Heera

This is pretty, like the blue sunset, perhaps.

Ryu is the kind of man who helps, hugs, and shelters those in need, without hesitation or fear. He greets the world with a sunny smile, while Jo Han, an orphan and a relentless boxer, struggles to care for his sister, Sua, throughout his childhood. This responsibility has drained him of hope and strength, making it difficult for him to seek warmth from others and ultimately leading him to give up on himself.

Their meeting felt like alchemy, with Ryu touching Jo Han's heart and cherishing him to protect his soul. Ryu, who was ready to end his life, was saved and brought back to spirits by Jo Han.

As the frames unfolded, it was like watching the slow, factual, fragile life of people. Two individuals who are neither rich nor excessively in a rush to seek success, but to pursue the happiness of life.

The genuineness in the series I highly remark on is how Jo Han's yearning hobby of manga was actively diminished. Additionally, it portrays the lives within daycare centers—showcasing the experiences of older individuals and young babies who require extensive help, time, and patience. It also highlights the employees who work there and the immense pressure that daycare centers face. It is raw in the representation of the stress, the focus, the care, and the burden—how it lingers at low times, grabbing one's strength, playing, and almost quivering one's motive in life.

I was so sappy seeing the love of their friendship. Ryu's quirkiness shines through in his tendency to spread his arms wide and stand up for those he cares about, including Jo Han and Sumiko. Sumiko's a lovely friend. Though at times I felt like she could have moved out after her baby grew to a certain age, and with her salary, I was stunned to see Ryu planning his marriage to Sumiko just for her baby. The amount of love he showers on the baby moved me. He and Jo Han are the golden godfathers.

I monitored how they shifted Arata's character from Ryu's life, vividly, to Jo Han's. What happened to Arata was sad, and I am grateful that he has become well. Maybe it could have been beneficial to provide a little time where we could have had Ryu open up about what he felt after the conversation with Arata before moving from the hospital.

Jo Han's there like a constant pillar; he and Ryu have exchanged messages and calls and have been together before and after Jo Han's military service.
That's when it has clicked: their relationship isn't like any other bonds that were made on a random meeting, which gradually fade. It's a bond that doesn't need a name or label; it is strong, healthy, and stays.

The little details in the series, Jo Han's drawings and their accents, are carefully shown; they have both the Korean and Japanese styles.
I was mesmerized by the ending. I don't think it was strongly sad, as I felt it was more real, pleasant, and peaceful. Ryu's acknowledgment of Jo Han's health condition and those few minutes of backdrop to Jo Han's life established pride in me that Jo Han had come all the way. He has struggled and kept on earning, not giving up.

And the pause when he talks about how people who give up and drift through life don't feel pain anymore. His thinking of Ryu as a strong person, who let others into his life, and how his own self is scared of getting hurt, and he left after that one single night drunk argument because he doesn't want Ryu's happiness to be taking care of him. And alas, the way he wished for Ryu to be his last sight in the world.

The little vulnerable confession, "Why are you here? If you're here…it makes me...want to live longer."

And Ryu's vision of loneliness: "You said to me, 'You have a lonely look on your face again.' Loneliness is an incredible invention because feeling lonely means there's someone you truly care about. Someone you really want to see. That's truly amazing."

INCREDIBLE. INCREDIBLE LINES.

I am happy that they confessed and have enjoyed this so much. <55

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The chess game of parasitic obsession and fragile egos.

'Notes from the Last Row' is a masterclass in psychological manipulation that left me completely torn between admiration and disappointment.

Heo Mun Oh, a failed, greedy, wrecked writer and Korean literature professor, meets Lee Gang, a talented writer from the last row of his class. Upon the brilliance and intelligence of story narration of the younger, Mun Oh offers one-on-one classes to Lee Kang for improving the younger's knowledge and his own curiosity (to win something in life).

As the story unfolded, it was not just about teaching classes on literature to improve Lee Kang's writing skills but utilizing them to unveil someone's life in literal words, in several prescriptions, and in descriptions, without consent.

I see Heo Mun Oh as an unreliable narrator-character at the start when he bulldozed with Lee Kang's plan of cheating, helping him slip answers to examination questions, just to let Lee Kang continue his assignments, scratching away his own commitment to responsibilities.

Mun Oh's relation with people around him seemed distant and often appeared to be coated.
His bond with his wife, unstable and unlovely, lasted to the end. With his co-workers, he's off on various bases.
I couldn't quite understand how Mun Oh's wife, Cho Hyeon Suk, a psychologist herself, didn't perturb over her husband's distance despite the writer's block, given her own sufferings over many miscarriages and a long period of an unshaken, unconcerned husband.
(Although her emotional exhaustion, keeping up with Mun Oh, is an acceptable coping mechanism.)

I admit that the second episode had me hooked.
Kim Su Hun, a popular writer, had a history of friendship and dreadful moments with Mun Oh, who held the main lead in a long slump of captivity for years.
Nonetheless, it didn't seem like a tragic story to me. Instead, sadly, it looks like Mun Oh destroyed his own career for a friend's derogatory remarks. (I believe there could be more, many more events in his life that might have sparked his ink once again, but only if he allowed himself to sway that way, without lingering, crippling in sulking past.)

The later episodes quite annoyed me and almost tested my patience.
Mun Oh's obsession, thrill, vengeance, and deliberate invasion of Kim Su Hun's life show his desperation and dark yearning to achieve the youthful career he could have had, but the cerebral path he ventured on after the inferior remarks he received is on him. His constant gaslighting and erratic decisions to Lee Kang hindered his progress. Shaped his broken future.

Lee Kang's a menace; his actions, his steady moves, took a toll on the rest of the show. It was not discreet, as Lee Kang's intentions are somehow on the plate, right in front of the nose; one could try to expect his reasons on the whole story of Kim Su Hun, although it was displeasing and troubling at times for the exaggeration of a 20-year-old to keep on imposing himself without a warrant of decent regard, but it was a splendid surprise to realize everything was just his play, a backspace to the real characters we have known—Kim Su Hun, An Eun Ju, Kim Se Yun, and Seon Min Hui.

I had absolutely immersed myself when An Eun Ju got highlighted. It was thrilling to see the new perspective of each character and their little story in the whole play.

Mun Oh at one point blurred his own ethics, responsibilities, and humanity with his perpetual greed, envy, and jealousy.
It wasn't shocking when he asked Lee Kang to write the end of the story, even when they were still unaware of it.
Given how unstable he is from the start with Lee Kang at certain things, denying at the initial stage only to accept and give in to the venturing broken pride of his.
As if, and really as Lee Kang was waiting for the exact call, he used the moments to his own satisfaction, writing a special story and making Mun Oh taste the bittersweet of reality.

However, it didn't meet my expectations when I became aware that Lee Kang's whole doing was just for the mistreatment of Mun Ho 12 years ago. I would have loved to see much more depth and growing insight into the psychological behavior of adult Lee Kang.

I liked Choi Hyun Wook's dynamics with everyone in the drama; regardless of a huge age gap, his unwavering chemistry bonded the strength and quality.
Still, in disappointment with how Mun Oh wasted his years and career, along with his wife's, the ending with his wife satisfied me, but the to-be-continued felt unnecessary. But as of now, as pleasing as it is to see Hyun Wook in a thriller concept and not all stories need pure suspense, I still welcome it.

This story exposes the dark side of creative writing and mentorship.
Not every teacher-student bond is healthy; it can be toxic. It opens the truth of reality, how unresolved trauma and fragile egos play a huge role in lives.
As Mun Oh thinks he is using Lee Gang to live out his successful writing career, he never had, while Lee Kang acts as the ultimate manipulator, feeding Mun Oh's greed and desperation.

The psychological depth of this story is that when you let envy, jealousy, and past insults write your future, you end up destroying not only your own life but also the lives of everyone who loves you.

Kudos to the cast and the team for this amazing show!

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I believe this one could have shown more openly about the conflicts Tanrak felt internally. I couldn't help but feel the show somehow diminished the heavy theme of oppression and the reality of depicting the real disparities coming from the religious characters, as it did in the pilot.

It got off to a great start, with the characters and storytelling glittering. I thought Barth's character was expertly portrayed. Tanrak had an incredibly loving relationship with both Father and Kongkit.

But the way they carried their characters perplexed me. Kongkit was the friend who Tanrak ignored, pushed away, and failed to express their distance from one another. There's constant apprehension in the episodes when Tanrak and Barth face Kongkit; neither of them shared a complete understanding nor had a factual comprehension. Given that Tanrak and Kongkit had been good friends for many years, I kind of didn't enjoy how Tanrak drifted away from the latter.

The biggest issue that left me feeling hollow at the series' conclusion was that neither the characters nor the plot showed any consequences for the battles Tanrak frequently appeared to be fighting in public.

Through Tanrak, we often had to come to believe we saw the shame and fear he goes through, but it was never implied. He was never pushed to make a choice, publicly chastised, or disgraced by anyone.
Initially, the priests who said that same-sex love is sinful simply understood and accepted it.
And ironically, Kongkit—who was previously thought to be a figure who may sabotage Tanrak and Barth's relationship—welcomed and encouraged them.

It's not like I disliked it; I suppose there could be some frames where we could have seen the apprehension that Tanrak felt throughout, actively, profoundly, from outside as well, from the characters, and seen Kongkit's side of the story a little more of what he felt.
Perhaps Tanrak realised what he had done and realised that his dread of not being able to see his parents in heaven does not change who he is. Then it might have made me feel something about Tanrak's constant fright, and the whole story what it ought to be.

Despite all of this, I still found the show enjoyable because of what it attempted to depict. I was humbled by Fourth's and Gemini's performances; the entire script's importance was breathtakingly lovely.

Some quotes I liked:

“If God teaches us to love, but we’re not allowed to love each other, then what’s the point of having God in this world?”

“No matter where I am, as long as you’re next to me, everything’s fine.”

“Humans can live without faith. Humans can live without hope, but humans cannot live without love.”

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A beautiful picture on time travel

I've really enjoyed this.

It started not so heavy; it was balanced, aesthetically pleasing, and more active.
JJ's effortless acting made me want to binge-watch more episodes. I believe this time-travel Thai BL has satisfied me enough; throughout the finale, it has resolved and closed every loop and unveiled many mysteries. I don't see any plot holes, nor find the plot boring even in the slightest.

It took Nakun two full episodes to settle into the Ayutthaya Kingdom, and that was the most realistic. While some may find it over the top, I daresay it accurately depicts a 21-year-old travelling back in time from 2023(?) to 400 years ago.

Phop was the loveliest character whom I sheerly enjoyed from the very start to the end. Net has done a fantastic job capturing Phop's kindness, warmth, and nurturing nature, embodying such gentleness in the accent and action.

This lovely series has been made lively and enjoyable by the supporting characters Chuai, Sai, and Khong. I haven't seen a film with such a compelling storyline and outstanding actors in a very long time.
I was taken aback by Kim and Latte. They surprised me with their divine acting. It was my first time watching them on screen, and the way they depicted their strong, quivering roles enthralled me.
Kim's so pretty; I had thought I'd miss his beauty by the periodical manly attire; however, his role did stand out and speak.

(Is it just me who finds both Chan and Hyunjin in Latte? ><)

Even though I enjoy the show, I think JJ could do a better job acting in some of the more poignant (sad) and romantic scenes. Although I find some of his frames unsettling, he did a good job in his roles. I am looking forward to his upcoming projects. He made this series so much fun.

The marriage felt a little lacklustre, but it ended well, and I'm thrilled that my Phop has his beloved at last, hehe.

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A series about teenagers, fluff, and platonic bonds in the ripening days of youth.

It is a lighthearted show that is going to stay with me for a long time. It has its oranges—those bright, small, yet important concepts that I have energetically enjoyed.

Ko Neung is such a playful leader. At first, it was easy to judge him as a bully—the one in the team who controls everything and has a say in everything. However, as the story proceeds, you see that he is just a young teen who thinks he is the leader and can say anything. He has a low-key leader mindset, yet in his actions, he is neither superiorly smart nor athletic. Unlike his friends—Augar, who is exceptionally active on the playground; Achi, who is a sweetheart and loves, or rather is disciplined, to study; and Ko Song, who is smart and has a goal to achieve—Ko Neung simply stands back and enjoys the present. You see that he does not particularly care for anything except oranges and his bored, chill, carefree childhood. That says a lot about him.

August is the same, but as they grow, his interest in comics grows with him, inspiring him to pursue the arts, which was endearing.

Should I call this a summer series? It has such a vast aesthetic of warm breezes and the basking energy of the sun. Though people said it is similar to Bad Buddy (likely due to the neighbors, enemies-to-friends trope, and the phone concept), I just do not see it. Each has its own distinct disparities, and calling them similar left me with an exclamation.

The era of no phones and a sprouting youth feels so soft and nostalgic. I do not think I will get enough of this series anytime soon. All of the relationships and friendships were woven in a very platonic way. The fact that they have all been friends for ages—growing up fighting, bickering, and supporting one another before becoming lovers—is so adorable.

I loved KenPaul from the Boys in Love series, and I was so happy they are getting so much appreciation. I was, and still am, a little skeptical about August and Tle; nonetheless, their young age covered it for me.

There is a very fine transition in Ko Neung’s character development. Even after he and Ko Song confessed and started dating, his character did not entirely shift to being mature and smart. He is still the same Ko Neung we met in the first episode—goofy, playful, and thinking he is the leader. Even during arguments (like when he and Ko Song fight after Ko Song gets his university seat), he does not show instant progression; he is still that same childish teenager. It was so reassuring how the script kept his character consistent and relatable. It portrayed the beauty of how young minds dislike the change they experience in their coming-of-age journey. It showed how teenagers crave a mindless, soft summer.

The fear and anxiety of choosing what you want to become and who you are becoming is palpable. It captures the heaviness of realizing that this day won't come tomorrow, and that your friends have their own lives. They cannot always choose you or choose to stay; sometimes they have to go. I think this series brought back that familiarity—the late afternoons spent worrying about nothing but what to play the next day, and the soft, blue evenings spent walking mindlessly through pleasant sights. These are days that can only be remembered, but never visited again.

I had a slight fear with Ko Neung as the exams neared and he had to choose a field. I wanted to pause the story and let it end right there. With him, I wanted no change—just summer and the childhood joy of savoring oranges. However, life is life and it has its own legs.

Watching Ko Neung get stuck choosing a field, feeling completely disinterested in whatever majors they presented, hit me in the gut. There is one scene where he explains how all fields feel boring, and he is asked whether the fields are boring or if he just has no interest in them. That moment highlighted the core concept of the high school theme for me. I have never felt more relatable to a character than Ko Neung—capturing that exact feeling of being unable to choose and unable to belong anywhere. I am grateful for such key themes to be represented in such a blissful way—one that can be revisited and felt again and again.

This series made me fall in love with the themes of childhood friendships, the importance of holding onto those bonds, and growing alongside them. Every ship is adorable and a favourite. I am totally in love with this series.

"The most beautiful thing about teenage love is finding someone who makes you feel lighter, happier, and a little more like yourself.”

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SO MUCH FUN!

ABSOLUTELY LOVED IT!!

This season had me cackling and jumping—dare I say, more than season 1. EmiBonnie slayed as always. I am so smitten with the WilliamEst roles that it made me a little sad seeing Rome take over Arseni's company.

And THE CAMEOS??? OH MY GOD!!
TayNew hilariously matched the freak, but JimmySea?? NO WAY!!! Jimmy's disciplined look had me rolling. JuniorMark were the only ones who gave me a familiar vibe similar to Peach and Thee. Mark is nearly perfect for Phuwin's Peach role, in a font. And I think Junior could actually try pulling off Thee's role, lol. >< It's so fun to imagine!

Ultimately, I ENJOYED THIS SO MUCH!!

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This had me actively binge-watching! Thank God I watched it after it aired; otherwise, my impatient heart could never. ;55

I totally, totally loved the 'son of the victim' and 'son of the killer' trope! And the chemistry?? DAYUMN! Their chemistry is peak and unwavering.

Is it just me who adores Tae-Seon's eyes in particular? I feel like they have their own magnetic charm. ><

Although Tae-Seon was a prick at the beginning, and despite the rushed pacing and hasty portrayal of the case scenes, I was still able to enjoy this show because it had such amazing actors. They made the show thoroughly engaging, and their visuals are very captivating.

I must note how the show highlighted the way our loved ones' actions impact our lives and further shape our future. It offered brilliant insights into such a delicate theme.

Having Tae-Seon eventually realize—and let Lee Chae-Ha know—that his father's actions don't define him and that he deserves love and happiness was so reassuring to watch.

It's been a while since I vibed with a KBL like this!

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Everything is peak in this series—the acting, chemistry, bonds, and revenge!

I haven't read the manhwa yet, but based on what I've experienced, I claim that this show is a truly excellent, top-tier adaptation. They went through each panel to ensure a credible effort, giving the story the fame it deserves.

I admit the first two episodes felt a bit messy and unorganized in a few frames—specifically how they chose to show Sun's past—but that didn't stop me from watching further. The storyline wasn’t overly complex, and it was portrayed in a strong light, highlighting each character beautifully as the episodes progressed.

I have to thank this series for introducing so many gems. Minlee is such a versatile actor; I couldn't believe this is his first main series! The same goes for the rest of the cast. Toptap startlingly managed to appear older than his actual age, giving his character the rank it deserved. And Shogun and Khunnote—oh my god, they are so, so lovely.

This series really made me pause and think: Is revenge truly necessary? Does karma exist? Both of these concepts could have easily been rendered in a clichéd or unfavourable way if not for the production's careful execution and its gentle, raw representation of life's toxicity and bad people.

I adored Sky and Kajorn for being the ones who welcomed Sun regardless of his revenge-driven mindset. They were soft, concerned, and open to being a family in the most profound way—a warmth Sun himself didn't believe he deserved. On that same note, the series hit me with the harsh reality that a person can be utterly broken, a failure in life, constantly falling, and desperately trying to find ways to get up and hold on. Yet, good things still might not happen. Life isn't like a feel-good movie filled with rainbows and sunshine. Sometimes, making our loved ones smile is hard or even impossible. Perhaps it is we who spoil and break everything while trying to make things work out—and that's just life.

Seeing Sun's life before and after his quest for revenge made me exhale, reflecting on these exact harsh concepts that most of us grow through. His own boyfriend, Sunny, lied to and betrayed him. The deaths of his mother and brother—which he might have contributed to and Sunny's meddling—ate him alive, and probably still do. He has been working nonstop just to stay busy and find a place in life, trapped in a stage of grief where he forgot how to feel a thing. Man!

I couldn't feel more seen, and I can't get enough of how beautifully Sun expresses the torture of feeling absolutely nothing:
"Just because I'm not dead yet means I have to live my life. Whether the goal in life or the meaning of life, I never had it. I've never understood the joy that other people experience. I don't understand why people can smile and be happy. It makes me question myself. Do I need to keep living just because I'm still breathing? Living without being able to feel anything is a deadly torture. That means suffering like this is the price I have to pay to keep me alive. I think there are only people who want to live who need a reason to be alive. Even if you suffer, try to look for something around you that makes you smile, and be thankful for it. If it's someone who can feel love even for just a little, then you have the right to have the reason to be alive. People whose hearts are not dead yet deserve to live on."

I also enjoyed seeing Boss play Pakin. Damn, he sure aces his roles! I don't think I am the only one who shipped Sky and Pakin; there is a one hundred percent possibility of this ship. Even though there doesn't have to be a love interest just because there is immense chemistry, I really vibed with that humour.

I have to talk more about Kajorn. He is THE manager! He's freaking adorable, funny, quirky, and at times so wonderfully awkward and dumb—just like me (crying). He is easily the most awesome character in the series. The care and effort he provides for his actors, the love he has for Sun and Sky, and the justice he seeks make him the sole good entity in that insane company. *hands up in admiration

OH, also—Jo (Jay's uncle)! He is a freaky man! He is cool in the sassiest way possible—like, girl! His aura and personality are unmatched; I really needed him in this series. Now I want him to have his own comedy spinoff. And what do you mean he's also in the Broken of Love series? I'm guessing he's that bad bodyguard who trained Arisa (Faye). What a versatility! What a versatility!
Likewise, I had so much fun watching Jay's mother's bodyguard. Why is everyone in this show so freaky?

The series poured so much potential and effort into its storyline. I was initially a little scared of how the final episode would handle the ultimate revenge plot; however, given Jay's remarkably high intelligence. There was so much tension, but thankfully, it completely lived up to it.

The brilliance of contrasting philosophies on revenge was illustrated admirably:
"If it's the price of getting revenge, then nothing is too expensive for me." — Jay
"Once I survived all that, I realized that revenge no longer matters to me anymore. Not as important as being alive, anyway." — Two-O

It wrapped things up so successfully that I have no complaints. I am content to see Sky healing from his camera fright, and Sun finally getting job offers (the manager is so happy, aww!). Finally, FINALLY, Sun is open with his emotions, and he and Jay are together. XD

P.S. Pawinee, Jay's mother, is so damn beautiful.

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