Yesterday

The same old, same old...

When you think you get something like "To My Shore" - no, you don't. It started interesting but then degraded rapidly. We have the same 2D villain fathers and the brother Ken as in many other shows. While not as over the top like in "Wicked Game", it's still not satisfying at all. There is no sophistication in either the script or the villains. It's all very stereotypical. And of course the finale is quite ridicilous as it's typical with thai shows.

At least the MLs got to play something different and in most parts they succeeded with the acting. Nobody can deny their chemistry. The NC scenes are the same old, so nothing new or interesting there. I guess that is the second time we got a GL side-couple, this time not stupid or silly as in "Love Sea". Also the action scenes were not as amateurish as in many other shows, so that got them on my good side 🤣. Production value was high. The timejumps made the story not easy to comprehend.

It's an "ok" show for me, it's watchable but of course can't come close to "To My Shore" which had a much more refined script and even more tensions between the MLs. As usual the viewer gets an happy end and the end scene may be a hint of a coming show in the same universe or a special. But beware that some scenes might be very disturbing (psychical abuse, selfharm) and mentally unstable people should not watch it.

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Thank the heavens it's over.... but

The series was good enough albeit very confusing with the erratic jumping in and out of the time lines. Though some acts felt circulatory rather than progression. The length did nothing to enhance the story as some of the actors needed an early exit. Mainly, Ken. The father, proving to be the biggest moron, as he kept relying on the village idiot. The erratic pointless behaviors of others would see me using the 2X just to get through it. I like the premise of the plot but it lacked conviction. The hair brain plans, and gratuitous performances left the script badly wanting direction and weight. This leads to the elephant in the room.

The elephant: Fort and Peat. The sex.
The director knows their strengths. They look good together. They blend well in most of their responses to each other, verbally and physically. What he can't erase is the obvious. Their acting.

Fort has grown a little. Peat has not. What I would like to see is Fort have more presence on screen rather than relying on his gorgeousness. Let’s be real, he is. Sometimes his movements say I'm waiting on the next line to react. There is a bit of a pause in the fluidity. The body was made for suits but the smile can only go so far.

Peat is still in the bedroom in college in LITA. His mannerisms bring nothing new. He plays broken characters as if that’s all he knows without adding layers or nuances. Ep 9 when speaking to the doctor emphasized this. He is childlike in most.

The sex. Too practiced. Too rehearsed. Always too important to their scripts that beg for better telling. Are they bad? No. This should be an evolution not an insertion to keep viewers.

The ending did not have the effect on me as was expected. Between eyes rolls and a heavy dose of laughter at the declaration scene, I didn’t like it much. Vier closing his eyes, waiting on the final moment just sent me over. Though it is here Peat actually showed the right restraint. Vier forgiving in the name of love, unbelievable. He carved his forehead in his insanity. But hey, if Vier can forgive, we have to also. Just make sure he's on some kind of meds.

It's watchable, take with a large grain of salt and lower expectation.

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did not work as a romance

Overall: there was no redemption arc after what we saw in episode 4 and what happened afterwards. 10 episodes about 1 hour each. Aired on WeTV https://wetv.vip/en/play/obtd828nav226mm/e4101k2fgrj-EP01%3A_Yesterday_(Uncut_Ver.)

Content Warnings: murders, attempted murder, sexual assault, implied rape off screen, blood, kidnapping/held against will, stalking, manipulation, beaten up, violence, near suicide off screen, blackmail, self harm, non con kissing, gaslighting, past murders

What I Liked
- chemistry/intimate scenes done well
- different type of plot
- styling
- two smart and capable women

Room For Improvement
- the continuous time jumps back and forth made it confusing/choppy even with over an hour per episode (finally more clear in episode 4 but that was way too long to be confusing)
- after a character who supposedly loved another character attempted to murder, (I can't believe he said "I tried to hold him back") his best friend, cut his face so no one else would find him attractive/want to be with him and then raped him in episode 5, the romance was ruined, there was no redemption arc that could make me want that character to be in a romance with anyone and the near instant forgiveness felt fake
- nonsense plot and character actions continuously took me out of the story, a few examples: a character didn't find it odd he had no verbal/video communication from a certain person, turned out he had his phone the whole time?!, cameras were everywhere until they weren't
- did not care about the business drama

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At what point does this dynamic stop functioning as romance at all?

Yesterday enters the Thai BL scene with a premise that makes it clear it has no interest in playing it safe. Instead of following a traditional romance, the series dives into darker territory, where relationships are shaped by trauma, power, and deep emotional imbalance. The result is a narrative that grips through its intensity, but also demands patience and a willingness from the viewer to engage with its more challenging choices.

One of the show’s biggest strengths lies in its central duo. The chemistry between the leads is undeniable and often serves as the main thread holding everything together, even when the writing starts to falter. There is a constant emotional charge in their interactions, especially in the more tense scenes, which keeps the audience invested. Kelvin, in particular, stands out as a deeply unsettling presence, a character built on obsession and emotional distortion whose impact is both captivating and uncomfortable.

That discomfort is very much intentional. Yesterday leans into a “dark romance” dynamic that openly pushes against moral boundaries, and that choice defines the entire experience. The central relationship is far from romanticized and, at times, feels more focused on control, dependency, and emotional harm than on genuine affection. This can be seen as a bold creative direction, but it also raises an inevitable question: at what point does this dynamic stop functioning as romance at all?

The show’s biggest weakness, however, is in how it tells its story. Its fragmented structure, constantly jumping between timelines, ends up doing more harm than good. Rather than building intrigue, these shifts often disrupt the pacing and blur the emotional progression. There are moments where you understand what is happening on a surface level, but struggle to actually feel its weight due to the lack of continuity.

This narrative inconsistency also affects the characters. Kelvin and Veir go through significant changes, but not all of them feel properly developed, which makes some of their actions seem driven more by plot convenience than organic growth. Even so, there is an interesting foundation there, especially in how the series attempts to tie these shifts to past trauma and dysfunctional family dynamics.

As the story progresses, the focus expands beyond the central relationship and leans heavily into power struggles and corporate intrigue. This shift is interesting because, while it adds depth to the world, it also dilutes the emotional core of the romance. At times, Yesterday feels less like a story about two people and more like a thriller about ambition and control.

These different layers do not always come together smoothly. The script frequently relies on rushed or underexplained developments, creating gaps that break immersion. On top of that, the handling of more sensitive themes, such as mental health, can feel somewhat superficial, as if they are used to heighten the drama without being fully explored.

At the end of the day, Yesterday is a deeply contradictory experience, that impresses more for its intention than its execution. There is a strong idea at its core, along with a clear desire to break away from familiar formulas and challenge the audience, and that in itself has value. However, its difficulty in organizing the narrative and fully developing its own conflicts prevents that potential from being fully realized. Even so, it is the kind of story that stays with you, not necessarily for what it gets right, but for what it almost managed to be.

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A hot mess

Less is more and this series failed to understand this . The first few episodes were great but then it went downhill. Too many storylines going on with little time and so poor execution. The writer wanted to do so much that they ended up doing nothing right .
The last episode was painful to watch . It was as if the writer wanted to add every single cliche known to man .
This series had such great potential but ended up falling flat .
I don’t want to go into details to avoid dropping spoilers but I’ll unfortunately have to rate it a 4/10 .
It’s okay to simplify storylines and if you want something to be complicated, you either pace it better or increase the episodes.
Would I recommend this series to someone else ? No I won’t .
Do I hate it ? No I don’t .
I’m just disappointed

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Very bad job

Honestly, I managed to finish this series and I don’t even know how. From episode 4 onwards, it just stopped being good. Vier seems like he can’t even think… and don’t talk to me about Stockholm syndrome, it’s just badly written.

Kelvin, who acted badly the whole time, ends up getting a happy ending I find that crazy.

I understand what the story was trying to do, but it’s so poorly executed. Kelvin and Vier lack depth, even though they had a strong background.

The GL couple deserved so much better, with a more developed story. In the end, it all just feels poorly done.

And honestly, NC scenes can’t save a series.

When you end up rooting for the villain, something clearly went wrong with the writing.

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UNFORTUNATELY A Hopeful Start for “Yesterday” gone WRONG !

I started this series with so much excitement, and after the first episode, I genuinely believed it had the potential to be something special. Back then, I even rated it a solid 9/10. Unfortunately, now that it has finished, I have to bring that down to a 6.5/10.

As the story progressed and time went on, the quality noticeably dropped. What initially felt intense and promising slowly turned into something frustrating and underwhelming. It was honestly very disappointing to watch.

The biggest issue lies in the story—it just falls apart. The plot becomes weak and inconsistent, making it hard to stay emotionally invested. On top of that, while the leads still have their charm, there was definitely room for improvement in their acting, especially in the more critical moments.

I really wanted to love this series, but in the end, I can’t ignore its flaws. Being completely honest, it just wasn’t worth the time.

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I’m sorry to the fans, but I’m passing on this one. Truly disappointing, seriously.

Initial Considerations

When I finished the second episode, I could not stop thinking about those who, in one way or another, criticized *To My Shore*.

My apologies in advance. There is no ill intent here—only an uncontrollable reaction to the contrast between what we are witnessing now and what *To My Shore* once delivered.

Let me be clear: I loved *To My Shore*. Perhaps that is precisely why I have never written about it. I intend to rewatch it calmly and only then share my thoughts on MDL.

That said, even having seen only two episodes, *Yesterday* cannot be postponed.

The narrative duality presented in the first two episodes borders on the absurd. The discrepancy between timelines is striking, and the excessive, poorly positioned time jumps do not enrich the plot; instead, they disorient the viewer, leaving us suspended in a constant state of bewilderment—confused, adrift, and repeatedly asking ourselves: *what exactly is happening here?*

In the first arc, set one year earlier, we are introduced to Veir: a wealthy, handsome, intelligent young man, apparently well established within his family’s business empire. As the only son, he is portrayed as the natural heir, fully supported by his father, a powerful and successful businessman.

Veir presents himself as polite, refined, and ostensibly principled, openly claiming to despise lies and injustice. Yet this moral posture proves to be conditional. His “good man” façade lasts only as long as it serves his interests. Kelvin is one such interest. Once the conquest is achieved, Veir wastes no time in clarifying his emotional detachment: no commitment, no emotional ties, only casual sex. For him, intimacy is transactional, stripped of affection or consequence.

Parallel to Veir, we meet Kelvin—the marginalized, humiliated, submissive, and undeniably gentle figure of the story. The second son of another magnate, Kelvin exists in a paradoxical position: despite his status, he functions almost as a servant within the household. His suffering becomes a silent catalyst for Veir’s attention. Veir, perhaps unconsciously, begins to offer subtle support, while simultaneously orchestrating a seduction devoid of responsibility or emotional accountability.

The first episode also introduces two other key characters. Ken, the eldest son of the Kim family, is portrayed as morally bankrupt and utterly incompetent—a character defined by cruelty. He persistently humiliates Kelvin, his younger brother, and aspires to an arranged marriage with Lalin, another central figure. Lalin remains largely unreadable at this stage, but one thing is clear: she despises Ken and resents the obligation imposed by her father, yet another powerful patriarch in this narrative of wealth and control.

Then comes the second episode, where the story takes a far more disturbing turn.

One year later—an interval that feels narratively insufficient—we encounter a Veir who is almost unrecognizable. The confident, arrogant heir has been reduced to a fearful, emotionally needy man on the run, fleeing desperately, “like the devil fleeing the cross,” now inexplicably trapped under Kelvin’s control. He becomes the victim of kidnapping not once, but twice, and yet responds with a disturbing passivity. Even more troubling is his submission to sex as a means of securing financial leverage for his father—a choice presented without sufficient psychological grounding, rendering it unsettling rather than tragic.

Kelvin, in turn, undergoes an equally radical—and far more alarming—transformation. The once gentle, oppressed figure emerges as an executioner: obsessive, sexually coercive, and deeply toxic. Now armed with power, he intimidates and dominates the very man who once held emotional and social advantage over him. What was previously subtextual suffering becomes overt cruelty, and the dynamic shifts from imbalance to outright abuse.

And that is where we stand. Two episodes that are undeniably intense, yet frustratingly opaque, offering little indication of whether redemption—moral, emotional, or narrative—is even possible for either protagonist.

I confess my curiosity remains intact. Had this drama been produced in China, it would almost certainly have been halted by censorship.

And here we are—whether admirers or critics of *To My Shore*—watching all of this with dropped jaws and incredulous laughter.

Sorry, everyone.

Enjoy the ride. Watch it.

29/03/26

Unfortunately, the drama has taken a very disappointing turn. On top of that, the storyline diverges significantly from the original novel it was adapted from. Both the book and the drama have lost the appeal they once held for me. I found myself so disheartened that I simply can’t continue watching. Not to mention the mediocre performances delivered by some of the actors.

I’m sorry to the fans, but I’m passing on this one. Truly disappointing, seriously.

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