This review may contain spoilers
About that ending....
This drama is the perfect kind of “brain in a jar” watch for when you’re tired at the end of the day and don’t want to think too hard. It does all the thinking for you—telling you exactly what to feel with its intrusive score, stock characters, and black-and-white moralism, hammy acting included.
At times, I found its agenda disturbing. We’re asked to cheer when tormentors themselves are tormented, with no compassion, no learning, no recognition that wounds shape behavior. Growth is absent; the goodies are rewarded, the baddies punished, justice neatly served. All is right with the world—or at least with the script.
The one place a sliver of ambiguity sneaks in is between the leads. How are we meant to read their intimacy? Friends on the edge of something more? Fate nudging them closer when a blind date pairs them up? But the ML is explicit when he calls the agency—he wants companionship from someone of similar age and experience, not a romance. Even the taxi scene, when their hands fall side by side but never touch, feels symbolic. Lines are drawn, and he knows it.
The ending, however, is a cop-out. Cutting off mid-sentence feels like the writers couldn’t decide—were they leaving space for a sequel, dodging backlash about workplace power imbalance, or simply shrugging at love as an ongoing negotiation? For me, the disclosures between the leads felt intimate, but not romantic. I rooted for the ML, but not for him to be with the FL.
On another note, the Deaf representation was clumsy at best. Lip-reading is nearly impossible for most, yet here it’s treated as easy. The idea you could become fluent in sign language from a book is laughable—it takes years of use, just like any language. And the trope of a parent sending a Deaf child to “live with their own kind” is an outdated stereotype, not reality for most families. As a sign language user myself, I rolled my eyes more than once. Did no one think to consult Deaf advisors?
Overall, this is a drama best held lightly. Enjoy it if you want something simplistic and moralistic to zone out with, but don’t expect much warmth, growth, or depth.
At times, I found its agenda disturbing. We’re asked to cheer when tormentors themselves are tormented, with no compassion, no learning, no recognition that wounds shape behavior. Growth is absent; the goodies are rewarded, the baddies punished, justice neatly served. All is right with the world—or at least with the script.
The one place a sliver of ambiguity sneaks in is between the leads. How are we meant to read their intimacy? Friends on the edge of something more? Fate nudging them closer when a blind date pairs them up? But the ML is explicit when he calls the agency—he wants companionship from someone of similar age and experience, not a romance. Even the taxi scene, when their hands fall side by side but never touch, feels symbolic. Lines are drawn, and he knows it.
The ending, however, is a cop-out. Cutting off mid-sentence feels like the writers couldn’t decide—were they leaving space for a sequel, dodging backlash about workplace power imbalance, or simply shrugging at love as an ongoing negotiation? For me, the disclosures between the leads felt intimate, but not romantic. I rooted for the ML, but not for him to be with the FL.
On another note, the Deaf representation was clumsy at best. Lip-reading is nearly impossible for most, yet here it’s treated as easy. The idea you could become fluent in sign language from a book is laughable—it takes years of use, just like any language. And the trope of a parent sending a Deaf child to “live with their own kind” is an outdated stereotype, not reality for most families. As a sign language user myself, I rolled my eyes more than once. Did no one think to consult Deaf advisors?
Overall, this is a drama best held lightly. Enjoy it if you want something simplistic and moralistic to zone out with, but don’t expect much warmth, growth, or depth.
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