I’m obsessed with the pacing of this episode—smooth and snappy, no dragging things out for once! I used to just hype up the actors, but now? Hats off to the writers and directors—they’ve got my full respect.
And Joker coming back next episode? I am so ready! But can we take a moment for Grandma? She’s got sass, humor, and a secret fangirl heart—total legend. If I can be even half as iconic as her someday, I’ll have made it.
In this episode, Noh was running all over campus trying to patch things up with Phun. He was practically bending over backward to make peace, turning the whole situation into a bit of a comedy sketch.
And then there’s our clueless cutie, Ohm, who got bribed with two vintage Nirvana T-shirts to help Fi play matchmaker for Mick. Honestly, I hope Mick “gives him a lesson” one of these days! I’m loving Mick’s (aka Toto’s) little expressions—he’s got that quiet sass going on, and I’m here for it. Wouldn’t mind seeing him turn up the sass even more!
Watching this BL feels like devouring a pint of drama-flavored ice cream—overflowing with red flags, manipulative charm, and dripping with cheesy lines that would wilt a bouquet. Toxic enough to ruin my mascara, but honey, I can’t look away.
By the way, Elyes finally buttoned up his shirt and added a tie.
After watching the first episode, the thing that left the biggest mark on me? Arm’s yellow backpack. It’s like a neon sign that says, “Notice me, I’m plot-relevant!” Then, I started spiraling, like, Wait… didn’t Book in ABAAB also have a loud backpack? So, of course, I had to rewatch for science—and yep, he’s rocking a firetruck red bag! And just when I thought I could stop, it hit me: Pharm (Fluke) in Until We Meet Again? Also rocking a blinding yellow backpack. Apparently, in BL world, if you want to be memorable, forget love confessions—get yourself a backpack that could stop traffic!
In a world of grand gestures and sweeping romances, What Comes After Love dares to dwell in the silence, in the delicate spaces between words and the ache of missed connections. This Japanese-Korean collaboration transcends borders, delivering a love story that feels profoundly universal—a tale woven from raw, unspoken truths rather than easy resolutions. The story of Choi Hong and Jungo isn’t a fairy-tale romance; it’s a close examination of the spaces we carve for each other and the regrets we leave in our wake.
Choi Hong is a young Korean woman who moves to Japan, seeking an escape from the life her society expects of her. There’s exhilaration in this independence, a new freedom that allows her to breathe. Then she meets Jungo, and with him, she finds a quiet anchor. But as time passes, their love begins to falter. Jungo is pulled deeper into his work, and Choi Hong begins to feel like an afterthought in her own life and relationship. There’s a deep ache in her story, a longing that feels so relatable—she’s waiting for him to show her, somehow, that she matters as much as his other commitments.
Her frustrations come out in ways that feel intensely vulnerable and real. I remember how my heart twisted when she told him, “You always have your reasons because, to you, those reasons matter more than I do.” You can feel the resentment simmering in her words, the bitterness of realizing that no matter how much she needed him, his reasons—work, responsibilities, the endless demands of his life—always seemed to come first. Haven’t we all, in one way or another, felt that ache of being someone’s “maybe” while we made them our “always”?
And then there’s her plea, almost desperate: “Can’t you even say sorry? Just one simple word—sorry. Do you think if you apologize, I’ll punish you? I don’t understand why it’s so hard for you to say it.” In this moment, Choi Hong’s words slice through the barriers Jungo has built around himself. Her pain isn’t about wanting him to admit he’s wrong—it’s about needing to be seen, to have her hurt acknowledged, even if just for a moment. I’ve felt that kind of need myself, the desire for a simple word that could make me feel like my pain mattered, that I wasn’t invisible in someone else’s life.
Jungo, by contrast, is a man caught in his own silence, weighed down by regrets that build up quietly over the years. He’s not oblivious to her needs—he’s afraid of confronting them. “I never asked her again,” he reflects, “because I was afraid to know why she was running.” It’s a powerful confession, his fear of knowing the truth of her discontent becoming a quiet, destructive force in their relationship. How many of us have held back, kept silent out of fear that the truth might break us? There’s something so human in his hesitation, his quiet admission that he couldn’t face her pain, even if it meant losing her.
Their relationship plays out over two timelines, a structure that director Moon Hyun-sung underscores beautifully with visual shifts. Five years ago, Choi Hong and Jungo were softer, looser, perhaps more innocent, with casual clothes and carefree curls. Now, they’re polished, restrained, with muted tones framing their encounters—a visual reminder of how time has cooled their passion but sharpened their regrets. There’s a loneliness in their expressions, a distance in their eyes, especially when she reflects on her past confrontation with Jungo, saying, “Please! Can’t you just say sorry? Do you know what hurts me the most? It’s that you turn the person who should be receiving the apology into someone worse! It’s clear you were in the wrong!”
These words hit hard. Five years ago, she was asking for so much more than a simple apology; she was asking him to take responsibility for the way he’s made her feel alone, for the way he’s ignored her. There’s a universality to her plea—a raw, unapologetic need to have him see her, acknowledge her loneliness. And I couldn’t help but think of all the times in my own life when I’d wanted someone to simply notice, to say they were sorry, to see the ways I’d been left to fend for myself emotionally.
Jungo’s journey is different but just as poignant. He’s weighed down by the quiet, unspoken regrets that build up over years. “Why didn’t I notice your loneliness?” he wonders aloud. “Why did I believe that the time you spent alone was time we spent together?” It’s a heartbreaking realization that what he thought was shared was, in fact, experienced in isolation. It’s one of those lines that stays with you, a reminder of how easy it is to assume someone’s fine when they’re really struggling alone.
What moves me deeply is how What Comes After Love uses silence and poetry to tell its story. Choi Hong has a love for Yun Dong-ju’s poetry, particularly Sky, Wind, Star, and Poem, and there’s a line she shares with Jungo: “Humans evolved from the stars in the sky… regardless of our race or nationality, we all come from the stars.” It’s as though she’s saying, despite everything that separates us, we are all made of the same essence. There’s a cosmic connection, a shared humanity, that binds us. For Choi Hong and Jungo, poetry becomes a way to express what they can’t say aloud—a language of unsaid feelings and buried hopes.
In the finale, their paths cross again in a way that’s both painfully tender and fraught with tension. Choi Hong brings a bouquet to Jungo, a small gesture toward forgiveness, perhaps a fresh start. But upon seeing him with his ex-girlfriend, Kanna, she hesitates, hurt flashing across her face. Jungo, later understanding the weight of that missed chance, leaves a small token on her desk—a keychain she once sought after, now a bridge to his words and thoughts. Reading his book, she finally confronts him, not with accusations but with a question: why hadn’t he come after her sooner? Why had he waited five long years? It’s not just a question; it’s a revelation of her deepest hurt, the way his absence left her feeling undesired, unimportant.
As he prepares to leave, he finds a note from her with a bouquet. In that moment, he realizes she’s still holding onto some part of him, and it’s enough to make him cancel his flight and seek her out by the lake. There, in the quiet stillness, he’s finally ready to do what he couldn’t before: prioritize her, show up, and be present. It’s a delicate, bittersweet ending, one that doesn’t promise a happy-ever-after but something more realistic—a tentative beginning built on the scars of the past.
What Comes After Love lingers in the heart like an unresolved melody, a reminder of all the words we leave unsaid and the power of simple gestures in a love story defined by both grand moments and subtle pain. Through Choi Hong’s desperation to be seen and Jungo’s slow journey to understanding, we’re reminded that love isn’t about perfection; it’s about the bravery to show up, to acknowledge the hurt, and to forgive—even when it feels impossible.
For me, watching their story unfold was a quiet revelation. It made me reflect on my own life, the moments when I could have said more, or when I should have just listened, really listened, to what someone needed from me. And maybe that’s the gift of What Comes After Love: it gives us a window into our own loves, our own regrets, and the possibility that, no matter how far we’ve drifted, there’s always a chance to return, even if just to say the words we never had the courage to speak before. It’s in the quiet, in the pauses, that What Comes After Love resonates most deeply—a lingering reminder of all we’ve left unspoken and the hope that it’s never too late to find the words.
Gangsters blocked the car. He couldn't drive anymore.
Fair point! But I’d still take my chances with the Mercedes’ windows—they’re probably tougher than they look. Worst case scenario, you get a cracked window and a good story for the insurance company. Meanwhile, outside, it’s just me and my legs versus a bunch of dudes with bats, and let’s be real, my legs aren’t exactly bulletproof glass. If we’re choosing our battles here, I think I’d rather bet on the car’s windows than my sprinting skills!
Gangsters blocked the car. He couldn't drive anymore.
Ah, obviously the gangsters blocked the car! Still, I gotta ask—why not just stay cozy in that luxurious Mercedes and, you know, call for help? It’s Taipei, not the middle of nowhere! There’s probably a bubble tea shop around the corner and a scooter whizzing by every two seconds. Instead of running from bat-wielding gangsters, maybe just chill in the AC and wait for backup. Plus, nothing ruins a perfectly good pair of shoes like a random street chase, right?
Okay, let’s talk about that scene. You’re telling me the guy driving a Mercedes—a car that could probably outrun a cheetah if it really tried—decides to get out and run from a bunch of dudes with bats? Like, seriously, bro, did your car break up with you or something? I get that the show needs some drama, but this is like choosing to run a marathon when you’ve got a jet sitting in your driveway. But hey, I guess nothing says BL like a little bit of unnecessary danger to bring our boys closer, right? Next time, just drive away—your fans will still love you.
At its heart, Love in the Big City isn’t just about being queer; it’s about being human. It’s a lifeline for those of us who, at some point, have felt marginalized, misunderstood, or hidden in plain sight. Go Young’s story is a reminder that whether it’s societal expectations, family pressure, or the silent battles we wage within, these struggles are far more common than we often admit. His search for love, connection, and belonging is a journey that resonates deeply with anyone who’s ever felt out of place—whether due to their sexual identity or just the simple complexities of life.
What makes Love in the Big City so poignant is that it doesn’t rely on grand statements or moralizing. Instead, it offers a quiet yet profound reflection on what it means to navigate love and identity in a world that often feels unwelcoming. Watching Go Young stumble through romantic entanglements, familial heartbreak, and the slow process of self-acceptance feels raw and, at times, uncomfortably real. But that’s the beauty of this story—it allows us to see our own vulnerabilities mirrored in his. It’s a story that meets you wherever you are in your own life, reminding you that even in your lowest moments, you’re never truly alone.
The therapeutic value of a story like this lies in its honesty. It doesn’t shy away from the painful moments—those deep aches of rejection or loneliness—but it also celebrates the small, tender victories: the friends who stay, the loves that heal, the brief moments of peace we find in ourselves. Love in the Big City transcends the label of “queer fiction” because it taps into something universal: the need to be seen, understood, and loved for exactly who we are. And in a world that can often feel disconnected, that’s something we all need.
I couldn’t help but wonder—what if this Thai BL series got the Apple TV or Hollywood treatment? A dark comedy, perhaps? One thing’s for sure though, a Western adaptation would never be able to capture the intense angst Jack and Joker go through in episode 7.
That episode was a total vibe shift—like, we went from fast-paced, witty fun to full-on melodrama. Honestly, it lost some of the comedic energy the earlier episodes built up so well. Joker barely got any screen time, and the whole hour dragged without a single standout moment or laugh. I was really hoping for a twist at the end—maybe Granny jumps out of bed with a wild one-liner or Hoy and P’Nang sneak in some flirty banter—but nope, nothing!
The one saving grace? Tattoo and Aran cuddling up in their sleep. That at least got a chuckle out of me!
In the 2024 Love Sick remake, casting actual teenagers was such a smart move. We’re so used to seeing actors in their late 20s or even 30s playing high schoolers in BL dramas that this shift brings a whole new level of authenticity. Sure, Make It Right had young actors too, but here it feels fresh and genuine, making the story hit closer to home.
Take the beach trip episode—Phun and Noh are styled perfectly like real teens. Their outfits capture that carefree, trendy vibe that we all associate with youth, and Noh’s look is especially on point. It really drives home how much attention this version is paying to capturing the spirit of adolescence, making it easier to connect with their story.
Then there’s Mick. His soft, budding feelings for Ohm are just adorable. Watching him smile shyly as Ohm—who’s tough on the outside but so tender underneath—gently cares for his wound was such a heart-melting moment. I could feel Mick’s emotions in every glance, and as someone who’s been watching BL for a while, it was a real joy to see this kind of subtlety in their relationship.
One thing that really stood out in this adaptation is Per’s distant attitude toward Mawin, which seems to be due to Mawin’s family’s influence. I’m not sure if that’s how it played out in the novel, but it adds a cool layer to their dynamic that I didn’t expect. It creates more tension, making their interactions feel deeper and more meaningful.
Aim’s character also feels different this time. She’s struggling with her feelings for another woman while still being with Phun, and that internal conflict makes her way more sympathetic. It’s easy to imagine that if Aim and Phun had just stayed friends, things between Phun and Noh would’ve gone a lot smoother. This nuanced portrayal of Aim adds tension but also makes her situation relatable.
Back in the 2014 version, Phun’s guilt over his relationship with Aim was a huge reason he held back with Noh. But now, with Aim being a lesbian, Phun’s guilt doesn’t seem to be as much of a barrier. It really shifts the story in a way that frees Phun to focus on Noh and lets Aim’s character evolve in a new, interesting direction.
If you’ve been watching along, you probably feel the same way—this version is taking familiar characters and giving them new depth, which is always exciting to see!
I absolutely adore episode three, especially when it comes to Namping’s character and his impeccable style. His extensions in the back? Flawless. They blend so naturally and suit his face shape perfectly. The wardrobe choices are a masterclass in elegance—neutral but oh-so-refined. And don’t even get me started on those high-waisted trousers with the subtle pleats! Simply mesmerizing.
Then there’s X, gazing at Namping like he’s the most captivating sight in the world. That intense, longing look? Absolute perfection!
Okay, so Pat in this BL drama? Absolute riot. Picture this: he’s all sweet and cute on the phone with his boss, Elyes, just dripping with unspoken tension. Then boom—he hangs up, looks out the window, and surprise, Elyes is right there like some romantic ninja. Now here’s where I almost did a full eye-roll. Pat, bless his heart, does this whole “fix the hair, pouty-lips smooch” thing—like he’s channeling his inner diva. Honestly, it’s like watching a cute, awkward rom-com version of a lip balm commercial. He’s got that “I’m-so-cute-and-I-know-it” vibe going on, and I’m not even mad. It’s silly, it’s low-key low brow, but I’d be lying if I said I didn’t see a bit of myself in those moments of pure, accidental fabulousness. BL drama? More like a life lesson in how we all do the most when we’re trying to impress someone. Pat, you do you, boo!
I’ve been thinking about Hong a lot lately—about the quiet, unresolved ache of her story. It feels so familiar, that tug between what’s easy and what feels true, though harder. What strikes me is the way she stands at the crossroads of two loves, but her journey is not about choosing between them. It’s about understanding herself and learning to let go—or maybe it should be.
Jungo… he’s the kind of man whose love is buried deep, so deep it can hardly reach the surface. That moment when his mother left him after he so vulnerably chose her—it marked him forever. He learned then that showing his heart means risking pain, so he grew up keeping it hidden, even from Hong. He loved her, yes, but it was a love cloaked in silence, in fear. How could she not feel the loneliness seeping in, pushing her away while he stood frozen, terrified to lose her but unable to act?
I picture Hong running. Running to escape the emotional void between them, running to feel something. She must have sensed his love, but it was so far below the surface, buried under the weight of his past. And Jungo? He must have seen her drift away, but the boy inside him, the one who watched his mother leave, couldn’t bear to ask why. He thought silence might keep her, just like he once thought silence might keep his mother.
And then there’s Min Jun. His love was always there, steady, dependable. The kind of man who doesn’t make you wonder where you stand. He’s the safe option, isn’t he? The one who would never leave, who would always offer a warm, open hand. I can imagine how tempting that must have been for Hong, how easy it would have been to accept his proposal, to slip into the comfort of his presence.
But I understand why she didn’t. She knew, deep down, that comfort isn’t enough. Security can’t make up for a lack of passion, and she could never marry someone simply to avoid being alone. Even in moments of fear, Hong knew that love has to be more than an escape from solitude. Min Jun, as devoted as he was, couldn’t reach the part of her that still longed for something deeper, something more than just companionship. I think about how she must have looked into his eyes, knowing she cared for him but couldn’t settle for less than the love she deserved.
And yet, she didn’t choose to be alone, did she? She went back to Jungo, not for reconciliation, but for closure, for understanding. There was still something unresolved between them, a knot that needed untangling. I feel like I know that feeling—when you can’t move forward until you confront the thing that holds you back, even when you know it might not give you what you hope for. Maybe Hong thought that finding Jungo again would help her let go of the part of herself still tied to him. Or maybe she just needed to know if there was anything left.
And now I think about that scene in the sixth episode preview—Hong going to find Jungo, and instead, seeing him with his ex-girlfriend. How it must have shaken her. I imagine the air must have felt thick, heavy with everything unsaid between them. To go seeking closure and instead witness the man you thought might still hold a part of your heart with someone else—that must have been like a sudden blow.
She must have felt everything crash down in that moment. Seeing Jungo with someone from his past must have felt like the final proof that what they had—what she might have hoped to untangle—was already gone. Maybe it’s cruel fate, or maybe it’s a mercy. Maybe that sight is what will finally push her to let go of the part of herself that still holds on to him.
But I wonder if she also felt a sense of clarity in that moment. Maybe she realized that Jungo’s distance wasn’t just with her, but part of who he is. The inability to connect, the silence—perhaps it’s a piece of him that she never could, or should have, tried to fix. Maybe in that instant, Hong could see her own growth more clearly, seeing Jungo through the lens of her newfound understanding of herself.
I keep coming back to this: what I want for Hong isn’t to chase after Jungo or retreat into Min Jun’s steady arms. I want her to look at Jungo with his ex and know, deeply, that she doesn’t need him—or anyone else—to be whole. I want her to recognize that she’s been carrying her own weight, her own fears, for too long. Maybe, just maybe, seeing him with someone else will be the final release she needs.
But I know this story is more complicated than my wishes for her. Hong went looking for closure, but what she finds in that moment may lead her somewhere unexpected. Maybe she’ll confront Jungo, maybe she’ll walk away without a word. But what I hope—what I wish—is that she leaves both him and Min Jun behind, finding her strength in herself. It’s the only way she can be free.
In the end, I don’t want her to choose between them. I want her to choose herself. And as painful as that moment with Jungo must have been, perhaps it’s what will allow her to step into her own future, unburdened.
When I finished the first episode, I was ready for a wild ride. I was so curious about the leads’ backstory—what kind of epic misunderstanding made Easter avoid Hill like he was allergic to him? My curiosity was buzzing, and I was prepared to have my mind blown with some juicy revelations.
But then came episode two, and let’s just say I was left holding a handful of puzzle pieces with no picture in sight. The show wasn’t exactly spilling the tea on their past, and I found myself having to squint through vague hints. My interest in Easter and Hill? Yeah, it pretty much packed its bags and moved on to the second couple.
By the time I hit episode three, I made a decision: I’m hitting pause on this BL for now. I’ll wait until it’s all wrapped up before I dive back in. The director’s style and slow-burn storytelling just wasn’t enough to keep me hooked on a weekly basis.
Wichai’s fainting is a turning point, showing how deeply his emotions and family pressures have taken a toll on him. It’s clear that Anong will play a more nurturing role as she stays by his side, opening the door for their relationship to blossom. The tension between them is about to shift, and you can feel the excitement building as they grow closer in the upcoming episodes. Episode 10 is definitely one to look forward to, as it promises more heartfelt moments and deeper connection between the leads!
The first two episodes kick off with a strong start. The lead characters have undeniable chemistry, which draws you in right away. The mix of Taekwondo and romance is refreshing and adds a unique cultural layer to the story. The emotional tension between the leads is well-developed, keeping you engaged from the get-go. The visuals and cinematography also stand out, making the series visually appealing.
K-Drama 
39 
42 
3 
1 
11 
4 
1 
11 
1 
1 
1 
4 
4 
2 
4 
26 
And Joker coming back next episode? I am so ready! But can we take a moment for Grandma? She’s got sass, humor, and a secret fangirl heart—total legend. If I can be even half as iconic as her someday, I’ll have made it.
And then there’s our clueless cutie, Ohm, who got bribed with two vintage Nirvana T-shirts to help Fi play matchmaker for Mick. Honestly, I hope Mick “gives him a lesson” one of these days! I’m loving Mick’s (aka Toto’s) little expressions—he’s got that quiet sass going on, and I’m here for it. Wouldn’t mind seeing him turn up the sass even more!
By the way, Elyes finally buttoned up his shirt and added a tie.
Choi Hong is a young Korean woman who moves to Japan, seeking an escape from the life her society expects of her. There’s exhilaration in this independence, a new freedom that allows her to breathe. Then she meets Jungo, and with him, she finds a quiet anchor. But as time passes, their love begins to falter. Jungo is pulled deeper into his work, and Choi Hong begins to feel like an afterthought in her own life and relationship. There’s a deep ache in her story, a longing that feels so relatable—she’s waiting for him to show her, somehow, that she matters as much as his other commitments.
Her frustrations come out in ways that feel intensely vulnerable and real. I remember how my heart twisted when she told him, “You always have your reasons because, to you, those reasons matter more than I do.” You can feel the resentment simmering in her words, the bitterness of realizing that no matter how much she needed him, his reasons—work, responsibilities, the endless demands of his life—always seemed to come first. Haven’t we all, in one way or another, felt that ache of being someone’s “maybe” while we made them our “always”?
And then there’s her plea, almost desperate: “Can’t you even say sorry? Just one simple word—sorry. Do you think if you apologize, I’ll punish you? I don’t understand why it’s so hard for you to say it.” In this moment, Choi Hong’s words slice through the barriers Jungo has built around himself. Her pain isn’t about wanting him to admit he’s wrong—it’s about needing to be seen, to have her hurt acknowledged, even if just for a moment. I’ve felt that kind of need myself, the desire for a simple word that could make me feel like my pain mattered, that I wasn’t invisible in someone else’s life.
Jungo, by contrast, is a man caught in his own silence, weighed down by regrets that build up quietly over the years. He’s not oblivious to her needs—he’s afraid of confronting them. “I never asked her again,” he reflects, “because I was afraid to know why she was running.” It’s a powerful confession, his fear of knowing the truth of her discontent becoming a quiet, destructive force in their relationship. How many of us have held back, kept silent out of fear that the truth might break us? There’s something so human in his hesitation, his quiet admission that he couldn’t face her pain, even if it meant losing her.
Their relationship plays out over two timelines, a structure that director Moon Hyun-sung underscores beautifully with visual shifts. Five years ago, Choi Hong and Jungo were softer, looser, perhaps more innocent, with casual clothes and carefree curls. Now, they’re polished, restrained, with muted tones framing their encounters—a visual reminder of how time has cooled their passion but sharpened their regrets. There’s a loneliness in their expressions, a distance in their eyes, especially when she reflects on her past confrontation with Jungo, saying, “Please! Can’t you just say sorry? Do you know what hurts me the most? It’s that you turn the person who should be receiving the apology into someone worse! It’s clear you were in the wrong!”
These words hit hard. Five years ago, she was asking for so much more than a simple apology; she was asking him to take responsibility for the way he’s made her feel alone, for the way he’s ignored her. There’s a universality to her plea—a raw, unapologetic need to have him see her, acknowledge her loneliness. And I couldn’t help but think of all the times in my own life when I’d wanted someone to simply notice, to say they were sorry, to see the ways I’d been left to fend for myself emotionally.
Jungo’s journey is different but just as poignant. He’s weighed down by the quiet, unspoken regrets that build up over years. “Why didn’t I notice your loneliness?” he wonders aloud. “Why did I believe that the time you spent alone was time we spent together?” It’s a heartbreaking realization that what he thought was shared was, in fact, experienced in isolation. It’s one of those lines that stays with you, a reminder of how easy it is to assume someone’s fine when they’re really struggling alone.
What moves me deeply is how What Comes After Love uses silence and poetry to tell its story. Choi Hong has a love for Yun Dong-ju’s poetry, particularly Sky, Wind, Star, and Poem, and there’s a line she shares with Jungo: “Humans evolved from the stars in the sky… regardless of our race or nationality, we all come from the stars.” It’s as though she’s saying, despite everything that separates us, we are all made of the same essence. There’s a cosmic connection, a shared humanity, that binds us. For Choi Hong and Jungo, poetry becomes a way to express what they can’t say aloud—a language of unsaid feelings and buried hopes.
In the finale, their paths cross again in a way that’s both painfully tender and fraught with tension. Choi Hong brings a bouquet to Jungo, a small gesture toward forgiveness, perhaps a fresh start. But upon seeing him with his ex-girlfriend, Kanna, she hesitates, hurt flashing across her face. Jungo, later understanding the weight of that missed chance, leaves a small token on her desk—a keychain she once sought after, now a bridge to his words and thoughts. Reading his book, she finally confronts him, not with accusations but with a question: why hadn’t he come after her sooner? Why had he waited five long years? It’s not just a question; it’s a revelation of her deepest hurt, the way his absence left her feeling undesired, unimportant.
As he prepares to leave, he finds a note from her with a bouquet. In that moment, he realizes she’s still holding onto some part of him, and it’s enough to make him cancel his flight and seek her out by the lake. There, in the quiet stillness, he’s finally ready to do what he couldn’t before: prioritize her, show up, and be present. It’s a delicate, bittersweet ending, one that doesn’t promise a happy-ever-after but something more realistic—a tentative beginning built on the scars of the past.
What Comes After Love lingers in the heart like an unresolved melody, a reminder of all the words we leave unsaid and the power of simple gestures in a love story defined by both grand moments and subtle pain. Through Choi Hong’s desperation to be seen and Jungo’s slow journey to understanding, we’re reminded that love isn’t about perfection; it’s about the bravery to show up, to acknowledge the hurt, and to forgive—even when it feels impossible.
For me, watching their story unfold was a quiet revelation. It made me reflect on my own life, the moments when I could have said more, or when I should have just listened, really listened, to what someone needed from me. And maybe that’s the gift of What Comes After Love: it gives us a window into our own loves, our own regrets, and the possibility that, no matter how far we’ve drifted, there’s always a chance to return, even if just to say the words we never had the courage to speak before. It’s in the quiet, in the pauses, that What Comes After Love resonates most deeply—a lingering reminder of all we’ve left unspoken and the hope that it’s never too late to find the words.
What makes Love in the Big City so poignant is that it doesn’t rely on grand statements or moralizing. Instead, it offers a quiet yet profound reflection on what it means to navigate love and identity in a world that often feels unwelcoming. Watching Go Young stumble through romantic entanglements, familial heartbreak, and the slow process of self-acceptance feels raw and, at times, uncomfortably real. But that’s the beauty of this story—it allows us to see our own vulnerabilities mirrored in his. It’s a story that meets you wherever you are in your own life, reminding you that even in your lowest moments, you’re never truly alone.
The therapeutic value of a story like this lies in its honesty. It doesn’t shy away from the painful moments—those deep aches of rejection or loneliness—but it also celebrates the small, tender victories: the friends who stay, the loves that heal, the brief moments of peace we find in ourselves. Love in the Big City transcends the label of “queer fiction” because it taps into something universal: the need to be seen, understood, and loved for exactly who we are. And in a world that can often feel disconnected, that’s something we all need.
That episode was a total vibe shift—like, we went from fast-paced, witty fun to full-on melodrama. Honestly, it lost some of the comedic energy the earlier episodes built up so well. Joker barely got any screen time, and the whole hour dragged without a single standout moment or laugh. I was really hoping for a twist at the end—maybe Granny jumps out of bed with a wild one-liner or Hoy and P’Nang sneak in some flirty banter—but nope, nothing!
The one saving grace? Tattoo and Aran cuddling up in their sleep. That at least got a chuckle out of me!
Take the beach trip episode—Phun and Noh are styled perfectly like real teens. Their outfits capture that carefree, trendy vibe that we all associate with youth, and Noh’s look is especially on point. It really drives home how much attention this version is paying to capturing the spirit of adolescence, making it easier to connect with their story.
Then there’s Mick. His soft, budding feelings for Ohm are just adorable. Watching him smile shyly as Ohm—who’s tough on the outside but so tender underneath—gently cares for his wound was such a heart-melting moment. I could feel Mick’s emotions in every glance, and as someone who’s been watching BL for a while, it was a real joy to see this kind of subtlety in their relationship.
One thing that really stood out in this adaptation is Per’s distant attitude toward Mawin, which seems to be due to Mawin’s family’s influence. I’m not sure if that’s how it played out in the novel, but it adds a cool layer to their dynamic that I didn’t expect. It creates more tension, making their interactions feel deeper and more meaningful.
Aim’s character also feels different this time. She’s struggling with her feelings for another woman while still being with Phun, and that internal conflict makes her way more sympathetic. It’s easy to imagine that if Aim and Phun had just stayed friends, things between Phun and Noh would’ve gone a lot smoother. This nuanced portrayal of Aim adds tension but also makes her situation relatable.
Back in the 2014 version, Phun’s guilt over his relationship with Aim was a huge reason he held back with Noh. But now, with Aim being a lesbian, Phun’s guilt doesn’t seem to be as much of a barrier. It really shifts the story in a way that frees Phun to focus on Noh and lets Aim’s character evolve in a new, interesting direction.
If you’ve been watching along, you probably feel the same way—this version is taking familiar characters and giving them new depth, which is always exciting to see!
Then there’s X, gazing at Namping like he’s the most captivating sight in the world. That intense, longing look? Absolute perfection!
Jungo… he’s the kind of man whose love is buried deep, so deep it can hardly reach the surface. That moment when his mother left him after he so vulnerably chose her—it marked him forever. He learned then that showing his heart means risking pain, so he grew up keeping it hidden, even from Hong. He loved her, yes, but it was a love cloaked in silence, in fear. How could she not feel the loneliness seeping in, pushing her away while he stood frozen, terrified to lose her but unable to act?
I picture Hong running. Running to escape the emotional void between them, running to feel something. She must have sensed his love, but it was so far below the surface, buried under the weight of his past. And Jungo? He must have seen her drift away, but the boy inside him, the one who watched his mother leave, couldn’t bear to ask why. He thought silence might keep her, just like he once thought silence might keep his mother.
And then there’s Min Jun. His love was always there, steady, dependable. The kind of man who doesn’t make you wonder where you stand. He’s the safe option, isn’t he? The one who would never leave, who would always offer a warm, open hand. I can imagine how tempting that must have been for Hong, how easy it would have been to accept his proposal, to slip into the comfort of his presence.
But I understand why she didn’t. She knew, deep down, that comfort isn’t enough. Security can’t make up for a lack of passion, and she could never marry someone simply to avoid being alone. Even in moments of fear, Hong knew that love has to be more than an escape from solitude. Min Jun, as devoted as he was, couldn’t reach the part of her that still longed for something deeper, something more than just companionship. I think about how she must have looked into his eyes, knowing she cared for him but couldn’t settle for less than the love she deserved.
And yet, she didn’t choose to be alone, did she? She went back to Jungo, not for reconciliation, but for closure, for understanding. There was still something unresolved between them, a knot that needed untangling. I feel like I know that feeling—when you can’t move forward until you confront the thing that holds you back, even when you know it might not give you what you hope for. Maybe Hong thought that finding Jungo again would help her let go of the part of herself still tied to him. Or maybe she just needed to know if there was anything left.
And now I think about that scene in the sixth episode preview—Hong going to find Jungo, and instead, seeing him with his ex-girlfriend. How it must have shaken her. I imagine the air must have felt thick, heavy with everything unsaid between them. To go seeking closure and instead witness the man you thought might still hold a part of your heart with someone else—that must have been like a sudden blow.
She must have felt everything crash down in that moment. Seeing Jungo with someone from his past must have felt like the final proof that what they had—what she might have hoped to untangle—was already gone. Maybe it’s cruel fate, or maybe it’s a mercy. Maybe that sight is what will finally push her to let go of the part of herself that still holds on to him.
But I wonder if she also felt a sense of clarity in that moment. Maybe she realized that Jungo’s distance wasn’t just with her, but part of who he is. The inability to connect, the silence—perhaps it’s a piece of him that she never could, or should have, tried to fix. Maybe in that instant, Hong could see her own growth more clearly, seeing Jungo through the lens of her newfound understanding of herself.
I keep coming back to this: what I want for Hong isn’t to chase after Jungo or retreat into Min Jun’s steady arms. I want her to look at Jungo with his ex and know, deeply, that she doesn’t need him—or anyone else—to be whole. I want her to recognize that she’s been carrying her own weight, her own fears, for too long. Maybe, just maybe, seeing him with someone else will be the final release she needs.
But I know this story is more complicated than my wishes for her. Hong went looking for closure, but what she finds in that moment may lead her somewhere unexpected. Maybe she’ll confront Jungo, maybe she’ll walk away without a word. But what I hope—what I wish—is that she leaves both him and Min Jun behind, finding her strength in herself. It’s the only way she can be free.
In the end, I don’t want her to choose between them. I want her to choose herself. And as painful as that moment with Jungo must have been, perhaps it’s what will allow her to step into her own future, unburdened.
But then came episode two, and let’s just say I was left holding a handful of puzzle pieces with no picture in sight. The show wasn’t exactly spilling the tea on their past, and I found myself having to squint through vague hints. My interest in Easter and Hill? Yeah, it pretty much packed its bags and moved on to the second couple.
By the time I hit episode three, I made a decision: I’m hitting pause on this BL for now. I’ll wait until it’s all wrapped up before I dive back in. The director’s style and slow-burn storytelling just wasn’t enough to keep me hooked on a weekly basis.