After watching the last five minutes of episode 8, I felt the urge to listen to the entire OST of this drama. A few thoughts:
1.Mim Minseok, who sings the opening OST, also performed with in duo "MeloMance" the OST for "Business Proposal" "Love, Maybe" . His timbre is very touching and instantly recognizable, and his songs are simple yet extremely effective. Here, he is perfect song for the romcom drama’s opening scene. However, while the song and his voice are pleasant in their simplicity and sensitivity, the "Business Proposal" OST was much more memorable i think. In Dynamit Kiss the same ( commercials and musical) ingredients are used, but without adding anything uniquely special. Why was he chosen? Because in this drama, the vibe of "Business Proposal "is clearly present: 1.misunderstandings, 2.a couple with explosive chemistry, 3. based on a lie. But after episode 4, the story takes a dramatic turn and diverges from "BP ", whereas the opening remains light until the end.
2.“Say You Love Me” by WENDY — an emotional soprano performance, very “Korean voice,” always touching with its delicacy and never relying on power (the characteristic vibrato and strength typical of K-drama singing). Yet the song remains bright and not tragic. It speaks of the desire to hear a declaration of love — a classic K-drama theme — effectively supporting the story.
3. "Don't Give Me Up" — a more pop and youthful track. It reflects the spirit of the early, light-hearted episodes but does not leave a lasting impression.
4. "Face to Face" — the most successful tracks of this romcom, rhythmic song with a memorable chorus. Its vibe recalls 90s American music, with a Korean twist. Performed by "The Stray", it seems aimed at an international audience; its style reminds me of Kodaline.
5.Klang — “Romantic Rebel” — after a 90s-style song, we now have a 70s-style track: classic rock :)) (The Animals…), energetic and punchy. This style perfectly suits the early episodes, highlighting the hero’s energy, charisma, and subtle narcissism.
6.And finally Sang-Geun’s !— a ballad for which you should bring out the tissues: one of the most melancholic, with Jeon Sang-Geun’s voice and minimalist instrumentation. The focus is entirely on the vocals, which soar into high notes in the chorus — typical of Korean dramas from 2016 and earlier.
Overall, the entire OST provides a true journey through time (commercial choice i Think) . Each track finds its own listener, its own era. Personally, my top choice is "Face to Face", which I’ve even added to my K-drama playlist to listen to in the car. Second place goes to Jeon Sang-Geun’s performance for its emotional, soul-stirring quality, reminiscent of 2016 K-drama culture… and the emotions we love (it’s impossible not to love this type of song if you enjoy pure K-drama romance ;) ). Both of these songs also perfectly capture the charismatic hero by Jang Ki Yong: you listen, and you see him through the music.
Be honest, in episode 8 JKY was just stunning! It was impossible to look away (especially in the scene on the boat...., etc.) – he totally lights up the screen with his charisma!
In the end, I would really love a true happy ending — like a time jump a few years later :)
Da Rim takes Chang Ki-yong’s position and becomes the head of the department (as in the opening scene of the series). She and Chang Ki-yong have twins!! He chooses to continue his original work and doesn’t take over the company, leaving its management to his sister.
Well then… After all the debates, opinion battles, and philosophical reflections about what exactly Well ..so…
First they played “mom and dad,” + then—miraculously—they even attempted “husband and wife in bed,” ++ and by the end they escalated all the way to “master and disciple.”
Well then… After all the debates, opinion battles, and philosophical reflections about what exactly Well ..so after all the debates, opinion battles, and philosophical reflections about what exactly we expect from this story and what level of nuance we demand—or absolutely refuse to accept—let’s put our noble sense of fair play back on the table
But we must admit: today the creators still tried to sprinkle a few tiny fan-service moments, like secretly dusting powdered sugar over a dramatic salad.
Frankly, from a narrative point of view, seems to suffer from a rather obvious imbalance between the chosen tone (a light romantic comedy) and the real gravity of the issues the screenwriter claims to depict.
If the intention was to show a young woman crushed by social, economic, and family pressure, ready to compromise herself just to survive, then the current form — forced laughter, “cute” scenes, superficial reactions — completely trivializes this moral dilemma. It’s no longer social critique, it’s no longer drama: it becomes a narrative gimmick.
And that’s the problem: we are shown a heroine willing to lie, manipulate, even “sell her soul,” but at the same time we’re pushed to find her adorable, touching, almost innocent, even though her actions belong more to a tragic anti-heroine.
This discrepancy creates discomfort: we no longer know whether to laugh, sympathize, judge her, or try to understand her.
In my opinion, the screenwriter herself has not yet decided what she wants this character to represent. And as long as she hasn’t made that choice, the viewer is lost: we see a heroine whose actions are serious, but treated as simple rom-com antics.
This trivializes: poverty, lies, personal sacrifice, and even psychological distress.
Maybe episode 9 will give a clearer direction, but for now, the series doesn’t carry the moral weight of its own story. P.S dmthe ML is perfect
Your entire argument would hold if we removed the first two episodes and the initial context. But without them,…
He had his own reasons and constraints for continuing this job. As you could see at the beginning, he had his own business, but he left it for this job
how a lie, seemingly insignificant at first, sets in motion a mechanism of destruction far deeper than one could have expected. Even the tiniest lie immediately creates a gap between two realities: the reality of the one who lies, and the reality of the one who believes they are living in truth. This gap, initially invisible, becomes a crack along which the very connection between people begins to crumble.
Even a small lie carries within it the logic of its own growth. It demands protection, extension, reinforcement. To survive, it requires more lies, like a creature that feeds on its own shadows. The liar soon loses control over what they have created: they become the keeper of their fiction, a prisoner of their own concealed truth.
For the other person, the one who receives the lie unknowingly, the destruction is even more insidious. They think they are walking on solid ground, while it has already been undermined. It is not only factual truth that escapes them, but the very possibility of trust.
Thus, a lie that seems insignificant at first can trigger a mechanism of destruction far deeper than one could have imagined.
Your entire argument would hold if we removed the first two episodes and the initial context. But without them,…
The reason for asking her to resign was so that he could move on and avoid committing regrettable and morally wrong actions (because he knew that in a context of reproach, he certainly could not control his impulses). At that moment, it’s true that the hero also had his flaws and a redemption arc to work on, but the reason is still justifiable: he wants to protect the girl’s family, for him adultery is a serious matter, whereas the girl says, “So what? We had fun!” Who is morally at fault in this context?
Naah ...hard disagree! Even as a woman, I find your perspective to be highly biased against the ML. Firstly, she…
Your entire argument would hold if we removed the first two episodes and the initial context. But without them, everything becomes inaccurate and one-sided regarding ML’s judgments. I won’t go into detailed analysis in the comments here, as I plan to do a full review after the series ends.
The only point I want to make now is that, instead of getting down on her knees and begging her boss, the girl had several options: she could have filed a complaint about the harassment, or submitted her resignation, which might have made her boss realize his mistakes at that moment.
It would be more productive to focus on the writing of the girl’s character—if you’re looking for flaws. Morally, her words and actions are highly questionable, yet the series shows her as kind and endearing in the first two episodes, which makes the audience quickly grow attached to her.
It’s crazy how everywhere you look, people say, “Turn off your brain and just enjoy.” At this point, I wonder…
That's great what you're watching! sorry, I have no judgment about who watches what, and there's no need for any justification. I completely understand what you meant. I just wanted to say that nothing stops us from enjoying the same work on different levels. That doesn't mean we don't recognize the lighthearted and entertaining nature of this content and i enjoy this like you ;)
For the people complaining about this I think you need to keep in mind that none of this is supposed to be taken…
It’s crazy how everywhere you look, people say, “Turn off your brain and just enjoy.” At this point, I wonder if I even need mine… 😅 I don’t have anything against your well-meaning advice, honestly—I’m just generalizing a bit because we see this phrase at least ten times in every field.
As for what satire really is: For me, good satire is more than just laughing; it combines humor with critical intelligence. And beware, it’s not something you can improvise: 1️.Relevant target 2️ Controlled exaggeration: push realism to the extreme, but just enough to stay believable 3️ Double reading: you can laugh like crazy… but behind the laughter, it stings a little, makes you think, scratches the brain (the one that hasn’t been turned off yet).
So why choose? Why turn off your brain when you can enjoy yourself with a brain that’s switched on and fully connected?
I think the truth will come out when ML's mother finds about his GF and then finds out she's married and their…
I think the sister is going to post something to make it public. FL She’ll claim, supposedly to protect her, that it’s actually her ex-husband and that they’re divorced. Then the respective mothers will reveal that the girl is actually single. The comedy of errors begins… and then the clichés will start: the fiancé, FL’s jealousy, the father, the mother…
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1.Mim Minseok, who sings the opening OST, also performed with in duo "MeloMance" the OST for "Business Proposal" "Love, Maybe" . His timbre is very touching and instantly recognizable, and his songs are simple yet extremely effective. Here, he is perfect song for the romcom drama’s opening scene. However, while the song and his voice are pleasant in their simplicity and sensitivity, the "Business Proposal" OST was much more memorable i think. In Dynamit Kiss the same ( commercials and musical) ingredients are used, but without adding anything uniquely special. Why was he chosen? Because in this drama, the vibe of "Business Proposal "is clearly present: 1.misunderstandings, 2.a couple with explosive chemistry, 3. based on a lie. But after episode 4, the story takes a dramatic turn and diverges from "BP ", whereas the opening remains light until the end.
2.“Say You Love Me” by WENDY — an emotional soprano performance, very “Korean voice,” always touching with its delicacy and never relying on power (the characteristic vibrato and strength typical of K-drama singing). Yet the song remains bright and not tragic. It speaks of the desire to hear a declaration of love — a classic K-drama theme — effectively supporting the story.
3. "Don't Give Me Up" — a more pop and youthful track. It reflects the spirit of the early, light-hearted episodes but does not leave a lasting impression.
4. "Face to Face" — the most successful tracks of this romcom, rhythmic song with a memorable chorus. Its vibe recalls 90s American music, with a Korean twist. Performed by "The Stray", it seems aimed at an international audience; its style reminds me of Kodaline.
5.Klang — “Romantic Rebel” — after a 90s-style song, we now have a 70s-style track: classic rock :)) (The Animals…), energetic and punchy. This style perfectly suits the early episodes, highlighting the hero’s energy, charisma, and subtle narcissism.
6.And finally Sang-Geun’s !— a ballad for which you should bring out the tissues: one of the most melancholic, with Jeon Sang-Geun’s voice and minimalist instrumentation. The focus is entirely on the vocals, which soar into high notes in the chorus — typical of Korean dramas from 2016 and earlier.
Overall, the entire OST provides a true journey through time (commercial choice i Think) . Each track finds its own listener, its own era.
Personally, my top choice is "Face to Face", which I’ve even added to my K-drama playlist to listen to in the car. Second place goes to Jeon Sang-Geun’s performance for its emotional, soul-stirring quality, reminiscent of 2016 K-drama culture… and the emotions we love (it’s impossible not to love this type of song if you enjoy pure K-drama romance ;) ). Both of these songs also perfectly capture the charismatic hero by Jang Ki Yong: you listen, and you see him through the music.
He chooses to continue his original work and doesn’t take over the company, leaving its management to his sister.
then—miraculously—they even attempted “husband and wife in bed,” ++
and by the end they escalated all the way to “master and disciple.”
But we must admit: today the creators still tried to sprinkle a few tiny fan-service moments, like secretly dusting powdered sugar over a dramatic salad.
If the intention was to show a young woman crushed by social, economic, and family pressure, ready to compromise herself just to survive, then the current form — forced laughter, “cute” scenes, superficial reactions — completely trivializes this moral dilemma.
It’s no longer social critique, it’s no longer drama: it becomes a narrative gimmick.
And that’s the problem:
we are shown a heroine willing to lie, manipulate, even “sell her soul,” but at the same time we’re pushed to find her adorable, touching, almost innocent, even though her actions belong more to a tragic anti-heroine.
This discrepancy creates discomfort:
we no longer know whether to laugh, sympathize, judge her, or try to understand her.
In my opinion, the screenwriter herself has not yet decided what she wants this character to represent. And as long as she hasn’t made that choice, the viewer is lost: we see a heroine whose actions are serious, but treated as simple rom-com antics.
This trivializes:
poverty, lies, personal sacrifice, and even psychological distress.
Maybe episode 9 will give a clearer direction,
but for now, the series doesn’t carry the moral weight of its own story.
P.S dmthe ML is perfect
Even the tiniest lie immediately creates a gap between two realities: the reality of the one who lies, and the reality of the one who believes they are living in truth. This gap, initially invisible, becomes a crack along which the very connection between people begins to crumble.
Even a small lie carries within it the logic of its own growth. It demands protection, extension, reinforcement. To survive, it requires more lies, like a creature that feeds on its own shadows. The liar soon loses control over what they have created: they become the keeper of their fiction, a prisoner of their own concealed truth.
For the other person, the one who receives the lie unknowingly, the destruction is even more insidious.
They think they are walking on solid ground, while it has already been undermined.
It is not only factual truth that escapes them, but the very possibility of trust.
Thus, a lie that seems insignificant at first can trigger a mechanism of destruction far deeper than one could have imagined.
The only point I want to make now is that, instead of getting down on her knees and begging her boss, the girl had several options: she could have filed a complaint about the harassment, or submitted her resignation, which might have made her boss realize his mistakes at that moment.
It would be more productive to focus on the writing of the girl’s character—if you’re looking for flaws. Morally, her words and actions are highly questionable, yet the series shows her as kind and endearing in the first two episodes, which makes the audience quickly grow attached to her.
As for what satire really is:
For me, good satire is more than just laughing; it combines humor with critical intelligence. And beware, it’s not something you can improvise:
1️.Relevant target
2️ Controlled exaggeration: push realism to the extreme, but just enough to stay believable
3️ Double reading: you can laugh like crazy… but behind the laughter, it stings a little, makes you think, scratches the brain (the one that hasn’t been turned off yet).
So why choose? Why turn off your brain when you can enjoy yourself with a brain that’s switched on and fully connected?