Perfect Crown

It's not as shimmering like a crown

Intimacy and cuteness alone are not enough to justify a good drama. It always works better when there’s a balance of romance, drama, thrill, and a focused storyline—and unfortunately, that’s where Perfect Crown fell short for me.

I did appreciate how the drama explored the parallel worlds of monarchy and the modern life. It gave viewers a glimpse of how both worlds mirrored each other without one completely surpassing the other. However, despite being marketed as a romance drama, I felt that the story struggled to fully establish and develop the emotional connection between the leads. There were moments when even the main characters failed to convincingly deliver the romance, making it hard for me to truly feel that they were in love.

Still, I can’t deny the charm of IU and Byeon Woo Seok, along with the impressive performances of Gong Seung Hyun and Noh Sang Hyun, because they were honestly the reason I stayed invested. Plus points as well for the soundtrack—it’s been a while since we had a drama with such a good set of songs.

Overall, it was just okay for me. Not particularly great, but not bad either.

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A CROWN THAT ALMOST FIT

Let me start with the thing this drama absolutely nails: the central romance. Hee-joo and Yi Ahn are genuinely compelling together in a way that is hard to manufacture. Their dynamic works because it is built on two people who understand each other on a specific frequency that nobody else around them does. Yi Ahn spent his entire life being told to make himself smaller. Hee-joo spent her entire life being told she would never be big enough regardless of what she achieved. They recognized that shared wound in each other without either one having to spell it out and that recognition is the engine of everything.

What I love most is that the drama does not make her fall for him because he is a prince or because he is beautiful, though he is both. She falls for him because he is the first person who genuinely sees her. Not her money, not her ambition, not her scandal value. Her. And he falls for her because she is the first person who ever told him to stop bending. That is real and it is earned.

The writing for their individual scenes is some of the best romantic drama writing I have seen in a while. When Yi Ahn confesses that the kiss was not a moment of weakness but a deliberate choice because it was her specifically, when he tells her he does not want to trap her in a marriage she did not choose freely, when she shows up to pull him out of a dinner with his awful sister-in-law because she reached her limit watching that woman grind him down, those moments are constructed with real intelligence. They do not talk around each other. They are almost startlingly honest for a drama pairing and that directness makes every loaded scene between them hit harder.

IU is extraordinary in this role. She plays Hee-joo's confidence as armor so precisely that the moments when that armor slips land like a fist to the chest. The scene where Yi Ahn simply asks if she is okay after her confrontation with her father and her face just crumbles, not into tears but into something rawer and more complicated, that is elite acting. She makes you feel every year of Hee-joo's life in one expression. Her comedic timing is also immaculate. She is genuinely funny in a way that never undermines the emotional weight of the character.

Byun Woo-seok is doing something quieter and harder than it looks. Playing a man who has been conditioned from childhood to suppress every reaction means the performance lives in the margins. The micro-expressions, the barely concealed smiles, the way his whole posture changes when Hee-joo is near versus when he is performing his regent duties. When he finally gets to let Yi Ahn fall apart, like the hospital scene where he runs to her room and clings to her in tears, the payoff is enormous precisely because of how carefully he built the restraint that preceded it.

Gong Seung-yeon as Yi-rang is one of the most compelling things in this drama. She is required to carry a villainous arc with genuine psychological complexity and she does it with extraordinary control. Every scene where she is plotting is fascinating. Every scene where her son or Yi Ahn gets through to her humanity is devastating. Her final turn toward accountability, kneeling before Yi Ahn and handing over evidence against her own father, is earned in a way that makes you feel the full weight of everything she sacrificed and destroyed to get to this point.

Noh Sang-hyun as Jung-woo is doing the most interesting work in the show in the second half, even though the writing does not always serve him. He plays the deterioration of a man who spent fifteen years believing he was principled while actually just being passive, and the moment those two things stop being compatible for him is genuinely chilling to watch. The final confrontation between him and Yi Ahn in the room after his exposure is one of the best scenes in the drama. Just two people who genuinely cared about each other, now irreparably broken, with nothing left between them but the truth.

The premise of a fictional constitutional monarchy with lingering Joseon era class structures is imaginative and visually beautiful. Watching palace rituals and court hierarchies collide with social media coverage, product placements, baseball games, and contract marriages creates a specific comedic texture that the drama leans into well. The mixing of traditional hanbok silhouettes with modern suiting, the royal archery tournament as a school exhibition, the hopae used to summon help during a palace interrogation, it all works aesthetically and tonally for the kind of drama this wants to be.

Where it falters is in the follow through. The drama establishes a world with enormous potential for social commentary, the absurdity of class systems persisting into the 21st century, what it costs real people to maintain ceremonial prestige, the specific ways aristocratic thinking warps human relationships, and then mostly uses it as backdrop rather than subject. The conversations that should happen about why this system exists and who it actually benefits keep getting interrupted by the next kidnapping attempt or palace fire. And by the time Yi Ahn actually abolishes the monarchy at the end, the groundwork for why the people would vote for that had not been laid carefully enough to make it land with the weight it deserved.

This is a drama that works better when you stop expecting it to be a genuine political critique and accept it as a fairytale romance that happens to wear alternate history clothing. The moment you make that adjustment, the remaining flaws become much more manageable.

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The central OTP is genuinely one of my favorite drama pairings in recent memory. Their chemistry is electric but it is also built on something substantial. Watching them figure out each other in real time, the way she learns that underneath his rigidity is a man who was just never allowed to be anything else, the way he learns that underneath her aggression is a girl who was never given a reason to be anything else, is the best thing this drama does.

The archery callback that runs throughout the entire series is some of the best visual storytelling in the drama. Their first meeting on the range at night, his deliberate loss at the exhibition to spare his father's ego but at the cost of hers, her finally understanding years later why he did it and what it meant, his proposal using the dried flower from that original match. Every time archery surfaces it adds another layer. That is craft.

The side couple of Hyeon and Hye-jung is genuinely delightful. Hyeon is adorkably smitten in a way that is sweet rather than cloying and Hye-jung's gradual noticing of him is handled with just enough restraint to feel real. Their bus stop scene in the final stretch is one of the most purely enjoyable moments in the last run of episodes. They deserved every second of their happy ending.

The costumes deserve their own paragraph. Yi Ahn's suits with their traditional construction details and closure elements are some of the most thoughtfully designed garments I have seen in a contemporary drama. They communicate everything about who he is without a word of dialogue. A man caught between two worlds, formal but not rigid, traditional but not retrograde, always slightly set apart from everyone around him. The attention given to his wardrobe is obvious and appreciated.

The OST is strong throughout. The use of different ballads to track each man's feelings for Hee-joo is a genuinely clever structural choice and the songs themselves are consistently beautiful. WOODZ's Everglow for Jung-woo's unrequited longing, the unnamed ballad linked to Yi Ahn's quiet devotion, and the Sam Kim track on the yacht that finally starts to close the gap between them emotionally. The music does real storytelling work in this drama.

Tae-joo and Da-young were a surprise. I expected them to be the standard obstacle sibling pairing and instead they became one of the most genuinely funny and unexpectedly warm elements of the whole show. Tae-joo stepping up for Hee-joo at the press conference, Da-young encouraging him to be even more aggressive about it, both of them playing cupid for the OTP with varying degrees of self-interested motives. Their evolution from antagonists to something approaching family is one of the cleaner arcs in the drama.
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Yi-rang is simultaneously one of the most fascinating and most frustrating aspects of this drama. Gong Seung-yeon plays her with such specificity and depth that I kept wanting the writing to give her more, and it kept pulling back just as things got interesting. Her backstory of being married to a man who never wanted the throne and consequently never wanted her, of building a life around an institution that depended on her sacrificing any personal happiness, is genuinely tragic. The revelation that she had feelings for Yi Ahn before her arranged marriage to his brother adds a layer of devastating irony to everything she has done since.

But the drama also makes her commit actual murder in the first half and then essentially lets her off with a redemption arc in the second, which requires some agility on the viewer's part to accept. I can accept it because Gong Seung-yeon earns it through sheer force of performance. Her son confronting her with what he overheard the night his father died is the most affecting scene in the entire drama and watching her finally choose Yi Yoon over her father's ambitions lands because the actress has been building to that choice for twelve episodes. But the writing gets her there unevenly.

The monarchy abolition ending is conceptually right but executionally rushed. If the drama had spent more time earlier establishing what the monarchy actually meant to ordinary people in this world, the vote to dissolve it would have felt like a genuine culmination. Instead it arrives quickly, passes easily, and we cut to a time jump before the consequences have been meaningfully explored. What happened to all the people whose livelihoods depended on the Crown? What does the former grand prince actually do now with his life beyond attempting to cook? The epilogue is warm and lovely but it is answering questions about our leads at the expense of questions about their world.

Hee-joo and her father never fully resolved for me despite the drama's attempts. Jo Seung-yeon's natural warmth as an actor keeps bleeding into a role that the writing insists is still deeply ambivalent and the result is a character whose trajectory I cannot quite believe. Did he always love her quietly from a distance and just express it terribly? Or is his late protectiveness genuinely calculating? The drama wants both readings to be true simultaneously and does not quite have the space to earn that complexity. The slow thaw at the end is the right call but I needed more of their early history to feel it properly.
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Jung-woo's villain turn is the single biggest structural problem in this drama and I need to say that directly. Not because the choice is impossible to believe in a character sense but because of the proportion of the final stretch that gets consumed by it. By turning him into an active antagonist aligned with Sung-won and attempting to lure Yi Ahn to his death, the drama suddenly has to dedicate enormous amounts of screentime to building him as a credible threat and resolving that threat. Time that should have gone to literally anything else.

He had fifteen years. Fifteen years to say something, do something, be something to Hee-joo beyond a patient and supportive orbit. His prolonged inaction is the primary source of his own unhappiness and the drama knows this and articulates it clearly. But that understanding does not justify the leap to attempted murder. It also does not justify how quickly it all unravels. For a man established as one of the shrewdest political operators in the country, being caught on a recording admitting everything because Yi-rang held one conversation with him is an embarrassingly dumb ending for a character who deserved something more complicated.

What the drama really needed was for Sung-won to remain the sole antagonist in the final act and for Jung-woo to struggle privately with his feelings while still choosing Yi Ahn and Hee-joo because that is who he fundamentally is. A Jung-woo who aches and still does the right thing would have been devastating and beautiful. The one we got is just tragic in the wrong direction.

The palace fire count in this drama needs to be discussed seriously. Three fires in three years in a palace that apparently stores its fire suppression equipment as decorative bowls of water. The national cultural heritage landmark burns repeatedly and the response is people running with buckets. By the third fire the audience has lost the ability to treat it as dramatic because the drama itself has refused to treat the previous two as anything worth following up on. This is a writing problem dressed up as an aesthetic choice.

Hee-joo's mother is introduced as a plot hole and exits as a plot hole. She abandoned her daughter at her father's doorstep when Hee-joo was ten and is never seen or heard from again. Not during Hee-joo's royal wedding. Not during the national controversy surrounding her. Not during the monarchy abolition. A woman who left her child with a man who did not want her just vanished from the narrative entirely and the drama does not even acknowledge the gap.
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Perfect Crown is a drama that contains a genuinely great romance inside a show that is not quite great enough to deserve it. The central pairing of Hee-joo and Yi Ahn is the kind of OTP that you keep thinking about after the credits roll because the writers understood why they worked together at the level of psychology and complementary wound, not just surface compatibility. IU and Byun Woo-seok brought real emotional intelligence to characters whose relationship is built on honesty in a genre that usually traffics in misunderstanding. That alone makes this worth watching.

But. The drama also has a premise it never fully committed to exploring, a villain trajectory for its second male lead that derails the final act, multiple murder mysteries it raised and abandoned, and approximately three fires in a palace with no sprinkler system. These are not small things. They are the difference between a drama you remember fondly and a drama you remember as the one that could have been something special.

The ending they chose for Yi Ahn and Hee-joo is right. Not in the throne room wearing crowns, but at a baseball game wearing team jerseys, caught on the kiss cam, completely free. That is the story this was always supposed to be. I just wish the twelve episodes surrounding that ending had been constructed with the same clarity of purpose.

If you are here for the romance, the chemistry, the stunning production design, and two leads with genuine emotional intelligence navigating a fairytale setup, this delivers fully. If you need your political intrigue to resolve cleanly, your mysteries to be solved, and your secondary characters to be used well throughout rather than just periodically, you will leave frustrated.

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The Perfect Crown for the Worst Acting

This drama is the perfect example of beauty over substance…

The production is visually stunning, but that’s about it.

There’s no real emotion, no chemistry, and the acting is very poor in IU’s case. She doesn’t perform well at all, it almost becomes unintentionally laughable at times, and her facial expressions are quite unconvincing.

I watched three episodes and I won’t be going any further it’s disappointing. I keep giving it a chance, and every time I end up let down. There’s no improvement, which is frustrating for an acting performance that feels very amateurish.

As for the story, there’s nothing particularly remarkable. Honestly, it feels more suited for a younger audience, around early teens.

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More like a Crown that faded...

Maybe I've seen too many dramas and can smell the tropes from miles away... At least make them creative

This started out fun, went for a little bit then just fizzled... Again it didn't help that the writing was predictable and not balanced enough in its portrayal of teetering royalty and commoner colliding. Who could have seen a power hungry royal relative.... Or seen him becoming king and abolishing the monarchy huh? huh? even the prime minister's heel turn... I have my shocked face on.

Character development was on the low end... except the Queen Mother who was my favorite character, she had a depth that other's didn't come close to. I enjoyed the actress playing her, simply gorgeous and riveting, she outshone the FL for me. The actress is really beautiful...her brown eyes were striking each time she was on the screen.

The romance between the leads was meh but both very pretty, love the ML face.
BUT the aides!!!, wow so adorable and blazing chemistry (their scene in the last episode). The boy king was adorable and tugged at the heart.

Overall if you have time, it's an ok watch, the visuals are stunning

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why so much hate ?

I went into Perfect Crown expecting a light historical romance, and honestly, that is exactly what I got. After finishing the series, I can say that I genuinely enjoyed it far more than I expected to. It is not a drama that tries to be extremely deep, historically perfect, or emotionally devastating. Instead, it focuses on creating an entertaining, romantic, and visually pleasant experience, and in my opinion it succeeds at that very well. The drama never becomes too heavy or emotionally exhausting, which makes it perfect for viewers who simply want something relaxing and entertaining after a stressful day. Not every historical drama needs to be dark, tragic, or politically complex. Sometimes it is nice to watch a series that focuses more on charm, atmosphere, and character interactions rather than constant angst and suffering. Visually, the drama is also very pleasant. The costumes, palace settings, and cinematography create a soft and elegant atmosphere that fits the tone of the story perfectly. Everything feels polished and aesthetically pleasing, which makes the viewing experience even more enjoyable.
What surprised me the most, however, was the amount of criticism surrounding the drama. Personally, I think many reactions became unnecessarily harsh. At the beginning of every episode, there is a clear disclaimer stating that the series is a work of fiction. Because of that, I do not really understand why some people reacted as if the drama were trying to present itself as a completely accurate historical documentary. Of course, there may have been historical inaccuracies or details that were not perfectly represented, and criticism is completely fair when discussing those aspects. However, historical dramas often take creative liberties in order to make the story more entertaining or emotionally engaging. That is something that happens not only in Korean dramas, but in historical fiction in general.
What I personally found unfair is how quickly the criticism shifted from discussing the writing or historical details to attacking the actors themselves. In my opinion, there was absolutely no reason for the actors to apologize for a fictional series. They were simply doing their jobs, and honestly, both of them performed very well.
Perfect Crown never tried to be a perfectly accurate retelling of history. It is simply a fictional romantic drama designed to entertain, and judged from that perspective, I think it does a very good job.

For anyone looking for a relaxing historical romance with good chemistry, attractive visuals, and a soft atmosphere, I would definitely recommend giving Perfect Crown a chance despite all the controversy surrounding it.

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A tale of wasted potential

In a nutshell: If you love a dreamy romance, love IU as an actress, and/or have a soft spot for BWS (that man is genuinely unbearably attractive in this show, like actually forget to breath for a second attractive) then this show is def worth a watch. If fleshed out character arcs and a well-executed plot are really important to you, this show will frustrate and disappoint you and may be better skipped.

What the show did right:
- The romance characters, story, and plot. Longing glances, heart fluttering moments, quiet expressions of connection and support, the kind of kisses that make you blush. This show knows how to make you root for two people to be together.The romance is slow burn and the couple genuinely grow and connect in a way that feels like it will last a long time. One of the healthiest, most mature pairings I've seen in a while.
- Both the main characters and the actors have bangers chemistry, and BWS especially sells it. He made me actually cry at one point from how much he loved her. He is a true romcom prince.
- IU really shined here. Her character was fierce yet charming, she brought a lot of vibrance to the show especially early on.
- There were a couple of standout performances other than the leads. Steve Noh as the PM was compelling even when I didn't want him to be, and Chae Seo An and Lee Jae Won as the FLs brother and SIL were delightful in every single scene they were in and I wanted to see them so much more than we did.

What it missed (spoiler: pretty much everything else)
- Other than the main leads, the entire rest of the cast was underdeveloped. Most characters had zero backstory so they were little more than cardboard cutouts, the rest had just enough to service the plot but not create fully vibrant characters. No characters had any sort of goal or trait other than what related to the leads or the main plot.
- All of the side character arcs were either rushed an unrealistic, or puttered out and didn't go anywhere, or never started to begin with. So many great actors were given repetitive, bland scenes where they couldn't show their true potential, or forced to have a identity transplant over the course of a half episode.
- The 2ML has no personality other than liking the FL a lot. Literally every scene he's in, from start to finish, multiple scenes every ep, everything he does or says is motivated by him liking the FL. Despite being the prime minister of a country. It was a tragic waste of Steve Noh, who somehow managed to steal many scenes regardless.
- The plot was paper thin. They set up a huge mystery, and with it being a modern palace drama you'd think there'd be intricate layers of story full of twists and turns . But there wasn't. While there were a couple revelations, everything was so boringly straightforward and unimaginative and uninspired. The fan theories people came up with were a thousand times better than what turned out to be a very predictable plot. There wasn't enough plot for the amount of episodes, and so the second half meandered and circleed the same drain, recycling the same cliche plot points and getting so lost in them that the ending felt somehow rushed, too.

With the setting, premise, and cast of capable actors, there was a really cool, well crafted story full of compelling characters to be had here but the show focused so hard on getting the romance right that it seemed to not have the energy for everything else.

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A Pretty looking romance drama

Disclaimer: There will be certain POLITICALLY MOTIVATED REVIEWERS who will lecture Koreans about their fantasy drama that doesn't showcase them as OVERLORDS but have hollywood superheroes as their profile picture because THAT'S SURELY REALISTIC.
Imperialists saving the world. 💪🤡
They have a problem with some romance fantasy because "how can you like birth privilege" in a fantasy but I LOVE MY HOLLYWOOD ALIEN OVERLORD SUPERMAN who has the same "nepo privilege" assigned at birth. "Superior being"!
"My fantasy better than yours because in my fantasy....we fight for OI...i mean democracy! We bom...I mean, we save kids...we save the future" ❣️

There's so many other hilarious points that the review has put forth with such hypocritical confidence that I, as an Asian, could barely hold myself from fully screaming from astonishment.

All in all,I wanna say that this particular drama is A SIMPLE DISNEY STYLE ROMANCE FANTASY...you know the kind where a prince falls in love with a non royal? Yeah. That's what this is. There's nothing too deep about it. In fact,its pretty harmless and doesn't even stink of propaganda like some Hollywood superhero films so far. You can watch it FOR ROMANCE.
The visuals are pretty great and the production is high quality. Its too early to say too much about romantic chemistry so I will wait a bit more.
All I wanna say is, if some imperialist glazer wants you to think that watching a royal romance is a sin. Its not.

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Strong Start, Questionable Ending.

Overall:
A worthy watch if you only care about romance, but if you even care just a little bit about the actual politics, then don't bother or you'll get annoyed. It really depends on your personal preference, at the end of the day. Some characters are better-written than others, the plot is overall average, but the music is arguably strong.

Plot:
With a considerably different concept to most dramas, 'Perfect Crown' had a strong start in engaging audiences. The concept of reimagining Korean history to have maintained monarchy even to our present day is the exact key point of intrigue which many viewers were pulled in by. What if x never happened, or what if y did? The curiosity and suspense only broadens the spread of the word. Such a hook did well in capturing our attention at the start, but whether this curiosity continues is up to the screenwriter – who ultimately did not succeed.

While it is different from most, the politics of an entire country cannot be well-written if the writers only wanted 12 short episodes with a focus on romance. As a result, the characters start contradicting themselves as the plot becomes insensible. However, it is worthy to mention that the romance aspect was well-written. Even if it did take the usual K-Drama formula of crushes back in high school or a couple of convenience, you cannot deny that it is so easy to root for the main couple. You WANT to see the poor prince succeed in getting together with the mistreated heiress.

Characters:
Seong Huiju is an appealing character. Her personality shines through and she almost has no faults; to be perfect is impossible. You understand her intentions well because of her simple yet impressionable backstory as the child of a mistress in a chaebol family. By contrast, Prince I-an is slightly more confusing. His intentions (other than to love Seong Huiju) are never clear in the sense that you simply don't understand what he is doing. He is sick of the royal life and the supposed prestige of it all, yet it feels that all of this is just a sad backstory for the ML instead of being something real or almost-tangible. Prince I-an as a character lacks depth; his only purpose seems to be for romance, or for Seong Huiju. Unfortunately, this is often the issue for many dramas where character depth is ignored to emphasis the romance between the leads.

Prime Minister Jeongwoo is similarly confusing. While you can argue that everything he does is for Seong Huiju, the motive is still unclear. Such excuse for his blatant disregard towards his duty as the prime minister of a country is deplorable. Even if he says that 'everything is done for the good of the country,' does anyone believe him? Does he even believe it himself? The PM has become such a caricature whose only purpose is to serve as a villain for and because of romance. His character would have been more interesting if they gave him more depth through backstory, e.g., what was his father (previous PM)'s impact on him? The scene of him laying his rosary at his grave was well-executed, with such symbolism of the PM leaving his morals even coming back in the episode 11/12 when Seong Huiju asks him where it went. It's a shame that this wasn't further explored.

Daebi Mama is my personal favourite. The stages of rage, grief, anger, humiliation, and finally acceptation that she goes through absolutely shine. Her understanding of the world shifts over and over again, with the abdication of the former King, his death, the instatement of her song as King, and her realisation of her father's evils. Hate her as you will, you cannot deny that she is the product of her environment. Arguably-so, her similarities with Seong Huiju are much more apparent than what comes to eye. They are both constricted by power, but contrastingly, Seong Huiju is able to rely on herself to create her empire, while Daebi Mama must ensure her son stays in power. From this perspective, Huiju even appears to have more freedom than her.

Acting/Cast:
IU and Byeon Woo-seok are beloved by the general audience. With both actors having well-received roles before this series, it is not doubt that everyone will have high expectations. IU's acting is the same as ever, as in she is able to assert her character and develop it convincingly, as to be expected from a veteran, though also thanks to Seong Huiju's strong character personality. By contrast, with Prince I-an lacking clarity in character dimension, Byeon Woo-seok has an arguably more difficult time in his portrayal. However, some scenes are much better than others, such as the emotions he present when Prince I-an is forced to live through the death of his mother, father, and brother.

Steve Noh (PM Jeongwoo) and Gong Seungyeon (Daebi Mama) really shone throughout the series. They were extremely convincing in their role, even if the PM's character is flawed, as both characters have somewhat of a clearer motive. In particular, Daebi Mama is able to pull the audience into the story as she shows her rage and despair towards the uncontrollable situation which unfolds in front of her. The contrast between her character at the start of the series and the end is quite distinct. Similarly, Steve Noh creates a clear division between the PM at the start who genuinely wishes to do well, versus the corrupt or colluded PM at the end, with the scene of his leaving his rosary as a division.

Music:
While I don't usually consider music as part of a review, it is no doubt that the OST for this series was strong. Many current top acts in the K-Pop scene such as RIIZE, BOYNEXTDOOR, and BIBI were included along with other token OST singers to create a solid yet hype-able OST album for the drama. It is not a stretch to say that many viewers watched the series specifically for that.

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Threw in the towel

I’m a huge fan of IU’s work, especially the funny and heartwarming HOTEL DEL LUNA and the absolutely brilliant MY MISTER. So it makes me sad to report that this series, PERFECT CROWN, is far from perfect. I finished Episode 3 and (like many others on this site and elsewhere) dropped it.

The problem isn’t so much with IU’s acting as it is with the character she portrays--a vapid, self-centered, arrogant narcissist. I just didn’t like her and didn’t want to spend more time in her company.

It’s possible to create a multi-faceted, slightly villainous, FL who’s intriguing, enticing, and even likable–but the writers didn’t do that here. Maybe she shows another side later in the drama, but I can’t wait around to find out. Sorry.

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Had immense potential

But a great let down. Since ep 1 it's hard to connect with the stories nor the characters. I thought probably it's just me and did try to get through it since I'm watching dramas after quite some time.
But as the episodes go on, it's evident this show has no substance or depth and the characterisation is poor too.
The scenes are disjointed and there are just fillers.
Yes it's a romcom, but doesn't mean it shouldn't have a solid script or direction. There are better romcoms that are heartwarming yet light out there. So fans should stop defending a poor work which is a disrespect for good scripts and direction.
I'm a fan of both IU and BWS works. Their name carries this show. The chemistry and acting isn't that great, main part of it probably due to bad scriptwriting. You can watch it if you're a big fan of these 2 and don't mind plotholes. That said, i really liked queen mother acting. Her acting is the best there (i don't even know her before pc so I'm not glazing lol). IU and bws' acting faded pale in comparison which is sad. Nevertheless I'm hoping the best for these 2 in the next projects.

To sum up this show it's a pretty shell. Grandiose on the outside but empty inside. Actors and the production value saved the project.

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