In the January 14 episode of the tvN X TVING original drama “The Queen Who Crowns”, the storyline centered on the intense confrontation between Wongyeong (Cha Joo-young) and Lee Bang-won (Lee Hyun-wook).
Despite the episode being filled with intense and challenging scenes, Cha Joo-young brought her character to life with an exceptional performance, driving the narrative with weight and heightening the tension.
Particularly, her intense gaze and unwavering demeanor while discussing Lee Seong-gye’s rebellion with Lee Bang-won created a gripping atmosphere, simultaneously showcasing Wongyeong’s determination and wisdom.
Additionally, when recalling her past relationship with Lee Bang-won during their private moments, she portrayed a delicate mix of loneliness and sorrow, leaving viewers deeply moved. With such meticulous attention to detail in every glance and breath, Cha Joo-young’s outstanding performance elicited a fervent response from the audience.
Such an acting performance proves that Cha Joo-young’s value as an actress is not limited to her nude scenes, as previous discussions accused.
In particular, the actress has become a controversial figure regarding nudity in the past. In Netflix’s “The Glory“, she portrayed a school bully whose only notable feature was her surgically enhanced appearance. Her character’s confrontation with Lim Ji-yeon, during which her surgically altered chest was revealed, became a hot topic. At the time, public focus fixated solely on Cha Joo-young’s “onscreen chest”, sparking debates about whether it was real or a body double. The uproar even dragged an unrelated model into the controversy, forcing them to deny involvement.
Recently, Cha Joo-young starred in “The Queen Who Crowns”, a new tvN and TVING drama that premiered on January 6. From the first episode, an intense bedroom scene garnered attention. While the scene was partially edited for the 15+ rated tvN broadcast, the uncut 19+ version on TVING included explicit depictions of Cha Joo-young’s body. As with “The Glory”, debates erupted about whether her chest was real, with reports later clarifying that parts of the scene were enhanced with CG and a body double was also used.
The boldness of these intimate scenes has sparked criticism beyond the physical exposure. Some question whether Cha Joo-young’s repeated nudity reflects an overuse of her image or highlights a lack of acting prowess.
Critics argue that after making a strong impression in “The Glory”, she should rely on her acting skills rather than undress again. Such critiques might hold merit if the nudity were gratuitous. However, in “The Queen Who Crowns”, the bedroom scenes serve a symbolic purpose. They underscore the evolving dynamics between Wongyeong and Lee Bang-won, whose relationship transitions from intimacy to a politically charged alliance. Lee Bang-won’s later consummation with Wongyeong’s cherished maids is not just an act of physical dominance but a calculated strike at her emotional core. The scene vividly portrays the complex blend of love and hatred, capturing the essence of Wongyeong. Replacing this pivotal moment with, say, a symbolic shot of mandarin ducks would strip the drama of its emotional depth. Moreover, with dual broadcasting options (15+ and 19+), such a scene is justifiable.
Nevertheless, Cha Joo-young continues to face criticism for “exposing herself”. But if her nudity were the sole appeal, would “The Queen Who Crowns”’s ratings have climbed steadily — 4.9% for episode 1, 5.5% for episode 2 and 4.9% for episode 3 (based on Nielsen Korea’s nationwide pay-platform data)?
Without her acting, such scenes would likely have been reduced to short clips circulating online or timestamped moments shared for shock value. While the initial buzz from these scenes may have drawn viewers, the drama’s sustained appeal suggests that “The Queen Who Crowns” stands on its own merits.
