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Having lowered my expectations, I was pleasantly surprised at how this film elicited a range emotions from outright hilarity to tinge of sadness, as it was not a stereotypical happy ending.
Story: It is mainly about a guy's quest for a quick solution to his lack of sexual experience. His random, not-so-calculated search for the partner who would rid him of his dreaded virginity, lead him to his best friend who was nice enough to help out. Really funny scenes as the main lead struggles to find a guy who is ready and willing.
Acting: The chemistry between the main leads is palpable. Even though some of the cast looked off-putting, the realness of their portrayal propels the story of friendship and how far one goes to help out a friend in need. The banter among them and their individual characters became more endearing as the story progressed.
Music: Not much to talk about
Re-watch value: Short enough to replay again, especially for the hot scenes, but mostly because this film showcases
the strong bond among gay men with the same dilemma of finding the one who, not necessarily loves you, but at least a fantastic romp in the hay. This movie is also a story about missed opportunities, where there is a sudden realization, that the person who you have taken for granted, might actually be the one who can provide a source of happiness.
Overall, a fun and delightful short film.
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Dylan Wang is versatile as Dongfang Qing Cang, the supposedly supreme evil who terrorized the world to gain ultimate power, that even the God of War could not defeat him. Yu Shu Xin is lovely as Orchid, the free-spirited fairy who sees the good in everybody, so she does not equate that a person being imprisoned in a tower could be the same evil that she has been hearing about. The two are sweet and lovely together. The scenes where the oblivious Orchid befuddles the emotionless Dongfang are adorable and funny.
The relationships in this drama are also deep and meaningful, such as the bromance between Dongfang and his henchman Shang Que, or the bro-buddyship between Chang Heng and Rong Hao, the sismance between Orchid and Jie Li. Speaking of which, characters here are multi-dimensional, for example Jie Li, who is as complex as she is simple, neither black or white, and it is indicative of how the realms actually are, rather than what they should be. We learn that not one person is all good, or all bad, be it if they are fairies or demons.
I also loved this drama because the characters go through gradual development, and the plot, though intriguing, is not too intricate to follow. Though there are a lot of fantastical elements, they are believable and logical within its context. The transitions between scenes are also seamless, without jarring flashbacks that are out of place. The CGI is breath-taking and not laughable as in some other dramas I have watched. The production team really outdid themselves with this one. But most of all, LBFAD proves that you do not need over 50 episodes to tell a compelling story.
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Yes, I know many people think this show is over-hyped with all the rom-com cliches that it could find. Sometimes, I listen to the keyboard critics (like when I passed on “The Heirs”), and sometimes I don’t (like I did in this instance). But I am glad I did not listen, not only did I find “King the Land” enjoyable, I found a newfound appreciation for Yoon Ah, whom I wasn’t really too keen on when I saw her last in “Love Rain.” Are there other pairings with better chemistry than Jun Ho and Yoon Ah? Sure. But I will recognize Gu Won’s and Yoon Ah’s effort in portraying two people who couldn’t be more opposite of each other. One who constantly smiles as she sees the silver lining in every situation, and has the tenacity to tackle challenges despite setbacks. While the other has a persistent cloud over his mood, because of his mother’s mysterious disappearance that he sees as abandonment.
Despite his lack of emotional intelligence, Gu Won tries his best with what he can, and after meeting Sa Rang, he learns to become more attuned to the needs of others. I also loved how the rest of the cast contribute to Gu Won’s character development, from “The Six Siblings” to Sa Rang’s Grandmother, they all shape his world view that allowed him to develop programs that are considered progressive for his hotel business, treating his employees and regular customers as “kings” in their own right despite their status.
To say that this drama is without its flaws is a lie. Could the product placement be less ubiquitous? Yes. Could the drama use fewer tropes? Maybe. But in the end, when Sa Rang realizes that the genuine pleasure of serving people isn’t necessarily being in the most prestigious lounge serving top-tier customers but in the every-day common folk, do we see the fundamental principle of this drama.
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"Crazy Love" is bat-shit crazy and I love it! I rolled on the floor laughing at Kim Jae Wook and Krystal Jung trying to tear each other's hair out in this enemies-to-lovers romance. Fed up with how her narcissistic boss treats other employees (including her), Lee Shin A hatches a revenge plan after learning that she does not have much time to live. Her plans changed when No Go Jin ends up losing his memory on the same night she visited his house. Thinking this as her perfect opportunity, Lee Shin A pretends to be her boss' fake fiancée so she can execute her vengeance. I really liked Kim Jae Wook as the anti-hero: the overbearing and self-indulgent CEO who made a lot of people's lives a living hell, judging from the numerous death treats he received. He is seemingly unconcerned that everyone has their beef with him that even the police couldn't flush out the culprit behind his attack that landed him in the hospital. Krystal Jung is doubly sweet and at the same time devilish as the secretary-turned-psycho, or at least trying to be one, but really did not have the heart to actually hurt her boss other than throwing onions at him or punching holes in his clothes.
Other secondary characters like Park Yang Tae, No Go JIn's competitor and Gong Pil Sun, the company's cleaner are also a hoot along with the rest of the GoTop's staff. But the cherry on top would be No Go Jin's redemption arc as the love he has for Shin A melted his cold, cruel heart and he learns to treat people as humans.
You would think that a drama that jampacked on all the tropes imaginable would be cliché but no, it's pure fun and entertainment at its best.
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Story: Two boxers beating each other badly on the ring, but off the court, they are not really friends, or maybe pretend to be, I'm not really sure. More like co-workers who are on the same boat, that's how I see it. One has a girlfriend, the other does not. I do not really know who likes who, but one checks the other out, so I guess they are even.
The film seems to indicate that there maybe something going on beneath the surface but the message is vague. We just see bloody faces and writhing bodies, uncertain whether they love or hate each other, or just acting like they hate each other.
Acting: Nothing to write home about.
Music: Equally unmemorable.
Rewatch value: Not really.
Take-away: Prancing around in tighty-whities showing off your bulge, can perhaps turn somebody else gay.
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Story: The Summary in the description pretty much says everything. A magical casette that, once you play it, the listener get to glimpse the inner thoughts of the people in his immediate vicinity.
The Student Council president happens to have this cassette with him, and he also happens to have a crush on his classmate who seem to repricocate his feelings.
One of the inner voices he heard was one who suffered domestic abuse at the hands of his father. Whose is it? He wondered as he goes searching the halls for his crush.
They meet at the bathroom stall, how convenient, and some lip-locking takes place.
You have to suspend your disbelief a tad bit with this movie, not just for the magical device, but especially seeing that there were no teachers overseeing the college entrance exams and they are free to roam the corridors as they please.
But aside from that, the story is poignant and relatable if anybody ever suffers abuse due to the pressures brought upon you by your own family. Second place isn't as good as first place, according to the victim's parents. That whatever you do is never going to be good enough.
The silver lining is that you're not alone in the world, that someone out there will understand you if you let them.
Acting: Passable.
Music: Nothing worth nothing.
Rewatch Value: Good enough to warrant another run.
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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.
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A Discount Fantasy That Delivers More Than It Should
This drama has one of those titles that feels like it was slapped on by a marketing intern pulling an all-nighter. Let’s be honest: the name has absolutely nothing to do with the plot or the themes. Nobody’s chasing gold, no one’s breaking banks, and the closest thing to “money” is probably the costume budget—which, let’s face it, looks like it was borrowed from three different dramas and a cosplay rental shop. And yet, here’s the kicker: it works.The best way to describe this drama is as a Temu version of Love Between Fairy and Devil. You recognize the design, you clock the cheaper materials, but then you’re shocked by how well it holds together. For something that should feel like a discount knockoff, it has an oddly cohesive charm. The production clearly knew its limits, stayed within them, and still delivered something surprisingly polished.
Of course, what really carries the whole thing is the leads. Their chemistry isn’t just believable—it’s infectious. Every look, every banter, every quiet moment is the kind of soft, funny, sweet energy that makes you grin at the screen like an idiot. Toss in the unexpectedly wholesome father-daughter bond, and suddenly you’re emotionally invested in a story you swore you weren’t going to take seriously.
And then, because the drama couldn’t resist, there’s even a sly wink at bromance between the uncle and the guard—just enough to fuel fan theories without ever committing. It’s that extra sprinkle of charm on a cake you already enjoyed.
Overall, this drama doesn’t reinvent the wheel, but it doesn’t need to. It knows exactly what it is: a low-budget fantasy romance that entertains without overreaching. Sweet, fun, and easy to watch—sometimes that’s all a drama needs to be.
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Midterms might not kill you. These kids will.
I started this drama thinking the reduced episode count meant an easy binge. Spoiler: it didn’t. Not because it was bad—on the contrary, it’s alarmingly good—but because each episode felt like getting body-slammed by a bowl of spaghetti. With extra tomato sauce. Everywhere. Since I already have a strong aversion to tomato-based anything, this drama was less “watchable entertainment” and more “sensory trauma with subtitles.” At one point, I literally paused mid-episode and asked myself, “Is this drama or just glorified punishment?” The answer depended on how soaked in red the screen was.But I couldn’t walk away. The story is gripping. So gritty, I half-expected sandpaper to be listed in the props department. If any of this was inspired by a real school setting, I need those institutions flagged, tagged, and erased from Google Maps. The violence wasn’t just frequent—it was structured, institutionalized, and somehow more punctual than the morning bell. Yet under all the bruises and hallway brawls, there’s an unexpected pulse of sincerity. I found myself caring when the characters stopped long enough to talk about something deeper than revenge or test scores.
Casting-wise, Hwang Min Hyun as Yun Ga Min is a bullseye. He nails that unassuming, quiet intensity—someone who’ll solve equations by day (abysmally) and crack skulls by night (astonishingly). Admittedly, I did mistake him for Cha Eun Woo in the beginning. Not my proudest K-drama fan moment, but let’s be honest, one soft lighting setup and half the cast starts to blend into each other like a visual group project. Still, Min Hyun brought gravitas to the chaos, even when I started side-eyeing the production team for making some of those fight scenes a bit too… stylish. Like, are we selling justice or launching a blood-splattered fashion line?
And yet—amid the trauma Olympics—they actually study. Like, real books. Real effort. That sliver of academic earnestness kept me going. Study Group might be wrapped in violence, but its core is underdog warmth. These kids want more than to win a fight—they want a future. It wasn’t an easy watch, but it was a worthwhile one. Bloody, bonkers, and strangely moving.
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Like Scumbag System but with more lip balm and fewer functioning brain cells
This is what happens when someone takes the chaotic charm of "Scumbag System" and wraps it in a candy-colored transmigration plot with a kiss-powered heroine. It’s got the same “system rules your life” setup, the same reluctant villain love interest, and the same sense that the universe is one big fanfic generator with a glitchy AI. If you liked Scumbag System’s blend of meta-humor and emotional sabotage, this one scratches a similar itch—just with more lip balm.The leads? Surprisingly decent. Ke Ying as Sheng Xia manages to be both clueless and endearing, and Li Ge Yang as Shen Shi Yi plays the cold villain with just enough warmth to make the slow-burn believable. Their chemistry isn’t explosive, but it simmers nicely. I expected cardboard cutouts and got actual performances. Small win.
And yes—I was entertained. Genuinely. The pacing is tight, the episodes short enough to binge without guilt, and the plot doesn’t take itself too seriously. It leans into tropes but doesn’t drown in them. The Mary Sue system is ridiculous, but the drama knows it and plays along. There’s enough humor, tension, and romantic nonsense to keep things moving, and I didn’t once feel the need to rage-quit.
But then came the final minute. Cue the dreaded Chinese censorship. Just when the emotional payoff was about to land, the screen pulled a bait-and-switch so abrupt I thought my Wi-Fi glitched. Whatever just happened—kiss, confession, closure—got sanitized into oblivion. It’s like the drama ran full speed toward catharsis and got tackled by the censorship board at the finish line.
Still, this drama is a fun watch. Not deep, not flawless, but entertaining in a way that makes you forgive the occasional logic gaps and system-induced nonsense. Just brace yourself for the ending to fizzle—not because the story failed, but because someone upstairs decided emotional satisfaction was too spicy.
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Short drama, long sob. Came for word-of-mouth, stayed for emotional devastation
Full disclosure: I wasn’t planning to pick this drama up, but positive word-of-mouth and its short runtime convinced me to watch it. But boy, I didn’t know it would be this heavy. I know dying was involved; it’s right there in the synopsis. Usually, when a drama begins with a dead character, I have already prepared my mind to accept this death as final. What I was not ready for was the avalanche of tears that accompanied me on this brief journey.I have to commend Kim Min Ha as an actress. Despite not fitting the mold of a flashy romantic heroine, she delivered a standout performance in this drama, particularly in her portrayal of teenage Jung Hui Wan. She’s as brass and bold at school, and pretty much arm wrestles Ram U into an unconventional friendship that started out from a prank.
Not so shabby keeping up with the lead actress is Gong Myung, who played the introverted Ram U like a deer caught in the headlights when being steam-rolled by Hui Wan. As a Grim Reaper, Ram U surprisingly forsakes his responsibility of leading Hui Wan to the afterlife and instead convinces her to continue living. And it’s this message that is at the heart of this short drama.
The production team’s execution is superb; the muted tones, tranquil background, and somber music all contribute to the drama’s melancholic mood. The flashbacks intertwined seamlessly with the present moments, with both Hui Wan and Ram U reminiscing about their time spent, and about the loss of time not spent together.
Perhaps it’s because of the regrets of both main characters that lead them to this path. We can never know what would have happened if Hui Wan decided alternatively to join Ram U at that moment of his death, or what would have happened if Hui Wan went to the observatory instead of Ram U. Their running joke of exchanging their names since that fateful day seems to have backfired, if we are to believe Hui Wan’s insistence that it was her fault that Ram U died.
The drama makes us realize that there’s no rhyme or reason to anyone’s death. No matter how you turn it over your head, when it’s someone’s time to depart, it’s final. Mulling over what ifs would not bring them back to life. Though it’s easier said than done, the best way to honor their existence is to move on and live a fruitful life.
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Class warfare, emotional manipulation, and skirts that don’t crease under pressure
I am not a feminist by any means but I do like dramas with strong female leads, and I usually stay away from ones where the FL’s sole purpose in life is to chase a guy around, which, thank God, this isn’t the case here. The premise where three down-on-their-luck women, who strive to succeed in a traditional, mostly patriarchal society, appealed to me, and this didn’t disappoint.Only recalling her as “Mulan,” I was not exactly surprised by Liu Yi Fe’s acting skills. Crystal balances both elegance and determination as Zhao Pan Er, a business-savvy teahouse owner who has been jilted by her ex-fiance who ditched her for a more favorable marriage. Throughout the drama, Pan Er devices ways to bring this person to “justice,” although I wasn’t quite sure what the intention was behind this aside from getting her hands back on a highly sought-after painting that seemed to be left in his possession. Unless there was a legal contract binding Pan Er and Ouyang Xu together, I don’t see why he owed her anything else, except perhaps an explanation. Though he’s no saint in the beginning, I feel others didn’t need to show much malice towards him until later, perhaps when his true colors were revealed. (More on this later).
But no, she has to go to another city, dragging along with her three friends and hunt this guy down and demand some sort of reparation. Granted, the other two ended up in the same place may be coincidence: San Niang, floating in the water, after realizing she married a jerk, and Yin Zhang, shackled in her own house, because she married an even bigger a$$hole. So Pan Er’s duty, as the loyal and dedicated friend she is, to save both of them from their disastrous circumstances wearing a flowy cape.
She does all this while carrying on a mild flirtation with some guy named Gu Qian Fan, because you never know, she may need him in the future, even though she absolutely abhorred where he works/where he came from because of past events, that he had no knowledge of. Well, this worked in Pan Er’s favor because Qian Fan saved her ass countless of times. But she insists on repaying his kindness by rubbing her ex’s name in his face. Yes, yes, Qian Fan gets it: “We are just friends, and you’re just bitter, but I’m so okay with this because I’ve never seen another woman in my life who I don’t consider my mother or sister or the kitchen help. I just like coming here for the tea you brew.”
Now, speaking of brewing, this woman can sure brew. Pan Er can brew up several storms at the same time and still keep her skirt tidy. Competitors try to outwit, outsmart, outbid, outflank her, but Pan Er sticks to her guns, the ones that she keeps close to her breasts, I mean, chest. But she eventually loosens up around Qian Fan, because of course, he might prove useful on another occasion.
In the meantime, shady dealings are going everywhere else. It seems that somebody is out to get somebody by using somebody else who is, in turn, using someone else to their nefarious deeds. So everyone’s looking over their shoulder, especially Gu Qian Fan, who has to keep deflecting daggers out of his back. Meanwhile, Pan Er is also busy swatting flies, but does so with a curved pinky, so it’s not surprising that one vermin or two invades her life.
Qian Fan magically disappears from a few episodes, and Pan Er has a second string waiting in the wings. Her falling out with Yin Zhang also stressed her out, because she realizes her friend could do other things aside from playing the Pipa. It’s not entirely for show. (Although it looked liked, it really is). Pan Er realizes that she’s not the only one that Yin Zhang can rely on. She also has her scripted partner, because God damn it, everyone needs to be coupled up, whether or not they like it. It’s part of the story.
The only miserable people really are those who ended up single, like Ouyang Xu, who I still think was driven to madness by his own ambition, with a generous prodding from Pan ER. In the end, it was his desperation to survive in a world that heavily favors people who have a good social standing, that failed him. Ouyang Xu lost sight of his initial dream, which is to pass the imperial exam, so he can marry well. Perhaps, we would see a different story if Pan ER let him be. He could have probably led a decent family life with Gao Hui who genuinely liked him. His moral compass was broken anyway when he started doing questionable things. Like a cornered mouse, he didn’t see a way out except to resort to violence.
As the drama goes, this was way more interesting than I expected. The characters are not perfect but are multidimensional. The three women, in particular, have a natural character development that wasn’t contrived. There was an engaging plot and side arcs that didn’t feel too out of place, except perhaps for the gaping hole that Gu Qian Fan left with his absence towards the end. Acting from both leads were A+, and the rest of the cast were very good in their own right. The few times where I felt frustrated are when Pan Er displays some sort of self-righteousness. I’m not saying that women SHOULDN’T rely on men to be independent. Anyone could use some help, and still be successful in their own right, but just don’t dismiss it as if it’s ALL your effort. Give credit where credit is due. And it’s true what Qian Fan said or implied at one point, that being in a relationship means that you CAN depend on each other, that one didn’t need to take all the problems upon oneself. This does not make you weak. But other than that, this is a decent drama about female empowerment in a Class-based society, and can teach a thing or two on how NOT to be hoodwinked into a disastrous marriage.
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Story: Two best friends sleepover where one tries to extend his stay and did not want to go home yet as it says in the title.Acting: Nothing to write home about.
Music: Not memorable.
Rewatch Value: Eh.
Overall impression: Typical closet gay story about one friend crushing on another who is straight. We know where this would go. But even so, Jhih Wei did not get the memo and probably hopes that he would get a chance at love. It ain't happening dude.
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Story: A teenage boy suffers from panic attacks every time his girlfriend wants to be intimate. He is not sure whether the reaction comes from his distaste of girls’ bodies or something else, as he finds himself being fascinated with a naked boy lounging on the rooftop. But almost the same thing happens when the other boy tries to touch him. The short film presents a backstory of trauma suffered by the MC at the hands of his father, but it was unclear whether the father sexually abused his son, or whether the boy was being punished for having impure thoughts and acts of pleasure are heavily reprimanded. Acting/Cast: Mediocre at best.
Music: Mediocre at best.
Rewatch Value: If only to analyze why the MC hyperventilates with the thought of impeding physical contact as there maybe differing interpretations.
Overall: The film leaves a lot for improvement, and poses more questions than answers, like how brazen are the two boys cuddling almost naked a few feet from another group of boys ogling at girls. Or how the girls, knowing that they were being spied on, still tried to put on a show in the hopes of catching the perverts in the act. The inclusion of this latter part seemed off-tangent and unnecessary in such a short film. At the end, nothing is resolved but only offer up more confusion.
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