-yeon looks over the city at night and tosses the latest news story on the ground – the one announcing that Murderer is back in production.
It was the suspect he was questioning and chasing in Episode 1 – the guy who said he wasn’t the killer, and then got killed by the vampire who then turned Tae-yeon. Hopefully we’ll get more time with character beats like the bromance between Tae-yeon and Soon-bum, as we go along.

Theoretically fewer people have the channel, so they just have more freedom from the government. A US movie on cable here is kind of like an airplane movie, where they only get rid of the most extreme stuff, but a US movie on KBS, etc is like a movie on ABC.
In February 2001, all programs except domestic dramas (which had been enforced since November 2002) has required to have a rating system. Examples include SpongeBob SquarePants, Fairly Oddparents, Yu-Gi-Oh!, and the edited version of Crayon Shin-chan.
Usually used for animations that have stronger themes or violence then those designed for children, or for reality variety programs that have mild violence, theme, or language.
This rating may contain crude or suggestive humor, mild fantasy violence, or content considered too scary to be shown to children under seven. It contains little or no violence, no strong language and little or no sexual dialogue or situations, and can be enjoyed by a variety of age groups.
For example, South Park, which airs on Comedy Central, generally contains explicit language, so it carries a TV-MA rating; syndicated versions of South Park, however, are heavily censored and cut, and employ a TV-14 rating instead. You know, sort of like in Paul where he can heal others but have to take on the pain himself, even if momentarily. Gluteboost embraces customer feedback, has top-rated customer service, and boasts a 100% satisfaction guarantee. Hundreds of volunteers gathered in Apison for this “Wounded Warrior” and, when the front-door keys were presented, grown men openly wept.
He asks an assistant about it, and finds out that the film is based on a true story – an unsolved case of the murder of a young woman. Tae-yeon runs to his boss to ask for the SWAT team or the cavalry or whatever and gets shut down on the flimsy basis of a dropped call. I like that we finally get our first consequence that counters the benefits of being a vampire prosecutor – he pays in pain to find out the truth.
And who was this guy – Tae-yeon’s original suspect – the guy who was chasing the real killer? Do the vampires in this world remain with their souls intact, so they’re just super versions of their human selves? I hope we get a flashback episode where we find out how and why he knows that Tae-yeon is a vampire. Not blurring out knives (like KBS) or being able to show chopped off legs and arms but blurring out a chopped up thumb (like in Warrior Baek Dong Soo) orrr blurring out cleavage (like in Chuno). The programs that have this rating may include moderate or strong adult themes, language, sexual inference, and violence. Based on the impact of one element, for example, an otherwise “12?-rated show with occasionally stronger violence (or other element) may receive a “15? instead of an additional advisory. Examples include SpongeBob SquarePants, Jimmy Two Shoes, Kid vs Kat, Pair of Kings, The Garfield Show, and others. Networks that air informational, religious, how-to content, or generally inoffensive content (such as the Food Network and HGTV) usually apply a blanket TV-G rating to all of their shows (unless otherwise noted). The vast majority of television shows that carry this rating air on cable and satellite television; network television rarely airs any programming that would warrant such a rating due to FCC indecency and obscenity guidelines that prevent most of this type of programming from airing on broadcast television. VP is indeed a solid winner so far and the editing is amazing so many great shots just really stunning work. I dunno, I just remember thinking that Dakota Fanning looked silly), so she wants this series to establish their own Vampire world rules, too. They really shouldn’t transform a drama with this unique plot into a simple procedural series! If a program is classified as this rating, the icon has to be displayed through the duration of the program. Most Japanese anime dubbed targeted for young adult audiences in the United States are suggested with this rating, such as the edited version of Dragon Ball Z Kai, Bakugan: Gundalian Invaders, Yu-Gi-Oh! Programming directed at preteens and teens on Nickelodeon and Disney Channel are rated TV-G for mild language and innuendo.
Some anime are given this rating, such as Dragon Ball Z, some episodes of the uncut version of Dragon Ball Z Kai, Dragon Ball GT, Fullmetal Alchemist and Full Metal Panic.
Anime series Bleach, Inuyasha and some episodes of the uncut version of Dragon Ball Z Kai alternatively switch between a TV-PG and TV-14 rating, while most anime such as Dragon Ball, Fullmetal Alchemist, Ghost in the Shell, Black Butler and Cowboy Bebop are TV-14. The film Schindler’s List was the first film broadcast on network television to display this rating, and the pilot episode of the CBS police drama Brooklyn South was the first series on network TV to display the rating. Language may still be censored by a network or air completely unfiltered, depending on such factors as creative network choices or the need to appeal to advertisers leery of placing spots on a TV-MA program.
You have your prosecutors traipsing around solving their own murders and you won’t even send a rescue team after one of your own?
Many prime-time series are given this rating, such as Everybody Loves Raymond, The King of Queens and The Simpsons.
Most hour-long dramas, such as House, Glee, CSI, Hawaii Five-0, and Grey’s Anatomy, are rated TV-14, as are prime-time sitcoms aimed at adult audiences, such as American Dad!, Family Guy, Futurama, The Simpsons (a few recent airings) and Scrubs (the shows airing on Fox have a viewer discretion advisory as well). Original programming airing in the late evening on some cable networks generally will carry this rating. But my favorite thing about it is that it doesn’t assume the audience is full of idiots. During the 20th century most cartoons used this rating as a sign that the show contains comic violence or animated smoking that is suitable for family viewing (i.e. The latter two alternate between TV-PG and TV-14, with some recent episodes of The Simpsons carrying the TV-14 rating, while the syndicated versions keep TV-PG. Then when the prosecutor was reading the final script and recreating the whole scene in his head, i was confused too.
Tae-yeon must’ve mistakenly caught his scent while he was investigating the same crime. Primetime Cartoon Network series such as Regular Show, Adventure Time, MAD, and all WWE programs (including those aired on Pay-Per-View) after 2008 are also rated TV-PG.
Total Nonstop Action Wrestling (TNA) bears a rating of TV-14 in all of its programs due to its violence and sexual dialogue, unlike its competitor, WWE, which bears a TV-PG rating.

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