Aarcflick

 In *The Scandal*, Pierre Choderlos de Laclos’s *Dangerous Liaisons* is adapted and transposed to Joseon Dynasty Korea; the result is a striking display of black hats and colorful attire. It is something of a fashion show where actors pose and stride about, sporting magnificent garments with a regal air; this, combined with vibrant structures and towering trees—whose leaves drift gently to the ground or rustle in the wind—creates ethereal on-screen imagery that is a constant feast for the eyes. *The Scandal* is visually beautiful, and that beauty is both superficial and essential: without it, the series would be unwatchable, for even with such pleasing aesthetics, it is hard to keep from nodding off again and again. *The Scandal* tests the viewer's patience to the limit. The narrative does not flow; instead, it moves in fits and starts. There are scenes intended to be lighthearted and comic—such as the one where So-ok (Shin Youn-ha), the new concubine destined to bear an heir for L...