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This review may contain spoilers
When the cross-dresser steals the spotlight and your skincare routine.
I was intrigued by this drama the moment I saw the trailer—cross-dressing man meets tomboyish woman? Yes, it’s a rom-com cliché, but sometimes I need a palate cleanser from all the emotional carnage of melodramas. The premise promised light-hearted chaos with a dash of gender play, and I was ready to indulge. What I didn’t expect was how much of that indulgence would come from simply watching Matsumoto Leo steal every scene with his fashion game.
What really surprised me was Matsumoto Leo. I’ve seen him floating around as a supporting actor in a few BL dramas, so I didn’t expect this level of transformation. But damn, he owned it. He looked so good in those feminine outfits that I found myself genuinely jealous — the styling, the grace, the confidence. Matsumoto didn’t just cross-dress; he embodied the role with both charm and sincerity. I spent half the drama just admiring his fashion game and the effortless way he carried himself. He was easily the standout — the kind of actor who makes you rethink how underused he’s been in past roles.
Osaki Ichika as Haruka had her moments too. I liked the concept of her character — a rough-around-the-edges tomboy with a heart of gold — but sometimes her acting tilted a little too far into over-the-top territory. She was much more engaging when she wasn’t trying so hard to impress Kurotaki. Maybe it’s the writing, maybe it’s the direction, but Haruka worked best when she was just being herself, not performing femininity for someone else’s approval. Still, Ichika had good chemistry with Matsumoto in the early episodes, and that’s what carried the show for me.
Surprisingly, the supporting cast added real texture. They weren’t just filler—they were flawed, funny, and occasionally endearing. It’s rare to see side characters who feel like they have lives outside the main plot, and Cinderella Closet gave them just enough dimension to matter.
The only letdown for me came toward the end. The romantic chemistry between Haruka and Hikaru fizzled out, and the rushed time skip didn’t help. I actually preferred them as best friends who uplifted each other rather than as lovers forced into a predictable ending. Hikaru seemed more authentic and confident presenting as a woman, and that aspect of identity was far more compelling than the sudden romance. And let’s be honest—the “kiss” that wasn’t really a kiss didn’t help sell the connection. If you’re going to pivot into romance, at least commit to the emotional and physical payoff. Still, I appreciate how they brought out each other’s growth — even if it came at the cost of what made them so unique. I just wish the drama had trusted that to be enough.
Cinderella Closet might not be groundbreaking, but it’s stylish, sweet, and unexpectedly thoughtful — a cozy fairytale about finding yourself, even if the glass slipper doesn’t quite fit at the end.
What really surprised me was Matsumoto Leo. I’ve seen him floating around as a supporting actor in a few BL dramas, so I didn’t expect this level of transformation. But damn, he owned it. He looked so good in those feminine outfits that I found myself genuinely jealous — the styling, the grace, the confidence. Matsumoto didn’t just cross-dress; he embodied the role with both charm and sincerity. I spent half the drama just admiring his fashion game and the effortless way he carried himself. He was easily the standout — the kind of actor who makes you rethink how underused he’s been in past roles.
Osaki Ichika as Haruka had her moments too. I liked the concept of her character — a rough-around-the-edges tomboy with a heart of gold — but sometimes her acting tilted a little too far into over-the-top territory. She was much more engaging when she wasn’t trying so hard to impress Kurotaki. Maybe it’s the writing, maybe it’s the direction, but Haruka worked best when she was just being herself, not performing femininity for someone else’s approval. Still, Ichika had good chemistry with Matsumoto in the early episodes, and that’s what carried the show for me.
Surprisingly, the supporting cast added real texture. They weren’t just filler—they were flawed, funny, and occasionally endearing. It’s rare to see side characters who feel like they have lives outside the main plot, and Cinderella Closet gave them just enough dimension to matter.
The only letdown for me came toward the end. The romantic chemistry between Haruka and Hikaru fizzled out, and the rushed time skip didn’t help. I actually preferred them as best friends who uplifted each other rather than as lovers forced into a predictable ending. Hikaru seemed more authentic and confident presenting as a woman, and that aspect of identity was far more compelling than the sudden romance. And let’s be honest—the “kiss” that wasn’t really a kiss didn’t help sell the connection. If you’re going to pivot into romance, at least commit to the emotional and physical payoff. Still, I appreciate how they brought out each other’s growth — even if it came at the cost of what made them so unique. I just wish the drama had trusted that to be enough.
Cinderella Closet might not be groundbreaking, but it’s stylish, sweet, and unexpectedly thoughtful — a cozy fairytale about finding yourself, even if the glass slipper doesn’t quite fit at the end.
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