[Dispatch=Kim Ji-ho] “Cheonse, cheonse, cheoncheonse.”

“Cheonse” was the greeting used by subjects toward the king during the Joseon Dynasty. At the time, only the emperor — the Son of Heaven of China — could receive the greeting “manse.” Even the Japanese emperor was greeted with “Tenno Heika Banzai” (“Long live His Majesty the Emperor”).

The sloppy settings of ‘Grand Prince’s Wife’ have now escalated into a historical distortion controversy. In the drama, which is set in a 21st-century constitutional monarchy version of Korea, the king (played by Byeon Woo-seok) wears a nine-string royal crown despite emperors traditionally wearing twelve-string crowns, while his subjects shout “Cheonse.”

Criticism from viewers has poured in. Many argue that the coronation scene became the final straw after repeated controversies over historical distortion. Is this truly ‘Grand Prince’s Wife in the 21st Century’, or rather ‘The Wife of a 21st-Century Vassal State’?

First, the Republic of Korea depicted in ‘Grand Prince’s Wife’ is portrayed as a sovereign and powerful nation. The Japanese colonial era and World War II have effectively been erased from the timeline. The drama casually asks viewers to “turn off their brains” and focus only on romance and royal conflicts. Then why did it even need to use the term “Cheonse”?

In real history, King Gojong declared the Korean Empire in 1897 and established the era name “Gwangmu.” The nation’s title was changed to the Korean Empire, and the royal address became “His Imperial Majesty.” Later, the Provisional Government declared the “Republic of Korea,” transforming the country from a nation ruled by an emperor (帝) into one ruled by its people (民). ‘Grand Prince’s Wife’ effectively erases that history while lowering its own status.

Another scene also creates discomfort: Seong Hee-joo (played by IU) spills tea during a tense confrontation with the Queen Dowager (played by Gong Seung-yeon). Using tea to humiliate or pressure someone is not traditionally Korean. It is a trope far more commonly seen in Chinese palace intrigue dramas and novels.

On top of that, Hee-joo does not wear hanbok even when invited to royal events. In the drama, this is portrayed as her strategy for resisting the royal establishment. Does the series also see hanbok as an outdated custom meant to be abolished?

In truth, the drama ignored historical accuracy from the very beginning. For example, after Hee-joo marries Grand Prince Ian, she is addressed as “Gunbuin.” Historically, the proper title should have been “Bubuin.”

The Queen Dowager appearing in mourning clothes to apologize to a grand prince would also have been impossible within the Joseon royal court. More fundamentally, if a Queen Dowager exists, a grand prince could never serve as regent in the first place. Likewise, Grand Prince Ian running through Jongmyo Shrine, where royal ancestral tablets are enshrined, would have been unthinkable.

Yet the production team repeatedly brushed aside such distortions under the all-purpose excuse of “dramatic interpretation.” The drama conveniently borrowed flashy keywords such as “grand prince,” “royal family,” and “palace,” while skipping over the historical verification those concepts require. If so, then why was there no “dramatic interpretation” applied to the coronation scene itself?

As a result, more and more questions continue to arise. Why was the palace burned down three separate times? Why were the symbols of the Four Guardian Deities specifically shot with arrows? Why did the royal chronology still use the expression “hongseo” even after the declaration of national sovereignty? Why was Crown Prince Munhyo given the posthumous title “Hwijong,” the name of a notoriously incompetent Chinese emperor?

All of these puzzle pieces have combined into concerns over historical belittlement, distortion, and even echoes of China’s Northeast Project claims. It is a disaster born from careless writing and lazy directing.

Of course, viewers are not demanding a documentary. Creative freedom and reinterpretation should naturally be respected. However, when borrowing from history, creative work should not encourage distortion or damage historical values.

Five years ago, ‘Joseon Exorcist’ (2021) was canceled after only two episodes aired, with all filmed footage ultimately discarded. The public viewed it as an insult to King Sejong and an example of historical distortion linked to the Northeast Project controversy. The broadcaster, writer, director, and cast members all released public apologies.

The writer, director, and lead actors of ‘Grand Prince’s Wife’ — IU and Byeon Woo-seok — also cannot escape responsibility. The drama gained popularity and viral attention through their names. Yet in the end, it strengthened narratives that belittle Korean history.

On May 16, the production team released an apology, saying, “As this is both a romance drama and an alternate-history series, we should have taken a more careful approach regarding areas where the fictional world intersects with real historical context. However, our review process was insufficient.”

IU and Byeon Woo-seok also posted handwritten apologies on May 18. IU bowed her head, saying, “I sincerely reflect on and apologize for approaching the role without thinking more deeply about the historical accuracy issues. There is no excuse.”

Byeon Woo-seok likewise wrote, “I lacked sufficient consideration about the historical context and meaning contained within the work, and how it could be perceived. I sincerely apologize.”

[Photo Source: MBC-TV, Instagram]