Cashero: A Fable of a Superhero Who Lost Whenever He Won

캐셔로
Netflix, 2025, 8 episodes
Genres: action, comedy, fantasy, superhero
Directed by Lee Chang-min 이창민
Original work: Based on the webtoon of the same name by writer Lee Hoon 이훈 and illustrator No Hye Ok 노혜옥, adapted by the Befar Team.
Script: Jeon Chan-ho 전찬호, Lee Je-in 이제인
More information: HanCinema, MyDramaList

You can find the original article in Hungarian here →

Releasing Cashero on the day after Christmas was a perfect choice—a time when most of us, having moved past the exhaustion of family gatherings and visiting relatives, desire nothing more than a bit of relaxation and entertainment, which this short series provides quite satisfactorily. The title itself is clever; the portmanteau of "cash" and "hero" perfectly encapsulates the essence of the protagonist. We need money primarily to cover our livelihood, and secondarily because the more of it we possess, the more confident, strong, and powerful we feel. Now, Cashero plays with this notion by taking it literally: Kang Sang-woong (Lee Junho) unexpectedly inherits a superpower from his father, the magnitude of which depends on how much physical cash he is clutching in his hand (or keeping in his pocket)—wealth that gradually vanishes in proportion to the physical force he exerts. With empty pockets, Sang-woong is just as average as any of us watching the series.

(Author’s screenshot from Cashero.)

The creators aimed to produce an action-packed superhero film with a complete story, where the twist lies in its reflections on the nature of money, delivered with a healthy dose of irony. The episodes always conclude with the protagonist’s smile-inducing, pithy observations—a man who is initially completely distraught by the fact that he cannot even use his superpower for his own personal gain.

(Author’s screenshot from Cashero.)

The story isn't over-elaborated, yet it includes everything we consider necessary for a battle between evil and the saviors of the world. We have an exploitative company devoid of moral inhibitions, where people are viewed merely as tools to achieve an end. At its helm is the power- and money-hungry father, Jo Won-do (Kim Eui-sung), along with his children, Jo Anna (Kang Han-na) and Jo Nathan (Lee Chae-min), who rival both him and each other. The latter two are characterized as perfect fashion icons, which of course does not diminish their corruption; but while we see the diabolical behind the mask of a stiff "brand lady" in the woman, the man’s smooth-faced appearance is surprising for a main villain, yet it works excellently. There is a mysterious loan shark, Park Jeong-ja (Kim Guk-hee), who wields significant influence over events. And, naturally, there are characters endowed with superpowers, reinforcing either the good or the evil side.

(Author’s screenshot from Cashero.)

Another important character is Kim Min-sook (Kim Hye-jun), Sang-woong’s partner. She is quite a materialistic lady, which is understandable, as she desires nothing more than for them to start their married life in a new apartment. This, however, is a nearly unattainable dream requiring constant penny-pinching; thus, Sang-woong’s new ability seems like a literal disaster for the two of them. Although they devise a strategy to avoid trouble, it constantly plunges the boy into a moral crisis, as he feels a normal, human impulse to rush to the aid of those in distress. To leave him no choice, he immediately has to save an entire busload of people, tragically wiping out the family fortune he had on him at that moment. This draws the attention of the dark side, who are working to collect the special abilities they do not yet possess by extracting them from their owners. Just as Sang-woong almost comes to grief while trying to rid himself of his unwanted burden, he unexpectedly finds two helpers with whom he fights through the upcoming adventures.

Both are eccentric figures: Byeon Ho-in (Kim Byung-chul) is fueled by alcohol, under the influence of which he can pass through solid objects, while Bang Eun-mi (Kim Hyang-gi) can fuel her telekinetic abilities by eating. On the opposing side, a powerful flame-knight awaits them in a fiery performance by Kang Sang-jun, along with a lightning-fast, darting "witch of knives," Hermes (Shin Soo-hyun). One of the best characters in the series also appears: an old man with the gift of clairvoyance, portrayed in a particularly entertaining performance by Kim Won-hae.

(Author’s screenshot from Cashero.)

(A szerző képernyőképe a Cashero-ról.)

(Author’s screenshot from Cashero.)

Many believe these characters are underdeveloped and that eight short episodes prove insufficient for the creators to fully explore the potential within their ideas. There is truth in this, yet I was left with no sense of lack. Since Sang-woong has, in the meantime, trained himself into an action hero, we are treated to plenty of spectacular, superpower-driven clashes. Numerous references to comic books and films can be detected; at times, it feels as though Superman or the multiplying Agent Smiths from The Matrix are making a guest appearance, while the final confrontation also plays with the clichés of the great showdowns of Westerns.

(Author’s screenshot from Cashero.)

(Author’s screenshot from Cashero.)

(Author’s screenshot from Cashero.)

The entire drama is infused with humor, the primary source of which is that the protagonist is motivated by very earthly matters in his gigantic struggles—he desires nothing more than to meet his girlfriend’s expectations and fulfill the requirements arising from their life situation, namely, securing an apartment and completing the family formalities before marriage. This global issue can resonate with members of the younger generations worldwide, as it accurately reflects how difficult these tasks are today; perhaps even the heroism inherent in our protagonist is not enough to achieve them. In reality, Sang-woong’s "superpower" is a metaphor for this everyday struggle: the harder he fights, the greater his loss—and it is a wonderful invention that while he loses fortunes during his efforts, only the dropped loose change remains in his possession.

Contrasting this, it is articulated by the wealthy (not very subtly, but rather directly placed in their mouths) that one can never have enough money, even though it isn't truly what they crave anymore. Money is a tool of power: dominion over the world, but even this is no longer enough, as the desired ultimate goal is gaining dominion over life itself—an interesting resonance with the series is the world-renowned "hot mic" recording in which Vladimir Putin and Chinese President Xi visioned such a possibility. Along this track, the story moves toward the final, gigantic confrontation, and the path is lined with drugs, fratricidal war, and many other infamies; even the police are not idle, though it is often questionable whose side they are on.

However, Cashero is not a theoretical work, but it plays well with the reinforcement of trivial truths. The eight episodes hold excellent entertainment if we are satisfied with a humor-infused hero flick that can be taken as seriously as a parabolic fable, just as much as it is a parodic reflection of great superhero films.

Without spoiling the twists, we witness the transformation of our hero’s thinking regarding his superpower, as well as changes related to the use of money. Let us not forget that the final rain of money no longer serves selfish ends but charitable ones, as a voluntary offering from every character. Because they understood the essence: change can only occur through collective action.

(Author’s screenshot from Cashero.)

Evidently not by the standards of a Hollywood blockbuster, but Cashero is a very spectacular production, which is also superbly photographed. The actors thrive in it, enjoying their extraordinary characters and opportunities for play. Lee Junho is outstanding even among them; his slightly droll humor perfectly counterbalances his increasingly emerging swagger. He performs excellently here as well; this playful excursion almost seems like a mere finger exercise for him alongside his many other prestigious roles. In the role of the main villain, Lee Chae-min shows a completely new side, successfully proving that he can handle this type of role excellently.

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Disclaimer: All images used in this article from Cashero are owned by Netflix and are used here under Fair Use for the purpose of criticism and scholarly review.

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This article was originally written in Hungarian for Ricemegatron Expert Film Blog and subsequently translated into English for Ricemegatron Expert: Korean Screen Insights. The English version was created with the assistance of Gemini AI, focusing on preserving the original tone, structure, and critical style of the author.