cliche through and through, each scene, each dialogue and each setting feels like taken from all the drama a typical element of K drama with B class version of somewhat famous actors
I think it’s directors fault as the way Duang comes off as childish in some scenes but he behaves normally with…
he is doing that purposefully, many times Qin told him to drop that tone, and voice, and he says no, as he is chasing him....I don't know what people are watching, he is purposely acting cute to chase him...
can people stophating on fl??Bruhh ever fucking actor and i say every has got plastic surgery but i only see hate…
their own ugliness and the fact they they want to do the plastic surgeries like everywhere including the part where sun don't shine, but they don't have money to do it, so they vent their anger on her.
TeeTee exceeded my expectations. He’s one hell of an actor. His cheesy, aegyo-style “cute” acting is so accurate and so controlled that it lands with zero cringe. Normally, when a character is acting cute or chasing someone in Thai BL, I brace myself for that cheap, exaggerated vibe. There have only been a handful of times I’ve been genuinely surprised, and TeeTee’s performance as Duang is easily one of the best.
Maybe it’s because in their first appearance as a debut CP he played things quieter, more reserved, more serious. But here, with a lead role and a chill, jolly character, he completely transforms. And that’s what impressed me the most. People always say tragic roles are the hardest to pull off, but comedy is tougher. It lives and dies on delivery. You can write the lightest, funniest lines, but if the actor doesn’t have timing, control, and sincerity, nothing lands and the audience feels the effort. TeeTee makes it look effortless. He doesn’t push the cuteness, he sells it, and that’s why it’s actually funny instead of embarrassing.
I remember praising Fourth in My School President as it was their first major role, and Fourt exceeded my expectation, and look he is one the biggest star in Thailand now within a span of just 5 years.
I honestly don’t get the hate toward Duang. Yes, he’s annoying to some people, but that’s literally his personality. When he likes someone, he goes after them openly and with full energy. You don’t have to personally enjoy that kind of flirting, but being loud, persistent, and expressive isn’t some moral failure. Most relationships don’t start because one person sat quietly and waited. Someone has to take the first step, again and again, especially when the other person gives you nothing to work with.
And Qin’s “cold” attitude is exactly why Duang comes off as extra. Qin has that reserved, almost cold-hearted surface, but I don’t buy that it’s the full truth. He’s not clueless, and his reactions are not the reactions of someone who feels nothing. There are small tells in how he watches Duang, how he tolerates him, how he doesn’t shut the door completely. If Qin truly wanted him gone, he would make it unmistakably clear.
I also think there’s something deeper going on. Qin seems to have known Duang before, or at least recognizes him, while Duang doesn’t remember. That changes the dynamic. It makes Qin’s distance feel less like rejection and more like guardedness, like he’s holding back for reasons we haven’t fully seen yet. To me, it reads like Qin likes him, just quietly, and he’s choosing to stay controlled instead of giving it away.
So call Duang dramatic, call him over-the-top, call him annoying if you want. But the way he loves is direct and fearless. He doesn’t play games, he doesn’t pretend, he shows up. And in a story where the other person is emotionally locked down, that kind of warmth is not a problem, it’s the point.
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...
4 
1 
2 
1 
1 
Maybe it’s because in their first appearance as a debut CP he played things quieter, more reserved, more serious. But here, with a lead role and a chill, jolly character, he completely transforms. And that’s what impressed me the most. People always say tragic roles are the hardest to pull off, but comedy is tougher. It lives and dies on delivery. You can write the lightest, funniest lines, but if the actor doesn’t have timing, control, and sincerity, nothing lands and the audience feels the effort. TeeTee makes it look effortless. He doesn’t push the cuteness, he sells it, and that’s why it’s actually funny instead of embarrassing.
I remember praising Fourth in My School President as it was their first major role, and Fourt exceeded my expectation, and look he is one the biggest star in Thailand now within a span of just 5 years.
I honestly don’t get the hate toward Duang. Yes, he’s annoying to some people, but that’s literally his personality. When he likes someone, he goes after them openly and with full energy. You don’t have to personally enjoy that kind of flirting, but being loud, persistent, and expressive isn’t some moral failure. Most relationships don’t start because one person sat quietly and waited. Someone has to take the first step, again and again, especially when the other person gives you nothing to work with.
And Qin’s “cold” attitude is exactly why Duang comes off as extra. Qin has that reserved, almost cold-hearted surface, but I don’t buy that it’s the full truth. He’s not clueless, and his reactions are not the reactions of someone who feels nothing. There are small tells in how he watches Duang, how he tolerates him, how he doesn’t shut the door completely. If Qin truly wanted him gone, he would make it unmistakably clear.
I also think there’s something deeper going on. Qin seems to have known Duang before, or at least recognizes him, while Duang doesn’t remember. That changes the dynamic. It makes Qin’s distance feel less like rejection and more like guardedness, like he’s holding back for reasons we haven’t fully seen yet. To me, it reads like Qin likes him, just quietly, and he’s choosing to stay controlled instead of giving it away.
So call Duang dramatic, call him over-the-top, call him annoying if you want. But the way he loves is direct and fearless. He doesn’t play games, he doesn’t pretend, he shows up. And in a story where the other person is emotionally locked down, that kind of warmth is not a problem, it’s the point.
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.