Last year’s Netflix thriller The Call, also starring Park Shin-hye, is one another is the ace K-drama murder procedural Signal. There have not been many time-travel tales in Korean film and TV, but wrinkle-in-time stories, in which characters from two different timelines coexist, come up time and again. The writers of Sisyphus have added different rules throughout, only to consistently break them, as well as new technologies or magical drugs as they chased a high that kept getting further out of their reach. Time-travel stories get knotty very quickly, so the rules need to be simple and adhered to rigidly. The show’s weaknesses quickly became very apparent as well. Yet as the show entered its back half and introduced the main villain, Sigma (Kim Byung-chul), it became more serious about its time-hopping. The time-travel element is there but, at first, it’s mostly an excuse for some fun set pieces. One of those immigrants is Kang Seo-hae (Park Shin-hye). Han Tae-sool (Cho Seung-woo), a brilliant engineer, will invent a time-travel machine, and the present – before the machine’s invention – becomes a promised land for immigrants from a post-apocalyptic future. Though it burst out of the gate with some ballsy set pieces and lots of technobabble-fuelled derring-do, the show’s initial premise was fairly simple. Sci-fi-action-romance K-drama Sisyphus: The Myth bets the house on time travel and it’s a gamble that doesn’t even remotely pay off.
But because anything can happen and then be changed, keeping the stakes raised for the audience becomes a challenge.īrainy sci-fi, such as the American indie film Primer, explores the dizzying theories of time paradoxes, while something less demanding, like Avengers: Endgame, will use it for a narrative do-over.
They offer limitless juicy narrative possibilities that can be retroactively rejigged. Time-travel stories are a double-edged sword.
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