Because chinese people seems not buying the modern look and fashion show model. Somehow the younger gen like the…
I think you’re mixing up “showing suffering” with “not being propaganda.” They’re not opposites.
Propaganda is about control of narrative: what’s allowed to be questioned, who can be held responsible, and what conclusions the audience is guided toward. A drama can show rationing and misery and still be tightly bounded in what it can say about why things happened, who caused them, and what systemic critique is permitted. That’s exactly why those stories get made: they acknowledge pain while keeping the final meaning politically safe.
You can show rationing, suffering, and ugly social behavior, and still steer the takeaway toward a safe message: resilience, unity, “good people endured,” and progress as inevitable.
That’s not an insult to viewers or to the production, it’s just how state-approved historical storytelling works in many places.
And yes, this applies elsewhere too. Plenty of countries produce patriotic, nostalgia-heavy media that “shows the hard times” while still protecting the larger narrative. My point wasn’t “China bad, others pure.” It’s that when criticism has hard limits, “telling the truth” tends to mean “telling a curated truth.”
So I’m not denying what the drama depicts. I’m saying depiction ≠ freedom of critique.
Because chinese people seems not buying the modern look and fashion show model. Somehow the younger gen like the…
that is propaganda, it might be true as all kind of stories exist regardless of how hard times were, but they can't show anything but happiness from that era, otherwise it will never get to see the light of day.
The series had one of the best filmed backstories I’ve ever seen in Thai media. The present-day storyline was fairly average, but once the flashback arc kicked in after Episode 5, everything changed for me. Barcode’s performance, along with the rest of the cast, elevated the whole show. The way the plot pieces clicked into place, and the cruelty done to their friend was revealed, was written with real precision and flowed seamlessly. That level of structural payoff is rare in Thai dramas, which often lean into soap-opera pacing and style, but here it was genuinely well-made. Every scene that followed felt earned and logically connected.
Whenever Hwang Hyeon and her husband scenes came I feel bad for him cuz he is a good guy and truly care for her.…
thank god he started playing good character otherwise usually he is playing a bad guy, villain role or grey character...last series and this one I watched he is finally playing a good guy.
I don't know if writer inspired the story from the real life examples such as BSS and such other known examples of SK but this is without a doubts horrendous and unbelievably open crime that everyone sees, and witness but aren't willing to do anything.
I remember how Seungri walks free and plans to make come back and everyone who enabled that entire ecosystem, should watch this and feel a little shame. But shame requires a conscience, and that circle has spent years proving it can live comfortably without one.
The tragedy is that this is not new. When Jang Ja-yeon died after reportedly naming dozens of powerful figures linked to exploitation across the entertainment and political sphere, the public was fed the usual script: promises of investigation, a few headlines, then silence. Power protects itself, victims get buried twice, and the machine keeps moving.
That is why people are disgusted. Not because one scandal happened, but because accountability almost never does. The message is always the same: if you are connected, you will be buffered, minimized, reframed, and eventually rehabilitated.
Rape and sexual exploitation should carry the harshest possible punishment. It is obscene that in “developed” systems a rapist can be treated as a first-time offender, handed probation or a suspended sentence, and walk free. There should be no leniency, no image management, no “second chance” narrative. This is not a mistake. It is violence.
And it’s worth noting that in some legal traditions, including classical interpretations of Islamic jurisprudence, rape is treated as one of the gravest crimes, often categorized under coercive sexual violation and/or violent public harm, with severe maximum penalties contemplated in certain frameworks. The underlying principle is simple: some acts are so destructive that society’s response cannot be soft, negotiable, or forgiving.
how they not get hard? even if they are straight in real life or not, scenes like these and even if protective measures like using crotch cups and hard material underneath to avoid any touch, but still kisses are there, and very very sensual ones, which contributes to all that required to get into the steam!!!!
I actually love that the ML is flawed. We don't get that often nowadays
you never know they right come up with a crap that he was working on biggest secret mission to catch bigger culprit...still half of series left, so yes, but even then I don't want him to be the end game for FL, neither Albert, as technically he can't be, no romance is needed...
Why the male lead did what he did, what his “real intention” was, I genuinely don’t care. Just because he’s the ML doesn’t mean we’re obligated to accept a last-minute rewrite that crowns him as “noble” in the end.
For once, let the flawed, greedy, slightly awful ML stay that way until the final scene, with no redemption arc, no moral varnish, no conveniently timed epiphany. Sometimes, honestly most of the time, stories feel truer when they allow characters to remain accountable for who they chose to be. Fairy-tale heroes and spotless heroines have already had more than enough screen time.
This show shares the same director as Secrets Happened on the Litchi Island. Its producers are Lin Fengsong and…
Secrets Happened on the Litchi Island production was much higher then this one. I know it has nothing with the Addicted except the author, but still compared to 10 years ago, feels like the same style...Litchi Island cinematography plus the camera work is way artistic then this one!
Again, the production is weak, and at times I don’t even know what’s happening. It’s been ten years, yet the level of inexperienced filmmaking is striking, as if nothing has changed between Addicted and this spin-off. It feels like they shot it back then and only released it a decade later. I wish the production values were higher and the technical execution more solid. The acting and story are about what I expected, but I’m disappointed by the direction, editing, and nearly every other aspect of the filmmaking.
I absolutely hate the fuck shit brother and his equally shit sister. I mean forced kindness is one thing thing - he is presumptuous, judgmental and loaded with prejudice using his own self righteous nature to justify other behavior without really knowing them, specially towards ML, with whom he has lot of misunderstanding, but he just doesn't resolve it and create more problems and bitch-full of stuff poking his nose in ML business, and matter he doesn't even has any connection with. Just useless, brainless fuckless soul. Same for sister, both Uncle and nephew are of gold standard, too bad nephew likes someone who is too ignorant and brat in her behavior.
That hug was everything at once, the warmest, the saddest, the happiest. It felt redemptive without being dramatic, like a quiet apology and a quiet forgiveness happening in the same breath. And more than anything, it was letting go, not in a cold “I’m done” way, but in a humane way, acknowledging the love, acknowledging the damage, and finally releasing each other from the weight of it all. One of those rare scenes that doesn’t just close a moment, it closes a chapter. Not a single word, just a gentle pat on the head, and then he walked away.
the ML covered up fraud of taxes of Hanmin Securities and FL protested and they broke up. It remains to be seen whether he did it actually or he did to caught the bigger fish, also him coming to Hanmin Securities as president is not clear, whether he wants to stop the corruption or he has other goals.
Propaganda is about control of narrative: what’s allowed to be questioned, who can be held responsible, and what conclusions the audience is guided toward. A drama can show rationing and misery and still be tightly bounded in what it can say about why things happened, who caused them, and what systemic critique is permitted. That’s exactly why those stories get made: they acknowledge pain while keeping the final meaning politically safe.
You can show rationing, suffering, and ugly social behavior, and still steer the takeaway toward a safe message: resilience, unity, “good people endured,” and progress as inevitable.
That’s not an insult to viewers or to the production, it’s just how state-approved historical storytelling works in many places.
And yes, this applies elsewhere too. Plenty of countries produce patriotic, nostalgia-heavy media that “shows the hard times” while still protecting the larger narrative. My point wasn’t “China bad, others pure.” It’s that when criticism has hard limits, “telling the truth” tends to mean “telling a curated truth.”
So I’m not denying what the drama depicts. I’m saying depiction ≠ freedom of critique.
I remember how Seungri walks free and plans to make come back and everyone who enabled that entire ecosystem, should watch this and feel a little shame. But shame requires a conscience, and that circle has spent years proving it can live comfortably without one.
The tragedy is that this is not new. When Jang Ja-yeon died after reportedly naming dozens of powerful figures linked to exploitation across the entertainment and political sphere, the public was fed the usual script: promises of investigation, a few headlines, then silence. Power protects itself, victims get buried twice, and the machine keeps moving.
That is why people are disgusted. Not because one scandal happened, but because accountability almost never does. The message is always the same: if you are connected, you will be buffered, minimized, reframed, and eventually rehabilitated.
Rape and sexual exploitation should carry the harshest possible punishment. It is obscene that in “developed” systems a rapist can be treated as a first-time offender, handed probation or a suspended sentence, and walk free. There should be no leniency, no image management, no “second chance” narrative. This is not a mistake. It is violence.
And it’s worth noting that in some legal traditions, including classical interpretations of Islamic jurisprudence, rape is treated as one of the gravest crimes, often categorized under coercive sexual violation and/or violent public harm, with severe maximum penalties contemplated in certain frameworks. The underlying principle is simple: some acts are so destructive that society’s response cannot be soft, negotiable, or forgiving.
For once, let the flawed, greedy, slightly awful ML stay that way until the final scene, with no redemption arc, no moral varnish, no conveniently timed epiphany. Sometimes, honestly most of the time, stories feel truer when they allow characters to remain accountable for who they chose to be. Fairy-tale heroes and spotless heroines have already had more than enough screen time.