rayabend

No one can tank a celebrity’s career through comments alone, ma’am—if that were the case, no celebrity would have a career to begin with, yours, "Joey", included✌️. That said, unnecessary hate and negativity should always be condemned. Personally, I’d suggest staying out of this altogether.

If you do end up watching this drama (please do 🤗) and genuinely enjoy it, the most constructive thing you can do is leave a good rating and an honest review.

And, let’s be real—this comment section, or any other drama’s comment section releasing in January (and it’s packed as hell), isn’t going to calm down anytime soon. Not because of any one fandom, but because once these dramas air, multiple fandoms will jump in and bombard their opinions—both positive and negative—here, there, and everywhere. This has already started even before release. That’s unfortunately how it always goes, and no single person can stop it.

Oh please—toxicity isn’t some one-sided phenomenon.Other actresses’ fans are openly nasty toward KHY, and the hostility from some of her co-stars’ fandoms is very much out in the open. Acting like only one side is guilty is… convenient.

BTW, We don’t go around on other people’s pages dragging them. But that doesn’t mean we won’t defend her in spaces meant to appreciate her and her work—especially when haters and toxic fans of others camp here like leeches.

We condemn unnecessary hate—always. But that stance only matters when applied equally. True fairness holds everyone accountable, not just one side.

As for you, I have seen your comments their tones and it makes it very clear—you’re a hater disguised as a fan. So please save us (and yourself) some time and go engage in your fave’s space, whoever that is.

What you’re pointing out happens on almost every MDL page involving popular actors or dramas. So I’m genuinely asking—do you comment the same way across all those pages, or only here? Your wording suggests neutrality, which is why I’m curious.

And since you’re condemning this behavior—which I agree with—I hope to see the same stance from you on other pages as well✌️, otherwise, it doesn’t really serve a purpose.

What’s wrong with people? Having “five projects lined up for release just in 2026, and many more in the future”—from which angle does that look underappreciated? Stop forcing this victim narrative on her. Cuz I am genuinely tired of that now.

Sorry to break this to you, but her co-leads were never praised for their acting skills , not even a single one they were just praised for their outer apperance nothing more than that. Though I do agree that they did received offers for more brand deals and that's for obvious reasons cuz their models and idols first then the name sake actors. Also hello "PATRIARCHY" fed by women audience (this is the saddest part).

Meanwhile, HyeYoon has received more offers for films and dramas precisely because she’s an actor first. She didn’t go around bragging about the number of projects she has with a downturned mouth; the Korean media itself made plenty of noise about her impressive project lineup. That’s because she’s an actor trusted for her acting ability and star power to carry projects.

The thing is, everyone is successful in their own way, and everyone is doing great in their own life and careers. Just because she isn’t posting on Instagram every third day, people assume she’s doing nothing—LMAO🤣😂. She’s busy as hell; that’s why she doesn’t have time for all that.

So kindly stop pushing this narrative. If you genuinely wish her success, just say “I wish her all the luck and success for her upcoming projects and wish she keep leveling up” That’s it. A simple line like that is more than enough. Thank you.

It’s not about fans; it’s about you haters (@LeeD298 that one belong to your group as well). You’re the one who claimed she isn’t getting scripts or offers, and my reply was simply to correct the misinformation you have in your head. Go type **“Kim Hye-yoon”** into Google or whatever search engine you use, learn a little about the person you’re commenting nonsense about here, and then make your statements—because right now it just sounds foolish.

It’s also clear that you don’t know how to respect anyone’s work, and continuing a conversation with someone like you is a waste of time. So do me a favor and don’t show yourself on this page again. Kindly get lost.

And next time you go around commenting on other actors’ pages, make sure to do a little research first—otherwise, you’ll just keep making a fool and a clown of yourself
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Miss Little Hater, who exactly are you talking about when you say “not getting scripts and offers”? 🤣😂 Which rock are you living under? 🤦

Kim Hye-yoon has five projects lined up for release in 2026–2027, with many more in the future. If this still doesn’t register as getting scripts and massive offers, then your understanding of what a busy, in-demand actor looks like is seriously lacking. Ignorance and zero knowledge is not something to brag about, girl. 🤭

I genuinely don’t understand why haters never bother to research before talking nonsense—only to end up making complete clowns out of themselves, just like you did. 🤡😛

The criticism around the VFX and CGI largely comes from the "Netflix Original Tag". When Netflix backs a series, viewers naturally expect a higher level of production value, and that expectation isn’t being met here. If this is the best VFX and CGI Netflix can offer for South Korean manhwa-based series, then expectations for future adaptations should honestly be kept low—especially for titles that demand large-scale action, complex power systems, and visually dense fantasy settings. The issue isn’t the genre or the source material, but the clear disconnect between Netflix’s premium branding and what actually appears on screen.

That said, I too am personally fine with the series overall. I went in expecting dumb fun, and on that level it delivered—some entertaining moments, decent action, and a fairly watchable experience, even if the explanations and narrative depth were lacking.

I just happened to come across this comment, and it sparked a thought I felt like sharing—interpret it however you like.

Most Korean actors who are genuinely strong in terms of acting tend to come from the film industry and only occasionally step into dramaland. As a result, a large portion of the drama-watching audience has grown accustomed to seeing conventionally attractive but relatively limited actors on screen. When one of these actors takes on a slightly different genre or becomes part of a popular project, they are quickly labeled as “the best actors out there,” which is honesty an exaggeration.

The acting standard in K-dramas has never been particularly high to begin with, but lately it seems to have dropped even further. Popularity is increasingly being mistaken for talent, and that distorted perception keeps lowering the bar instead of pushing it higher.

At this point, it feels like nothing more than noise marketing to generate hype. The same thing happened during Snowdrop’s premiere—and that situation was far more severe, as it involved internal Korean politics. Even then, the show ultimately went on air (that so on a cable channel in korea). So there’s really no reason this one wouldn’t (this one is on OTT not even on Korean channels) especially when it has nothing to do with politics or war. If anything, Netflix would be more than happy to let this continue, since it keeps people engaged with the program and saves them a significant amount of marketing budget.

Comments like this — reducing her performances to a single trait — are exactly why it’s clear you’ve had minimal exposure to her body of work.

Before criticizing her choice of roles, it would help to do some basic research and actually look through her résumé. She has portrayed one of the widest ranges of characters among actresses in her age group — from deeply emotional and nuanced roles to comedic and psychologically complex performances — all consistently acknowledged by critics. Her major awards aren’t for show; they’re earned on merit.

You’re free to dislike the plot or find the storyline uninteresting of the drama— that’s subjective. But claiming she has “no diversity” as an actress is simply ignorant. Disliking a story is an opinion; denying an actor’s range despite clear evidence is just misinformation.

Kindly check your facts first; otherwise, you risk making a fool of yourself, as you’ve done here 🤭

I really love HyeYoon; she has never disappointed me in her character portrayals. I’ve watched Lomon before as well, and he is a promising actor. But I have serious doubts about the scriptwriters—their past work was just blah. And not just that, most of the cast is filled with newcomers too, so there’s no added advantage of known faces in the industry, and on top of that, Jan–Feb is packed as hell. Still, I am definitely seated for this for my girl HyeYoon. Let’s see how it plays out. Wishing them all the best. 👍🫰

A single actor can’t carry a show’s entire rating — a drama is evaluated on many factors, and acting is just one of them. An actor’s individual score reflects how well they played their character, whereas the show’s rating depends on the overall execution. So KYJ can absolutely deserve an 8 or 9 for her performance, but since viewers felt the drama itself had several issues, especially after episode 8, it’s fair for them to rate the series lower.

LMAO… if you’re comparing it to Scarlet Heart, then girl, that drama wasn’t even sold to multiple OTTs in 2016. Once a pre-produced show is bought by several platforms before airing, changing the ending becomes impossible. If that basic logic is still flying over your head, there’s no point wasting another second talking to someone this dense. Anyway, we’re done here. Take care, byeeee~ 😌✋

The story started going haywire after episode 6, but I never expected it to get this bad. I’m honestly highly disappointed.

I’m not sure if her story is over” — well, that’s your opinion. I won’t argue about it because mine is definitely different, so let’s just respect each other’s views.

And in general, it’s very difficult to change or re-edit a pre-produced drama once it’s been sold to multiple OTT platforms because those buyers receive a fixed, final version. Any alteration would require new contracts, new subtitles, technical checks, and approvals — all of which are expensive and time-consuming. That’s why post-release changes are highly impractical and rarely happen.

It was a pre-produced show — already filmed, edited, and submitted for broadcast — so the producers had no way of knowing whether it would be a hit, a flop, or just another trendy/overly-hyped show — and Dear X very clearly falls into that last category.

Regardless, there won’t be a season 2 — simply because A Jin’s story is over. (Though the ending could have been better; I wanted Ah Jin to suffer endlessly, but clearly the writer and director didn’t… so whatever 😒.) And honestly, this director has already shown he isn’t capable of handling a proper second season — he literally ruined Sweet Home by unnecessarily dragging it into seasons 2 and 3.

We clearly see this topic a little differently, so I won’t continue debating it. I respect your opinion and hope you can do the same for mine — except for one part I still stand firm on: I don’t agree with the idea that a show’s success is “guaranteed” just because its first season had good ratings. (Though of course, I’d love to see *Good Partner* Season 2 reach all-new heights of success.)**

**The references you mentioned, like *Hospital Playlist 2* and *Taxi Driver 2*, had strong ratings because their production quality stayed consistent with their first seasons — the acting was solid, the script was well-written, and the direction was clean. They delivered a good product through all the seasons.**

**But then we also have cases like *The Fiery Priest 2* and *Tale of the Nine-Tailed 1938*, where the ratings didn’t live up to expectations and many viewers were disappointed with the overall production quality. And on a larger scale, there are examples like *Squid Game* Seasons 2 and 3 and *Sweet Home* Seasons 2 and 3 — they pulled big numbers, but the criticism from viewers was massive, and they never received the same love their first seasons did. So at the end of the day, a drama’s success comes down to timing and execution — it’s never guaranteed.

And with that said, I’ll be signing off.

Speaking as both a viewer and from a business standpoint, I don’t see an issue with agencies supporting their own actors, as long as those actors are skilled and can deliver strong, convincing performances. What I take issue with is when actors who rely purely on face value and can’t act for their life are constantly pushed into leading roles by their companies, thereby taking opportunities away from genuinely talented actors — that’s the real problem, and that’s where concerns should be raised, at least from my point of view.

I’ll also have to disagree with one point: just having good or famous actors doesn’t guarantee a show’s success. A drama’s performance depends on many variables — writing, direction, pacing, execution, chemistry, and overall production — not just the cast alone.

Nam Ji-hyun’s agency already confirmed that she couldn’t reprise her role because of scheduling conflicts, and it was the same for Kim Jun-han (who is also under Artist Company). They weren’t forced out, and it had nothing to do with agency politics or Artist Company pushing their own actors. The new cast isn’t taking over NJH and KJH roles; the second season is simply moving in a new direction with fresh characters and their own storylines. Plus, the actors joining are well-versed, seasoned, and skilled, so viewers shouldn’t have any concerns about performance. The focus should be on how well they deliver the roles — if the acting doesn’t land, that’s when criticism is fair, not based on which agency they’re signed to.

If it’s the Baeksang "Daesang" we are talking about, then it’s primarily meant to recognize cultural impact, not just good acting (don’t know how other awards "Daesang" winners are chosen, so won’t comment on them). That’s why IU and Song Hye-kyo, despite delivering massive hit dramas (*WLGYT* and *The Glory*) with great performances, still didn’t receive Baeksang’s Daesang — because neither their shows nor their acting created a significant national discourse, social shift, or cultural impact. In contrast, *Extraordinary Attorney Woo* and Park Eun-bin’s performance had massive impact in Korea — the impact of *Woo Young-woo* was huge; it sparked nationwide conversations, went viral, and even influenced real-life discussions about autism and inclusivity. That’s why Park Eun-bin received the Daesang.

*Dear X* and KYJ’s performance, on the other hand, are far less popular and influential than the above-mentioned shows and actors, so it’s unrealistic to expect a Daesang for it.

That said, KYJ did a fantastic job in *Dear X*, so a "Best Actor" award is definitely something she can compete for.