Well, anything in a story is 'made' by the narrative. So yes, e.g. the Tennis Girl in My Girl is 'made' by the narrative to be selfish, but if we assume the fictional world is real in the story, then she *is* shelfish otherwise the meta-Moebius strip is going to make my head hurt.
Of course the 'other girl' would be demonized. In a melodrama narrative, we need obstacles for the heroine (which is why gal friends or Moms are OK). But then seeing how psychotic Other Guy usually gets, I think the more accurate thing to say is "Other Person" is usually a total psycho. Other guys in Winter Sonata, Resurrection, ChunHyang, Goong, One Fine Day, AllIn, East of Eden, Stained Glass, Beautiful Days etc etc are all nasty pieces of work that make Tennis Girl look quite nifty.
other 'working women' which are not demonized are in Capital Scandal, Robbers, Coffee Prince, All In, Love Story in Harvard, Winter Sonata, East of Eden, 9 Ins 2 Outs, etc. I confess to not being fond of many office dramas, so I probably tend to see less of that subset than is average for a Korean viewer (I would include Seosono in Jumong or Yeon in Kingdom of the Winds as ambitious and undemonized working women, but period dramas are a separate thing anyway).
no subject
Of course the 'other girl' would be demonized. In a melodrama narrative, we need obstacles for the heroine (which is why gal friends or Moms are OK). But then seeing how psychotic Other Guy usually gets, I think the more accurate thing to say is "Other Person" is usually a total psycho. Other guys in Winter Sonata, Resurrection, ChunHyang, Goong, One Fine Day, AllIn, East of Eden, Stained Glass, Beautiful Days etc etc are all nasty pieces of work that make Tennis Girl look quite nifty.
other 'working women' which are not demonized are in Capital Scandal, Robbers, Coffee Prince, All In, Love Story in Harvard, Winter Sonata, East of Eden, 9 Ins 2 Outs, etc. I confess to not being fond of many office dramas, so I probably tend to see less of that subset than is average for a Korean viewer (I would include Seosono in Jumong or Yeon in Kingdom of the Winds as ambitious and undemonized working women, but period dramas are a separate thing anyway).