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THIS REVIEW IS FOR BOTH PART 1&2. I almost passed on this drama because I thought it would be gory and senseless like "My Name," which I dropped, but I'm glad I didn't. Although I did not find this "super amazing" like most people, The Glory, as a story of revenge and redemption, was quite good. I had trouble stomaching the violence that was shown in the first few episodes, and the scenes where Moon Dong Eun was subjected to a curling iron, but this made me so angry that I really wanted to see the comeuppance due to the perpetrators.
Song Hye Kyo is great as the long-suffering victim who is intent on bringing hell on Park Yeon In and her band of bullies. It was oddly satisfying to see how the FL calculates through her revenge plot, not by directly going after the bullies, but by infiltrating those who are around them for years. We see Dong Eun's practiced patience as she waits for opportunities like she does in the game of Go. But sometimes, this waiting gives way to frustration, especially when her plans are thwarted by the very people who are supposed to have your back (ahem, your mother-phuker).
As a thriller, melodrama, The Glory delivers, but if you are expecting romance, it falls flat. Despite the presence of Lee Do Hyun as a romantic partner for Song Hye Kyo's character, Joo Yeo Jung is at most a love-sick puppy following after the woman of his dreams. They are only lumped together for convenience's sake and their kiss was underwhelming. Moon Dong Eun had better chemistry with Yeon Jin's husband, Ha Do Young, but of course, the plotline won't allow such a scandalous pairing. In the end, the perpetrators' supposedly got their just deserts, but I can't help feeling that somewhere down the line, the vicious cycle of revenge will continue again.
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I genuinely thought this drama will end tragically, judging by the title, playlist, and the beginning episodes. The summary didn't help either as we know that the FL was in a serious accident and many, many years passing. And this show indeed had a lot of sad moments; the only happy ones where in the past and in someone's memories, but I still end up watching the show anyway, because I am a sucker for tearjerkers. I must say I loved two things about this drama: Satoh Takeru's acting and Utada Hikaru's songs. Those were enough to propel this drama into better than mediocre. There's very little chemistry between the adult FL/ML since they were mostly apart, but the younger versions of the couple more than make up for the lack of romance between Yae and Namiki. I'm not sure if I buy into the "fate" that they keep talking about in this show; there's too many coincidences that happened for me to consider them believable. Also the flashbacks were kind of confusing, but watching Satoh's pining away for his first love was worth it.
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I am not a big fan of time travel dramas but this one surprised me. Lin Bei Xing inexplicably travels back in time after breaking up with her fiancé. Thinking that this was her chance for a re-do, she jumps at the opportunity to alter her future fate so that she will end up with Zhan Yu. Coincidentally, Bei Xing was brought back into an alternate universe where a stranger dies by apparent suicide. Each instance of her time travel seems to end at this point and after subsequent visit back to the past or alternate universe, Bei Xing gets to know that stranger before his death. Unbeknownst to Bei Xing, the stranger is a schoolmate of hers, Wan Sen, who has been in love with her for ages, but was too timid to approach her and can only look at her from afar. Bei Xing does not realize that Wan Sen has been by her side, protecting her while she was oblivious with her obsession with Zhan Yu. This drama is about letting go of the past, and you cannot change the future by spending your time wallowing in regrets. This show is bittersweet and give poignant reminders that we must live life to the fullest before it's too late.
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The first half started out strong. I liked a lot of the characters (both main and supporting), then the FL Jin Mi started grating on my nerves. She blames all her actions on others despite apologizing for them and people keep making excuses for her. If she weren't the main FL, she would probably be the same as the villainous 2nd FL. It just depends on perspective. Surprisingly, I liked the good-turned-bad, illegitimate-prince-turned-heavenly-emperor the most. Run Yu is a very complex character and Luo Yun Xi delivers as the long-suffering, eldest brother who was always expected to do the right thing yet his step mother keeps assuming the worse of him. He's like Cinderella, if Cinderella were to exact revenge on those who hurt them. We can't all be perfect. I thought this drama would equal or even surpass TMOPB/EL but it suffered from being too ambitious on the back end of the story and it is no fault of the cast because most of them are amazing. Was this review helpful to you?
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I truly enjoyed this forbidden love story. From the intricate plot, to the cinematography to the acting prowess. Deemed as the "rebellious" Zhou Sheng Chen, Ren Jia Lun was perfect as the emotionally-stunted Master/warrior. While Bai Lu played the mute heroine with controlled grace and avoided becoming the clingy damsel in distress. Both leads effortlessly portrayed the pining and longing between them with subtle yet impactful gestures as they maneuver the political climate that prevented them from acknowledging their feelings for each other. Other characters gave credence in their roles as support or as obstacle to the lead characters' journey. The twists and turns in this drama, that culminated in its ending, were so well-woven that the sequel to this was unnecessary. Was this review helpful to you?
They tried to build connection… with IKEA instructions written in crayon
I thought this would be one of those decent Noona romances the Japanese are usually adept at producing, but this isn’t the case with this drama. I would say that it was lackluster at best and uninspired at its worst.First, there was the unconvincing romance between two leads who were more awkward with each other than being comfortable. One has that stiff upper bang, and the other with round fish-eyes who seem to be surprised that some people could be nice because she’s been dealing with lechers at her work place all day, when there’s really only one in particular. Tomoko goes along with the flow, and somehow accepts that this guy Ryohei, who did not seem so interested in getting into her pants, but actually is, but was just not so obvious about it. She could not have fathomed that this guy, who seems to be a “dumb delinquent,” could actually be harmless.
Then suddenly, Ryohei appears everywhere she is, from meeting her friends to meeting her parents. And even claiming to be so-called “friends” with the guy who had been trying to date Tomoko? That was really a stretch for me, especially when he did not even have the decency to leave when Koki was trying to have a personal conversation with his grandmother. Isn’t he just being nosy or oblivious? Then the revelation that came out of the left field, as if the writers could not come up with a convincing excuse to write him out of the love equation.
Anyway, I thought the drama could have been better with more developed characters and conflicts, but I understand it may have been limited by time and length. They could have just focused on one or two issues instead of trying to tackle so many things in one already-short show. It’s like trying to make a salad with 10 different things but not mixing it well. I’m pretty sure 3 or 4 ingredients would have been enough, and the same applies here.
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When your evil overlord turns into a cuddly boyfriend halfway through the contract
This drama performs like an up-and-coming magician who did not quite live up to its name. First, the set-up looks interesting: all the characters are there, playing their own roles, wearing fancy clothes, complete with the sob-backstory so they can seem more endearing. Then, we are razzled-and-dazzled with more glitter with a snap of a finger or ten. Hoping you don’t notice the loopholes, the writers juggle things around, employing slow motion and time travel tricks to mesmerize and confuse you. Then they attempted to throw you a red-herring, but it’s not really a red-herring because they made the villain so obvious that you think, “it can’t be that easy, right?”Well, that’s what “My Demon” ends up being and the lackluster acting from Song Kang isn’t helping the show. Though he’s easy on the eyes, and albeit playful, I couldn’t believe that people are supposed to fear this guy! It’s like sending Bugs Bunny to play Batman. I was expecting for the banter between Gu Won and Do Hee to carry throughout the show, but after he realized his warm feelings for her, the “Demon” became a sap.
It was a good thing then that Do Hee wasn’t entirely hopeless even after entering a contracted relationship with the devil himself. She stuck to her guns despite the obstacles thrown her way. I also loved her relationship with the Chairwoman. I wish there was more of that in the show.
The rest of the characters are cardboard cutouts with one dimensional personalities. Frankly, the only thing that prevented some of them from disappearing into the background are the actors’ performances.
The comedic relief provided by the unlikely tandem of Park Bok Kyu and Shin Da Jeong is quirky at best and cringey at worst. I guess we can say the same about the Gang boss, whose minions were just there to fill up the screen.
In the beginning, “My Demon” looks like it had a good concept, but the writing and execution were lacking. If you take this drama with a grain of salt, you might enjoy the visuals.
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Three bros, one mission: solve crimes, argue over swordsmanship, and look dramatic doing it
When I picked up this drama, I did not know the hype surrounding it. I just clicked because Cheng Yi is in it, though I was somewhat disappointed at first because it took me about 10 episodes to get used to Cheng Yi’s real voice. After overcoming that hump, it didn’t take long for me to be engaged in this intricate story about the once-glorified martial arts master becoming Sigu’s Sherlock Holmes. With unlikely side-kicks, Li Lian Hua traverses the pugilistic world, solving mysterious cases.This is the third drama I’ve watched of Cheng Yi’s and he has proven again that he can definitely act. I loved how he portrayed Li Lian Hua’s brazenness with an ample amount of impertinence without coming across as arrogant. His comedic timing is impeccable without trying too hard. His facial micro-expressions were nuanced, but subtle. It was entertaining to watch him at work and the investigations were never dull.
For their part, both Joseph Zeng and Xiao Shun Yao delivered their roles respectively as Li Xiang Yi’s past rival and an ambitious wanna-be hero. It was funny to see how Di Fei Sheng stubbornly clings to their past conflict, to determine who is the best swordsman in the world, while begrudgingly admiring Lian Hua. Fang Duo Bing, on the other hand, is an over-eager neophyte trying to prove his mettle. Together, the three of them form an odd friendship that stands the test of time as they fight against the injustices of the world like the three musketeers.
The rest of the cast were not as memorable, but they were not one-dimensional and served their purpose. The major strength of this drama, aside from the trio, is the intricate plot. It’s thrilling but not too convoluted nor difficult to follow. Explanations brought forth by Lian Hua were plausible and not too farfetched. A drama that kept me on my toes and is not predictable is a plus in my books.
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The four men that made up the four knights are easy on the eyes, but none of them except for the 2nd male lead had chemistry with the female lead. The beginning of the show was promising as it set up Hyun Min and Ha Won as the main couple, and their bantering was engaging. I shipped this couple until things suddenly turned 180 degrees and apparently Hyun Min has this repressed love for the 2nd female lead who takes the crown for the neediest person on the planet who doesn't have a clue when to get lost. The middle episodes were slow and I wouldn't not have gone through the torture if it were not for my curiosity. The ending revelations came too fast and suddenly all loose ends tied up even forcing some relationships to rebound without rhyme or reason.
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The premise of a monk falling hopelessly in love with a city girl with big dreams was quite interesting. Yamapi and Ishihara sizzle on screen. A lot of adorable characters as well but I was rooting for another guy whose game is weak. What I didn't like though is that the show romanticized the stalker-type behavior of the male lead, who even went so far as to lock the girl up, in an attempt to force her into accepting him as her lover. Although it worked out for them in the end, the means didn't justify the outcome. Was this review helpful to you?
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So what else should I say about it:
Story: Simple enough, two boys got the groove on.
Acting: Horrible. You can clearly tell they are just reciting the lines. Monotonous expressions.
Music: None to speak of
Re-watch value: Even 6 minutes was too long for this short film.
Watching a hamster go around in circles for 5 minutes would be more interesting than watching this POS.
And don't tell me that 6 min is not enough to do justice for a movie. Other equally short films have done better. "SummerDaze" is one example.
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Dear X writer, who hurt you — and why did you take it out on us?
This drama started like a beautifully plated dish — glossy, aromatic, and pretending it had Michelin‑star ambitions. The opening episodes strutted around with the confidence of a chef who thinks they’ve reinvented cuisine, and for a moment, I believed it. The acting was so good it gaslit me into thinking the writing was competent. I was out here taking notes like, “Wow, this is gripping,” and the premise sparkled just enough to make me think, “Fine, I’ll take a bite.” Little did I know I was about to be served a dish that looked gourmet but tasted like someone dumped soy sauce, whipped cream, and battery acid into a blender and called it fusion.Because somewhere around episode nine, the writers clearly said, “Plot? Never heard of her.” They started freestyling like a DJ who lost the playlist and decided to mash up whale sounds with K‑pop. The rooftop‑murder inspector? Gone like he got Thanos‑snapped. The café boss? Folded like a cheap lawn chair. And Jae‑o — sweet, loyal, plot‑carrying Jae‑o — died in a moment that should’ve detonated the plot, only for the writers to treat it like a minor inconvenience. His sacrifice should have been the turning point, the moment everything shifts. Instead, the story shrugged, checked its watch, and moved on. The disrespect was so loud I could hear its echo.
And Jun‑seo? My guy. My sweet summer child. He had the video. He had evidence. He had the moral obligation. And what does he do? Absolutely nothing. He doesn’t leak it, doesn’t expose Moon Do‑hyeok, doesn’t honor Jae‑o’s death — he just resets the plot to factory settings. I’ve seen NPCs in video games make better decisions. If this is what the show considers “love,” then I’m filing a restraining order.
Meanwhile, Ah‑jin is out there being the equivalent of a raccoon in a Gucci coat — chaotic, unhinged, and absolutely not fixable. I wasn’t expecting character development from her. She’s a lost cause, a narrative black hole where growth goes to die. I wasn’t waiting for redemption or healing or some grand transformation. But if you’re going to let a character like her walk away, at least pretend it’s intentional. This isn’t Natural Born Killers, where the villains escaping is a sharp commentary on society. This is “clickbait turned rage bait,” and I fell for it like a clown stepping on a rake.
And Moon Do‑hyeok? The show built him up as this terrifying, calculating sociopath, only to let him stroll out of the finale like he just finished a yoga retreat. No consequences. No fallout. No narrative weight. Just vibes. If you’re going to let the villain win, at least give me a monologue, a metaphor, a moral — something. Instead, the writers clocked out early and left him standing there like a glitch in the simulation.
And honestly, at this point, I would’ve preferred if the writers had just followed the webtoon. Not because the webtoon made Ah‑jin redeemable — she was still cruel, still manipulative, still a walking red flag with legs — but because at least it respected its own narrative spine. It lets every character suffer while alive, which is thematically consistent and emotionally coherent. Here, Ah‑jin lost the very mettle that made her despicable in the beginning. Once she married Do‑hyeok, she just started “resting on her laurels,” drifting through the plot like she was on sabbatical. The writers clearly wanted to be edgy or creative, but if you’re going to change something, at least make it better. Instead, they took a perfectly good recipe — the webtoon — and said, “This needs more salt,” then dumped the entire shaker in and made it inedible.
By the end, I wasn’t even mad at the characters — I was mad at myself for believing. This drama fumbled the bag so hard it entered a different timeline. It didn’t flip the script; it launched the script into orbit. The acting was phenomenal, and that’s the only reason I’m not outside the studio with a megaphone demanding reparations. But even Oscar‑level performances can’t save a story determined to sabotage itself like it’s speed‑running self‑destruction.
In conclusion: this drama didn’t break my heart; it wasted my time. And honestly? That’s worse. I walked away feeling like I watched a chef burn a perfectly good recipe, blame the oven, and then ask if I wanted seconds. No. I do not want seconds. I want peace.
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A love story held hostage by cultural side quests
This drama is undeniably entertaining, but it’s the kind of entertaining that constantly tests how much narrative chaos you’re willing to tolerate. At its best, the drama delivers a compelling portrait of two people shaped by trauma, ambition, and survival instincts. At its worst, it wanders into long cultural showcases — plant dyeing, Batik, fashion design — that, while beautiful, hijack entire episodes and dilute the emotional momentum. A sprinkle of cultural depth is enriching; half an episode of dye‑making demonstrations feels like the writers forgot what story they were telling.The emotional backbone of the drama lies in Xu Yan’s journey, and the show is at its strongest when it stops trying to soften the truth of her upbringing. Her decision to cut off her parents is not cruelty — it’s clarity. Poverty doesn’t justify neglect, and the drama’s attempt to later reframe it as “they just don’t get along” trivializes the very real abandonment she endured. Blood is not a moral shield. The people who raise you, protect you, and show up are the real family, and Xu Yan’s arc embodies that truth with quiet, unwavering dignity.
Xu Yan herself is a fascinating contradiction: outwardly gentle, inwardly strategic. She mirrors Hao Ming more than the drama initially admits — both are calculating; both are survivors, both understand leverage. The difference is framing. His control is labeled cold; her maneuvering is labeled resilience. And honestly, both labels fit. She’s not chasing wealth; she’s chasing stability after a childhood that offered none. Her willingness to walk away from immense privilege to reclaim her autonomy is the clearest proof of her integrity. Even her mother‑in‑law recognizes this, valuing sincerity over status in one of the show’s more grounded emotional beats.
Hao Ming, meanwhile, is not the toxic monster some viewers make him out to be. He’s emotionally illiterate, not violent; controlling, not cruel. His trauma explains him, but it doesn’t absolve him. He uses money as leverage, not violence as a weapon. This is not the kind of toxicity that relies on rape, threats, or explosive abuse. Their arguments are debates, not detonations. Xu Yan is given choices—even if those choices are unfairly weighted. Compared to genuinely toxic archetypes, this is restrained, transactional, and oddly honest. If anything, Fang Lei radiates far more toxicity.
Where the drama falters is in its intention versus payoff. Hao Ming’s emotional detachment—likely shaped by the death of his first love—explains him, but it doesn’t excuse him. And his pursuit of Xu Yan often feels less like love and more like an aversion to loss, especially when business incentives are involved. I’ll believe his sincerity only if he loses everything and still chooses her. Secondary characters vanish and reappear for convenience, business crises resolve too quickly, and the late‑game twist about Hao Chen’s parentage feels like emotional clickbait. The message — that family is chosen, not blood — is solid, but the execution is unnecessarily chaotic. Still, despite its uneven focus, Love’s Ambition delivers enough heart, chemistry, and character depth to make the journey worthwhile.
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