Of course it’s far too early to officially accept ML’s feelings, but FL has already had feelings for ML for quite a long time now. She has a genuine interest in him… and over time, this will deepen into something meaningful, respectful, and balanced. It’s also a good thing that ML spoke up now rather than later — he played the right card. This will unconsciously help FL turn the page definitively much faster, without hesitation.
I don't really get how you don't understand the romantic aspect of the show. Of course, they didn't like each…
First of all, I would like to say that just as the creator of an artistic work is free to propose their own vision, every viewer is equally free to perceive and interpret that vision through their own lens. These interpretations may diverge from one individual to another — and that is a good thing. There is never a single, absolute truth. This is simply my perspective, and I chose to share it.
Why share it instead of ignoring the series altogether? Because Speed and Love is, at its core, an ambitious project. It brings together star actors and a director whose work I genuinely appreciate — a combination that deserves attention and thoughtful consideration, at least to see what they are attempting to offer.
In this series, the narrative and artistic intentions remain deliberately blurred, leaving the audience to draw their own conclusions. When you told, “Obviously, they did not love each other as children,” I both agree and disagree — for several reasons. One example among others: the boy has kept the keychain for years, to the point that his friend assumes it must belong to someone significant in his life ( in romantic mood...) . Moreover, from the very first days of her return, the girl actively seeks a romantic intention on his part. These are subtle, yet telling elements that complicate a purely platonic reading of their past and new present.
S&L presents itself as an ambitious fresco, attempting to address a wide range of themes: racing, action, blended families, father–daughter relationships, romantic love, childhood, social circumstances, the role of the husband and father, fate itself. The question is not whether these themes are present — they clearly are — but whether the series truly succeeds in exploring them.
In my opinion, it does not. The primary reason is the near absence of narrative depth. Furthermore, the performances, while visually appealing, lack the necessary nuance for roles of such emotional complexity. In cases where the screenplay falls short, strong, layered acting can sometimes elevate the material — but that requires a high level of emotional maturity, which I personally did not find here. In that case, it would have been far more coherent to make it a mini-series entirely centered on their romantic attraction and emotional impulses.
As a result, the series remains largely superficial, resembling a highly polished romantic photoshoot between two beautiful stars — youthful idols with undeniable chemistry, framed in aesthetically pleasing imagery. This may resonate with many viewers, and that is perfectly valid. It simply did not resonate with me.
A)Negative criticism is argued, occasional, and respectful. It expresses an opinion without attacking the person.
B) Hate, on the other hand, is repetitive, emotional, and insulting, with no intention of dialogue. A hater closely follows a star’s activities solely to look for flaws or mistakes, engages in insults and public humiliation, and spreads rumors.
My revew is constructive and respectful toward the works and their creators.
However, if your disrespectful behavior continues, I will report these comments for violating basic standards of respect.
I do not owe you any justification for my rating. Civility is not optional in disagreement. I have expressed an opinion without insult; you have not. When dialogue turns into hostility, it usually reveals a lack of perspective rather than a lack of arguments. Time would be better spent cultivating one’s general and artistic culture than attacking others for theirs.
only on episode 5. so far, seems like she cares more about ML than her own dad? why isnt there any kind of interaction…
I read your comment, and before leaving the page :) one of the reasons, or rather my logic, finds it strange, is that the characterization feels utterly flawed. This girl refuses to accept her mother’s decisions (admittedly, she may have a point), yet she remains distant toward a woman who is genuinely kind to her - the second wife) . Then there’s the second woman, and her father, who—based on the limited and poorly developed depiction—comes across as considerate: he cooked for them, shared a passion for cars, and spent time with his children.
Yet this girl arrives, after several years, and stays at her father’s house as if it were entirely normal. She doesn’t even consider asking whether it’s convenient for his family. Then she behaves like a spoiled child toward the male lead: “make me tea, cook for me, I don’t like this, bring me that,” and so on. She claims she came “to help the boy”—but with what? Her voice of a four-year-old? Her actions are completely centered on her romantic interest, rather than taking the opportunity to get to know her sister, her family, or even offer help.
Moreover, the timeline is confusing. When did she first appear at nine? Did she reappear later? Was it instant love at first sight in the shower that resolved everything? A lifelong romance supposedly spanning ages nine to thirteen—excuse me—especially under such complex family circumstances, strains credibility. (Though, let’s imagine their story begins at the airport, for argument’s sake…)
In short, the narrative seems to prioritize romantic drama over consistent, believable character development, leaving the relationships and actions feeling forced and illogical.
This is cute teen bad boy drama, westerners got like a million popular ones, so if you're here to whine about…
Personally, I don’t mind a thousandth cliché or a recycled plot—been there, seen that, survived. But here, the acting overall just doesn’t convince (except maybe the father, his wife, and occasionally the ML). The action scenes need a serious redo, and don’t even get me started on the story itself—it has so many issues…
It’s really a shame, because there was a lot of potential, but not enough skill to handle it. Constructive criticism should also be taken seriously; it can actually help the creators improve. If everyone just says “it’s perfect” or walks away silently, nothing changes. Feedback isn’t an attack—it’s like giving someone a map to get better.speaking up is also a way to reflect on what I liked, what I didn’t, and maybe even learn a bit myself hihi
With all due respect to you and your enjoyment, I must confess: I’m bowing out of the adventure called "Fast & Furious + Fight Club + Our Generation" … oh, sorry, I mean ‘Speed and Loveé !!!
’at episode 12. I think I’ve already caught the main idea—beyond this point, my brain has seen enough spoilers for itself.
After bingeing several series of exactly this type back-to-back, it’s officially time for an urgent brain detox and possibly some rehabilitation. The treatment plan is already in place: a classic movie? or, heaven forbid, even a book? !
To you, I sincerely wish a wonderful and satisfying ending by episode 17.
The problem is… this is the kind of show you can’t just skip from the start, or at least you don’t want to leave it at episode 1 .so as for me, I now realize that I’ve invested a solid 9 hours of my life into this—just a slight fatigue of the neurons
A little gentle humor on my part on Dynamite Kiss - ep10
writers’ room — night — writing the end of episode 10 the screenwriter (xxl eye bags) stares into the void. the director (calm. too calm) eats fried chicken.
sw. — Okay. Listen, I solved all the problems in one episode. And anyway, I’m a genius. It was so funny, I gave it my all. You’re not going to argue, right?
dir. — I’m not arguing. (takes a bite of chicken) But at the end of episode 10, they have to confess. So figure it out and make it as epic as possible. After that, we only have four episodes left. No notes. The confession — the final scene. So the audience waits and suffers for another week. A scene where everyone cries. A sincere, unforgettable moment. Where Twitter collapses.
sw. — I’ve tried everything. Romantic rain version — already in the middle. Umbrella too. Airport? We still have four episodes. “Moving abroad” — we’ll leave that for the very end.
dir. — Look at the clock. Do something. A simple solution. An external event.
sw. — An external event… (absurd inspiration) A white truck? A small fire?
dir. — Non a big fire, because we already played with a little one at the beginning of the series sw. — Not dramatic. Not deadly. A fire… narrative. dir. — A fire that helps the confession. But the fire matters. And don’t forget: Ki Yong has already done a scene like this. I need… heroism!!!
sw. — absurd heroism! (happy) dir. — Okay, she saves the boy. sw. — Carries him on her back. dir. — Wait. He’s really heavy. sw. — Symbolically — yes. dir. — And physically too, honestly. sw. — She walks through the flames. He’s a prince in dazzling white. dir. — Nervous shooting style: handheld camera, tight close-ups, white costume. — They emerge from the ashes… sw. — Costume intact. dir. — Not even a smell of smoke. sw. — She puts him down. Silence. dir. — He confesses, eyes down… then looks up and says: “I lo—” sw. — Doesn’t finish his sentence? dir. — She kisses him. End of episode. sw. — Silence. dir. — The fire is ridiculous. sw. — Yes. dir. — But people will love it. sw. — They’ll write theses about it. dir. — Then we approve it. sw. — We approve the fire.
Darim needs to resign her job as soon as she started dating her unofficial boyfriend officially. She can rely…
I Think, ML is about to pass his throne to Da-Rim—yep, the dream from episode 1’s opening scene is coming true! He’s just going to quietly return to his old company. (And his mom? She’s about to become a total power lady
Regarding all heroes with their childhood traumas.... which we encounter in movies, dramas, and so on, nowadays we too often tend to explain people's behavior solely by their past traumas, as if childhood could justify injustice or wrongdoing. The Freudian legacy, when applied indiscriminately, risks making us lose sight of personal responsibility :)))
I think it would be more interesting in a project "older hero" like 25-28 , than a school setting… some look very young, others more mature. This is not a criticism, just my observation. thks
2 
1 
1 
1 
Why share it instead of ignoring the series altogether? Because Speed and Love is, at its core, an ambitious project. It brings together star actors and a director whose work I genuinely appreciate — a combination that deserves attention and thoughtful consideration, at least to see what they are attempting to offer.
In this series, the narrative and artistic intentions remain deliberately blurred, leaving the audience to draw their own conclusions. When you told, “Obviously, they did not love each other as children,” I both agree and disagree — for several reasons. One example among others: the boy has kept the keychain for years, to the point that his friend assumes it must belong to someone significant in his life ( in romantic mood...) . Moreover, from the very first days of her return, the girl actively seeks a romantic intention on his part. These are subtle, yet telling elements that complicate a purely platonic reading of their past and new present.
S&L presents itself as an ambitious fresco, attempting to address a wide range of themes: racing, action, blended families, father–daughter relationships, romantic love, childhood, social circumstances, the role of the husband and father, fate itself. The question is not whether these themes are present — they clearly are — but whether the series truly succeeds in exploring them.
In my opinion, it does not. The primary reason is the near absence of narrative depth. Furthermore, the performances, while visually appealing, lack the necessary nuance for roles of such emotional complexity. In cases where the screenplay falls short, strong, layered acting can sometimes elevate the material — but that requires a high level of emotional maturity, which I personally did not find here.
In that case, it would have been far more coherent to make it a mini-series entirely centered on their romantic attraction and emotional impulses.
As a result, the series remains largely superficial, resembling a highly polished romantic photoshoot between two beautiful stars — youthful idols with undeniable chemistry, framed in aesthetically pleasing imagery. This may resonate with many viewers, and that is perfectly valid. It simply did not resonate with me.
B) Hate, on the other hand, is repetitive, emotional, and insulting, with no intention of dialogue. A hater closely follows a star’s activities solely to look for flaws or mistakes, engages in insults and public humiliation, and spreads rumors.
My revew is constructive and respectful toward the works and their creators.
However, if your disrespectful behavior continues, I will report these comments for violating basic standards of respect.
one of the reasons, or rather my logic, finds it strange, is that the characterization feels utterly flawed. This girl refuses to accept her mother’s decisions (admittedly, she may have a point), yet she remains distant toward a woman who is genuinely kind to her - the second wife) . Then there’s the second woman, and her father, who—based on the limited and poorly developed depiction—comes across as considerate: he cooked for them, shared a passion for cars, and spent time with his children.
Yet this girl arrives, after several years, and stays at her father’s house as if it were entirely normal. She doesn’t even consider asking whether it’s convenient for his family. Then she behaves like a spoiled child toward the male lead: “make me tea, cook for me, I don’t like this, bring me that,” and so on. She claims she came “to help the boy”—but with what? Her voice of a four-year-old? Her actions are completely centered on her romantic interest, rather than taking the opportunity to get to know her sister, her family, or even offer help.
Moreover, the timeline is confusing. When did she first appear at nine? Did she reappear later? Was it instant love at first sight in the shower that resolved everything? A lifelong romance supposedly spanning ages nine to thirteen—excuse me—especially under such complex family circumstances, strains credibility. (Though, let’s imagine their story begins at the airport, for argument’s sake…)
In short, the narrative seems to prioritize romantic drama over consistent, believable character development, leaving the relationships and actions feeling forced and illogical.
It’s really a shame, because there was a lot of potential, but not enough skill to handle it. Constructive criticism should also be taken seriously; it can actually help the creators improve. If everyone just says “it’s perfect” or walks away silently, nothing changes. Feedback isn’t an attack—it’s like giving someone a map to get better.speaking up is also a way to reflect on what I liked, what I didn’t, and maybe even learn a bit myself hihi
With all due respect to you and your enjoyment, I must confess: I’m bowing out of the adventure called "Fast & Furious + Fight Club + Our Generation" … oh, sorry, I mean ‘Speed and Loveé !!!
’at episode 12. I think I’ve already caught the main idea—beyond this point, my brain has seen enough spoilers for itself.
After bingeing several series of exactly this type back-to-back, it’s officially time for an urgent brain detox and possibly some rehabilitation. The treatment plan is already in place: a classic movie? or, heaven forbid, even a book? !
To you, I sincerely wish a wonderful and satisfying ending by episode 17.
The problem is… this is the kind of show you can’t just skip from the start, or at least you don’t want to leave it at episode 1 .so as for me, I now realize that I’ve invested a solid 9 hours of my life into this—just a slight fatigue of the neurons
writers’ room — night — writing the end of episode 10
the screenwriter (xxl eye bags) stares into the void.
the director (calm. too calm) eats fried chicken.
sw. — Okay. Listen, I solved all the problems in one episode. And anyway, I’m a genius.
It was so funny, I gave it my all. You’re not going to argue, right?
dir. — I’m not arguing. (takes a bite of chicken) But at the end of episode 10, they have to confess. So figure it out and make it as epic as possible. After that, we only have four episodes left.
No notes. The confession — the final scene. So the audience waits and suffers for another week. A scene where everyone cries. A sincere, unforgettable moment. Where Twitter collapses.
sw. — (completely panicked) — I have nothing.
dir. — Nothing… what do you mean?
sw. — Nothing like… “she opens her mouth… and… credits roll?”
dir. — (pause) — Bold. But no. I want kisses.
sw. — I’ve tried everything.
Romantic rain version — already in the middle.
Umbrella too.
Airport? We still have four episodes.
“Moving abroad” — we’ll leave that for the very end.
dir. — Look at the clock. Do something. A simple solution. An external event.
sw. — An external event… (absurd inspiration) A white truck? A small fire?
dir. — Non a big fire, because we already played with a little one at the beginning of the series
sw. — Not dramatic. Not deadly. A fire… narrative.
dir. — A fire that helps the confession. But the fire matters. And don’t forget: Ki Yong has already done a scene like this. I need… heroism!!!
sw. — absurd heroism! (happy)
dir. — Okay, she saves the boy.
sw. — Carries him on her back.
dir. — Wait. He’s really heavy.
sw. — Symbolically — yes.
dir. — And physically too, honestly.
sw. — She walks through the flames. He’s a prince in dazzling white.
dir. — Nervous shooting style: handheld camera, tight close-ups, white costume.
— They emerge from the ashes…
sw. — Costume intact.
dir. — Not even a smell of smoke.
sw. — She puts him down. Silence.
dir. — He confesses, eyes down… then looks up and says: “I lo—”
sw. — Doesn’t finish his sentence?
dir. — She kisses him. End of episode.
sw. — Silence.
dir. — The fire is ridiculous.
sw. — Yes.
dir. — But people will love it.
sw. — They’ll write theses about it.
dir. — Then we approve it.
sw. — We approve the fire.
They high-five.
credits.
Twitter explodes.
Regarding all heroes with their childhood traumas.... which we encounter in movies, dramas, and so on, nowadays we too often tend to explain people's behavior solely by their past traumas, as if childhood could justify injustice or wrongdoing. The Freudian legacy, when applied indiscriminately, risks making us lose sight of personal responsibility :)))
https://kisskh.at/list/19Bv68RL