batatatamusic

This serie is among the top 5 best Chinese dramas of 2025 in my opinion

It is a magnificent historical drama, created with deep emotion, where the director and screenwriter explore the human soul — power, loyalty, and the madness born of love.

Every character acts out of love: for a mother, a son, a country, or an ideal… yet that very love often becomes their downfall, and at times — a true obsession.

Feng Sui Ge — straightforward, sincere, free of political ambition but driven by a deep thirst for revenge — embodies a rare inner nobility.
Beside him, Yi Xiao shines with strength, courage, and devotion. Their bond is based on equality, trust, and mutual support — and that is precisely what makes it so beautiful.

The emperors of the two kingdoms and the second prince are mirror reflections of this integrity: prisoners of their political ambitions and thirst for recognition, they evoke reflection rather than sympathy.

The production is strikingly pictorial: the colors, the symbols, the visual parallels between scenes...
And Chen Zheyuan — what an actor! He transitions naturally from a charming military prince to a ruthless general, demonstrating remarkable charisma and inner strength. The scenes between father and son are among the most powerful and moving. He represents the ideal image of a Chinese drama prince.

Fu Yi Xiao is brave, convincing, and deeply human — a rare type of female general, realistic and believable (still an uncommon portrayal in the Chinese industry).
The supporting roles are no less impressive — which is also a rarity! The princess (Feng Xi Yang ) , initially criticized by viewers, gradually unfolds, gaining depth and evoking genuine empathy. Her duet with the emperor is simply mesmerizing. The emperor Xia Jing Yan) himself delivers one of the best performances in the series, a character who reveals new dimensions with each episode.

Only the second prince( Xia Jing Shi) left a sense of incompleteness: his story remains vague, and his acting lacks emotional depth.

The music, built on vivid leitmotifs, perfectly accompanies the scenes of cruelty and tension — appearing and disappearing sharply, just like the directing style itself.
The battles are theatrical, rhythmic, and choreographed to instrumental compositions.
From the very first minutes, one feels that the series speaks of an inner struggle — the struggle within the human heart, where kindness can at any moment turn into cruelty.

The sumptuous costumes and the symbolism in the staging of emotional scenes also deserve special mention.

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When manipulation is made glamorous

With series of this type, there is a cultural risk: the glorification of manipulation as a virtue can normalize toxic behavior in relationships. I started watching this project because of Lu Si, whom I find very charming and pleasant (she was especially natural in "Hidden Love" ).

The series begins with themes of personal ambition, inner conflict, social differences within a family context, lies, and manipulation — all topics that are perfect for a vivid psychological drama. However, all of this loses its impact completely when romance, pretty visuals, costumes, and the very refined image of Lu Si become the central focus of the plot.

From a psychological standpoint — I’m sorry, but I cannot accept such a manipulative woman as a heroine with “remarkable qualities,” someone the viewer is supposed to root for in her “romantic pursuits.” Because of this, the series, especially in the second half, loses its original purpose: to portray the psychological dimension of events without taking sides. The author clearly chose to support the couple’s reconciliation on supposedly “right grounds,” but I’m sorry — such people always remain the same. Place them in another story, and they would be the villains.

As for the male lead — it’s the same story, just without Lu Si’s charm. He tries too hard to look like a sexy, mature man and seems intent on proving he can create the “ideal couple” with Lu Si better than Chen Zheyuan (that’s the impression I got, sorry).

I know many people enjoy this series, who love clever or manipulative heroines — like the one here, or the one in The Prisoner of Beauty, which I also plan to comment on later.

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A Polished Romance That Never Truly Resonates

This is a slow-burn, feel-good series — neither particularly good nor truly bad.
It follows protagonists from wealthy, divorced families. Writer Chen Zhou Fei (You Are My Triumph) explores choosing between a first love from university and a mature, stable suitor who patiently courts the heroine.

The writing is highly realistic. The author carefully depicts character profiles, of ML and FL, workplace dynamics, and professional stakes. While this focus on everyday simplicity could be a strength, it ultimately lacks emotional warmth and a distinctive charm. Despite fresh ideas and the avoidance of overt clichés, the story failed to move me.

Director Finn Han (Whispers of Fate), known for his strong aesthetic sensibility, delivers visually beautiful, highly “Instagrammable” imagery. However, the visuals often feel more suited to advertising than cinema. Combined with the minimal plot and restrained writing, the series sometimes feels like watching a beautifully curated Instagram feed rather than a compelling narrative.

Song Wei Long shines as a former doctor turned ideal suitor — the perfect son-in-law every parent would approve of.
Zhao Jin Mai, though talented and promising, still struggles with romantic and emotionally expressive roles, often appearing distant. The casting choice seems clearly inspired by Song Wei Long’s resemblance to Zhang Ling He, perhaps aiming to recreate the atmosphere of "The Best Thing", a series that suffered from similar shortcomings.

The central couple is realistic and logically written, but precisely for that reason, too ordinary. Their relationship feels familiar rather than cinematic. The line “Think carefully and make your choice calmly” perfectly encapsulates the spirit of the series.

The second male lead, initially given narrative importance, abruptly " falls off a cliff "vwithout proper development, both in the writing and the performance.
A notable bright spot is the heroine’s younger brother, whose fresh energy and natural acting stand out.

There is also a gentle touch of renewable-energy promotion :), but beyond that, the series lacks a true plot.

Overall, it is a pleasant, unpretentious watch with mature, realistic relationships. If you enjoyed "The Best Thing", this series offers the same quiet vibe — perfect for cozy winter evenings.
If you seek intensity, depth, memorable characters, or a strong storyline, this may not be for you.

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A Calm and Beautiful Drama with Flaws

I'm currently watching episode 20. This drama is calm and relaxing, with a Zen atmosphere surrounded by traditional medicine.

The main idea of the drama: taking care of yourself—your heart, your mind, your nutrition, and living at a slow pace… The rest, concerning the psychology of the characters and their actions, doesn’t feel complete or deep.

The drama is perfect for Lin He’s fans, who can enjoy his radiant smile and his prince-like image, as he takes care of his beloved with great patience and ultimately wins her over—let’s be honest—with quite a bit of determination (he’s not as naive as he might seem, our prince :)).

The female lead doesn’t have any particularly outstanding traits in her character. Sometimes, I wonder—what exactly attracts the doctor to her? I don’t understand or relate to her actions, even though the entire series revolves around her character. I don’t see any real drama in her life, as they try to portray. I just can’t believe in this "drama." She has a loving and supportive family, perfect friends, and a job she enjoys. I also don’t see much need for her to study abroad if it’s just for prestige ?
She is very beautiful and visually appealing as a couple with Lin He.

Her ex is portrayed in a very one-dimensional way to convince us that he is the villain of the story. As a character, he lacks depth and influences the plot in a childish way.

The second couple is very pleasant and charming, although at times, I feel like the female friend is too intrusive in her role. She solves all problems and takes the initiative without consulting her…

The supporting roles, in my opinion, are ok.

As for Lin He, there’s nothing to criticize—he does his job wonderfully, although his world is entirely confined to medicine. We never hear him talk about anything other than his herbs or treatments (this is a weakness in character writing: for me, he comes across as a very sweet but somewhat dull person). We’ll see later…

The script is based on endless recipes and plant names… without any remarkable dialogues (except for one or two amusing lines from Lin He). It contains a lot of text messages, which create a static and non-artistic rhythm.
For me, the series ended at episode 18. What are they going to show that’s interesting after that? If it’s not 8 episodes of feel good vibes but flat and linear.

This drama is mainly aimed at Lin He’s fans (to be honest, he is the only reason I’m still watching).

The music is pleasant and atmospheric, using piano, cello, and other instruments, but it lacks memorable themes or originality—it’s a copy that works.

The cinematography is visually appealing: colors, camera angles, looks…

In general, I’ve pointed out both the positives and negatives of this drama. It all depends on your personal perception!

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The First Frost made me cry, dream… and rant !!!

To be honest, this is one of the most beautiful Chinese dramas I’ve ever watched. You get completely immersed in the story — it’s touching, with so many emotionally moving moments that really got to me. I binged it all in one go. It’s romantic and full of hope. The male lead is simply outstanding — very promising, with a natural acting style, and what’s especially refreshing is that he doesn’t have that "celebrity ego" that you often see in other Chinese actors. The actress is beautiful
Now, about the plot and storytelling: just like Hidden Love, I really enjoyed this drama. You can instantly feel it’s from the same author — with all their strengths and weaknesses. This story has more dark elements, and I love that (since The First Frost is actually part of the same book series as Hidden Love — it’s a prequel). But honestly, it's better not to know that going in, because it can interfere with how you experience The First Frost.

As in Hidden Love, there were also things that emotionally bothered me here. I absolutely love the male lead’s unconditional love, but again, there’s a clear imbalance — the female lead doesn’t show the same level of emotional commitment. Everything the boy did in his life somehow revolved around her… but what has she done for him? Not even a proper “I love you.” Yes, I get it — trauma, emotional wounds… but in that case, the story should’ve leaned more toward a dramatic tone.
I would’ve emphasized this emotional imbalance if the drama had been tonally dramatic. But here, everything remains soft and romantic, and that imbalance is treated like it’s normal — as if it’s supposed to be that way.
Please don’t tell me this coldness is a cultural thing — it gets in the way of true emotional resonance. I wish there had been at least one small gesture, a little sacrifice from her side, or some sharp, heartfelt dialogue. (By the way, the dialogues often felt childish — for example, in episode 27, this was sorely lacking, especially if we’re supposed to treat this as a “literary” work.)

I really liked the second couple. As for the male lead — he’s completely different from his character in Hidden Love. Maybe a slightly “bad boy” persona like the one in Hidden Love would’ve fit better here, given the context. That said, I have nothing against the actor — he’s amazing, very expressive, and makes the character feel soft, sensitive, stylish, and so on. They made a casting that is very very close to Lusi and Chen Zheyuan instead of differentiating

And one more thing — sometimes I couldn’t tell if certain scenes or actions were unnecessary because of how the story was written, or just because they had to stretch it out to 32 episodes.
Ahhh… if only this same story had been told in just 8 episodes — it could’ve been a masterpiece.

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My Comparative analysis: My Dearest and Gone with the Wind

For me, Vivien Leigh and Clark Gable are one of the most legendary couples in the history of world cinema. Therefore, the Korean series, which reinterprets the story in its own way and according to its cultural codes, could convince me to forget the first version and immerse myself in its story. The answer is yes: this series can be classified in the category of a major work of so-called “minor art” (popular art), because although there are differences, there are also similarities. Hence, I took the time to make a comparative analysis of two major works.

My Dearest, a 17th-century Korean sageuk, and Gone with the Wind, the emblematic novel and film of the American Civil War, both tell stories where passion and destiny intertwine at the heart of turmoil.

Historical Context: a reversed mirror of society

In My Dearest, the Joseon kingdom is shaken by the Manchu invasion. Confucian social structures collapse, and women become targets of violence and abuse imposed brutally by war. Every choice becomes a matter of survival. Love appears as a fragile luxury, threatened by chaos and social conventions.

In contrast, Gone with the Wind depicts the American South in the 19th century, during the Civil War. Southern aristocrats see their plantations and power crumble. Famine, violence, and human losses disrupt a world once structured and reassuring. Here, there is a glorifying view of the slavery system, which I personally consider the film's major flaw. Scarlett O’Hara, like Gil‑chae, must learn to survive and make decisions that define her, often against society’s expected morality.

This war shows the strength of heroines—women like Gil‑chae, who suddenly grows up, much like Scarlett shedding her carelessness. It also shows how men perceive war and what patriotism means: one fights for the king and ideology, the other only for the suffering people, otherwise abstaining.

Male Heroes: Jang‑hyun and Rhett Butler

Jang‑hyun and Rhett Butler share the archetype of the charismatic, wounded, and elusive man. Classic anti-heroes: charismatic, mysterious, often distant. Jang‑hyun hides his heart behind a mask of indifference and sarcasm. His loyalty and depth appear in times of crisis, revealing a love that only those who can understand him truly perceive. Rhett Butler, cynical and brilliant, feigns indifference to survive but burns internally with an intense passion for Scarlett.

Both fall in love not with appearances or social conformity, but with the heroine’s strength and lively spirit. They are deeply feminist, disregard the opinions of others, and possess a rare, admirable sense of loyalty in love.

Cinematically, both are filmed splendidly with wide shots but also isolated ones to capture the actors’ full range of emotions. Scenes in the fields are magnificent and poetic.

Heroines: Gil‑chae and Scarlett O’Hara

Both women embody the survivor archetype. Gil‑chae, at first coquettish, carefree, and social, quickly reveals herself as strategic, courageous, and resilient. Scarlett O’Hara, though often criticized for her selfishness, shares the same ability to adapt and survive despite loss and humiliation. Their love for the hero is paradoxical: it is both a refuge and a catalyst for their evolution.

Gil‑chae’s love for Nam Yeon‑Jun is more literary and imagined, a nostalgia for her carefree youth. Yet unconsciously, both women always loved the main hero because they share the same moral codes and values. Gil‑chae’s relationship with Jang‑hyun often relies on dialogue without space for sincere emotional exchange, as both egos clash; no one wants to yield or open their heart.

Psychological Evolution: The Arc of Redemption

Gil‑chae transforms her vulnerability into strength and her fear into conscious choice.
Scarlett, through her pain and failed romances, learns to distinguish material survival from emotional fulfillment, maintaining positivity despite life’s obstacles.
These arcs of redemption are not only individual: they concern how each learns to love and stand upright in a broken world.

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A pleasant , relaxing series sith sensuality and without big ambitions

It was enjoyable to watch. The couple is very charming — it was the first time I’d seen this actor, and I liked him a lot, just as much as the actress. They have perfect chemistry. The episodes are filled with sensuality — from the very beginning and in almost every episode, you can feel this atmosphere. Even though their relationship is like a roller coaster.

The tension stays until the very end (which is rare, because usually after episode twenty it disappears).

The visuals are beautiful — the landscapes! . Some scenes are even staged in a style reminiscent of computer games, clearly inspired by video games.

As for the rest of the intrigue — it’s decent... but the supporting cast is rather weak.

This is a series I would gladly rewatch, but only my favorite scenes — the romantic storyline between this couple.

Every episode has at least 10–15 minutes of pure chocolate!
I urgently need to cut out that chocolate, melt it carefully, and turn it into a separate mini-series — “100% Cocoa of Feelings and Romance” ha ha

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how ideological constraints can limit narrative freedom

This movie is still one of the best in K-Ddramas: you can see that they really pulled out all the stops with the budget, visuals, top-tier casting, one of the best hit screenwriters, top directors, and beautiful music.
The movie is truly well done, and you watch it until the end. All the characters are well developed. I really like the two lead actors, as well as the supporting ones. As with most sci-fi films, it's hard to write something that is 100% coherent, so there are many plot holes... but maybe it's all about just one message: that you have to live, love, and enjoy every day, not think about the future, and live in the present? Committing to love for a day equals loving for eternity.
It's nice, it's romantic, but I wonder, as someone who's not Korean, if I still see propaganda in certain ideologies, which I think harms the artistic side of the work, especially regarding the plot. Why is it that in Korean dramas, characters often don't want to have children? Like getting pregnant, for example? The propaganda mostly focuses on work, personal comfort without making compromises (I think love requires a little effort, and a balance or equilibrium is good), and there's also a patriotic element about not leaving the country. ’m writing this because I see it systematically in many dramas. It’s great to incorporate a message into the storyline, but changing the narrative just to push an agenda is unacceptable for me.

[spoiler] At the end of the story, the female character could have logically married the male lead as proof of their commitment. She could have visited her father and friends on weekends, like an adult managing her life, right? But the writer avoids taking risks. It feels like they don’t want to show her choosing a more personal life, because it would suggest she prefers a life of luxury, a "king," over her country and the republic it represents. She avoids leaving her country or job, which aligns with this patriotic message— [END SPOILER] working for the state and doing the hard jobs no one else can do. This pattern is seen in other works by the same writer, like Descendants of the Sun, or other k-dramas, such as Crash Landing on You. In both cases, the stories fall into similar traps, forcing the characters to stay within these ideological confines, which ultimately weakens the plot.

This critique highlights how ideological constraints can limit narrative freedom, making storylines feel forced or unrealistic.

Another issue with this drama is the excessive product placement; entire scenes revolve around showcasing products rather than advancing the plot. I get that they need to finance the stars, but it's a bit much, isn’t it?

Lee Min Ho has crazy charisma, Kim Go EUN she act really well ! and the others are perfect too ( Kim Kyung, Do Hwan, Young Ok,

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An ambitious and stimulating starting idea

Glory is built on an undeniably compelling core concept: presenting a world in which matriarchy is not merely a backdrop, but a true social and narrative driving force. The series also highlights the ambitions surrounding the tea trade, its history, and the world of tea growers. This ancestral know-how, carefully preserved for centuries by the Rong family, is transmitted through a strictly hierarchical and matriarchal system.

The series attempts to question power relations, family legacies, and gender roles through a plot that blends strategy, human drama, and struggles for influence and authority within a large family. On paper, the project is bold and breaks away from the classic patterns often found in Chinese historical dramas.

Despite its flaws, Glory remains an interesting series to watch, particularly for its universe, certain character dynamics, and the questions it raises, even though it falls short of its ambitions halfway through.
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Matriarchy: a powerful concept, but unevenly explored
Matriarchy lies at the heart of Glory, yet it is handled in a contradictory manner. On the one hand, it allows the portrayal of women in positions of power—complex, strategic, and sometimes morally ambiguous. On the other hand, especially from the middle of the story onward, the series resorts to narrative shortcuts, where female authority is almost systematically associated with manipulation, extreme coldness, or a total lack of empathy.

Rather than exploring a genuine range of female figures (a fair leader, a tyrant, a hesitant one, a visionary…), the series fails to depict the inner struggles of its female characters, particularly the main heroine. Instead, it suggests that matriarchy is merely an inverted reflection of a caricatured patriarchy.
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Now let’s analyze it in detail
Characters: unbalanced potential

The heroine: a central character weakened by poor writing
The greatest weakness of Glory lies in the writing of its heroine. Although she is portrayed as extremely intelligent, highly strategic, and determined, her decisions often lack empathy and overall coherence. Her success relies more on narrative convenience than on credible development, and she undergoes no true psychological or intellectual evolution by the end of the series.

Instead of emphasizing her radical choices as a consequence of her obligations and personality, the story places her in a romantic context and delivers an ending that is morally unsatisfying. Glory always belongs solely to her: she stands at the center of all resolutions, investigations, and victories. She decides everything—even what her sisters should do and how they should love.

Ultimately, this trajectory echoes the path of her grandmother in many aspects of her behavior. The script insists on portraying her as a victim of the system, yet she remains an all-powerful figure, without properly developed transitions. This prevents the audience from fully connecting with her or supporting her rise.
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Secondary characters: more nuanced than the protagonist
Paradoxically, some secondary characters—especially female ones—are extremely well written up until the middle of the series, creating genuine tension and curiosity about their human trajectories. However, all characters ultimately suffer a dramatic collapse, reduced to childish resolutions for the sole benefit of the heroine.
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The role of male characters in the narrative !
Male characters play an ambivalent role in Glory. They are not entirely erased, but they are largely confined to utilitarian functions: strategic allies, political pawns, or emotional levers used to advance or support the heroine’s journey.

Certain male conflicts (identity crises, family loyalty, ideological opposition to matriarchy) could have enriched the narrative, but they remain superficial. This creates the impression that men exist only to validate or obstruct the heroine’s path, without possessing any truly autonomous trajectory.
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Acting!
he main heroine was convincing in her acting at the beginning, but from the middle onward she became very repetitive and barely showed any emotions or range in her performance. Very limited.
Hou Ming Hao, despite his questionable place in the series, is very convincing and charming, and he understood his role well. He manages to create smooth transitions between a young, energetic, gentle, playful, calculating, kitten-like, and arrogant character.
The other characters are generally decent. One can note Ruo Xuan, who has a lot of unexploited potential, which is a shame, and Zhao Jia Min’s natural energ
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Toward a more coherent ending!
For the story to feel more logical, a more coherent ending should have been chosen—one that confronts the heroine with the consequences of her choices, rather than glorifying her actions. A more convincing conclusion could have shown:

1.Either a deep questioning of the matriarchal system itself, establishing a more balanced and egalitarian structure that includes both women and men. She could have left the family and started a new life on equal footing with a man who is extremely talented and intellectually equal to her.

2.Or a full acceptance of her choice—even with bitterness—by dedicating her entire life solely to tea and the family, accompanied by a genuine personal sacrifice.

Additionally, giving the sisters different endings—some more tragic, others distinct, with real power for certain characters—would have been an excellent choice in my view. Finally, the male lead could also have been granted a life beyond merely serving the heroine and the Rong family.

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Start-Up: A Light Yet Flawed Drama About Ambition and Entrepreneurship

The story revolves around the high-stakes world of tech startups in South Korea, featuring characters who aspire to build their own companies in the competitive landscape of Silicon Valley-like settings. The series focuses on the personal and professional lives of its protagonists. It’s a drama that remains enjoyable to watch, offering a 'American Dream' vibe that aims to motivate young people to succeed in their business ventures. However, the treatment of this theme is often quite light and sometimes childish. Despite the interesting cast, and my liking for all the actors in it, the series suffers from issues with its storyline and character development.

The main problem lies in figuring out who the central character of the series is. Is there more than one? Is it Nam Do-san? If it is supposed to be Nam Do-san, he’s quite a passive character who lacks leadership qualities as a startup entrepreneur, and we can’t quite judge his intellectual genius either. Despite this, he remains likable thanks to the actor’s performance.

Seo Dal-Mi (Bae Suzy) is a character within this feminist trend, fighting for her place in the world. However, I find it hard to imagine a CEO with no studies or experience managing such delicate technical and budgetary issues. She comes in and quickly takes Nam Do-san’s spot with just a few ideas—having a couple of ideas doesn't mean she’s ready to lead a future company specializing in AI with significant investments. Nonetheless, she remains likable due to her gentle performance.

Now, Kim Seon-ho’s character, Han Ji-pyeong, is where the writer made a fatal mistake by not emphasizing his role as the sole main character. This could have elevated the series to the level of serious dramas, giving it real depth. While the story is centered around him, and he is the one who drives the plot most of the time, his background is not developed enough. He’s the one who built everything from nothing, and his character is complex with touching relationships, especially with the elderly lady. It’s a shame that this wasn’t explored in depth. He could have been a kind of Gatsby in certain ways. The actor, however, plays the role perfectly.

Despite the interesting subplots and attempts to add depth to the story, the writer didn’t manage to nail the stakes. Nevertheless, it remains an enjoyable and light series to watch.

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This drama falling into formulaic patterns

The Princess Royal" (2024) c-drama seems to delve into themes of royal intrigue, power struggles, and personal relationships, typical of many historical Chinese dramas. The premise of a royal princess facing challenges in both politics and personal life could be intriguing, especially if it explores the tension between duty and desire, a common but compelling dynamic.
I’m on episode 23 and I’m thinking, 'Oh wow, I still have so much left to watch...' Yet, I’m speeding through all the storylines :) At first, it was pretty good, interesting even, but after 20 ep till the end it’s getting long, there’s not much left to say. Why so many episodes in these series? The ML is trying to create chemistry. Good acting... As for the FL, she’s sometimes annoying, even though I try to understand her coldness because of her character and as a princess. However, her performance feels stiff. And this indecision and the endless love triangles are ruining everything. I can’t take it anymore with these series..
The SML has a bland face, lacking charisma, which adds nothing to this drama (his performance is the same as usual for an SML in dramas; without overshadowing the ML). Without him, the couple's relationships would have been more interesting, I think, . I find the plot it childish overall. The positive point is the ML, the general idea, and a few episodes from the beginning. And the idea of a second chance in a relationship and the wrong intentions we can have due to the lack of communication

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A Well-Directed but making you want to rewrite the script and send it back for reshoots

When the Stars Gossip is an ambitious series that showcases tremendous effort from the production team and a desire for innovation, steering away from clichés to appeal to an international audience. However, despite these efforts, the series ultimately fails on a large scale.

Why did it fail?
The series undeniably has many strong aspects and aimed for a grand scope, but it suffers from a major issue: a lack of clarity in its narrative purpose. It’s difficult to pinpoint exactly what When the Stars Gossip is trying to convey.

The story follows a romance between an astronaut and a gynecologist, but it also attempts to explore multiple other themes—without successfully tying them together. From the beginning, the series places itself in competition with top-tier dramas, raising expectations significantly.

Strong Performances but No Chemistry
The cast delivers impressive performances. Lee Min Ho surprises in a role that breaks away from his usual stereotype of the charming, wealthy romantic lead. He likely took on this risky project to challenge himself. Meanwhile, Gong Hyo Jin delivers a professional, natural performance that fits her character perfectly.
However, the couple lacks chemistry. Their relationship feels more like that of a married couple of 30 years rather than a fresh and passionate love story. This absence of spark makes it difficult for viewers to connect emotionally. he cool astronaut trio, which worked well and could have been truly endearing, faded away after episode 8. The Chaebol father, who played his role so well that I even started to 'like' him, had a satirical side that could have been even more striking and humorous.

An Internationally-Oriented Soundtrack
One of the strongest aspects of the series is its soundtrack. Featuring a strategic selection ranging from Hallyu pop-rock to hip-hop and classical music, the OST is clearly designed to appeal to a global audience.

A Well-Directed but Poorly Written Series
The director does an excellent job, and the production quality is commendable. Unfortunately, the real issue lies in the script.

The writer attempted to create an innovative story blending:
Science fiction, but not executed convincingly.
Themes of procreation and demographic challenges, relevant to aging populations in developed countries. This idea had great potential but ultimately falls apart due to logical inconsistencies.
Satirical comedy, which could have been a bold and effective choice—if fully committed to. However, the series oscillates between realism, comedy of absurdity, and serious drama without successfully uniting these tones.

As a result, the characters suffer from weak development. None are particularly engaging, and their actions often contradict their initial personalities. The love story escalates too quickly to be believable, and while the series raises profound philosophical and ethical questions, it fails to explore them meaningfully.

That said, episodes 7 and 8 stand out as particularly well-executed and engaging, proving that the series had the potential to succeed

A Misdirected and Misunderstood Project
Even the series’ promotional campaign was misleading. The teaser failed to accurately represent its tone, which may have contributed to the audience's confusion.

So...
Despite its flawed script and inconsistent narrative, This serie is still worth watching for its talented actors (10/10), the director’s efforts (9/10) , and the high production values. It raises thought-provoking questions about life, death, and the ethical limits of science. And making you want to rewrite the script and send it back for reshoots :)))

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Bankable stars and romantic scenes can’t save this series from inconsistent characters ?

The director, known for previous successful dramas like "Love Is Sweet " and more..., had set high expectations.
Visually, the series is undeniably appealing. The styling, and aesthetics are well done—even “hot” at times. Both leads are attractive and have good on-screen chemistry. Esther’s acting, while often repetitive, suits a broad audience with her naive, childlike, and bubbly charm. However, her range is extremely limited in nuanced, emotional, introspective, or demonstrative scenes. Still, she fits her role visually; she looks beautiful and very young. A lot of effort has clearly gone into the visual aspect of the show.

From EP1 to EP 13
Yet, one of the most striking issues lies in the characterization of the main heroine, which feels completely inconsistent. She refuses to accept her mother’s decisions about her personal life—which is understandable, perhaps—but at the same time remains cold toward the woman who is kind to her, the stepmother. Her father, although shown only in a limited and underdeveloped way (which is disappointing), appears to be caring in the past despite his flaws: he cooks for the children, shares a passion for cars, and spends time with them. He feels more human than the mother, who struggles to accept another boy in her home. The heroine, meanwhile, never takes a moment to talk to her father, understand what’s happening, or reflect on her place in the family.

Up until episode 12, we see a girl who comes to live with her father’s family after years apart and settles in as if this is completely normal and her place is legitimate. She doesn’t seem to consider whether it’s convenient for the family or if she has the right to stay. At just 18, she decides, “I’m staying here…” without consulting anyone. Her only focus appears to be her boyfriend and her teenage romantic impulses.

Her behavior towards the male lead is particularly immature—like a spoiled 9-year-old: “make me tea, cook for me, I don’t like this, bring me that, drive me there,” and so on. She claims to stay “to help him,” but what exactly does she offer? Her actions revolve almost entirely around romance, instead of using the opportunity to connect with her sister, family, or contribute in a mature way. Perhaps her character will develop later, but I personally wanted to see these essential traits early on to understand, empathize with, and support her.

There are also subtle moments that struck me as surprisingly sloppy in writing: for example, a scene where the female lead is drunk with a friend of the male lead, and the male lead comes to pick up the girl, leaving the other girl almost" unconscious" without saying or doing anything. So Everything in the series centers ONLY for the main female lead. It’s an incredibly small, human detail, yet it speaks volumes in the context of a film where every second should help the audience understand a character.

The chronology of events is also confusing. When did her love first begin—at nine years old? The timeline is unclear. Did it happen later, perhaps instantly under the shower, as the show suggests? Similarly, the male lead’s intentions are barely conveyed, with only one line to explain his feelings, yet their interactions suggest something very different. A romance allegedly starting when he was 13 seems implausible, especially given the complex family context. The story asks the viewer to suspend disbelief to accept these developments. From the very first episodes, there are many highly provocative adult scenes, and at the same time, there are brother-sister relationships or depictions of a vulnerable young girl, which is unsettling

Overall, the plot emphasizes romantic drama at the expense of consistent, believable character development. I suspect the series will follow predictable patterns: a few kisses, some tragic obstacles, and time for the heroine to grow—possibly during university—before exploring mature relationships.

By “visual,” I specifically mean styling—wardrobes, looks, cars, the city—rather than directorial choices. The styling is very successful. Lighting, however, often misses the mark; for instance, please avoid that whitish glare on the male lead’s face in close-ups. The racing scenes are well-executed but may feel technically weaker compared to Western standards. For comparison, even the “Fast & Furious” films, despite being commercial, display strong action dynamics cinematography, and big budget

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The Rom-Com Even Skeptics Watch Till the End

it is a clear 2025 romcom "coup de cœur" for , first and foremost because of its leading actors! Chan Ki-Yong delivers an outstanding performance, showcasing an impressive emotional range. In the rom-com genre, he proves to be remarkably convincing. His character’s evolution — from a narcissistic macho figure to a charming and deeply charismatic man — is perfectly executed and thoroughly satisfying.

Alongside him, Ahn Eun-Jin offers a very solid and nuanced performance. Gentle, natural, and remarkably precise, she inhabits her role with consistency and authenticity from beginning to end.

The second major strength lies in the explosive chemistry of the central couple. Their relationship begins with a passionate, lightning-strike attraction and gradually transforms into a deep love rooted in understanding and honesty. The true success of the series is that this couple is genuinely lovable — you care about them, you root for them.

The supporting cast adds further charm: Woo Da-Bi Kim is a delightful surprise, both in character and performance, delivering a warm and endearing portrayal. Moo Joon appears particularly promising and seems to open up as an actor through this project. The mothers’ characters also stand out for breaking conventional stereotypes.

The director’s work is dynamic and modern, infused with retro inspiration. The series relies on well-established formulas of the Korean industry while offering numerous nods to the respective filmographies of both the protagonists and the director. The screenwriter handles the main narrative line effectively: the relationship feels authentic, and the male character remains well written and credible until the very end. The story also touches on relevant social issues — job insecurity for young people, the challenge of balancing motherhood and work, ecology, and declining birth rates — all key sociological topics in contemporary South Korea.

That said, the series tries to tackle too many themes at once. Toward the end, narrative gaps become apparent, particularly in the development of secondary characters. Kim Moo Joon’s storyline could have been handled far better; the character feels underdeveloped, though a spin-off could potentially explore this further.

The 12-episode format ensures a fast pace and constant plot twists — sometimes too many. This is especially noticeable in the final two episodes, where many familiar clichés are checked off. Still, strong directing and excellent casting manage to keep the ship afloat with flair.

The soundtrack is another highlight, blending rock, 70s and 90s pop, and ballads. The track Face To Face stands out as particularly effective, alongside a touching and memorable ballad.

Overall, the series leaves the impression of a well-crafted, high-quality piece of entertainment — one of the best romantic comedies of 2025, with both its strengths and its flaws.

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