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A complete mess
I rarely dislike a drama, but Dear X somehow managed to push every wrong button from beginning to end. I hated it with everything I have.I see people calling the criticism of Ah-Jin “misogyny” because male characters in other dramas often get away with worse.
Honestly? I have no problem with a psychopath protagonist. If a character is written as evil, chaotic, and destructive, and the show clearly knows they are “bad people,” I can watch that. I can even enjoy that.
But that is not how Baek Ah-Jin is presented. She is framed as this empowered, victim turned queen going after what she wants, when in reality she is just causing destruction because she refuses to break out of her self-pity. My issue isn’t her gender, it’s the way the show wanted me to root for her despite that.
I felt bad for her for maybe two episodes. But the moment she made her boss take the fall for her dad’s murder, I was done. She hurts people who genuinely cared for her. She wants the world to suffer simply because her parents were awful. Escaping the victim mentality could have saved her life, but she chose to drag everyone down with her.
Baek Ah-Jin left a trail of victims wherever she went, but for me, Jae-Oh was the most tragic casualty. She manipulated him relentlessly, emotionally chaining him, molding him into whatever she needed, and keeping him under her control for years. In the end, he even died for her. Jae-Oh was completely shackled, and considering how difficult his life already was, her influence only dragged him further into misery.
Kim Yoo-jung is stunning and undeniably charismatic. She has that celebrity aura, and honestly this might be her best performance to date. She shines in her evil scenes but falls flat in almost everything else.
Kim Young-dae might have finally found his genre. He is too pretty to be that expressionless, but here the blankness works perfectly for his character. I think he gets too much criticism for his acting because he was paired with experienced actors like Shin Min-ah and Lee Sang-yi too early in his career. No Gain No Love was simply a mismatch. But here, surrounded by actors closer in age and experience, he manages to hold his own.
The show constantly suffers from a lack of logic. Every single character behaves exactly the way Ah-Jin predicts, as if they are puppets dancing on strings only she can pull.
The writing is another rollercoaster. Where is the consistency? Where is the character development or growth? Why does it feel like not a single writer is doing what they are supposed to do?
The saddest part is that the first two episodes were so damn interesting. Then everything went downhill so fast I got whiplash.
And don’t even get me started on the ending. Every genuinely good character met a tragic fate; even Jun-Seo, who sacrificed everything, died. Meanwhile, Ah-Jin’s character walked away without facing any real consequences for her actions, which made the ending feel narratively hollow.
Honestly, the most fitting conclusion would have been Jun-Seo and Jae-Oh choosing each other and leaving Ah-Jin behind, but of course the show denied us even that.
But I’ve got to give credit where it’s due. The penultimate episode was incredibly satisfying. Ah-Jin finally had to endure the same pain she spent the whole show inflicting on others. Watching everything she built crumble, and seeing her struggle now that she’s the one on the receiving end? She absolutely hates it, and I loved every second.
Dear X had potential, good-looking actors, and a promising setup. After episode 2, the show became a chaotic, illogical disaster held together only by an even more disastrous character. I regret watching this stupid show, but at least it gave me something to rant about.
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Wanted to Love It but Couldn’t
I genuinely wanted to love Last Summer. I’ve adored Choi Sung-eun since Beyond Evil. Plus, with its small-town setting, I expected the warm, healing atmosphere of shows like Summer Strike, Hometown Cha-Cha-Cha, or Welcome to Samdalri. But despite being built in the same vein, this drama never captured that feeling.The first few episodes were decent, and although the characters’ actions felt exaggerated, I gave it a chance. But the story never finds its footing. The writing is messy, and the plot feels shaky from beginning to end. Characters behave irrationally; not emotionally complex, just excessive.
The FL’s reaction to the ML hiding his twin’s death (and pretending to be him to spare her while she cared for her dying mother) was understandable to a point, but her anger eventually became disproportionate, as if he had directly caused the tragedy. Her grief, guilt, and abandonment issues are real, but the way they were written felt imprudent rather than compelling.
The ML isn’t much better. A single honest conversation could have solved most of the conflict. But he, too, is buried under guilt and indecision, allowing misunderstandings to fester until both leads become miserable.
Small-town dramas work when the supporting characters feel human and heartfelt; people who fill the emotional spaces the leads cannot. Here, there isn’t a single memorable one. Even the side couple with the differently abled boyfriend and caring girlfriend had the potential for something touching, but the writing never lets their story land. The second male lead and the love triangle were completely unnecessary, neither added anything. With such hollow supporting characters, the show often feels empty.
Choi Sung-eun does her best. She pours emotion into her role, but the writing doesn’t give her enough to shine. Lee Jae-wook, usually solid, feels disconnected here. His character and his performance never quite align, and at this point he deserves better scripts; The Impossible Heir, Dear Hongrang, and now this. He needs another project like Alchemy of Souls where he fits naturally.
Still, the drama has moments of brilliance. The episode by episode narrations from each lead are beautifully done. They express emotions the script itself fails to convey. Some lines and introspective moments genuinely land. Episode 5 has a particularly lovely scene: the FL mentions her hands are always cold in the summer stemming from her long-standing feeling of being abandoned, and by the end of the episode, without knowing what she’s thinking, the ML gently holds her hand. It’s the kind of subtle emotional moment the show desperately needed more of.
And visually, the drama is stunning; the sea, skies, buildings, and small-town scenery are all captured beautifully.
Last Summer had the makings of a heartfelt healing drama but never found balance. It gestures at depth but settles for surface-level drama, relying on emotions without the narrative clarity or character grounding needed to make them resonate.
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Beautifully Plated, Emotionally Underseasoned
I love shows centered around food, and Bon Appetit, Your Majesty completely delivers on that front. It’s artistically and aesthetically stunning, every meal looked so delicious it had me wishing I could reach through the screen and taste it. Full points from me for that aspect; they absolutely nailed the presentation.But once you take the food away, the show doesn’t have much to lean on. Im Yoon-ah was exceptional, she’s truly come a long way from being barely noticeable in The K2 to confidently leading a series built entirely around her. As much as I liked Lee Chae-min, I think the story needed an older actor to pull off the tyrant king aura. The pairing felt mismatched, and the romance never developed naturally. The show just suddenly expects us to believe the female lead is deeply in love.
I’ve also never been a fan of “evil tyrant kings” getting redemption arcs just because they had tragic childhoods. Trauma doesn’t excuse cruelty, and Bon Appetit, Your Majesty really wanted us to forgive him too easily just because the female lead softened him.
On the brighter side, I loved the supporting characters. They were earnest, endearing, and the most human of all. Watching the evil ones get their due was deeply satisfying. And honestly, I appreciated that the show didn’t waste time trying to justify how the king ended up in the future. It’s fantasy, no one needs a scientific explanation; we just want a happy, satisfying ending. More fantasy dramas could definitely take notes from that.
A drama that looks five-star but tastes more like a simple comfort meal; satisfying, but not unforgettable.
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Rage, Revenge, and Women
2025 really feels like the year of female rage in K-dramas. Between Nine Puzzles, Karma, Queen Mantis, As You Stood By, and now The Price of Confession, we’re getting stories centered on complex women, anger, revenge, and survival. The Price of Confession is a worthy addition and truly does the genre justice.I loved how unwavering the focus was on the two women. The show never drifted. Everything, the narrative, the tension, the emotional core, was rooted in them, and it made the entire drama feel intimate and purposeful.
The story opens with a wedding and immediately cuts to a death, a brilliant contrast that sets the tone. The first half of the drama was especially strong. Kim Go-Eun as the psychopath and Jeon Do-Yeon as the potential husband-killer? Absolutely gripping. The writing kept the mystery alive well past the halfway mark. Even then, you’re still wondering who actually killed the husband. The uncertainty between the two leads was deliciously suspenseful.
What I also loved was how the women start off as nothing to each other and somehow become each other’s protector. They aren’t perfect, far from it. They’re just human, flawed, emotional, hurting, surviving.
The acting was incredible. Jeon Do-Yeon nails that quirky, eccentric, naïve-but-bold vibe. But for me, the drama belongs to Kim Go-Eun. The actress she is. She is exceptional here, cruel, calculating, intelligent, but also strangely empathetic. Completely believable as a psychopath, and equally believable as a grieving sister who has lost everything she ever loved. Her presence had a quiet intensity that shaped every scene she was in.
And the men? They were essentially decorative, and I loved that. They assist, they interfere, they try to fix things, but the narrative never stops being about the women. Not even for a second. Not gonna deny that Park Hae-Soo was amazing in his role, but at the end of the day, it’s the women I’ll remember this show for.
The drama does have its flaws. The reveal of the lawyer being behind the killings fell flat for me. We’re not invested enough in him for the twist to really land. The grandfather’s revenge arc also felt unnecessary, and several side characters, like the FL’s friends and parts of the police team, did not add much to the story.
The first half was just so strong that the drop in intensity in the second half becomes noticeable.
I honestly thought at one point that Jeon Do-Yeon’s character was going to be revealed as the mastermind behind everything. They didn’t go that route, but the ending we got felt fitting and satisfying.
Mo Eun killing the lawyer and then herself was the perfect conclusion for her arc. A woman who once had so much life and love, who lost everything, who became a murderer, who destroyed herself along the way, it felt like the only ending where she could finally have peace. Even though she killed truly evil people, the show does not let her escape the consequences of her actions.
And Yun-su in Thailand, starting fresh while still honouring Mo-Eun, was the right emotional closing note. It felt like the show was letting us close the book too.
A flawed but powerful drama, carried by phenomenal performances and anchored by two unforgettable women.
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A Patience-Rewarding Underdog Tale
Typhoon Family has one of the slowest first episodes I’ve sat through. I was genuinely fighting for my life to stay awake. But it’s also the kind of show where you feel the potential underneath, and I’m glad I pushed on because it eventually delivers.What sets this drama apart from other underdog stories is both what makes it endearing and what makes it frustrating. Unlike Hot Stove League, Designated Survivor, The Winning Try, and similar dramas, there are no small victories along the way. There’s no steady progress or tiny wins to keep you hopeful during the journey. Instead, the drama seems to save everything for one big, ultimate payoff in the final episode. It’s realistic, but the lack of progress almost made me quit more than once.
One of my disappointments was the wasted potential of the female lead. Kim Min-ha is a genuinely great actress, and I’ve seen her shine in other works, but this drama never gives her the room to do so. The way her character is introduced makes you expect major growth and meaningful contribution. Instead, she keeps trying but never truly delivers, and it is consistently the male lead who ends up saving the day. She feels more like an extension of the story rather than a central force in it.
The romance is subtle and charming, even if it doesn’t offer many fluttery moments beyond the Thailand sequence. What it lacks in excitement, it makes up for in sincerity. Their chemistry builds quietly and steadily, and the development of their relationship is handled with care, making each shift in their dynamic feel natural, authentic, and earned.
The standout of the entire show is Lee Jun-ho. He is the heart of this drama and steals every scene with ease. The way he portrays Kang Tae-poong, with sincerity, joy, sorrow, hope, and that dorky charm, is infectious. You feel everything with him. Watching his growth from an easygoing, carefree person to someone who carries real responsibility and becomes someone others rely on is one of the show’s best qualities. He is also incredibly good looking, to the point where it’s impossible not to stay glued to the screen.
The group dynamic is another major strength. They may be a company, but they function as a true family. Their camaraderie, playful banter, loyalty, and determination to survive together are heartwarming. The found family element shines throughout, and each supporting character feels unique, consistent, and delightful in their own way.
Typhoon Family is a drama that takes its time, sometimes to a fault, but it ultimately finds warmth, heart, and purpose. It succeeds in creating characters you genuinely root for and moments that feel earned. By the end, the journey feels worthwhile, and their victories feel like your own.
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Disappointing and forgettable
Would You Marry Me? basically feels like No Gain No Love, Because This Is My First Life, Something About 1%, The Story of Park’s Marriage Contract, and Marriage Contract rolled into one, but with none of their charm.I went in so excited for a real rom-com, and the cast had me hyped from the moment it was announced. The first two episodes were decent enough to give the show a chance… but it all went downhill fast.
There were no fresh or memorable scenes to build the romance, the unnecessary childhood connection killed whatever spark there could’ve been, and the show never allowed the relationship to feel fun, giddy, or swoony for even a moment.
I honestly don’t think Choi Woo-shik fits pure romance; he shines much more in melo or action. Jung So-min was good enough, but it felt like a repeat of her Because This Is My First Life character; cute, adorable, but nothing new, and even she couldn’t save the show.
The embezzlement subplot? Didn’t care.
The uncle being behind the ML's parents’ death? How many times have we seen that exact twist? Can we please retire it?
The ex storyline? Just annoying and tonally jarring. Every attempt at humor only made it more irritating.
Ironically, the second couple was the best part of the entire drama. They were adorable, perfectly complementary, and brought the warmth the main couple never quite found. I wish we had more of their scenes instead of all the unnecessary dramatic padding.
Overall, this is a show I watched weekly only because I was bored, not because it was good. I wouldn’t add it to a watchlist, and I definitely wouldn’t recommend it. Honestly, I’d rather rewatch Because This Is My First Life; why settle for a cheap parody when the original inspiration did it infinitely better?
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Honest, Sincere, and Real
Had zero expectations going into this show. No big names, no unique plot. Yet something about the posters drew me in, and I’m so glad it did. Watching this show felt like receiving a long-overdue hug. It’s comforting, heartfelt, and beautifully sincere.The story revolves around Ssireum, a traditional Korean wrestling sport I didn’t even know existed before this. But by the end, I absolutely loved it. The drama builds the world of Ssireum with care, explaining the rules clearly without ever feeling confusing or heavy-handed.
Jang Dong Yoon is truly the heart and soul of this show. His character is innocent, pure, and deeply earnest. He starts off as a once-promising but now-faded athlete, a little lost and naive, yet becomes one of the most lovable characters as his layers unfold. He’s like a puppy you just want to wrap in a blanket and protect from the world. His struggle; wanting to win one last title before retiring, but doubting whether he still has it in him is portrayed with raw honesty. The scene where he breaks down and tells his father he announced he’d quit the sport hoping others would talk him out of it, but no one did, is heartbreakingly beautiful. It’s so well written and acted that you can’t help but root for him.
Lee Joo Myung shines as the once-tomboyish female lead. Her character is more than just a love interest, she has her own strength, story, and growth. The friendship and romance between her and the male lead feel natural and genuine. Their childhood connection, shy first love, and the way their relationship develops are all handled with such subtle care that it feels organic and real.
The friend group is another highlight, full of love, jealousy, support, and frustration in equal measure. They feel like real people, and by the end, you feel like you’re part of their circle. I also loved Dong Yoon’s supportive family, such a refreshing change from the stereotypical disapproving K-drama parents. The family dynamics were heartwarming, and the small-town cinematography was simply stunning. The visuals are soft, warm, and beautifully capture the show’s comforting tone.
If there’s one weak link, it’s the murder subplot. I understand its importance for the female lead’s arc, but the mystery itself felt underwhelming and unnecessary. You don’t really care about solving it; you just want to see the characters live, grow, and find happiness.
The ending was perfect. I loved that he won the championship, and even more, that his victory wasn’t tied solely to the female lead. She supported and believed in him, but it was still his achievement. The show makes sure you feel that, and when he finally wins, it feels like you’ve won something too.
It’s nothing grand, nothing flashy, nothing overly dramatic but it’s a drama that stays with you. You’ll miss it the moment it ends and wouldn’t mind if it had ten more seasons.
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Rage-bait
Ms. Incognito had a promising start with a strong, smart female lead and a unique take on a contract marriage. The first two episodes were gripping, with a well-set storyline full of potential.However, once the story moved to the small town in episode 3, it started going downhill. Except for the villain, no one seemed focused or competent. The female lead, who was strong and capable at the start, suddenly forgot all her skills and abilities and spent most of her time playing homemaker. She made poor decisions that led to even worse outcomes. The strong, independent character became a damsel in distress who constantly needed saving, even the ‘dead’ chairman had to step in to carry out the revenge plot. With each passing episode, the story grew more disoriented and frustrating.
Despite the execution flaws, the heart of the story felt like it was in the right place. Jeon Yeo-been’s acting was solid; she played her role well. The romance, however, felt unnecessary and lacked impact. The story could have worked just as well without it.
I’m being generous with the rating since I felt like it’s not totally a terrible watch.
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Underwhelming
Unpopular opinion, but I think I’m one of the few who found The Manipulated to be pretty average. For me, the biggest issue comes down to structure. Watching this show felt like reading the last page of a book first and then flipping back to page one, there’s simply no thrill left. The weekly-release format drained its momentum completely, especially since the villain and motive were revealed so early on. With all the suspense deflated upfront, waiting a full week for the next episode felt unnecessary.
Ji Chang Wook’s role didn’t help either. His performance was fine, but the character felt like a familiar echo of K2, Healer, and The Worst of Evil. The ML seemed stuck in repetitive, bland character beats.
Surprisingly, the villains had far more personality and depth than the protagonists. And as strong as the antagonists were, villains shouldn’t be the best part of a great show. When they outshine the heroes, the emotional weight weakens.
The cinematography also fell into tired patterns, endless nighttime scenes, repetitive chase sequences, and writing that lacked sharpness. The mini “prison break” attempt bordered on unintentionally comedic, and the addition of a one-sided romance in a thriller felt out of place. By the time the revenge was finally revenging, the buildup had me rooting for the villain. And the worst thing is that the final revenge wasn’t even satisfying.
But I’ll give the show this, it does have genuine strengths. The cast delivers across the board. Ji Chang Wook remains solid in action-heavy roles. And Kyungsoo? He absolutely devoured the screen as An Yo-han. I loved how completely unhinged he was, killing without hesitation, framing people and covering up murders purely for the thrill of it. He didn’t gain anything from these acts. He did it out of the pure love for the game. He was terrifying and fascinating in equal measure.
The prison scenes were another highlight. They were some of the best-crafted portions of the show, driving real character development. Watching the ML evolve from an innocent, overwhelmed man who could barely adapt, into someone hardened, determined, and fueled by survival and revenge, was genuinely compelling.
And the nanny deserves her own spotlight. Layered, chilling, charismatic, and utterly ruthless, every time she appeared, the screen sharpened. One of the standout presences of the entire series.
In the end, The Manipulated is a watchable thriller elevated by strong performances. I’m sure it’ll sweep award shows. But for me, it wasn’t an enjoyable watch. Maybe I’m especially underwhelmed because this was one of my most anticipated releases of the year, but it simply didn’t live up to its potential.
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Dull and Tedious
I genuinely enjoy trope-heavy romcoms like What’s Wrong With Secretary Kim, Oh My Venus, She Was Pretty, The Secret Life of My Secretary, and Her Private Life. These dramas work because they fully embrace what they are: exaggerated, occasionally ridiculous, and unapologetically tropey, while still carrying warmth and sincerity. When done right, even the cringe feels charming rather than exhausting. That’s the lens through which I went into Dynamite Kiss.Episode 1 is genuinely powerful and engaging. It’s fast-paced, glossy, and confident in its setup, efficiently introducing the characters and premise while maintaining momentum. It hooks you quickly, so much so that I was already recommending it as a potential romcom of the year.
Unfortunately, from Episode 2 onward, the drama begins to lose its footing. It never fully relaxes or settles into its rhythm. Instead, it feels oddly artificial, like it’s constantly trying to perform as a romcom rather than naturally becoming one. The cringe stops feeling endearing and starts feeling forced. At that point, it turns into a “turn your brain off” kind of drama because the moment you apply even a little critical thinking, the story starts to unravel.
A major issue is the sheer overload of tropes. Nearly every familiar romcom and chaebol cliché is thrown in at once: the rich male lead weighed down by trauma and daddy issues, the poor but kind-hearted female lead, the best friend secretly in love with her, arranged marriages between wealthy families, corporate rivalries, an heir desperate to escape his predetermined path, an employer–employee romance, forced proximity, kidnapping, dramatic rescues, sharing a room. None of these elements are inherently bad, they’re genre staples but they’re piled on so densely that nothing has room to breathe. The drama never allows a single idea or emotional beat to fully land before rushing headlong into the next.
The core concept itself isn’t particularly fresh either, borrowing heavily from My Secret Romance. While romcoms don’t need to reinvent the wheel, they do need sincerity. That’s where this year’s Love Scout succeeded: it embraced familiar setups and even leaned into the cringe, but grounded the romance in emotional maturity and character development. Dynamite Kiss lacks that emotional grounding, making its familiar beats feel hollow rather than comforting.
Performance-wise, Ahn Eun-jin carries much of the show. She’s a consistently strong actress, and her presence adds warmth and likability, but her character largely repeats the same light, bubbly energy she’s shown in Genie, Make a Wishand Hospital Playlist. Jang Ki-yong is undeniably handsome. He really is one fine specimen and he shines in romantic moments. However, his performance can feel over-the-top at times, which is understandable given this is his first proper romcom after a string of brooding roles.
And of course we’re also doing the attractive, rich guy in his 30s who has never kissed anyone trope. Like, really? The ML still having intense feelings for a woman he met for just one day whom he believed was married with a child felt weird af. It taking that many episodes for him to find out she wasn’t married had me begging for mercy.
And just when I thought it couldn’t get any worse, they go ahead and throw in the amnesia trope in the last episode. At that point, it felt like the writers had completely run out of ideas and were just calling it a day. Honestly, I can’t even.
The 14 episode runtime felt excessive. Several scenes dragged without adding much to the story, and a tighter 12 episode format would have made the drama far more engaging.
One of the only real positives here is the chemistry between the two leads. It’s genuinely strong, and their scenes together often manage to distract from everything else going off the rails around them.
Dynamite Kiss isn’t unwatchable, but after a genuinely promising start, it quickly settles into predictability. This drama offers spectacle without substance, making what could have been comforting and charming feel strangely empty instead.
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Drunk on Friendship
Work Later, Drink Now was such an unexpected comfort watch for me. I always appreciate a good show that doesn’t demand your full attention or emotional investment just to keep up. This drama is exactly that; easy, enjoyable, and surprisingly heartfelt.At its core, the show is a celebration of female friendship. It doesn’t try to dissect every facet of what friendships between women can be, nor does it dwell on the darker or more complicated sides. Instead, it focuses on the warmth, loyalty, and joy that come from having friends who are truly your chosen family. Normally, I might take issue with a drama avoiding the complexities, but with its short episode count, I think it was wise to highlight what it could portray best.
One of my favorite things is how the three women are fundamentally different. They don’t share similar interests, personalities, or life goals except for their love of drinking. That’s what brings them together, but it’s their genuine love for one another that keeps them together.
The friendship is everything. It’s the kind of bond that lasts a lifetime, the friends who become family, the ones you share your best and worst moments with, and still end up at the same table laughing and drinking together.
They’re strong and independent in their own ways, and the show lets them be messy, loud, rude, chaotic, vulnerable, and resilient; traits usually reserved for male characters. They drink, smoke, curse, fight, and have casual sex, and the story never shames them for it. Their sexuality, choices, and identities are treated with honesty and without judgement. They don’t have to be extraordinary; they’re allowed to just be.
I loved all three actresses. Jung Eun-ji and Han Sunhwa were perfect in their roles, and Lee Sun-bin, my first time watching her was a wonderful surprise.
The romances are handled with so much care too. No loud, alpha-male tropes here; just quiet, sincere men who stay in the background and yearn. Even better, the women’s relationships don’t define them; they simply add another layer to their lives.
Of course, the show isn’t without flaws. Some storylines feel like filler, lacking progression or resolution. Certain characters like the intern take up screen time without contributing much to the plot. But honestly, these are small issues and easy to overlook when everything else works so well.
Overall, Work Later, Drink Now is a fun, warm, and refreshing drama that celebrates women, friendship, and the freedom to live life unapologetically. I enjoyed every moment.
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A Ruthless Ride Led by a Queen Who Owns Her Darkness
You will always find me seated for a good “women going to town on evil men” drama, and Queen Mantis absolutely delivered. I loved every second of it.Go Hyun-jung was phenomenal with that innocent face and disarming smile, she murdered men in cold blood without a hint of remorse, and somehow you never once felt she was on the wrong side. She was strong, confident, unapologetic and honestly, she didn’t even feel like a murderer, more like a saviour.
Jang Dong-yoon played his role perfectly as the emotionally stunted son who couldn’t see things from his mother’s perspective yet still longed for her love. Watching his growth was one of the most satisfying parts of the show. His gradual realization that life isn’t black and white, and that assailants can also be victims was thoughtfully done.
The show also nailed the suspense around the copycat killer. There were moments I even suspected the male lead! The mystery kept me guessing, and even when I thought I’d figured it out, the reveal still hit hard. That’s a rare win in thriller storytelling.
The supporting cast complemented the mother-son duo without stealing the spotlight, and the story balanced their arcs nicely. The final reveal, with the grandfather turning out to be pure evil, was shocking. I loved that the show didn’t take the “justice will be served through the system” route and instead let the female lead finish him off herself. The setup for Season 2 was the cherry on top.
Of course, it’s not flawless. The logic slipped a few times, the trans villain subplot felt unnecessary, and the pacing dragged a bit toward the middle. Still, those flaws were minor compared to what Queen Mantis got right.
Thoroughly enjoyed it from start to finish. If I dare say, this might just be one of the best dramas of the year.
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A Good Time, Just Not the Same Spark
Season 2 is not quite as strong as Season 1. The tone shifts noticeably from playful, silly fun to a more serious slice of life vibe. For the most part, the show succeeds in what it is trying to do, but the change can feel a bit jarring. This season also shifts the perspective from So-Hee to Ji-Yeon, which I actually liked because it gives the story a fresh emotional angle.The first few episodes were a miss for me. With the girls living in the mountains, the show temporarily loses the unique charm that made Season 1 so lovable. Once they return to the city, that charm slowly but steadily comes back.
Character development is at the center of this season. If Season 1 celebrated the joy and warmth of female friendships, Season 2 explores the more complicated, bitter, and uncomfortable sides of those relationships. I am personally not a fan when friendship centered shows separate the main characters in the last episode for growth or to neatly conclude the story. It always feels like they are checking a box rather than serving the story.
The romance also falls a bit flat this time. Ahn So Hee and the PD have a dynamic that feels like a repetition of the same beats, and Ji Goo’s romance, which took an entire season to build, ends up feeling rushed.
Even with these issues, I still genuinely enjoyed Season 2. The chemistry between the girls remains fun and natural, and it is hard not to feel like you are part of their friend group. I especially appreciated their fallout because it feels honest and real. Friendships are not perfect, and the show is willing to acknowledge jealousy, anger, and unresolved feelings. What matters is that they choose to stay in each other’s lives anyway.
I also loved the yoga institute storyline. The unstable relationships, the conflicts, and the eventual resolution are handled with care and nuance. The episode focusing on the girls and their mothers is a standout. It is heartfelt, grounded, and painfully true. Even with all the tension, there is an imperfect but unshakeable love that binds them.
Overall, Season 2 is a great watch, just not as good as Season 1. It does not reach the same highs, but it still offers emotional depth, relatable moments, and the same lovable trio that made the show special.
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A Quiet Tale About Living, Loving, and Letting Go
A soulfully beautiful drama that grips your heart from the very first episode and never quite lets go.From the beginning, Our Movie sets up a heartbreak that feels inevitable, yet you can’t help but watch, knowing it’s going to hurt. It’s a story that celebrates life, told from the perspective of someone who doesn’t have much time left but still chooses to make the remaining days meaningful. It reminds us how the little things we take for granted can mean the world to someone else. This is the kind of show that’s designed to stay with you; heartbreaking, soul-wrenching, and deeply human.
The writing is consistent and precise. The characters are crafted with care and stay true to themselves till the very end, never once feeling out of character. The relationships between the leads, feel authentic and lived-in. We know from the start that their love is doomed, but we still take that journey with them, smiling, laughing, and eventually crying as their story unfolds. The world of filmmaking within the drama is another highlight. It offers a behind-the-scenes look at the creative process; the struggles, teamwork, and quiet passion of the people who make movies. The relationships among the crew almost feel like a family, bound together by both their project and the looming tragedy. Every dynamic is thoughtfully written and executed.
Namkoong Min is exceptional, as always. He completely embodies his character; the cold, rational man who falls in love despite knowing it can only end in heartbreak. His portrayal feels raw and grounded. Jeon Yeo-been delivers a good performance, though I’ve seen stronger ones from her. It’s interesting because the terminally ill character usually has more opportunities to shine emotionally, yet Namkoong Min’s performance often outshines hers. She has powerful moments, but not all of them land as deeply as they could have.
I both love and hate the ending. I love that the male lead’s journey ends on a note of hope. For someone once cynical and closed off, it’s beautiful to see him move forward while keeping her memory alive. It’s poetic and bittersweet.
But I hate that the show doesn’t show the female lead’s death. The most memorable sad endings are the ones that allow us to say goodbye, to grieve with the characters. Our Movie builds toward that emotional release but never truly delivers it. By not showing her death, the ending feels slightly incomplete, less impactful than it could have been.
Another downside is the lack of realism. From casting a terminally ill woman as a movie lead to everyone agreeing to go along with it, and the doctors allowing her to continue, it stretches believability quite a bit. But then again, this isn’t the kind of story you watch to nitpick logic. Our Movie is meant to be felt, not analysed.
Despite its flaws, it’s a soulfully beautiful drama that leaves you with a deeper appreciation for life than you had when you started watching.
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This review may contain spoilers
A Journey That Never Truly Began
I started My Lovely Journey with high expectations since slice of life is my favourite genre, and with both leads coming from their popular projects Karma and The Judge from Hell, Gong Seung Yeon and Kim Jae-Young’s pairing instantly caught my attention.On paper, it had all the right ingredients for a heartfelt, emotional story: a former idol struggling with unfulfilled dreams, a mysterious wealthy male lead hiding something beneath the surface, and a touching, almost father-daughter bond between the female lead and her company’s CEO.
It could have been a beautiful exploration of personal growth and connection, about each character’s journey and the one they take together. I truly believe that’s what the show intended to do, but unfortunately, it just never got there.
I understand they’re setting things up for Season 2, but even so, there has to be something in Season 1 that makes viewers want to come back. I kept watching every episode, hoping this one would finally kickstart the story, but I was disappointed every single time.
The pacing is painfully slow, and instead of feeling introspective, it often just feels empty. The subtle hints of romance that go nowhere made me feel silly for expecting anything to develop. Even the acting felt flat, leaving nothing memorable to hold onto by the end.
That said, the show did have a few moments that genuinely moved me. Whenever the female lead traveled on behalf of other people, discovering their stories and helping them find closure, those scenes carried an emotional weight that felt sincere and touching. Those little stories within the story were some of the few parts that actually captured the warmth and heartbreak a slice-of-life drama should have. Other redeeming qualities are the beautiful cinematography and stunning visuals, but without a meaningful story or standout performances, it all feels like a waste of potential.
Still, I’m rating it a bit higher because I’m clinging to the hope that they disappointed us with Season 1 only to make it up with a much better Season 2.
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