This review may contain spoilers
This was an absolute waste of time
My Girlfriend Is the Man! (2025), directed by Yoo Kwan-mo, promised a fresh take on romance with its gender-swap premise, but it stumbles disastrously, delivering a production that feels tone-deaf, poorly executed, and riddled with offensive undertones. Adapted from a Naver webtoon, the drama follows Kim Ji-eun (Arin), who transforms into a man (Kim Ji-hoon, played by Yoo Jung-hoo) due to a hereditary condition, and her boyfriend Park Yoon-jae (Yoon San-ha) as they navigate this change. What could have been a thoughtful exploration of identity and love collapses under the weight of shoddy direction, lackluster performances, and deeply problematic portrayals of gender and relationships.
Directorial Missteps: Yoo Kwan-mo’s direction is a significant weak point, failing to harness the story’s potential for meaningful commentary. The narrative swings inconsistently between slapstick comedy and half-hearted philosophical musings, leaving viewers confused about the drama’s intent. A Carl Sagan quote opens the series, hinting at depth, but Yoo’s execution feels superficial, as if he’s uncomfortable fully engaging with the gender fluidity at the story’s core. Critics have noted the director’s insistence that this is “not a BL drama,” which seems to reflect an underlying unease with queer narratives, resulting in a story that shies away from authentic representation and instead leans into outdated tropes. The pacing is erratic, with pivotal emotional moments rushed or undermined by ill-timed humor, making it clear the director lacked a cohesive vision.
A Cast That Falls Flat: The performances, particularly from the idol-heavy cast, are underwhelming at best. Yoon San-ha (ASTRO) as Yoon-jae tries to convey emotional turmoil but often appears wooden, unable to carry the weight of his character’s complex feelings. Arin (OH MY GIRL) and Yoo Jung-hoo, sharing the role of Ji-eun/Ji-hoon, struggle to create a cohesive character, with their performances feeling disconnected—Arin’s bubbly Ji-eun lacks depth, while Yoo’s Ji-hoon feels like a caricature rather than a nuanced extension of the same person. Chuu’s Kang Min-ju, the “queen bee” pursuing Yoon-jae, is reduced to a misogynistic stereotype of a manipulative woman, her actions (including ignoring boundaries) played for laughs rather than critiqued. The cast’s inexperience is evident, and the direction does little to guide them toward authenticity, leaving scenes feeling like a circus of exaggerated expressions and missed emotional beats.
Problematic Themes: Homophobia and Misogyny: The drama’s handling of gender and sexuality is deeply troubling. Reviews have pointed out a persistent undercurrent of homophobia, particularly in how Yoon-jae reacts to Ji-eun’s male form, Ji-hoon. His discomfort—marked by physical distancing and a refusal to engage romantically with Ji-hoon—feels like a rejection of queer intimacy, reinforcing harmful stereotypes about same-sex relationships. One review notes Yoon-jae’s “disgust” at the thought of kissing Ji-hoon, which undercuts any attempt at portraying love that transcends physical form. The use of “gay panic” humor and jealousy-driven subplots further cheapens the narrative, trivializing serious themes.
Misogyny also permeates the show’s portrayal of women. Female characters like Kang Min-ju are depicted as shallow and manipulative, with Min-ju’s relentless pursuit of Yoon-jae despite his clear boundaries painted as comedic rather than predatory. Ji-eun’s own agency is often sidelined, with the story focusing more on how her transformation affects others than on her internal journey. The show’s attempt to add depth to female characters in later episodes feels like an afterthought, failing to undo the damage of earlier caricatures. Additionally, disturbing subplots—like Ji-eun’s sister Jihye’s inappropriate flirtations with Ji-hoon, played for laughs—border on incestuous and are profoundly uncomfortable, further highlighting the writers’ and director’s poor judgment.
Jeon Soo-jin: A Misplaced and Poorly Acted Character: The character of Jeon Soo-jin, the coffee shop owner, is a baffling addition to an already flawed drama. Portrayed as a supposedly wealthy individual who inexplicably falls for a “loser” character, Soo-jin’s storyline feels contrived and disconnected from the main plot. Her arc lacks any grounding in reality—why would a character with her supposed status and resources be drawn to someone so mismatched without deeper development? The performance is equally lackluster, with zero emotional range that makes her scenes feel like filler. Soo-jin’s presence adds nothing to the narrative, serving as a shallow plot device rather than a fully realized character. Her inclusion feels like a desperate attempt to add drama, but it only underscores the show’s inability to craft meaningful relationships or believable motivations.
A Missed Opportunity: My Girlfriend Is the Man! had the chance to explore gender fluidity and love in a groundbreaking way, but it squanders this potential with a director who seems out of his depth and a cast that can’t rise above the weak script. The show’s low ratings—hitting a record-breaking 0.5% for its tenth episode—reflect its failure to resonate with audiences. The homophobic and misogynistic undertones, coupled with shallow portrayals of women and a pointless character like Jeon Soo-jin, make it a frustrating watch. It’s shocking that a premise with such edge was greenlit only to be executed so poorly, leaving viewers questioning the creative choices behind this misfire.
Rating: Zero! – A bold concept ruined by terrible direction, uninspired acting, and offensive tropes.
Directorial Missteps: Yoo Kwan-mo’s direction is a significant weak point, failing to harness the story’s potential for meaningful commentary. The narrative swings inconsistently between slapstick comedy and half-hearted philosophical musings, leaving viewers confused about the drama’s intent. A Carl Sagan quote opens the series, hinting at depth, but Yoo’s execution feels superficial, as if he’s uncomfortable fully engaging with the gender fluidity at the story’s core. Critics have noted the director’s insistence that this is “not a BL drama,” which seems to reflect an underlying unease with queer narratives, resulting in a story that shies away from authentic representation and instead leans into outdated tropes. The pacing is erratic, with pivotal emotional moments rushed or undermined by ill-timed humor, making it clear the director lacked a cohesive vision.
A Cast That Falls Flat: The performances, particularly from the idol-heavy cast, are underwhelming at best. Yoon San-ha (ASTRO) as Yoon-jae tries to convey emotional turmoil but often appears wooden, unable to carry the weight of his character’s complex feelings. Arin (OH MY GIRL) and Yoo Jung-hoo, sharing the role of Ji-eun/Ji-hoon, struggle to create a cohesive character, with their performances feeling disconnected—Arin’s bubbly Ji-eun lacks depth, while Yoo’s Ji-hoon feels like a caricature rather than a nuanced extension of the same person. Chuu’s Kang Min-ju, the “queen bee” pursuing Yoon-jae, is reduced to a misogynistic stereotype of a manipulative woman, her actions (including ignoring boundaries) played for laughs rather than critiqued. The cast’s inexperience is evident, and the direction does little to guide them toward authenticity, leaving scenes feeling like a circus of exaggerated expressions and missed emotional beats.
Problematic Themes: Homophobia and Misogyny: The drama’s handling of gender and sexuality is deeply troubling. Reviews have pointed out a persistent undercurrent of homophobia, particularly in how Yoon-jae reacts to Ji-eun’s male form, Ji-hoon. His discomfort—marked by physical distancing and a refusal to engage romantically with Ji-hoon—feels like a rejection of queer intimacy, reinforcing harmful stereotypes about same-sex relationships. One review notes Yoon-jae’s “disgust” at the thought of kissing Ji-hoon, which undercuts any attempt at portraying love that transcends physical form. The use of “gay panic” humor and jealousy-driven subplots further cheapens the narrative, trivializing serious themes.
Misogyny also permeates the show’s portrayal of women. Female characters like Kang Min-ju are depicted as shallow and manipulative, with Min-ju’s relentless pursuit of Yoon-jae despite his clear boundaries painted as comedic rather than predatory. Ji-eun’s own agency is often sidelined, with the story focusing more on how her transformation affects others than on her internal journey. The show’s attempt to add depth to female characters in later episodes feels like an afterthought, failing to undo the damage of earlier caricatures. Additionally, disturbing subplots—like Ji-eun’s sister Jihye’s inappropriate flirtations with Ji-hoon, played for laughs—border on incestuous and are profoundly uncomfortable, further highlighting the writers’ and director’s poor judgment.
Jeon Soo-jin: A Misplaced and Poorly Acted Character: The character of Jeon Soo-jin, the coffee shop owner, is a baffling addition to an already flawed drama. Portrayed as a supposedly wealthy individual who inexplicably falls for a “loser” character, Soo-jin’s storyline feels contrived and disconnected from the main plot. Her arc lacks any grounding in reality—why would a character with her supposed status and resources be drawn to someone so mismatched without deeper development? The performance is equally lackluster, with zero emotional range that makes her scenes feel like filler. Soo-jin’s presence adds nothing to the narrative, serving as a shallow plot device rather than a fully realized character. Her inclusion feels like a desperate attempt to add drama, but it only underscores the show’s inability to craft meaningful relationships or believable motivations.
A Missed Opportunity: My Girlfriend Is the Man! had the chance to explore gender fluidity and love in a groundbreaking way, but it squanders this potential with a director who seems out of his depth and a cast that can’t rise above the weak script. The show’s low ratings—hitting a record-breaking 0.5% for its tenth episode—reflect its failure to resonate with audiences. The homophobic and misogynistic undertones, coupled with shallow portrayals of women and a pointless character like Jeon Soo-jin, make it a frustrating watch. It’s shocking that a premise with such edge was greenlit only to be executed so poorly, leaving viewers questioning the creative choices behind this misfire.
Rating: Zero! – A bold concept ruined by terrible direction, uninspired acting, and offensive tropes.
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