Son Ye-jin on Embracing the Unlikable in Netflix’s ‘Scandal’ and Ending Her 24-Year Period Drama Hiatus

Returning to period drama after 24 years, superstar Son Ye-jin breaks down why Netflix’s 'Scandal' demanded a deeply flawed, uncompromising heroine.

The 24-Year Wait: Breaking the Historical Drama Hiatus

For more than two decades, international audiences have watched acclaimed Korean screen icon Son Ye-jin dominate contemporary romance, cinema thrillers, and blockbuster television. Yet, one signature realm remained notably absent from her artistic repertoire: the historical genre (sageuk). Not since Im Kwon-taek’s Cannes-winning 2002 masterpiece Chi-hwa-seon had Son donned traditional hanbok for a screen project.

Her return in Netflix’s 8-part limited series "Scandal" ends that 24-year hiatus with quiet ferocity. Helmed by celebrated auteur Jung Ji-woo (Tune in for Love, Somebody), the production adapts Pierre Choderlos de Laclos’ classic French epistolary novel Les Liaisons dangereuses into the strict aristocratic world of the late Joseon era. Son steps into the shoes of Lady Jo (Madam Jo), a noblewoman whose spotless outward composure veils decades of suppressed intellect, razor-sharp cunning, and simmering existential rebellion.

Lady Jo: A Woman Trapped Behind Aristocratic Courtyards

In an entertainment era that often favors straightforward, universally likable protagonists, Son’s portrayal of Lady Jo deliberately shatters expectations. Trapped within an aristocratic society that strictly denied women intellectual fulfillment and personal autonomy, Lady Jo redirects her brilliance into covert psychological power games. Together with her childhood confidant and aristocratic playboy Jo Won (played with magnetic precision by Ji Chang-wook), she engineers intoxicating, high-stakes wagers of romantic ruin.

Rather than pleading for viewer sympathy, Son intentionally highlighted the character's moral ambiguities. “When dissecting Lady Jo, I never once wished for audiences to merely sympathize with her,” Son revealed candidly during a media roundtable in Samcheong-dong, Seoul. “I wanted viewers to genuinely question, ‘Why is that woman acting like that?’ Human nature is seldom simple. She harbors boundless ambition alongside defeat, bitter jealousy alongside self-recognition. Painting her as an ordinary heroine would strip away her profound truth.”

Subtext and Psychological Warfare: Working with Ji Chang-wook

The emotional engine of Scandal hinges on the crackling, unpredictable friction between Lady Jo and Jo Won. Their connection defies simple romantic labels; it fluctuates between familial closeness, intellectual rivalry, and mutual resentment.

Son recalled that filming their introductory face-to-face scene required hours of intense, concentrated shooting. "The spoken lines were deeply layered, but what existed in the pauses between the words was far heavier," she explained. "Every dialogue exchange felt like an intricate psychological duel where the slightest glance altered the power balance. It demanded tremendous focus, but it was intellectually exhilarating as an actor."

She credited director Jung Ji-woo’s collaborative approach for creating an environment where complex performances could flourish. Rather than imposing narrow directives, Jung provided room for exploratory interpretations, embracing nuance rather than rigid certainty.

Responding to Polarizing Critiques: "Art Cannot Be Universal"

Following its worldwide launch on September 18, Scandal provoked spirited international debates. While cinephiles hailed its exquisite composition and brooding atmosphere, other viewers accustomed to fast-paced streaming thrillers found its antiheroic core and deliberate pacing difficult to digest.

Son greeted the spectrum of reactions with characteristic grace and artistic maturity. “From day one, we understood this project could never be universally mainstream,” she remarked. “Modern storytelling frequently leans toward immediate gratification and explicit moral dichotomies. Our series leaves room for negative space—the quiet moments where human contradictions breathe. Constructive criticism belongs entirely to the audience, and I accept it with deep gratitude.”

She further emphasized that at this stage of her life, choosing daring creative risks that stretch her craft matters significantly more than relying on comfortable, proven formulas.

Reflections on Family and Guarding Maternal Boundaries

Outside of the cinematic realm, Son touched upon balancing worldwide stardom with motherhood. As one half of South Korea’s most globally adored power couples alongside Hyun Bin, she expressed natural concern over public attention surrounding her young son.

“While being recognized is something I embrace as part of my career, I feel very protective when photos of our child are taken without consent,” she noted earnestly. “Above all, I want him to grow up unburdened and freely explore the world as a child.”

When asked how she would react if her son expressed interest in acting down the line, Son smiled with open-minded warmth: “If he truly has the talent and the inner passion, I wouldn't stop him. Growing up with parents in the arts naturally sparks curiosity. If he pursues it and finds it’s not for him, he can always embark on another path. That journey of discovery is what life is about.”