Thanks for the review, it was a big-smile read. Agreed about the frustration. For me it was, haven't these people…
I honestly couldn’t buy that scene at all. The whole “let’s feed her” thing just felt so off to me. Yes, she was a child back then, but she’s still the daughter of the man who brutally attacked his father and then framed him. That’s not some small mistake or misunderstanding — those were serious, life-ruining crimes. Because of that, the family’s sudden kindness didn’t feel moving or mature, just unrealistic. I get that she came to apologise, but forgiveness like that needs time, tension, awkwardness… something. Instead, everyone just seemed weirdly okay with everything, like the past barely mattered. And the way the scene was shot didn’t help either. ML and FL sitting there eating, and he doesn’t even properly introduce her? The parents left guessing if she’s his girlfriend? It just felt awkward. Also, the father sitting on his knees gave the whole thing a strange vibe — it didn’t read as emotional to me, just uncomfortable. Then there’s the contrast with his wife having to practically beg him to visit his parents. The character dynamics felt inconsistent and messy. For me, it wasn’t heartwarming — it was jarring.
After the finale of Stranger Things, nothing can disappoint me anymore.That said, I just couldn’t see any chemistry…
You’re honestly lucky you didn’t finish Game of Thrones 😅 it saves you a lot of frustration.
And maybe we just see Se-hee differently.
In his previous life, he wasn’t some innocent victim either. It was a business marriage. They were never in love, never emotionally committed, and loyalty wasn’t the foundation of that relationship. He got financial and political advantage, she got a judge husband who obeyed her father. Calling it “betrayal” like it was some tragic love story feels exaggerated to me. It was transactional from the start.
She was clearly used by her father in her first life. And in the second life? According to the male lead himself, she was again positioned as a pawn to secure a judge son-in-law — without her consent. The pattern didn’t change. She was still being used.
Yes, in the new life he tried to understand her more. At first, the way he used his past knowledge about her felt almost cute — like he was trying to do better. But for me, it crossed a line when he knowingly let her fall for him while emotionally keeping his distance. That’s where he stopped being romantic and started feeling manipulative.
What bothers me most is this: he knew she was being used in both lives. He had knowledge, power, and foresight. He could have actively protected her from her father’s manipulation. But he didn’t. He let the situation unfold while positioning himself strategically.
And the ending almost suggests he and Jin-ah might have some sort of casual fling now, which makes everything feel even more detached emotionally.
He used the male prosecutor, then basically stole his crush without any empathy. He treats people like chess pieces because he has information others don’t. Every relationship he builds feels calculated.
In the end, I don’t see much difference between him and Kang Shin Jin. Both manipulate situations for their own version of “justice.” Both prioritize personal goals above emotional honesty. The only difference is that one didn’t get caught.
The funny thing is how earlier reviews by oppa_ are written by someone Asian whose English is not good and who…
Just started using chatgpt to frame my opinion in English well As English was never my first language Very easy to understand if you just remove your Vile glasses
After the finale of Stranger Things, nothing can disappoint me anymore.That said, I just couldn’t see any chemistry…
Director might have done that intentionally — to show that he’s hesitant to get near her, or emotionally guarded for a reason. Maybe he knew her for all 10 years but kept his distance on purpose.
But if that was the intention, then I blame the director and the actor for not portraying it honestly. You can’t convince me that a man who was married to her for a decade can suddenly act like a complete stranger and never slip once — not a moment of warmth, not a mistake, not even a subconscious pull toward her. That doesn’t feel restrained; it feels robotic. Like he has no real emotions.
And when the male lead feels emotionally hollow, even the “justice” angle or noble actions don’t land — they just feel empty.
As for Stranger Things, I actually stopped after Season 3. Once Stranger Things shifted tone and Millie Bobby Brown grew up, her character didn’t feel the same to me. She was honestly the main reason I was watching in the first place.
But my biggest drama disappointment of all time? The ending of Game of Thrones. Forcing a cripple onto the throne that belonged to MY QUEEN — Daenerys Targaryen Stormborn — will never sit right with me.
after enjoying the show they might go on a search for finding either male lead or female lead kind of people depend on there preference but ending up with either of them will surely will put them in abusive relationship...
nah i get the “it’s realistic” argument but realism alone doesn’t make it good 💀 yeah most ppl don’t break toxic cycles irl, that’s literally why they’re toxic. but if the drama just keeps looping the same shit with zero growth, zero consequences, nothing new… that’s not deep, that’s lazy.
at some point it stops being realism and just becomes stagnation. like ok we get it, “this is how life is” — now what? if the character learns nothing and the conflict just goes in circles, why am i watching.
and honestly if i wanted to watch emotionally immature ppl stay stuck forever, i’d just log off and look at real life 💀 dramas are comforting because they do what real life rarely does — ppl face their flaws, change, break patterns. that’s literally the point.
when it gets too realistic, it stops feeling like a drama and starts feeling like a depressing documentary. realism is fine, but repeating the same behavior with no evolution isn’t good writing. it’s just romanticized stagnation pretending to be “deep”.
Isn't male lead continuing the cycle very good writing though? It's a fact that most people can't break the cycle…
Here’s a clean, direct reply you can post as-is. I’ve kept your tone firm, logical, and clear without softening your point:
Yes, continuing the cycle can be realistic — but realism alone doesn’t automatically equal good writing.
Most people don’t break toxic patterns in real life, that’s true. That’s exactly why those cycles exist. But if a drama only shows repetition without real growth, consequences, or new insight, then it stops being realism and starts being stagnation.
Repetition becomes weak writing when the character learns nothing, conflicts go in circles, and the story keeps saying “this is just how life is” and ends there. That’s not depth — that’s refusing transformation.
And honestly, if I wanted brutal, harsh realism where people stay emotionally immature forever, I’d just look at real life.
People watch dramas because real life is already exhausting. Dramas feel comforting because they do what we struggle to do in reality — face flaws, grow, change, and break cycles. That transformation is literally the core of drama.
If a story becomes too realistic, it stops being a drama and starts feeling like a documentary of misery. Realism can be powerful, but repeating the same behavior without evolution isn’t good writing — it’s just romanticized stagnation disguised as “deep.”
This is exactly the problem: the drama tells us these lawyers have “10 years of experience,” but everything…
True, and I think this ties into a pattern I’ve noticed in many female-centric dramas. When writers want to portray a woman as strong, independent, and powerful, they often overload her with extreme flaws or questionable decisions just to ‘balance’ her character. But when they want a woman to be morally righteous, she’s frequently written as naïve, passive, or lacking agency. It’s strange that we rarely see a character who is both principled and genuinely strong. A woman can be independent, capable, and morally grounded without needing to commit crimes or be unrealistically naïve. Complexity doesn’t have to mean self-destructive writing.”
Give the attorney a break. The day she slept with her ex was also her ovulation day. It was scientifically proven…
Dating in the past does not equal permanent consent. Consent must be present every time, regardless of relationship history. Even within marriage, consent still matters — that’s exactly why concepts like marital rape and spousal sexual assault exist in modern law and ethics. No one has an automatic right to physical intimacy, including a kiss, without permission. Respecting boundaries is essential in any relationship.
Because of that, the family’s sudden kindness didn’t feel moving or mature, just unrealistic. I get that she came to apologise, but forgiveness like that needs time, tension, awkwardness… something. Instead, everyone just seemed weirdly okay with everything, like the past barely mattered.
And the way the scene was shot didn’t help either. ML and FL sitting there eating, and he doesn’t even properly introduce her? The parents left guessing if she’s his girlfriend? It just felt awkward.
Also, the father sitting on his knees gave the whole thing a strange vibe — it didn’t read as emotional to me, just uncomfortable.
Then there’s the contrast with his wife having to practically beg him to visit his parents. The character dynamics felt inconsistent and messy.
For me, it wasn’t heartwarming — it was jarring.
And maybe we just see Se-hee differently.
In his previous life, he wasn’t some innocent victim either. It was a business marriage. They were never in love, never emotionally committed, and loyalty wasn’t the foundation of that relationship. He got financial and political advantage, she got a judge husband who obeyed her father. Calling it “betrayal” like it was some tragic love story feels exaggerated to me. It was transactional from the start.
She was clearly used by her father in her first life. And in the second life? According to the male lead himself, she was again positioned as a pawn to secure a judge son-in-law — without her consent. The pattern didn’t change. She was still being used.
Yes, in the new life he tried to understand her more. At first, the way he used his past knowledge about her felt almost cute — like he was trying to do better. But for me, it crossed a line when he knowingly let her fall for him while emotionally keeping his distance. That’s where he stopped being romantic and started feeling manipulative.
What bothers me most is this: he knew she was being used in both lives. He had knowledge, power, and foresight. He could have actively protected her from her father’s manipulation. But he didn’t. He let the situation unfold while positioning himself strategically.
And the ending almost suggests he and Jin-ah might have some sort of casual fling now, which makes everything feel even more detached emotionally.
He used the male prosecutor, then basically stole his crush without any empathy. He treats people like chess pieces because he has information others don’t. Every relationship he builds feels calculated.
In the end, I don’t see much difference between him and Kang Shin Jin. Both manipulate situations for their own version of “justice.” Both prioritize personal goals above emotional honesty. The only difference is that one didn’t get caught.
That’s why I can’t see him as a hero
As English was never my first language
Very easy to understand if you just remove your Vile glasses
But if that was the intention, then I blame the director and the actor for not portraying it honestly. You can’t convince me that a man who was married to her for a decade can suddenly act like a complete stranger and never slip once — not a moment of warmth, not a mistake, not even a subconscious pull toward her. That doesn’t feel restrained; it feels robotic. Like he has no real emotions.
And when the male lead feels emotionally hollow, even the “justice” angle or noble actions don’t land — they just feel empty.
As for Stranger Things, I actually stopped after Season 3. Once Stranger Things shifted tone and Millie Bobby Brown grew up, her character didn’t feel the same to me. She was honestly the main reason I was watching in the first place.
But my biggest drama disappointment of all time? The ending of Game of Thrones. Forcing a cripple onto the throne that belonged to MY QUEEN — Daenerys Targaryen Stormborn — will never sit right with me.
That anger me
English is not everyone's first language
yeah most ppl don’t break toxic cycles irl, that’s literally why they’re toxic. but if the drama just keeps looping the same shit with zero growth, zero consequences, nothing new… that’s not deep, that’s lazy.
at some point it stops being realism and just becomes stagnation. like ok we get it, “this is how life is” — now what? if the character learns nothing and the conflict just goes in circles, why am i watching.
and honestly if i wanted to watch emotionally immature ppl stay stuck forever, i’d just log off and look at real life 💀
dramas are comforting because they do what real life rarely does — ppl face their flaws, change, break patterns. that’s literally the point.
when it gets too realistic, it stops feeling like a drama and starts feeling like a depressing documentary. realism is fine, but repeating the same behavior with no evolution isn’t good writing. it’s just romanticized stagnation pretending to be “deep”.
Yes, continuing the cycle can be realistic — but realism alone doesn’t automatically equal good writing.
Most people don’t break toxic patterns in real life, that’s true. That’s exactly why those cycles exist. But if a drama only shows repetition without real growth, consequences, or new insight, then it stops being realism and starts being stagnation.
Repetition becomes weak writing when the character learns nothing, conflicts go in circles, and the story keeps saying “this is just how life is” and ends there. That’s not depth — that’s refusing transformation.
And honestly, if I wanted brutal, harsh realism where people stay emotionally immature forever, I’d just look at real life.
People watch dramas because real life is already exhausting. Dramas feel comforting because they do what we struggle to do in reality — face flaws, grow, change, and break cycles. That transformation is literally the core of drama.
If a story becomes too realistic, it stops being a drama and starts feeling like a documentary of misery. Realism can be powerful, but repeating the same behavior without evolution isn’t good writing — it’s just romanticized stagnation disguised as “deep.”
It’s strange that we rarely see a character who is both principled and genuinely strong. A woman can be independent, capable, and morally grounded without needing to commit crimes or be unrealistically naïve. Complexity doesn’t have to mean self-destructive writing.”
It's just people like you who imagine layers
Even director don't know
They wanted a jerk so they even casted one