A moving story retold with heart, lifted by Kim Go Eun’s brilliance.
The Korean drama You and Everything Else takes its roots from the 2016 Chinese film Soulmate — and, by extension, the long lineage of stories about two women whose lives and friendship are deeply intertwined. But where Soulmate condensed its tale into a focused emotional tragedy, this drama stretches the story over 16 episodes, making it more layered, complex, and socially loaded.At its heart, the show is about Eun-jung and Sang-yeon, two women bound together by friendship so deep it feels like destiny, yet torn apart by love, betrayal, and time. Their relationship is the emotional core — every episode circles back to their bond, how it falters, and whether it can ever be healed.
The role of Kim Sang-hak: the butterfly effect
Though the drama frames itself as a story about two women, it’s impossible to ignore that Kim Sang-hak is the butterfly that sets everything in motion.
He dates Eun-jung, enjoying a physical and romantic relationship with her.
At the same time, he forms an emotionally intimate bond with Sang-yeon, hiding conversations and feelings that clearly cross boundaries.
He admits later that he was “swayed,” but beyond this confession, the drama doesn’t hold him accountable.
From a modern viewer’s perspective, Sang-hak comes across less as a confused young man and more as someone who benefits most from the triangle: he gains love, intimacy, and emotional support from both women — while the two friends pay the heavier price. He is the spark that ignites years of heartbreak, yet he walks away relatively unscathed.
Why the women blame each other instead of him
Logically, Sang-hak should bear most of the blame. As Eun-jung’s boyfriend, he owed fidelity. But the drama emphasizes betrayal between the women:
Eun-jung feels her soulmate, the one person she trusted most, crossed a sacred line by getting close to her partner.
Sang-yeon, meanwhile, prioritizes her own desires over loyalty, proving herself selfish and willing to hurt her friend.
The result: the focus shifts away from Sang-hak’s unfaithfulness and onto the fragility of female friendship. The real wound isn’t just the cheating — it’s the loss of trust between two women who once felt inseparable.
The tragic outcomes
The drama paints both women’s lives as tragic consequences of this betrayal:
Eun-jung becomes independent, empowered, and outwardly successful — but she remains emotionally closed off, unable to risk love again after such a deep break of trust. Her strength is a mask for loneliness.
Sang-yeon spirals further, her selfishness and betrayals piling up into guilt that consumes her. Her eventual death from cancer is framed almost like karma catching up — a symbolic punishment for years of unresolved sins.
Meanwhile, Sang-hak fades into the background. He admits fault, rejects Sang-yeon later in life, and moves on. Compared to the devastation he caused, his punishment is negligible.
What the drama really says
Viewed one way, You and Everything Else is an extended exploration of Soulmate’s themes: how fragile, precious, and destructive female friendship can be when love enters the picture.
Viewed another way, though, it feels frustratingly unfair. The man who first set off the domino effect is never truly condemned, while the women lose everything — their bond, their peace, their futures. The narrative burdens them with the tragedy while sparing him real consequences.
In the end, the drama works best when read as a modern fable:
Eun-jung represents the cost of broken trust — strength without love.
Sang-yeon represents the cost of selfishness — passion consumed by guilt and death.
Sang-hak represents temptation — a butterfly whose small act destroys entire lives, yet who drifts away almost untouched.
Final Thoughts
You and Everything Else is haunting, emotional, and beautifully acted, but it leaves a bitter aftertaste. It expands Soulmate into something more socially complex, but in doing so, it exposes an imbalance: women bear the scars, men slip away.
It’s a drama that will stay with you, not just for the love and loss it portrays, but for the uncomfortable questions it raises about blame, responsibility, and the way stories choose who suffers most.
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What If – When One Timeline Makes Sense and the Other Feels Like a Fever Dream
What If is a Chinese drama built on an intriguing “what could’ve been” premise: a single woman, two choices, and two parallel timelines. In one, she stays in her hometown with her childhood sweetheart. In the other, she leaves for Shanghai to pursue her career. On paper, this sounds like a brilliant emotional exploration of fate, love, and ambition. In execution? It’s a tale of one timeline with heart and meaning, and another that makes you question if the lead lost all her common sense (and emotional depth) the second she packed her bags.Let’s start with the hometown timeline. It’s the version that actually respects its characters and audience. Here, the female lead (FL) chooses to build a life with the man who’s stood by her side since they were kids. They face struggles, sure, but there’s growth, emotional payoff, and a satisfying arc where she ends up with love, a job, and a family. It’s realistic, mature, and emotionally grounded. You believe in her choices—and more importantly, you respect her.
Then comes the Shanghai timeline, which feels like someone threw logic and emotional continuity out the window. In this version, FL leaves her 20-year relationship behind for a career—and proceeds to emotionally cheat on her loyal boyfriend. Worse, she doesn’t even take responsibility. She blames him for her own choices, which is honestly mind-blowing.
But what truly breaks the story is how she emotionally detaches from two decades of love with the flip of a switch. One fight, and suddenly she’s sleeping with her new love interest the next day? Like the man she grew up with never even existed? And just when you think it can’t get more unhinged, she clings to this new guy—even after he discards her like she’s nothing. And yes, she reconciles with him, forgetting her childhood love completely. That wasn’t love. That was delusion.
And then—oh yes—let’s talk about that scene. After a fight with her boyfriend in the Shanghai timeline, she returns home, only to find her boss had been hiding outside her house the whole time. Literally lurking like a creep, waiting for the boyfriend to leave. Then, once the coast is clear, he slides in to hug her like some cowardly scavenger. Who wrote that? How did anyone think that was romantic or meaningful? It was absurd. Stalker-level behavior passed off as love.
By the end of the drama, the hometown timeline gives FL everything: love, purpose, growth, and peace. The Shanghai timeline leaves her with some cash and a boyfriend who’s already proven he can leave her at any moment. It’s insane the drama tries to present this as the “more independent” or “empowered” version when she’s emotionally hollow and constantly chasing people who treat her poorly.
Final Thoughts:
What If had potential, but its second timeline feels like a complete character assassination. What could’ve been a nuanced look at life’s difficult choices turns into a frustrating mess of emotional inconsistency and downright bizarre writing. Watch it for the hometown timeline. Skip the Shanghai one unless you want to watch a trainwreck in slow motion.
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promoting sexual assault
May Queen is a drama that should have been about ambition, revenge, and personal growth. Instead, it frequently veers into troubling territory, promoting the idea that coercion and forcefulness equate to love. The series not only fails to portray healthy relationships but actively romanticizes harassment and assault.One of the most egregious aspects is the second male lead's (SML) forceful kiss on the female lead (FL) without her consent. Rather than being treated as the violation it is, the show frames it as a passionate and meaningful moment in their relationship. This is a deeply harmful trope that normalizes sexual assault, teaching viewers—especially young audiences—that persistence and boundary-crossing are acceptable forms of love.
Even worse, the main couple's relationship follows a similar pattern. The male lead (ML) continuously pressures the FL into a romance she clearly isn't ready for. His relentless pursuit, which includes emotional manipulation and disregard for her feelings, is depicted as "true love." Instead of acknowledging this behavior as toxic, the drama presents it as something noble. This outdated and harmful storytelling should have no place in modern media, yet May Queen shamelessly indulges in it.
The issue isn’t just one or two problematic scenes—it’s a pattern throughout the show. Women’s agency is repeatedly ignored, and men’s aggressive advances are glorified. It’s infuriating to watch a drama that not only refuses to hold its male characters accountable but actively rewards them for their harmful behavior.
In an era where audiences demand better representation of romance, May Queen stands as an example of everything wrong with outdated K-drama tropes. The show had the potential to be an engaging melodrama, but its failure to portray love with respect and consent makes it an infuriating watch. Instead of delivering a compelling romance, May Queen reinforces toxic narratives that should have been left in the past.
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Lead of drama have no real Purpose,
Wonderful World is a psychological revenge drama that explores themes of grief, guilt, and justice. The story follows a mother who tragically loses her child due to her own moment of neglect. Overcome by sorrow and anger, she seeks revenge on the driver responsible for the accident, ultimately killing him and being sent to prison. While in jail, she divorces her husband, unable to move past her own guilt, leaving him to grieve alone.Upon her release, she encounters the driver’s son, who is determined to take revenge on her for his father's death. However, his justification for vengeance is questionable, as his father was responsible for a child’s death and had even taken the blame for another man's crime. Meanwhile, the woman's ex-husband has tried to move on with his life, but his actions are framed as betrayal despite their divorce.
As the story progresses, the drama delves into the characters' emotional turmoil and their struggle to cope with past events. The revelation that another person was behind the child's death adds complexity but also raises questions about the characters’ motivations and the cycle of misplaced blame.
The premise of Wonderful World already revolves around morally grey characters, but one of the most unsettling aspects is the FL’s relationship with the son of the man she killed—especially considering that man was responsible for her own child's death.
The FL's grief and guilt are understandable, but her actions become increasingly questionable. She divorces her husband, leaving him alone to deal with his own pain, yet later forms a connection with the ML, the son of the driver. The most baffling part is that the driver not only killed her child but also knowingly took the blame for another man's crime. Despite this, the ML still seeks revenge for his father as if his death was an injustice, when in reality, he was protecting a true criminal.
The fact that the FL engages with this man, instead of completely cutting ties, makes her character even more difficult to sympathize with. It raises uncomfortable questions: Does she feel guilt for taking revenge? Does she believe she doesn’t deserve happiness, so she chooses to suffer in an unhealthy relationship? Or is she simply making excuses to avoid confronting her own responsibility?
This dynamic not only undermines the FL’s grief but also makes her moral stance feel inconsistent. The drama attempts to explore complex emotions, but in doing so, it creates a situation where both leads seem detached from true accountability—blaming others while excusing their own actions. Instead of a thought-provoking revenge thriller, it turns into a story about two people justifying their toxic behaviors.
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My Fellow Citizens: A Comedy of Cons, Chaos, and Questionable Romance"
My Fellow Citizens starts off with a fast-track romance and marriage that feels almost cartoonish. A relationship built on lies and fueled by alcohol isnt exactly the foundation of a great love story, yet the drama expects viewers to believe in it.As the marriage unfolds, the female lead (FL) is sidelined, becoming a clueless, dimwitted character who exists more for comedic effect than meaningful development. Meanwhile, the male lead (ML) is selfish, using and destroying not only the FL™s career but also her mother™s integrity”all without genuine remorse. Despite deceiving her until the very end, the FL still picks him up after his release from prison, suggesting they get together again. Yet, he never truly admits his mistakes or sincerely asks for forgiveness.
The ML™s character is riddled with hypocrisy. He was perfectly fine conning innocent people, but the moment he entered politics, he suddenly cared about the public? His so-called redemption feels forced, especially since he only confessed to his crimes when pressured by the villains. It even raises the question”what if his entire "righteous" act was just another elaborate con to climb the political ladder and scam the entire country?
The drama does shine in some areas. The comedy is entertaining, the ML™s acting is solid, and the female villain stands out as the best character”both well-written and well-acted. However, the ending, which some may call happy or open-ended, felt utterly unsatisfying. A love story without real love, a redemption arc without true redemption, and a conclusion that leaves more frustration than closure.
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"Power, Passion, and Politics: A Masterful Journey Through Queen Woo"
Queen Woo is a masterfully crafted historical drama that takes viewers on a thrilling journey of power, loyalty, and betrayal within the intricate world of a royal court. From its stunning production design to its exceptional cast performances, the drama stands out as a benchmark in Korean period storytelling.The Strengths
One of the most striking aspects of Queen Woo is its intricate narrative. The story of Queen Woo’s rise to power is layered with political intrigue and emotional depth, making it impossible to look away. The writing seamlessly blends the personal and political, showing how private desires can shape public decisions. The pacing is taut, with every episode leaving viewers on the edge of their seats.
The performances are another undeniable highlight. Ji Chang-wook, as the King, delivers an exceptional portrayal, perfectly balancing the vulnerability of a man caught in a web of deceit and the authority of a ruler burdened by the weight of his crown. His acting is truly 10/10—he brings gravitas to moments of royal command and raw emotion to his private struggles.
Queen Woo herself is a powerhouse of a character, depicted with nuance and strength. Her journey is one of resilience and intelligence, as she navigates the treacherous waters of court politics. The chemistry between the leads adds another layer of complexity, as their relationship oscillates between trust, ambition, and desire.
The production quality deserves praise as well. The set design and costumes are both stunning and historically evocative, immersing the audience in the era without feeling overly stylized. The cinematography captures the grandeur and intimacy of court life, while the music heightens the drama without overpowering the story.
The Flaws
However, even a masterpiece like Queen Woo is not without its flaws. One of the most puzzling aspects of the story is the King’s blind trust in Prime Minister Eul Pa-so. While it’s understandable that the King would rely on a close advisor, his unquestioning faith borders on naivety, particularly given the political machinations happening around him. It sometimes makes the King appear overly gullible, which can be frustrating for viewers who expect a more discerning ruler.
Similarly, Queen Woo’s trust in Eul Pa-so feels problematic at times. Her reliance on him, seemingly influenced by personal feelings or even latent desire, occasionally undermines her portrayal as a sharp and calculated figure. While this humanizes her character, showing that even the most powerful individuals can be swayed by emotion, it also leaves the audience questioning her judgment in crucial moments.
Final Thoughts
Despite these minor criticisms, Queen Woo is a triumph in historical storytelling. It captivates with its rich characters, high-stakes drama, and outstanding performances. Ji Chang-wook’s portrayal of the King is a career highlight, while the Queen herself stands as one of the most compelling female leads in recent memory.
If there’s one takeaway from Queen Woo, it’s that power is never simple, and those who seek it must navigate a labyrinth of desire, betrayal, and ambition. For anyone looking for a drama that combines breathtaking visuals with a deeply engaging story, Queen Woo is not to be missed. It’s a testament to the heights that Korean historical dramas can reach when all the elements align
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As You Stood By (2025): A Masterpiece of Social Realism
Rating: 10/10 (A True Gem)As You Stood By is not just a thriller; it is a profoundly moving and essential piece of storytelling that confronts the difficult realities often silenced within modern, yet deeply patriarchal, Korean society. This drama fearlessly places the toxic marriage and the epidemic of domestic violence against women at its core, offering a raw, unflinching look at victimhood, complicity, and the desperate search for liberation. This is a rare gem, deserving of every accolade for its bold thematic approach and flawless execution.
Exceptional Performance and Realism
What elevates this series is the absolute conviction of its cast. The entire ensemble delivers performances that are 100 times better than expected, making their characters feel intensely real and multi-layered.
Lee Moo Saeng is phenomenal as the CEO. His portrayal is a compelling subversion of the typical drama antagonist—he is a "thug CEO" who is actively working and managing his business, lending a palpable sense of reality and gravitas to his presence. His character is noted for feeling distinctly authentic, serving as a powerful force in the narrative.
Jeon So Nee is incredible, portraying a character and performance that feels deeply grounded and real, commanding the audience's empathy and attention as she navigates her complicated role in the unfolding chaos.
Lee Yoo Mi and Jang Seung Jo deserve special recognition for their intense portrayal of the abusive marriage dynamics. Their chemistry, though toxic, powerfully conveys the devastating psychological and physical toll of domestic violence on the victim and the victim's ultimate desperation.
Overall, I really liked this short 8-episode drama. It doesn’t waste a single second on nonsense — everything feels purposeful, sharp, and emotionally grounded. The pacing was great, and even the ending, while not the ideal “happy escape,” made sense. Given how much chaos unfolded, it was impossible for the leads to get away with everything once more people started finding out about the murder. Still, a part of me wished they could have.
What did bother me a little was the misleading synopsis. It says “Jin So Baek, the powerful CEO of Jingang Firm, becomes aware of their intentions and offers his support, becoming a strong ally in their dangerous mission.” That’s not quite true — he only becomes their partner around episode 6. Before that, the main crime, including the murder, was committed by the two female leads.
Jin So Baek’s character was fantastic, though. Strong, calm, and complex. But one decision confused me — when he got Jang Gang’s other phone in episode 6, the one with evidence against the female leads, he should have taken it. Leaving it behind only helped Jang Gang find the grave later, which felt like a small plot slip.
Another thing that stood out was how far Jin So Baek went to help these two women. He risked everything — even doing things that could easily make him an accomplice. I get why — there was definitely a subtle romantic connection with the first female lead and a deep emotional bond with the second, tied to his loss of a child. But the drama never said it outright. There were no words, no confession, not even a kiss. Her eyes often gave away those hidden feelings, but I wish the show had given us some closure on that front — a hint that they might have become something more.
The ending, showing all three of them in Vietnam, felt more open-ended than satisfying in that regard.
Still, As You Stood By is an amazing drama. It delivers a powerful message about the lasting impact of domestic violence, and every actor performed flawlessly — a true 100/100 in acting and emotion.
Final Verdict
As You Stood By is a work of art that demands to be seen. It succeeds where many dramas falter, providing a story that is not only thrilling but genuinely meaningful. It is a cinematic triumph that handles its heavy subject matter with incredible sensitivity and impact. A true gem that words struggle to describe, this drama easily earns a perfect 10/10 rating.
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A Disturbing and Unethical Premise
Hit the Top (also known as The Best Hit) is a 2017 South Korean drama that attempts to blend time travel, comedy, and romance but ends up delivering a premise that is both morally unsettling and deeply problematic.The story revolves around a 90s pop idol, Yoo Hyun Jae, who time-travels to the future after impregnating his girlfriend—a woman he had no genuine feelings for. Instead of addressing the consequences of his actions or taking responsibility for the family he unknowingly abandoned, Hyun Jae’s focus shifts entirely to adjusting to the future, where he meets his own son. The worst part? Rather than showing remorse or interest in the woman who single-handedly raised their child, he fixates on his son's childhood friend, eventually pursuing and sleeping with her.
This is where the drama takes a truly distasteful turn. The idea of a father competing with his son for a romantic partner is repulsive, crossing ethical boundaries that should never be normalized in entertainment. It reduces what could have been an intriguing time-travel concept into a deeply disturbing narrative about a man selfishly chasing his own desires without consideration for the people whose lives he affected.
Hyun Jae’s lack of emotional growth makes him one of the most unlikable leads in K-drama history. His ex-girlfriend, who spent years raising their child alone, is treated as an afterthought, while he freely enjoys life in the future with no sense of guilt or responsibility. Instead of redemption, we see selfishness and an inappropriate romance that should never have been portrayed as comedic or romantic.
Hit the Top had the potential to explore meaningful themes—such as a man coming to terms with his past mistakes and seeking to make amends—but it ultimately chooses to glorify an appalling storyline where a father competes with his own son for love. The show’s failure to acknowledge the disturbing implications of this plot makes it impossible to enjoy, and as a result, it stands out as one of the most ethically questionable K-dramas in recent years.
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Unable to digest there love making in ep 6
it was okay to watch kind of show if you remove there intercourse from ep6 because it was insensitive timingFL just got to know about her mothers death and after 30sec they are kissing , I can understand that can be consolation
they did not stop there but undress each other and had intercourse that scene alone looked gross then romantic because of the news of her mothers death
they did not have that kind of chemistry till that point for that...
There should be only 8 ep then this drama would have look right
other then that it is watchable for once
Story doesn't have any logic in it, our ML is a loan shark lawyer who put FL in jail right after they meet but we later found out he was sponsoring her education, so he know her before hand and play tricks motherless girl for his own enjoyment,
she is some kind of toy for him
he insult, humiliate her , but it is all comedy because man is doing to woman and that man should be consider handsome but to me he look starving.
then he forcefully make her work for him,
everything is easy for male lead, he is rich, he is well educated, he is even monkey king
which make this drama boring and unrememberable.
rewatch value 3/10 because if you don't mind wrong timing love making then you can rewatch it or skip that seen and pretend it never happened, because even after that scene our leads just remain same as usual there relationship did not progress after all that so why it was there ?
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Money Heist: Korea - Joint Economic Area - Part 2
2 people found this review helpful
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Disappointed compared original
Unification of koreas unnecessary,Professor was not smart but other characters were shown dumb,
FL was dumb for being an elite officer,
she let ML get away not once but multiple times and at end she isn't Arrasted already, she is allowed to leave country during inquiry
there were enough evidence that she was dating leader of Terrorist group and let him get away many times, but she is free to run away because she doesn't have money in her account, suddenly police forget that she was dating him and she was getting paid in different way then money,
In normal case she would be frame for everything and her husband would have gotten custody of there daughter by claiming that this woman is a terrorist.
but No FL is having a normal life even after helping a robbery, and even allow to leave country during her investigation to meet the Criminal and her husband is not doing Anything against her..
2nd big problem of drama,
US ambassador don't do anything then one dailogue with Assamblymam,
Ep 4 of part 2 shows that it was public that Assamblymam Kim order killing of Anna kim but US ambassador doesn't even show up in drama again do not do anything
korean assambyman try to kill US ambassador's Daughter
we all know that US has full control over South korea and also have a military standing there and US ambassador and US government did nothing when they hear that korean assambyman is trying to kill one of there citizen moreover daughter of a high level diplomat
after ep 4 US army would have taken control over that and as we all know US Marine Corps Navy seals is far more better force then So called Korean SOU flower boys
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Ha ji won was only reason i watched it.
Disappointed in Ha ji won for taking a role of a Incestuous woman falling in love with her married cousinshe fall for him before knowing he wasn't married and wasn't her cousin
so it make it gross
and how come he look like her granny's ex husband was unexplained.
and this drama even normalised Incest and no one call her out on that but they were like once sibling now lovers Nothing wrong about that
if that is case Se jun was better then male lead 😂
male lead wife never call her sister in law out for her actions
ha ji won's ex did not mock her for in love with her own married cousin
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Twelve: Don Lee’s Panda Boxing Disaster”
I went into Twelve with decent expectations—especially with Don Lee (Ma Dong-seok) in the cast—but what I got was utter disappointment. The drama introduces angels who are supposed to be millions of years old, yet they’re written and treated like children. Their so-called leader, Teasan (played by Don Lee), comes across less like a wise, timeless being and more like a man-child stuck in a repetitive tantrum cycle. His main “power” seems to be clumsy boxing sequences that look more like a panda swaying without music than a battle-hardened immortal.What bothered me most is the lack of trust or maturity within the angelic team. If they’ve existed for millions of years, you’d expect wisdom, teamwork, and perspective. Instead, Teasan runs a one-man show, constantly undermining his own team as if nothing has been learned over the eons. This isn’t leadership—it’s babysitting. Worse, Teasan is portrayed like a greedy loan shark, hoarding cash and acting more like a villainous moneylender than a celestial being. Heroes storing wads of money like mob bosses? What kind of “angel” is that supposed to be?
The writing really fumbles with morality. Teasan even kills a boy he raised himself—how is that heroic in any way? The supposed “hero side” feels more like a gang of bullies than protectors of humanity.
On Sung Dong-il’s Character
If there’s one character who defined wasted potential in Twelve, it’s Sung Dong-il’s. Why cast such an amazing, seasoned actor only to reduce him to a garbage-talking sideshow? His entire role feels like filler—just eating up screen time with endless rambling and zero contribution. It’s “sunset acting” at its worst, where an old veteran is thrown in not to shine but to babble.
And let’s talk about that ridiculous “magic stick.” It literally looks like a dual-sided toy you’d expect from a shady shop, not a divine weapon. He waves it around like it’s bedtime routine, and then what? A few seconds of half-baked magic that fizzles out in under two minutes. All the other angels lose their powers, yet this guy keeps his gimmicky stick of doom? Who thought this was good writing?
Instead of being a powerful immortal, Sung Dong-il’s character ends up as comic relief that isn’t funny, a magician whose tricks flop instantly, and a total waste of one of Korea’s most reliable actors.
On the flip side, Park Hyung-sik, cast as the villain, is the only shining element of the show. By episode 5, he feels like the true protagonist—a betrayed underdog whose girlfriend was stolen by Teasan (yes, the same “hero” played by Don Lee). To make it worse, the girlfriend’s memories are wiped, forcing her into a relationship with this old, selfish man Teasan (Ma Dong Seok)
That tragic setup makes Park Hyung-sik’s character infinitely more sympathetic than the so-called heroes, who come across more like the real villains.
In the end, Twelve feels like a wasted premise. Instead of exploring the depth of beings who’ve lived for millions of years, we got immature writing, an unlikable hero team, and a lead actor wasted on a role that reduced him to a caricature.
Final Rating: 1/10 (and that’s being generous)
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An Uneven Power Dynamic with a Frustrating ML
My Dearest Nemesis attempts to present a compelling workplace romance, but its portrayal of the male lead (ML) significantly undermines the narrative. The ML, a textbook "nepo kid," has been handed a CEO position despite lacking the skills to run a street vending stall, let alone manage a company. While this setup could provide room for growth, the ML's immaturity remains frustratingly stagnant.Despite being an adult in age, the ML behaves like a teenager at best—obsessed with childish antics, toys, and lacking any sense of responsibility. This makes his dynamic with the female lead (FL) incredibly lopsided. While their physical age gap is only a few years, the FL is a capable and responsible adult, highlighting just how emotionally stunted the ML is. Their relationship doesn't resemble a typical May-December romance; instead, it feels like a mature woman constantly trying to guide an overgrown child.
To make matters worse, the ML awkwardly reveals that his first kiss happened when he was already old enough to have children. He declares this like a badge of inexperience, essentially admitting to the FL that he's a virgin and doubting his own ability to be a good partner. This moment, intended to be vulnerable, instead comes across as painfully childish and embarrassing, further emphasizing his lack of maturity.
On top of his immaturity, the ML behaves like a cowardly little kid who seems as though he might piss his pants if his grandmother scolded him. He constantly avoids confrontation, shirks responsibility, and relies on others to fix his problems, making him an exhausting presence rather than a compelling lead.
Episode 7 further highlights the ML's troubling behavior when he follows the FL to a private meeting with her brother, father, and her brother's girlfriend. This act crosses boundaries on multiple levels—both as her boss and as someone pursuing her romantically. His actions were intrusive, disrespecting her privacy and personal space. It underscores his entitled "nepo kid" attitude, showing complete disregard for basic manners, boundaries, and even legal norms concerning stalking. Instead of demonstrating care or affection, his behavior felt childish and borderline criminal.
By the end of Episode 7, the ML's love confession feels less like a heartfelt declaration and more like a desperate plea for sympathy. Rather than expressing genuine love, he leans heavily on his sad backstory, turning the moment into a pity party rather than a meaningful confession. Even more disappointing is the FL's response—agreeing to a secret relationship in which the ML refuses to proudly acknowledge her because he's afraid of his grandmother's reaction. This lack of courage and respect makes one question if the ML is truly capable of having an adult relationship just because he's physically grown. The FL accepting this disrespect out of sympathy feels absurd, diminishing her otherwise strong character.
The ML's fear of his controlling grandmother further emphasizes his lack of growth. Instead of standing up to her, he remains passive despite her unfairly blaming him for his parents' death. While his tragic backstory could have provided depth, it instead becomes an excuse for his stunted development. Rather than offering him comfort and support, his grandmother cruelly projected her grief onto him, instilling trauma that seemingly froze him in a childlike state.
The frustrating part is that this dynamic isn't played for meaningful character growth or thoughtful commentary on privilege and responsibility. Instead, the ML's behavior is often excused or overlooked, making it difficult to root for the couple or take the relationship seriously. The FL's professionalism and maturity deserve a far stronger counterpart, yet she is left cleaning up the ML's messes more than connecting with him as an equal.
While My Dearest Nemesis may offer moments of charm, its flawed portrayal of the ML's arrested development drags the story down, ultimately making it a frustrating watch for those seeking a balanced and engaging romance.
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CASTING
Han Hye Joo has a mother of a teenager is hard to believe, because she can still play student(happiness)she look lot younger then her real age.....
After watching until EP9
no flaw at all, ever character is treated well and properly developing
After 13th episode...
Doing great with all stories, properly give Importance to every main character and there stories.
but after 7th episode we are in total blackout from present day story could have shown past lives and current side by side in every episode,
but they total focused on Past from ep 8 to 13 like they forget present
hope to see present day story from 14th episode now ...
after watching ep 15
7-14 past this was long and boring because we already know where all this character are so it was not exciting to see past for 7 hour in a 20 hour show it was 1/3 of whole show,
Now after 15 ep there is no story in this other then two school kids liking each other because of there youth and curiosity for opposite gender
this drama is good and i like it but there is no main story, Only thing that make this drama liked by many was starting of the show with kim bong seok and huisoo
this two character, there chemistry and genuine care for each other is what make people like it,
(The First Love)
showing past wasn't that wrong but 2 episode per character was two much
kim doo shik character only appeared in two episode of the drama and few scene in other episode with little screen time , but he was mentioned among Main lead actors. because he is Zo In Sung, he is supporting cast if you compare screen time with Ryu Seung Ryong or Han Hyo Joo
or it might be MDL mistake that they show Go Youn Jung , Lee Jung Ha and Kim Do Hoon at last of main lead list i mean they should be shown on top not bottom
I try to put main lead on top of list and Zo In Sung in supporting cast, hope it work
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