assez

Okay, so let me start with this. The first information I got about this project was a very kind-hearted five-star review mentioning something about a toxic stalker. So I went into watching the series with exactly that expectation—a toxic relationship, whatever—and I was ready to enjoy it.

At first, it started very promisingly. The production quality is extremely high, just like Love in the Air. At the same time, I much preferred the beginning of this series and its storytelling compared to Love in the Air, where I considered the first story of Boss Noell to be kind of not a story at all. Here, the structure looked so freaking promising.

As I watched several minutes in, a bright idea struck me. I realized I loved how extreme—really extreme—the shifts were compared to what we’ve seen in Love in the Air and The Boy Next World. The characters didn’t even resemble their original impressions. At first, I thought they were just versions of themselves from those stories, but seeing them here, I realized they were not. These were characters written in a specific way, carefully adjusted for this story.

And I don’t just mean physically—that alone is a drastic difference—but also their acting performances and the moments when they emit specific vibes. In Love in the Air, they give one vibe; in The Boy Next World, a different one. I absolutely love and adore this, and it kept me hooked. I started watching whenever I felt in the mood, which drastically improved my experience.

I stayed in that blissful state for the entire duration, which could have either put me off or kept me hooked—and it definitely kept me hooked.

…

And guess what I found at the bottom of this bottle? I found a story about complete love, dedication, and loyalty—full of caring. This is true storytelling that spoils its audience in the department of treating each other kindly, giving full attention, and showing genuine care.

So no, I don’t blame people who judge stories by calling them “stalker” stories and preferring a false, nonexistent universe over a besotted boy who couldn’t help himself and would do anything for his love interest. I might just laugh at the parts where they clearly don’t understand how emotions work in creating a storytelling. And that’s basically it. After all, there are special conditions required to portray and share such a kind of love outside the family in the form of storytelling.

I just applaud the craft of creating a truly beautiful relationship between two characters outside the sexual department.

Trying to apply logic or geometry to art doesn’t work. It never has. If it did, architects would write stories, not writers. I support anyone who creates clear distinctions between imagination, fantasy, real life, and their own life in relationships and society. Do it. Then show me how you would write a story so intensely emotional yet free from tedious technical descriptions. If you could, you’d have something most of us don’t have.

But I guarantee that 90–99% of people cannot create a story about supposedly “toxic” people that results in such a highly intense, genuinely nice relationship. Most creators can’t get rid of technical nonsense—it gets in the way of smooth storytelling. If you can see the lines of the storytelling, something was done wrong. And I don’t blame you—life is difficult. Creating art while living life is even harder.

But pardon me—if I address it. After all, people don’t think twice about calling a story “toxic” without looking at what comes before or after.

For me, this is a highly relationship-based series. It surpasses standard storytelling in creating a loving, dedicated relationship that’s still full of passion—but not the typical “passionate” type.