worth the wait, worth the time. a beautiful slice of life drama.
There are more depth to the story of the drama than what some people said. This is a SLICE OF LIFE type of drama, cause life can both slow you down or pull you up anytime anywhere. There winning and losing, there's misunderstanding, chaos and also contemplation of making decision. There are multi aspects of respect, sportmanship, relationship dynamics portrayed. It's not a typical fluffy all giddy and fantasy romance. It's paced with actual life condition. The chemistry? I don't know about others but they surely showed how it is to be awkward, how it is when you're missing someone so dearly, how and why some are afraid of marriage, how they shot emotions from a simple gaze, everything's there on the right pace. It's a healing life type of drama, not too heavy, not too serious. They did amazingg.Was this review helpful to you?
This is a great drama, the characters are great and I loved that it actually did have a lot about food because a lot of dramas, like You're Beautiful, Only You and Heartstrings are about a certain subject but you never get to actually see the writers exploding that.
The thing that really bothered me about this one that made me not like this drama so much was the female lead. She had no personality whatsoever, always letting everyone push her around, even her love interest. I hate that she was alway "Yes, Chef. Yes, Chef. Chef, chef chef chef..." I mean she never even called him by his real name, no Hyuk Woon ah, or Hyuk Woon ssi, or even Choi Hyun Wook ssi.
Also, for the sake of not spoiling I'll really just say that I hated the REAL reason (not the generic, but the one he says) of why the chef broke up with his previous partner. I don't know of it is just because I'm a hardcore feminist, or simply because I thought he was dumb but I simply hated him.
On the other hand I loved all the kitchen drama, with the main line and the pasta line, Italian vs Korean! It was so funny to see them fight for the most minimum thing, I think all that made the drama funnier to watch and lighter.
In general I really enjoyed this drama, though it isn't one of my favorites
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more melodramatic series that didn't stick the landing
Overall: this first episode really hooked me, but similar to most of GMMTV's series, the existing plot would have paced better at fewer episodes and I was especially disappointed at the last 2 episodes. 12 episodes about 45 minutes each. Aired on GMMTV's YouTube channel.Content Warnings: violence/beaten up, see my spoiler comment for another one, fights/punches
What I Liked
- how the intro notice was blurry to make the viewers feel how Day felt
- the premise was explained/shown well
- sweet moments
- laughed a few times
- enjoyed several of the supportive side characters
Room For Improvement
- pacing was too slow for me, I watched most at 2x speed
- I couldn't get into some of the conflicts because I saw easy(ish) work arounds for most of them
- ep 11 curse/cliche plot point, time jump and a rushed ending
- it felt like Mhok was doing more of the heavy lifting in their relationship and Day's fast change of mind felt unrealistic
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The worst season so far
Can we please spend some screen time on someone other than Gwan hee? I thought most of the female cast was ridiculously shallow and most of the men had very little screen time. In the previous seasons I could at least pretend that the cast wanted to find love. S3 is clearly about increasing their follower counts, etc. Everyone was just so fake. The producers clearly wanted more swimsuit time which just made this season feel trashy. I watch Korean dating shows because they tend to be less trashy. Oh well.I disliked this season so much I'm not looking forward to a season 4.
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Reason why you should watch it:
ROMANCE & CHEMISTRY: I put this here first because for me, watching Korean drama is first and foremost about the heart and soul…they are spectacularly great in depicting this (I watch Western industry films/drama for other stuff but the love and romance I go to K-drama for). This pairing of the two main characters Do Min Joon and Cheon Song Yi (KSH & JJH) is one of the best if not the best on screen couple to date. Their romance unfolds like a baby bud blooming into a most spectacular flora, it’s an absolute joy to witness and completely unforgettable. The journey was poignant, laughable, and angst ridden, an intermingle of two different species pulled off so believably that you feel as if these characters are REAL and not just characters. Let’s talk kisses-there’s like a total of 10 kisses (1 on forehead, 1 on cheek, the rest on lips) in a 21 episodes, that average to like one every other episodes! I can’t recall a show showing this much smooches! (Secret Garden maybe…but not even then)….the kisses start out innocent and keeps getting hotter and hotter each episodes until it reach the most elaborate, heartfelt, swoon-worthy lip-lock at the last episode. But beyond just their kissing chemistry, these two are so natural together it’s sometimes hard to separate them from their characters (and to think one of them is already married in real life!)…from the many longing glances to the most hand-holding in any drama history (I literally lost count of how many times they hold each other's hands, arms linking, front hugs and back hugs, and lounging times in bed!...talk about bed scenes so many of those cute innocent ones too!). And the things they say to each other?? Wow, can you take my breath away anymore? So in this regards, spectacular, Spectacular, SPECTACULAR from beginning to end!
STORYLINE: The storyline is probably one the most tightly written and well executed that I’ve witness to date. There was never a dull moment for me. Every episode was anticipated with abated breathe and every episode not just deliver but outdo my own expectation…one after the next after the next and continually so until the very end. Halfway through the show I was already deeply in love. You generally know the premise of yes an alien gradually fall for the star and figure out how to be with her….it’s a given, just look at the title “My Love From Another Star”…but it’s the journey of getting there that is just so masterfully done. It steers away from most clichés in K-dramas, it doesn’t drag one situation for too long, and it solves issue with realism that doesn’t annoy the heck out of you. To put bluntly, a show about an alien that stranded on earth for over 400 years with a spoiled egotistic superstar with a super-rich chaebol psychotic killer blended together…are you kidding me? BUT IT WORKS! It works so well together that I’m amazed beyond words. Then let’s talk about the emotions this story wrung out of you. I can’t even begin to explain. I’m a tough cookie when it comes to laughing and crying in movies and shows, some shows make me laugh a little here and there and some shows made me shed a tear or two (sometimes bucket loads) but these are far and few in between. MLFAS cracks me up!! If someone were to look at me, they’d thought I’m a lunatic…and the crying? I was able to hold out until the last few episodes which really did me in, I sobbed like a baby and re-watching those same scenes over 4 times still have the same effect. Even though the story of this show may seem melo and dramatic, it actually weaves in so much laughter and lightheartedness that just floored me! I feel that the show really did turn me (and many others) into bi-polar human beings! It can take you from laughter straight to painful hurt, to being scared, to fluttering butterflies in your stomach, and back to laughter again….sometimes within a span of a few minutes and it does it so well, I’m still left flabbergasted. And don’t get me started on how well executed their cliff hangers are. I feel like dying every episode waiting for the new one….those that get to see it straight through now should feel lucky you don’t have to endure this waiting pain, ugh. Let's not forget the Cinematography, that would be another long rant…just know that I LOVE IT!...the special effect is great and even comparable to Western movies! Lastly, I want to mention the creativity of this show…the “self-interview” mode that’s usually in the beginning and the awesome epilogues in each and every episode at the end is very unique and one of kind, it explains and enlighten so, so much! When a story-line is unpredictable for me to guess from the very beginning to the very end, then in my eyes it’s a WINNER!
CASTING/ACTING: The casting for the main lead, I already state is spectacular amazing and I wouldn’t change it for the world. No one else besides KSH & JJH could do the character justice…no one. But beside them all the other casts was picked and executed nicely as well. I loved every single one of them, that’s actually saying a lot because every drama I watch previously there’s one or two or more (and sometimes the main characters themselves) urks me to no end. Everyone seems to have their fair share of lime-light at one point or another even though the show exclusively zoom in a lot on our 2 main leads. The bromance here is one the best I’ve seen as well. One very poignant and heartbreaking, the other hilariously funny! For a second male lead, HK, they really did develop his story quite nicely and the actor definitely step up the plate when it comes time for him to shine….and boy did he shine! I applaud everyone down to even the cameos in this show.
MUSIC: I’m a little conflicted on how to rate this one. I feel I should give it a 10 because frankly before this show comes along, I could care less for the background music in any show….heck I don’t even know what OST means! But after this show, I have downloaded 3 songs and had repeatedly rape my replay button to death. No people, there’s not just the song “My Destiny” so don’t rate it base on just that. My favorite is actually “Hello Goodbye” and “Tears Like Today”…”My Destiny” was good too and some others like “Every Moment of You”, etc…and I also LOVE the remake song KSH (aka Do Min Joon) sings to our character Song Yi called “Promise” in episode 19 in a very special occasion. It’s not an OST but I fell in love with that song immediately. But there were other OST songs that weren’t as mind-blowing so I guess I’ll stick with a 9 on this.
Why some people might not want to watch it or dislike it:
1. The story does not explain everything (including the ending). I guess some people wanted everything spelled out and written in stone, I’m not one of those so I enjoy this aspect. Yes, his alien life and the sci-fi area were not really delved into and explained much but that’s because the story’s focus has always been the trial and tribulation of the relationship between two different species and how they overcome it. If the show try to tackle everything, I’m pretty sure it would have been a hot mess all over the place and would surely lose most of its focus…I’m glad it always kept the aim on the romance and that everything else is just a means to that end…leave some for our deductive reasoning and imagination please!
2. Some might complain of the casting of the two main characters (she’s too old for him?)…if you’re that immature to judge based on age and looks, then yes please do skip this show as you’re not mature enough to handle it.
3. KSH acting was underwhelming? I heard this before and I couldn’t disagree more. People expect him to act like a “human” when he’s actually an “alien”! If you wanted human emotions go watch him in Dream High, Secretly Greatly, TMTETS, etc. I personally loved his innocent depiction when first landed on earth, to harden reserve, staying away from human in a cold, detached manner after 400+ years of jadedness, and then falling in love and feeling that first twig of jealousy, to an all-out consuming love for one woman…beautiful characterization from beginning to end! The subtlety in his emotions reflect off so well from the all-out-there-craziness of SY's emotions that makes it even more hilarious to watch.
4. Some couldn't stand CSY character as the spoiled, bratty, sometimes bitchy and egotistic star profile. Personally, I think she’s THE BEST 4-D character ever introduced to K-Dramaland (and I’m not standing alone in this!). Fierce, Ditzy, Honest, Bold, Loyal, Caring, Childish, Egotistic, Vulnerable, are just a few of the words I would describe her character. Outwardly she’s flawed but she has so many layers about her that it’s a fascination within itself just seeing her changes range from one moment to the next. It’s never been so much fun to look at a character before…and a female character at it! Some arguably would say, “she stole the show!” or “she made the show!” I couldn't agree more, it wouldn't be a masterpiece without her, JJH and her character depiction of Song Yi is the glue that binds all the elements to create one heck of an astounding show....BRAVO!
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First off I feel like Kim Woobin's character didn't even get a chance there is hardly any love triangle going on its just Park Shin Hye moving all over the place. I feel like Krystal and Minhyuk love story was cute but they weren't really needed in the cast and Krystal just became PSH friend out of no where. That Rachel girl wasn't needed either she didn't create any drama she was just there. PSH was crying in almost every scene and it was worst than Jandi in BOF.
Anyways the drama was the worst I watched so far even though I loved the cast
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This review may contain spoilers
This is bigger than us
Who always expects a typical BL will probably be disappointed because this series is so much more. Instead of just giving us a series with a good plot, Not Me manages to combine sophistication and entertainment to create unique art.This series breaks conventions on so many levels, be it visual, auditory (one of the best soundtracks!), or narrative, and ultimately sweeps you away with a storm of emotion.
It has a lot of epic scenes to offer when the sun shines through the palm of a hand and the words "Freedom is the oxygen of life" can be heard, it touches you just as much when a deaf-mute mother tells of her unemployment or when main character Gun dances under a rainbow flag and shouts loudly for equality and justice.
But Not Me is not a clean, beautiful series. It is a bloody and dirty ballad, told with rage, but also a vulnerability, as only the affected themselves can do.
To sum it up, Not Me is an exceptional show that breaks up multiple genres and takes you on a trip, that leaves you breathless and exhausted. But it’s also an important series, who dares to say true things in a world that is getting more and more out of joint.
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More of the same…
For me, I would say this drama is a little overrated. It’s more of the same type of Xianxia that many of us CDrama watchers have seen many times before. It does have some high points that many shows within this genre doesn’t have.The Good
Production quality was definitely higher than a lot of Xianxias but by no means perfect. The CGI was more polished, the costumes looked pretty well. I can appreciate that ShenLi did not have a million dangly bits and fake jewels hanging from her. The OST was one of the highlights as the music was very nice. The overall acting was good which I typically expect from an older cast. If this would have been played out by a younger cast, the perception may have not been received well by older watchers due to many younger actors having limited experience in acting. Although this was a serious drama, the comedy was well balanced through out.
The Bad
The plot is typical and predictable. These CDrama Xianxias tend to go through the same cycles and not too many of these stories offer anything new. This story was a character driven plot which they tend to be very slow and at times, not much was happening in most of the episodes. I found myself starting to skip through it towards the end. There were a lot of throwaway episodes that could have shorten this show down to 24 episodes. Although I liked the overall production, the skin smoothing and whitening was overdone and sometimes made them look too unnatural and unrecognizable. I would have also liked to see the actors dub themselves. With more CDramas doing away with dubbing, it’s refreshing to see the actors display their real talent. The credit in this drama goes to the great voice actors who can pull off different emotions in their voices.
I am a fan of the genre and will keep hoping and waiting for a new thrill. This one was average and I likely wouldn’t rewatch it. If you are a fan of the cast, it’s worth checking out. Make your own judgement.
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This review may contain spoilers
Boring...
This drama focused more on the ml's career as an areospace engineer rather than the romance between the ml and fl. I felt it was more sci fi based with a hint of romance rather than the other way around. The couples relationship felt realistic because of how little time they had for each other, it was an accurate depiction...thats probably why I didnt enjoy it as much.Spoiler:
The fl liked the ml is hs but he rejected her bcz he felt she wasnt good enough, which he came to regret 10 yrs later after getting to know her, then he felt he wasnt good enough for her and turned her down again. This plus eng shit literally sums up the plot for the first 18 episodes.
They start dating offically in the 21 ish episode I think.
They get togther, bunch of kiss scenes, fl is busy with work, ml is busy with work, they get together on their break, kiss scene - bed scene,
ml is busy with work, fl is busy with work, they get together on their break, kiss scene - bed scene... just a continuation of that along with areospace eng scenes then they get married two years later.
Honestly their romance had zero plot it was soooo boring to watch...felt no excitment at all.
There is a five year time jump (ep 31-32) they are 38 yrs old have NO kid and it ends with a fucking rocket launch!!!...
The story was boring but I really enjoyed dilraba's acting. That and the special effects...the first couple of eps werent too bad either, but it just got really boring when the ml talked about rockets which was literally half the drama!. If you enjoy that kind of stuff I say go for it but I zoned out, my brain wasnt willing to compute.
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2just another fluffy drama
The trailer and the advertisements leading up to this show gave me very high expectations. I like yangyang and reba, they are honestly very good looking which I felt was the thing that gave this show its popularity boost. Acting-wise, it's all fine, no extraordinary emotional scenes or anything but that's not on them, it's on the script.Do not expect a deep or emotional slice of life type of plot. This is simplicity at its finest, full on fluff for the majority of the episodes. I like that there aren't any ridiculous misunderstandings or annoying exes and the couple communicates well. Plotwise, I felt like there were too many unnecessary romantic scenes which other than satisfying cp fans, serve absolutely no purpose in the storyline. I think they are cute but sometimes, it's really too much. Even yangyang was shocked at the extent they have to go to in the behind the scenes footages. To be honest, the plot is very unrealistic and doesn't fully depict the lives of 30 years olds (even more so for an aerospace engineer and big celebrity) but take it with a pinch of salt that this is meant to be a very fluffy romcom. It's just that with all the anticipation building up for this drama, I expected a LOT more... this wasn't exciting or interesting, just very romantic.
I would recommend this if you're looking for a chill fluffy visual explosion drama that doesn't require thinking. But if you are expecting an intricate plot or emotion laden scenes then this is not for you.
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1
2This review may contain spoilers
Escaped the world, Forgot All Things, and Fell Down a Long Romantic Dream...Under Moonlight
I "fell down a long romantic dream...under moonlight." This is it... Xiao Zhi Yu and Hu Xiu 💗 Watching Love Between Lines is like a wonderful dream with falling snowflakes, cherry blossoms, warm light, sunsets, and sitting on the rooftop in quiet conversation. Listen to the OST "Special Nights", and you will feel the vibe that resonates throughout Love Between the Lines. Then watch the love grow slowly yet steadily. It is in the flicker of a smile, the glances, the gestures, and those quiet moments when they were simply in each other's company.....under moonlight💗🌛🌸 This is a "watch and rewatch immediately" type drama. It is that good! There are some thoughtful moments, emotional moments, and some humorous moments. I smiled, I laughed, and I felt a little sad in a few parts, but on the whole, it was a light, uplifting romance drama. The chemistry is so beautiful💗🌸Love Between Lines begins with the premise "life is like a game." And at first, you might wonder if this might be a virtual game drama. It is not the focus, so don't think too much of technicalities. The virtual game illustrates the theme of dreams vs. reality. The line between the virtual world and reality is not defined —at times, the leads fall out of their game character roles. "Between illusion and reality, parallel lines intersect." (OST) After the first two episodes, the drama shifts more into the real world with visits to the virtual game world here and there. I am one of those who wanted to rush through the first two episodes because I am not keen illusions and fantasy. However, I find myself going back to the earlier games because it all makes more sense now. There is a significant connection between their relationship in the game and their relationship in reality.
MAIN CHARACTERS
🌸Lu Yu Xiao, as Hu Xiu, shines as a natural actress. Her performance was so believable that I can imagine she is really this person in reality because she didn't appear to be acting. Hu Xiu is a kind, intelligent, resilient, and determined FL. She delights and captivates Xiao Zhi Yu/ Qin Xiao Yi, with her vivacious personality. She is honest and not afraid to share her thoughts, and when she does, she is clear and to the point, but gentle and warm. She went to the virtual game to escape the reality of her life. Yet, it is in the game that she faces her inner conflicts when Zhi Yu/ Qin Xiao Yi's asks the question, "Do you know what you want?" She decides to reclaim her dreams instead of keeping a bad option, as those who do "spend the rest of their life with that bad option without realizing it."
🌸Chen Xing Xu, as Xiao Zhi Yu, is captivating with his calm perfection. Zhi Yu is strong, steady, perceptive... he listens more than he talks. He plans his way carefully. He doesn't rush to interfere but rather observes and allows Hu Xiu to make her decisions. His quiet strength gives the romance a sense of calm. He is protective but knows when to step back. I have to mention his expressive eyes, his slight smiles, and his aura. They were everything! There is a sense of mystery as his goal is to clear his father's name and reclaim his original identity, which, due to the circumstances of his father's death, has been kept a secret since childhood. For Xiao Zhi Yu, the virtual game is where he can reclaim his name, Qin Xiao Yi. In the virtual world, he is Qin Xiao Yi, Warlord Commander, described as "cunning as a fox, deep and complex." Needless to say, he is just as cunning in the real world.
🦊THE RELATIONSHIP🐰
🌸 Hu Xiu and Zhi Yu's relationship is mature and based on equality. They work together. They come to trust each other. They come to love each other. Zhi Yu sees Hu Xiu's talent and potential. He knows she is clever, but does not realize till later that she is the clever rabbit who outwits the fox 😂 He sees her as someone who "doesn't need anyone's approval to prove her worth." He allows her to grow, and he doesn't try to make her who he wants her to be:
~~~~~ 💗 " She exists, she grows, and she becomes who she wants to be. That alone is already beautiful enough." 💗
🌸And even though Zhi Yu doesn't share all his plans and thoughts with Hu Xiu at first, she somehow understands him. She senses his needs. He tries to protect her by keeping her out of his problems, but it is Hu Xiu who gives him the "token" he needs to win in both the game and reality. She guides him to open up to his mother because she might never know what he is thinking. And Zhi Yu showed his support sometimes in silence and sometimes in open communication. Hu Xiu knows she has someone who believes in her as she tells him :
~~~~~💗 "Because of you, I have more courage to chase my dreams and make up for all my regrets." 💗
🌸Love Between Lines isn't only about the blending of illusion and reality. It beautifully depicts the balance between two different people who seek to reclaim a loss. Hu Xiu is the gentle emotional rabbit. While vulnerable, she is fiercely resilient and quick-witted. Zhi Yu is the cunning fox who finds himself softened by Hu Xiu's enthusiasm and passion. They come to an understanding and a relationship based on trust, equal respect, and appreciation for each other.
🌸 Episode 7 marks a significant point in the relationship when Zhi Yu brings Hu Xiu with him to a wedding where he plans to have a business meeting. The groom turns out to be Hu Xiu's two-timing ex-fiancé. It is here that Zhi Yu and Hu Xiu grew closer when he helped her face her past and move on. I loved it when he told her that she did nothing wrong, so she didn't need to hide. I loved it when he retrieved her missing shoes and knelt to put them on her feet, even though she said she could do it herself. I loved it when he carried her on his back when he saw her limping. The lyrics from the OST "Closer"fit so well here.
💗How long did we wait, going from strangers
to familiar faces ?
It was destiny that brought me to meet you.
In my heart, there is now a place for you;
Believing in this is the ultimate meaning of life.
Drawing closer to you and closer to myself,
the frozen night begins to flicker.💗
WHAT I LOVE
🌸 I have many favorite scenes, but it was the leads who made me love this drama. Lu Yu Xiao is delightfully natural. She gave Hu Xiu the energy and sweetness that brightened Zhi Yu's life. Chen Xing Xu's expressive eyes, his calm, his charisma made Zhi Yu stand out as the male lead we all want to watch. I cannot tell you how many times I would go back just to watch his facial expressions. He made me love Zhi Yu!
🌸 Beautiful OSTs
🌸 The ambiance: the moonlight, snowflakes, cherry blossoms
OTHER CHARACTER ROLES
🌸Pei Zhen is Zhi Yu's stepbrother and rival. Sadly, Pei Zhen is driven by desperation to prove himself worthy because his father never finds him good enough. He blames Zhi Yu for taking all that is his. I realize many will hate him, but I found myself feeling pity for him at the end. And before anyone misunderstands, at no time did I feel any sml syndrome. I am too in love with Chen Xing Xu as Zhi Yu for any of that! But I don't see Pei Zhen as evil. He is too caught up in his need to win over Zhi Yu. He lacks love and affection, so when Hu Xiu puts a bandaid on his forehead to cover his wound, it means more to him than many would imagine. The fact that he emptied a small box of something that was probably of more monetary value than a Band-Aid to store the Band-Aid from Hu Xiu, is a clear indication of how much her simple action meant to him. The band-aid is a symbol of his inner wounds. He feels he needs Hu Xiu. His desire for her is desperate, selfish, and aggressive, while Zhi Yu's love is steady and patient. Pei Zhen represents the theme of redemption. He knows he is wrong and seeks to know if a building can be changed if the foundation is already set. To this, Hu Xiu tells him:
~~~~~💔"So what ultimately decides a building's final appearance isn't the foundation but your vision." 💔
ENDING SPOILER
🌸It is a happy ending, but I have one disappointment. There is an "elopement", but it is only to the top of the high-rise building designed by Zhi Yu. There is no married life with kids, but you will get a cute kitten that they decided to adopt to make them a family of 3. (I understand the kitten as a pet opens up the converstation that we shouldn't fear loss). After watching the ending to Shine on Me, it is hard to settle for anything less than an adorable child. There is no cute child in LBL. There is no engagement ring. Nothing. Some might say it works for the drama as Hu Xiu focuses on her career goals. I suppose I could try to see it that way too😢 And I suppose it should be enough that it is a solid happy ending, as they are never going to break up the way they love each other. It also helps that they discussed marriage, and Hu Xiu appeased Zhi Yu's frustration saying, "You are not part of my plans. You're already written into my life." And of course, I have no doubt Zhi Yu will get his wish. Eventually.
Don't miss the scene following the credits of the final episode.
It is a new story.
"Welcome to Rongcheng. It's a new world. Embrace your destiny."
I wonder if this means season 2 and a wedding. I know it doesn't, but I can only hope💗
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The Real Villain of Honour Isn’t Violence. It’s Cheating.
Welcome to MDL comment section where infidelity outranks abuse in the hierarchy of outrage. Where people are united to criticise hypocrisy of women in this drama while silently accepting the existence and actions of pedoflies. I am not here to discuss whether cheating and sexual violence belong in the same moral category. I’m pointing out the public reaction to them. It is telling that the priority of some people lie in the judgment of a "messy" cheating woman over the systemic reality of assault. Honour drama matters because it refuses to give us "perfect" victims and some people seem more disturbed by that imperfection than by the violence itself.—-
SELECTIVE MORAL OUTRAGE VS. STRUCTURAL VIOLENCE.
My question is does a character’s moral failure invalidate a story’s thematic argument?
Reducing a drama about trauma, coercion, sexual violence against women and minors, pedophilia, and female solidarity to “she cheated, therefore the show is trash” is intellectually lazy and critically shallow. Cheating is being treated as the central moral failure of the drama and SA is being sidelined in discussion. Honour isn’t a tale about infidelity, it’s a story about how past abuse shapes lives, how women navigate power and vulnerability, and how solidarity and resilience become survival tools.
To focus solely on Hyeonjin’s affair is to ignore the narrative’s core. The hypocrisy is the point. These women are legal warriors for justice who are simultaneously messy, dishonest, and compromised. This isn’t a narrative flaw… it’s realism. Trauma doesn’t produce moral saints, it produces survivors navigating shame and survival. That does not diminish the responsibility for their actions. The cheating storyline is ethically messy. Hyeonjin is not written as triumphant or empowered in her betrayal, she is destabilised. The encounter itself is narratively uncomfortable: she says no, attempts to leave, and is kissed again before ultimately giving in. That sequence introduces ambiguity around agency, coercion, emotional vulnerability, and unresolved attachment.
They are not romanticising cheating. It reads as a moment of weakness entangled with power dynamics and unresolved past trauma. The subsequent lies, the hidden earring, the possibility of pregnancy… these are not celebratory plot devices. They are destabilisers. The drama does not present adultery as liberation. They are not offering her a "get out of jail free" card, she is clearly driving toward a cliff of social and personal consequences. Presence of moral failure among the protagonists complicates the message, it does not ERASE it. The story depicts a survivor who is a brilliant advocate for others but a fragmented, self sabotaging disaster in her private life. To demand she be a "moral saint" to be a worthy protagonist is to demand a fiction that doesn't exist in the real world of trauma. We can hold her accountable for the betrayal of her marriage while simultaneously recognising that her personal failures do not justify or diminish the systemic violence she fights against.
Criticise Hyeonjin. Dislike her. Hold her accountable for the betrayal of her marriage, the narrative certainly does. But to let her infidelity become the only takeaway from a story about the industrial scale violation of women and minors is fundamentally dishonest. In dramas like Penthouse/ Love in the Moonlight/ Shine/ Eve, the infidelity outrage is the point of the exercise. For this drama to be discredited, it would need to trivialise sexual violence, glamorise coercion, or selectively condemn certain moral failures while excusing others without consequence. The cheating arc generates tension, fallout, and instability rather than reward. It complicates the characters’ credibility but does not erase the seriousness of the issues they confront in court.
We should be capable of holding a character’s personal failure in one hand and the world’s systemic cruelty in the other without dropping the latter because the former makes us uncomfortable.
—-
PERFECT VICTIM
Focusing on SA victims in this drama, I want to make one thing clear: abuse is defined by the actions of the abuser, not the personality of the abused. Must a victim be perfect to deserve sympathy? Does a woman’s imperfection erase the harm done to her? If she isn’t universally likable, are her bruises, fear, and trauma any less real?
Societies often measure women against an “perfect victim” standard: she must be passive, gentle, sexually restrained but not prudish, emotional but not hysterical, composed but not cold; she must have no prior mistakes, no anger, no contradictions, no complex history. People subconsciously look for reasons to distance themselves from discomfort by asking, “What did she do?” rather than “What was done to her?” suggesting if the woman harmed is even worthy of belief. Sympathy is granted most easily to those who fit a narrow image of innocence. The myth of the perfect victim allows people to believe that violence only happens to the exceptionally innocent, and therefore can be avoided by behaving correctly.
People find it hard to believe victims because believing them is uncomfortable. It forces people to accept that harm can come from ordinary people and that it could happen to anyone, including themselves. Doubting the victim feels safer and easier, and blaming them gives people a sense of control, as if bad things only happen when someone “does something wrong.” Many also misunderstand how trauma works, mistaking confusion, fear, or emotional reactions for lying /exaggeration /weakness. Public cases involving women such as Tara Reade, Amber Heard, Angelina Jolie, Christine Blasey Ford, Chanel Miller, and Anita Hill reveal how credibility is filtered through race, sexuality, likability, timing, demeanor, and presumed motive. Credibility cannot be based on how likeable someone is. Imperfection becomes evidence, anger becomes instability, sexual history becomes motive, delay becomes fabrication, survival strategies become aggression. The demand for “purity” is less about truth and more about preserving social comfort.
“If the victim is flawed, the world feels orderly. If she is difficult, perhaps he isn’t so bad.”
A woman can be brash, ambitious, selfish, queer, contradictory, difficult and still be abused. Suggesting otherwise shifts responsibility from the abuser to the abused, inflicting a secondary violence by silencing survivors who fear disbelief and internalise blame because they don’t fit the archetype they were taught. A victim deserves sympathy not because she is pure, but because she is human and her flaws, whatever they are, do not retroactively justify someone abusing her.
Showing empathy to victims doesn’t mean ignoring fairness, it means remembering that real people are carrying real trauma. We should be more outraged by acts of violence than by the imperfections of those who survive them. Sexual violence is a choice made by the perpetrator, not a mistake or weakness of the survivor. Instead of questioning what the victim did or didn’t do, we need to ask why someone thought it was okay to violate another person. It’s time to assign the blame where it belongs… on the perpetrators and not the survivors. Holding perpetrators accountable, rather than scrutinising survivors, is how we show true justice and compassion.
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MAGNITUDE OF SA
“He was my friend/ relative/ father/ brother/ colleague.” ONE IN THREE women can say this. Violence at that scale is not an anomaly, not a “few bad men”, not a misfortune. It’s a pattern and patterns are built and tolerated by societies.
While you are reading this, 8 more crimes against women will be recorded in my country. Every 16 minutes, a man in my country makes a decision to violate a woman. 86 new victims every single day. We panic over rare dangers, redesign airports after one incident. If 86 bridges collapsed in one day, we would call it a national emergency. But 86 women being assaulted? It has become a statistic and routine news cycle. Just a number we learn to live with. For every case you hear about, there are many you don’t. Silence is not absence. People think of SA as isolated incidents, but for many women it functions like an atmosphere, shaping daily calculations about what to wear, how to walk, who to call, and when to share their location. It is not just something that happens occasionally; it quietly structures ordinary behavior, from gripping keys between fingers to texting, “I got home.”
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MEN’S BRIGHT FUTURE
Are women’s lives and suffering expendable when weighed against a man’s “bright future”?
As someone who listens to true crime all the time, it’s impossible not to notice how often phrases like “boys will be boys”or “but he has a bright future” are used to excuse harm. They frame cruelty as immaturity, entitlement as potential, and accountability as something unfair or excessive. By doing this, people protect the idea of who the man could be rather than what he actually did.
What’s disturbing is that these excuses almost always come at the victim’s expense. No one asks about their bright future, their lost sense of safety, or the life altered by someone else’s actions. Instead, the narrative centers on preserving male promise and comfort. Society is often quicker to mourn a perpetrator’s consequences than to acknowledge a victim’s suffering. Her losses are emotionalised and minimised and his losses are treated as tragic and unjust.
This is because systems of power have been built to protect men’s futures over women’s safety. When accountability is seen as cruelty and harm is seen as collateral damage, it decides whose life is worth defending. Until harm to women is treated as more serious than discomfort to men, the message remains the same: women are expected to pay the price so men can keep theirs intact.
Men especially those with status, authority, talent, or social connections are seen as more valuable to protect than to hold accountable. Admitting harm would mean questioning respected institutions, friendships, families, or one’s own judgment, so people minimise, excuse, or deny the behavior instead. There’s also a long standing culture that normalised male aggression and entitlement while doubting or silencing those who speak up, especially when it would “ruin a good man’s life.”
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GLAMORISATION AND DESENSITISATION OF SA IN FILM.
There is long tradition in television where sexual violence appears less as a lived trauma and more as narrative currency. Violation often functions as ignition and what lingers is not the wound, but the spectacle that follows it. When violation repeatedly serves as character development, as motivation, as spectacle, people expect it as part of storytelling grammar. The trope embeds itself quietly, shaping cultural assumptions about whose pain advances the plot and whose pain is secondary to it.
Experimental evidence suggests that repeated exposure to sexually violent films can dull emotional responses, reduce empathy for victims, and lessen the perceived seriousness of abuse. Sexually degrading portrayals may also shape beliefs about sexual assault, reinforce objectification, and foster harmful attitudes toward women. Research indicates that sexually aggressive media can affect not only men’s attitudes but also women’s psychological responses and self perception. Media can distort understandings of consent and responsibility y normalising gender stereotypes, blaming victims, or presenting male aggression without critique.
I also think romanticisation of SA plays a huge role in desensitisation. 365 days, Ffifty shades of grey, GOT, After and many other films aestheticise dominance, persistence, and forced intimacy as proof of desire. Threat becomes foreplay and control becomes charisma. Resistance is framed as tension and coercion as chemistry. Over time, audiences learn to read violation as romance not because the act changes, but because the framing does.
Desensitisation often looks like reduced shock, reduced empathy, treating it as “just another trope”, but reduced outward reaction doesn’t automatically mean reduced empathy. If you respond emotionally to real world harm but not to dramatised scenes, that’s often media habituation, not moral desensitisation.
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INFIDELITY IN CINEMA.
Imagine looking into the eyes of the person you love, the one you trust without hesitation, the one you depend on, the one you’ve built your life around and not knowing they are choosing again and again, to lie to you. Just to protect the betrayal instead of protecting you. Cheating isn’t just a mistake. It is a form of moral bankruptcy. It shows a complete disregard for the very person you promised to respect and protect. In this drama, what happens cannot simply be dismissed as a “single lapse in judgment.” Even if the physical act happened only once, it did not exist in isolation. There was secrecy, emotional boundary crossing, rationalising the situation, staying despite discomfort, and then continued deception. She lies to her husband even when confronted with evidence. When pregnancy enters the picture, the consequences of those choices become even more devastating. Calling this a momentary mistake is an oversimplification of what cheating really is. It reflects not just one impulsive act, but a series of conscious decisions made when there were multiple chances to stop, to leave, or to tell the truth. It reveals a willingness to betray when the opportunity presented itself. The damage is not measured by how many times it happened. For the person who was betrayed, even once can permanently shatter trust. One breach is enough to change how love feels, how safety feels, and how the entire relationship is understood.
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HOW DESENSITISED ARE WE?
Romanticisation frames cheating as emotionally profound, fated, or spiritually meaningful. Glamorisation emphasises aesthetic appeal (luxury/ sensuality/ thrill/ personal liberation). Both reduce moral weight by reframing cheating as self discovery, emotional authenticity or rebellion against restrictive norms. Because viewers are repeatedly exposed to these portrayals, desensitisation occurs where infidelity begins to feel more normal, less shocking, and more understandable. This opens a possibility where repeated narrative framing can reshape moral perception and relationship expectations.
In recent dramas I have watched (Shine and Love in the moonlight) there was intense romanticisation of cheating. Storytelling is designed to make us deeply identify with the central couple framing their relationship as destined, pure, or emotionally unavoidable. When cheating is presented within that emotional framework, people tend to evaluate it through empathy rather than moral principle, seeing it as tragic or justified instead of wrong. Over time, this emotional alignment can make infidelity seem more acceptable within fictional contexts, even if audience might not support it in real life.
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MY THOUGHTS ON THIS DRAMA
It is not a bad drama people are claiming it to be in the sense of poor craft. It is purposefully provocative, and people mistake their own moral discomfort for a failure in storytelling. When a show refuses to provide a "perfect" protagonist and instead mirrors the messy, compromised reality of survivors, it stops being a comfortable escape and starts being a mirror that many audiences are unwilling to look into.
This drama is challenging the very hierarchy of outrage that allows real world trauma to be sidelined in favor of "safer" scandals. Low ratings suggest a "moral purity gap" where audiences conflate a character’s personal flaws with the show’s overall quality. While viewers frequently tolerate or even celebrate "anti hero" men, a messy, unfaithful female protagonist often triggers a visceral likability tax, leading audiences to "downvote" the show as a form of moral protest rather than focusing on its technical or thematic core messages. People prefer glamorous escapism over the gruelling confrontation.
We must move beyond "likability" to understand that mirroring a messy reality is not an endorsement of it. Rejecting this entire drama because the victim is flawed only upholds the "perfect victim" myth, suggesting that empathy is reserved for the stainless. Don’t fall into the narrative trap of selective empathy. Husband is undeniably a victim of a devastating personal breach. His suffering also does not negate or compete with the systemic violation of women’s bodily autonomy and these are not mutually exclusive tragedies. When we allow a husband’s heartbreak to become the loudest part of the conversation, we are choosing the "safer" anger of a private scandal over the necessary rage required to confront a culture of sexual violence.
(Explicit terms for sexual violence are omitted to prevent this review from being flagged. It is not a self censorship. I know the legal distinction between general SA and more severe violations (r word). My goal here is to address the collective trauma of survivors. I have documented all statistical references used here so feel free to message me for the source link.)
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Is This A ‘Hellbound’ Experience?
With director and screenwriter Yeon Sang-ho (Train to Busan) and co-writer Choi Kyu-Seok basing the series upon their own webcomic and original production, this does leave viewers with one ultimate question; “ is ‘ Hellbound’ actually worth watching ?”
For jaded and cynical detective Jin Kyeong-hoon (Yang Ik-june) humanity has offered him nothing but pain and sorrow. Still trying to come to grips with his wife’s brutal murder and having a fractious relationship with teenage daughter Hee-jeong (Lee Re), Jin’s research into the cases leads him face to face with leader of the mysterious cult ‘ New Truth’, Chairman Jeong Jin- Soo ( Yoo Ah-in). The cult has pledged salvation for “ sinners” by spreading gospels of the angels and encourage them to “ repent”. However as episodes progress it soon becomes slowly apparent towards Jin-Soo’s true nature and the brutal goals of the group, with attorney Min Hye-jin (Kim Hyun-joo) pledging representation for the alleged “ sinners”.
The biggest thing to address about ‘ Hellbound’ is that it isn’t a show for the lighthearted. Whilst devoted fans of the webcomic may notice some subtle storyline changes ,the show is violent and not afraid to present brutal murders alongside people being combusted like human torches throughout the series.
Intertwined amongst the shoddy CGI monsters of ‘ Hellbound’ as well as alongside the spine-tingling OST by Kim Dong-wook, ‘ Hellbound ‘ expertly paces its descent into chaos, knowing when to slow down on abominable killings and when to present its moral deadlocks . From the rising corruption of religion and the cultural phenomenon in South Korea of hysterical puritanism, hypocrisy as well as the rise of extreme conservative views paradoxical to the insatiable appetite of society for violence through popular culture, ‘ Hellbound’ addresses a lot of issues without shame or embarrassment and with the entire purpose to expose current issues and realities in South-Korean society. However this is also where the series began to hit a rut after the midway point; it never really carried through these messages with regards to the medium of the series . Whilst some characters are used with a purpose, some seemingly quintessential main characters have rushed arcs or suddenly disappear without rhyme or reason, whilst the climax and rising tension of the drama often went on a downwards slope after the halfway point.
The acting front is admittedly a mixed-bag ( especially with some line deliverances by the supporting characters.) Of course whilst the main cast shone throughout, one of the most dynamic performances throughout the show was surprisingly Yoo Ah-In’s performance as fanatic cult leader Chairman Jin Soo .
Whilst main lead Jin Kyeong-hoon is admittedly a complex character type as the “ cynical cop” and female lead Hye-Jin as the “ attorney”, they often felt tightly crammed into their roles as stock characters tropes . This isn’t necessarily a bad approach per say and did give director and screenwriter Sang-Ho opportunities to reimburse old character tropes for his own gain, but it did little to really diverge these main leads from their expected decisions and actions, often leading them to be shoehorned into the plot ( as well as lacking more profound depth) rather than allowing the characters to move coherently within the contents of the storyline. For example a major subplot surrounding the series for Kyeong-Hoon is the murder of his wife. Whilst later revelations play briefly upon this subplot, the profound details surrounding Hoon’s reactions as well as his relationship with daughter as a consequence were left underexposed, and therefore lacked more sound emotional-depth also.
Of course getting back to our mysterious chairman it isn’t necessarily the case that he was executed as an entirely “ original villain” as after all Sang-Ho does enjoy playing upon Jin Soo as the “ calm and quiet” archetype. However where Sang-Ho creates mystery surrounding Jin-Soo is that he isn’t a “ redeemable antagonist with a painful past” or “twirling his moustache planning world domination”, but just a regular person with a megalomaniacal desire to deliver his warped sense of “ justice”. However whilst Jin Soo helped us to bring together our main characters and kept the storyline moving, his anticlimactic character arc and exit from the series raided more questions than answers afterwards.
This was often a major problem with ‘ Hellbound’- plot points which could’ve been meticulously executed onscreen or poignant for audiences to reflect upon, felt missed out completely by Sang-Ho’s imbalance of subtext against plot. For example even through the cinematography and as the director Sang-Ho never seemed entirely sure how he wanted to capture the world of the characters. Seemingly ordinary or gritty early episode scenes hinting at the unexpected, turned into moody and drab aesthetic shots of Seoul straight out of a noir crime series. This isn’t necessarily unheard of a director playing with mood or lighting to convey messages or by transcending genres. However , directors or cinematographers usually have a vision in mind when invoking these scenes for viewers. Sang-Ho seemed often uncertain even through the objective lens of the director with how this truly captured or presented the emotional mind-frame of his characters . . Adding to this Yeon and Choi weigh down each dramatic scene straight out of a jump-scare movie; the monsters’ attacks feel animalistic and playfully sadistic, but never truly added a more profound and impactful tone for audiences.
The ending of the series attempt to crank up the shock value to the maximum with the delivered revelations of the finale. However whilst the series does leave a more open ending through a cliffhanger major characters arcs, subplots and storyline moments were rarely tied together or felt more complete as a consequence.
So what is left to take from ‘ Hellbound’? ‘ Hellbound’ is a pacy supernatural thriller with an intriguing plot wrapped into six episodes. Aside from some dodgy acting by our side characters, the main cast were decent enough and the standalone performance by Yoo Ah-In did give the drama some undeniably charisma. However one of the major problems with the Netflix series is that it becomes lost in a maze of its own doing; subtext themes and plot were often lacking in depth and more profound deliverance, whilst even some of our main characters lost their gravitation to audiences by abrupt exploration and coverage alongside an incomplete ending. The series attempts to deliver a “ terrifying” experience through the CGI “ monsters” of the series whose design and presence onscreen felt insipid. Overall ‘ Hellbound’ is not a bad per say during a binge-watch session with an intriguing enough plot to keep you engaged, but certainly lacking within delivering a more sound impact for viewers also.
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This review may contain spoilers
I’m Your Sky & You’re My Sea.
Game recognises game, and my man LEE, has GAME! The boy had 6mins, 41secs (yes I counted) and some nonsense line about the moon and walking or something and he worked!! Effortlessly. *Standing ovation* the real MVP. Also, that scene in ep8 almost gave me a heart-attack. I was screaming, ‘Noooo P’Fah do not put our cute fluffy boo-boo’s hand there!’ LMAO, for a second I think we all forgot this show was from Domundi and they real thirsty over there.Listen, real talk, what’s in the water over at Domundi? Beauty juice, anyone? Do their dramas make me cringe, yes, do I keep rewatching? hell yes! One thing I’ll give them though, their dramas may be cringy but their face cards would never decline. In the first episode I was like, ‘are these models or actors?’ where the normal ugly looking humans at? where my people who roll up to school like we got ran over by a truck on the way?
Anyway, here’s my quick review checklist:
#1. Episode 1 had me rolling my eyes, judging. I literally said to myself. ‘Oh great, another childish show with nonsense plot. Literally what’s with all that cringe over a damn shirt? Give it a rest already.’ But by episode 3 my arse was going ‘ahhhhh why are they so cuteeeeeeeeeee. Sunday, where the eff you at? Come early!’
#2. The creepy vibes from Oh was so strong, like damn dude did you take extra courses for this or what? Thank God he disappeared halfway through the series and we all just forgot about him. He’s probably out there following that one dude who showed him kindness and still being creepy. #savethatonedude.
#3. Hia had me rolling my eyes after Real confessed his feelings. This child gave me a headache. Dude, you’ve been touchy touchy with your best friend and initiating stuff since episode 1, and now you wanna play Mary the virgin? Then of course, he’d make out with Real, and still say he’s not sure about his feelings. If only I could reach into the screen and slap him with a rubber chicken. No, every time he opens his mouth to lie about his feelings I go, ‘my brother, my brother, my brother, let us have peace. Go sit somewhere with your nonsense.’ Ain't no way his arse was still confused after that third kiss. Heck they should have married after that second kiss.
#4. Not gonna lie, I was bored the first few episodes, almost dropped this. And that one cringy scene where Rak shouted Fah’s name during that football game. Ahhhhh, I wanted to find some nice earth, dig a deep hole and just, lie inside. The secondhand embarrassment I felt...yikes. Man was out there having his High School Musical moment, and I wanted to disappear on his behalf.
#5. Also what the hell is up with Rak, a uni student acting like a child? Was he cute, sure, but what grown up acts like that? Bls needs to stop letting grown ups act so childish, it’s really unbecoming and nonsense.
#6. PUNLEE IS THE MAN: There was no nonsense on his part. He sees it, he likes it, he wants it, he gets it. I wish he’d have taught Hia a thing or fifteen, dude was wasting screen time with his nonsense.
#7. I did not care for the stupid misunderstandings from both the main and second leads. Especially that whole sequence with the confession at the airport. Boy you did not even wait to hear an answer and ran away to sulk at some abandon parking lot. Like??? Let us to be serious in this life people.
#8. The shock I got when Fah took Rak’s hand and led it south. I was like. ’NOOOOOO, not the baby, he’s not ready. He’s too innocent, please don’t do that! Stop it!’ Loved that he saw he wasn’t ready and stopped. The breath I let out. Fast forward to ep12, and I am singing 'The innocence is goneeeee.' Like, what angle was that even?
#9. Though, FAH did not waste 1 single second the moment Rak said he was ready. LMAO, my man was hungry!!! Rak grew up too fast. Tears. But it was done really sweet and beautiful, and it turned out Rak was not as innocent as I assumed.
#10. Episode 11 was so emotional. I went through anger, tears, understanding, then happiness for the two. We need to retire this whole episode 11 curse. For the love of all things bl, please, stop breaking our hearts!
#11. I repeat, PUNLEE IS THE MAN: For that one cafe scene alone, he’s officially my fav bl character of 2025.
12. FINALE: Everyone got their happy ending, so smiles all around for our couples. Liked how Rak's father apologised to Fah, and how mature Fah was about everything. Like how Rak sister has been supportive of him throughout this drama as well. That scene with Rak and Fah was... yeah innocence don't live here no more. Lee still the man! Hia and Real, about effing time.
#13. That theme song always had me doing a happy dance.
All in all. I enjoyed the stories of all the couples, they were entertaining even with the cliches and unnecessary misunderstanding. The plot wasn’t anything new or special, it’s been done in other bls. Fake dating turns real. The cast being new was noticeable, cuz the acting was nothing to write home about, so there’s a lot of room for improvement, but they still managed to hold my attention and kept me entertained so it was not time wasted. I will recommend this to anyone looking for a new bl to watche, especially Domundi lovers. It’s cute and fluffy and serious in some parts. I look forward to more from the cast.
Anywho, see you all for the next Domundi drama, my arse will tune in for anything Domundi.
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Despite vowing not to touch any more Thai BL after the unfolding disaster that was this year, I nonetheless pressed play on TharnType: 7 Years of Dysfunction (sorry, love) and here I am. I know this is the review you have all been waiting for.
Well, it's been seven years since Tharn and Type got together and refused to deal with any of their internal relationship issues. So here we are, kind of tired and muted and a bit sad after seven years of Tharn avoiding conflict because of his fear of rejection and Type being publicly in the closet because he refuses to admit he's gay. The two do nothing but bottle things up, have a kind of passive-aggressive fight and then have sexy times to cover the cracks. I suspect as viewers we're just supposed to enjoy the sexy times and not notice that this relationship is terrible. But it is. It's terrible. I desperately want both of them to break up and go find somebody else better suited to them. Or at least FINALLY deal with the issues in their relationship. Also, Tharn has these moments where he's absolutely f'ing creepy to younger gay men and it only reminds me that he was abused as an adolescent and nobody is doing anything about it. His abuser is practically living at his family's house. But at least he's no longer dating a literal child.
So it's seven years later and Type is struggling at work in probably the only plotline that is possibly about something (there IS a big difference between studying and working and dealing with workplace nonsense can be exhausting). And I'll expand on the implied point here - there is literally nothing else in this drama so far that is about anything. There is no plot. At all. The show is lacklustre and paint by numbers. Even the shoe-horned soft-core porn I'm supposed to be distracted by is phoned in. They devoted actual screentime to Type being jealous over a woman despite his boyfriend being completely 100% gay. And if I touched on the screaming misoygnism of that whole plotline I'd be here all week.
Tharn wants to get married because he think that means that Type will be his possession and can therefore NEVER LEAVE (marriage doesn't work like this, my damaged friend) and Type doesn't want to get married because if he marries a man he might have to admit he's gay and we can't have that because this is Thai BL and we all know GAY IS BAD. And of course you'll remember show completely glossed over this conflict at multiple points even though it's the main one. Possibly if Tharn needs constant emotional reassurance he shouldn't have spent seven years with a man who's already married to his closet and again - these two are TERRIBLE for each other. Break up! Do better. I get it, you love each other. It's not enough!
Since this show is unlikely to be about these two actually working out any of these issues but will inevitably find an external conflict for them to pretend they're a rock under siege then I should bow out now. But if I did then how could I reliably report back that TharnType is a bad show about a dysfunctional couple and you shouldn't bother getting invested.
This has been my much-anticipated review of TharnType: 7 Years of Ignoring All Our Real Issues.
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