1
a bittersweet masterpiece, this is a must-watch.
Having been among the first 50K viewers of the trailer last November, my anticipation for Love in the Moonlight was immense, and the series DID NOT disappoint. It was a journey well worth the wait, culminating in a finale that was, as I felt, one hour of pure hell followed by forty minutes of blissful heaven.
The story (9.0/10) is a complex tapestry of desire and betrayal. The series expertly navigates a tragic love triangle, making it impossible to place blame solely on any one character. We can't blame Saenkaew for giving in to his desires, nor Sasin for acting on his feelings once he knew the truth, nor even Pin for her anger at being cheated on by the two men she loved most. She knew her love for Saenkaew was somewhat delulu from the start. She should've ended up with Sanya, but I'll also applaud the writer's depiction of reality by not working the “moving on with the next guy” cliché.
The true villain, after much thought, was Bodin all along. Prince Kamfah, though I often wished death on him, served as a classic, yet horribly cruel and murderous, conservative parent of the 60s.
The acting (5.5/5) and casting (5.5/5) were near flawless. Pearl Satjakorn is perfectly suited to these complex roles, and I found myself drooling over his character Sasin just as I did in "Laws of Attraction." Peak Peemapol's acting has highly improved since 2016; while a few crying scenes were ambiguous, he was convincing enough to make me tear up.
However, the true acting highlights were three brilliant ladies: Perth Veerinsara's portrayal of Pinanong was the show's standout; Ratha Ying was superb as the bar owner, Rachawadi; and Suzanna Renault stole every scene she was in as Songsawat.
I particularly loved the writing for Songsawat and Rachawadi. Songsawat's understanding of societal ostracization was poignant, though I pity her poor, smashed car—a victim of some lazy writing when we never heard from her again.
This wasn't the only instance; the way General Kalong gave up so easily after Prince Inthra's death, and the fact that no one discovered Inthra's wife or commented when she killed Bodin, felt underdeveloped.
The music (8.0/10) was powerful, though the main OST was overused. My rating was saved from falling below an 8.0 by another, standout song that perfectly captured the show's emotion.
With a high rewatch value (8.5/10), I know I'll miss the experience: the bittersweetness, cussing at Prince Kamfah, tearing up for Saenkaew, drooling over Sasin, and telling Pin to get off the floor.
Overall (9.0/10), LITM is a beautifully tragic and highly recommended watch that will stay with you long after the final credits.
The story (9.0/10) is a complex tapestry of desire and betrayal. The series expertly navigates a tragic love triangle, making it impossible to place blame solely on any one character. We can't blame Saenkaew for giving in to his desires, nor Sasin for acting on his feelings once he knew the truth, nor even Pin for her anger at being cheated on by the two men she loved most. She knew her love for Saenkaew was somewhat delulu from the start. She should've ended up with Sanya, but I'll also applaud the writer's depiction of reality by not working the “moving on with the next guy” cliché.
The true villain, after much thought, was Bodin all along. Prince Kamfah, though I often wished death on him, served as a classic, yet horribly cruel and murderous, conservative parent of the 60s.
The acting (5.5/5) and casting (5.5/5) were near flawless. Pearl Satjakorn is perfectly suited to these complex roles, and I found myself drooling over his character Sasin just as I did in "Laws of Attraction." Peak Peemapol's acting has highly improved since 2016; while a few crying scenes were ambiguous, he was convincing enough to make me tear up.
However, the true acting highlights were three brilliant ladies: Perth Veerinsara's portrayal of Pinanong was the show's standout; Ratha Ying was superb as the bar owner, Rachawadi; and Suzanna Renault stole every scene she was in as Songsawat.
I particularly loved the writing for Songsawat and Rachawadi. Songsawat's understanding of societal ostracization was poignant, though I pity her poor, smashed car—a victim of some lazy writing when we never heard from her again.
This wasn't the only instance; the way General Kalong gave up so easily after Prince Inthra's death, and the fact that no one discovered Inthra's wife or commented when she killed Bodin, felt underdeveloped.
The music (8.0/10) was powerful, though the main OST was overused. My rating was saved from falling below an 8.0 by another, standout song that perfectly captured the show's emotion.
With a high rewatch value (8.5/10), I know I'll miss the experience: the bittersweetness, cussing at Prince Kamfah, tearing up for Saenkaew, drooling over Sasin, and telling Pin to get off the floor.
Overall (9.0/10), LITM is a beautifully tragic and highly recommended watch that will stay with you long after the final credits.
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