Reviews

Entertaining storyline tainted by gratuitous midpoint & lackluster climax | FL's vexing self-guilt

"When the water is too clear, no fish can survive. If one seeks an uncorrupted rule, perhaps the first step is to cast away purity itself." - Mu Tian Ji

Looking back, I must admit I was a little inattentive during the first five episodes of this drama, which mostly incorporated the typical idol drama tropes I've grown tired of. However, everything shifted the moment the second male lead, Situ Ling, was introduced. His arrival was the definitive turning point that captured my attention and drew me completely into the narrative. It was not because I was bored or dissatisfied with the main leads, but rather because the energy and aura he exuded brought brightness to the romance that rivaled the male lead and elevated the drama's overall synergy—leaving me captivated and utterly hooked.

The story as a whole was, in fact, entertaining. I enjoyed the execution of the enemies-to-lovers trope and thoroughly appreciated how the plot gradually and consistently developed the main characters' relationship. It went from:

• Ming Yi trying to figure out how to navigate her life around Ji Bozai.
• To Ji Bozai relentlessly gauging, doubting, and guarding himself against Ming Yi's every action.
• To their mutual cooperation on several occasions to defend themselves against their enemies.
• To him slowly warming up after getting to know her better.
• To them finally developing feelings for one another and, eventually, falling in love.

The overall development of the first half was genuinely fun, gripping, and compelling. This dynamic was made even livelier and more interesting by the initially pure and completely smitten disposition of the second male lead, Situ Ling, toward Ming Yi; the emotional conflict and drama surrounding the second couple, Mu Tian Ji and Yan Xiao; and the combination of the ever-adorable Er Shi Qi (Twenty Seven) alongside the ingenuous and childlike yet charming Bu Xiu—our main leads' Companion Beasts who made the show increasingly enjoyable to watch.

My main issue with the story, however, arises at the midpoint shift, when Ming Yi firmly refuses to reveal her condition—which requires the Golden Millet Dream to cure her—to Ji Bozai. This is where the plot started to shatter and crumble, as it severely disrupted what had been a logically consistent run of the story, leaving me utterly baffled and infuriated by how stubborn the FL was in sticking to her principles.

Believe it or not, I strived to look at Ming Yi's perspective with a pair of objective eyes—trying to understand where she was coming from, while considering and justifying her every action and decision. I thought that it might have been highly influenced by the strong guilt over her continuous lies to deceive him, even after he had laid himself completely bare to her. However, I don't think it was entirely necessary to go as far as letting herself suffer to death just to prove a point on how remorseful she was. It may sound noble, yes, but in reality, it was a display of insanity in the form of self-sacrifice—an act of an overactive conscience that I find to be totally uncalled for. This is why, despite my genuine attempts to consider her upbringing, experiences, and every other aspect there is that must have influenced her to act that way, I always still ended up frustrated. Even Ji Bozai himself had expressed his acceptance, trust, and leniency toward her, hoping that she'd also come clean and be true to him. Yet, she still chose to remain firm and continue with her theft scheme. Like gurl? I am so sorry, but what is this unnecessary extra drama for? *Exasperated sigh*

At one point, I even thought she was just being incredibly egoistic—guilt-tripping herself because, unlike Ji Bozai, she couldn't be completely genuine with him. Which later translates to her character becoming inconsiderate to the people around her. She thought she was the only one who was going to shoulder all the repercussions, but little did she know that her choices and sufferings were connected to and could greatly affect the ones who deeply cared for her—namely Er Shi Qi (Twenty Seven), her companion beast. His sacrifice to keep her safe is what cemented my irritation toward Ming Yi's self-inflicted, dramatic plight. I was so extremely furious at that time; it itched my skin to think they created a dramatic scene for this plot when it was completely avoidable. If she had not been overly self-flagellating and excessively guilt-tripping herself, he would not have had to sacrifice himself, and they would not have been in that miserable situation at all. So, it was such a relief that they created a redemption plot to revive Er Shi Qi later toward the climax. It would have been truly unacceptable if he had died, not in a battle, but by sacrificing himself for a cause that was absolutely preventable.

This is totally uncalled-for, nonsensical writing. It's just not convincing at all, considering that even Ji Bozai lied and deceived Ming Yi for a good amount of time. The only difference is that he gradually learned to accept, trust, and be truthful to her, while she remained forever stuck in the sturdy bubble of guilt she created for herself, until Ji Bozai finally burst it and discovered her true objective and real identity.

To some, Ji Bozai's decision to leave a trap using the Golden Millet Dream to catch Ming Yi may seem like a contradictory action, given how he mentioned he trusted her. But for me, it was his high-stakes gamble on their relationship, born out of desperation. He knew that she was still keeping secrets from him, while he, in numerous instances, never failed to make it clear that he was no longer hiding anything and would understand her objectives as long as she genuinely bared herself to him. It was his final ray of hope to keep his faith in her—a way of telling her that he could overlook everything and that her honesty was all he needed in return. Consequently, this turned from a clever yet petty trap into a tragic confirmation of her betrayal and fake sincerity. By being caught in the act of stealing the GMD, she proved that she was still hiding her real agenda despite feigning disinterest over it on multiple occasions. This turn of events instantly crashed their fragile relationship, the foundations of which greatly relied on Ji Bozai's genuine love and affection but lacked Ming Yi's trust and sincerity. It was like a brutal slap of reality, proving that Ming Yi's true intention and goal all along was the GMD, which automatically invalidated the credibility and sincerity of the feelings she had shown him. It was also an indirect confirmation that she had approached and stayed with him for the GMD, and that alone. What's worse is how she refused to tell him the truth even after getting caught, and despite Er Shi Qi's persuasion to get her to tell Ji Bozai the truth! Good grief!

This brings to mind a scene where Ji Bozai told his master's (Bo Yulan) portrait that he didn't care who Ming Yi was or what her real motive was; all he cared about was that her feelings for him were true. He even went ahead with openly letting her into his spiritual well and undoing the spell on the Golden Millet Dream, ultimately putting his guard down. It could have been the perfect chance for her to confide in him and tell him the truth; however, Ming Yi still opted for an irrationally stupid path instead of sincerely telling him the actual reason why she had approached him. She really made me pull my hair out in frustration! She didn't want him to go against his master's wish of prohibiting the GMD from resurfacing again, so she chose to steal it instead? My goodness! Make that sh*t make sense!! Everything could have gone the peaceful way, keeping the narrative shorter and unspoiled, but she still chose otherwise. I guess, I will never fully comprehend her rationale for choosing that outrageously dumb path, which could have been completely avoided in the first place. In the end, I have decided to label it as her noble yet utterly stupid self-flagellation—her compunctive guilt, which acted up and went far above and beyond!

I understand that the writers wanted to add drama and conflict to their premature relationship; however, the reasoning and the way it was executed were both so stupid that it left me wondering and asking myself: What is up with this unnecessary additional drama? *Shakes my head*

To conclude this part of my review, let me say that the whole midpoint plot greatly derailed the story for me. Her gratuitous penance and extreme exhibition of self-reproach truly pissed me off. It was just extremely baffling how she chose to steal it, even when Ji Bozai had already given her permission to take it and didn't really mind defying his master's will since it was for her. In the end, it was still used to save her, right? Grr! To set the record straight here, let me say that Ji Bozai was open to her taking it, but definitely not through stealing it. He only got mad out of sheer disappointment when she decided to steal it instead of sincerely asking him for it. This is really the plot point that changed the trajectory of the story, and it easily became my biggest frustration with the show.

Fortunately, after all that illogical drama, the narrative finally got back on the right track. The unraveling of both the main leads' true identities was executed flawlessly, untangling and answering all the hidden knots in the plot. This section of the story also greatly exhibits Ming Yi's profound understanding of Ji Bozai, which redeemed her character for me! I'm glad the writers finally came to their senses. If not, I would have had unfinished beef against Ming Yi until the end.

The climax, on the other hand, was a total letdown. They built it up to be the absolute pinnacle of the drama, only for the execution to fall completely flat. My heightened anticipation went right down the drain because the ending was so perplexingly underwhelming and anticlimactic. I can't wrap my head around how a single combined attack—one that didn't even look that formidable—instantly destroyed the massive, seemingly indestructible Sky-swallowing array. Like, how does that even make sense? I am completely at a loss for words. All I can say is that it was incredibly disappointing.

On the bright side, I am glad they at least gave us a satisfying happy ending. I particularly adore the Ji Bozai drunk scene. Heaven knows I was feeling kind of sad that I didn't see much of Neo Hou's adorable side in this drama, but I was immediately struck with great joy upon seeing him acting all cute and mushy during the drunk marriage proposal scene. Let me also just commend the cinematography of this scene, especially the backdrop and the high-angle shot. It captured the romantic atmosphere of their kissing scene perfectly. I am so grateful! Cravings satisfied! Therefore, I would say that this greatly compensates for the ridiculous midpoint plot and underwhelming climax they served us with.

I hereby conclude that the writers of the midpoint plot and the climax are either the same person or somehow related. Why? Because they both write such crappy plot.

Lastly, it's ironic how the character (Yan Xiao) whom I initially loathed for being servile turned out to be a genuinely nice person, while the character (Situ Ling/Chao Yuan) I initially adored for his absolute loyalty and purity turned out to be the final antagonist, whom I now hate and pity for how miserable and despicable he has become.

"To cower before the possibility of failure is to set ourselves up for failure. You don't surrender to your fate. You write your own fate." Ji Bozai

Story - 9.0 - Despite the underwhelming execution of the climax and midpoint plot that greatly spoiled my watch experience, I must say that I still enjoyed and was incredibly entertained by this show. I love all of the comical scenes, especially the ones that revolve around Er Shi Qi & Bu Xiu. Their chemistry is really 'giving.' Will it be strange if I say that they're my favorite ship in this drama? I swear, I could create a BL story out of them. Hahaha!

Acting/Cast - 10, The actors' and actresses' execution was spot on! Like, there's nothing more I could ask for. Heck, I can't even bring myself to hate the antagonistic characters because of how brilliant their performances are. My standout performances here are Yu Cheng En, He Nan, and Yu Yao. Special mention to Lu Qi and, of course, Neo Hou, who never fails to captivate me every time.

Music - 10, Truly one of the rare dramas that has an excellent roster of beautiful songs—the ballads! I can literally listen to the entire soundtrack on repeat multiple times.

Rewatch Value - 9.0, The poor writing of the midpoint plot and underwhelming execution of the climax really tainted this drama for me. I still had an enjoyable time watching this, though.

Overall - 9.0, If only they had not messed up a couple of times... I still blame the writers for incorporating such poor, irrational, and cliché writing.

IF you find my review helpful please let me know.

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It tried to do too much all at once and then did too little

I think the series would've been a lot more enjoyable and focused without the rival plot an an ex-boyfriend who offed himself. Characters don't need a sad backstory to be interesting. There is nothing wrong with a sweet country side romance between a bratty city boy and a handsome farmer daddy. A slow-burn about their daily lives on the tea farm would've been more than enough to entertain me. Sprinkle in a couple of cute and sexy scenes and we're all good. I really don't get why they tried to turn Sila into a typical CEO-character and had him quarrel with another company's heir. He's a farmer for god's sake. Instead of having him run around in a suit in his fancy hotel/office meeting room, show him topless while doing manual labor on his farm. Let him carry around barrels of tea wine, have him build a fence, pour cold water over his hot naked body idk There were so many options, but alas... And by the way, where was the daddy kink? I'm not the biggest fan of it personally, but given the name of the series, I really thought we'd get at least some kink-representation... That was pretty much the reason I even started watching the series.

Oh well, all in all it was an ok watch. They tried.

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We Are All Trying

One thing that amazed me about this drama is the number of different characters and how we somehow grew attached to all of them. They are all incredibly endearing, and you can relate to each of them in one way or another.

There were times when I felt like I had enough of this drama, yet somehow I already miss them. It is a slow, healing drama about passion, dreams, and life. It reminds us that regardless of what we are going through, we are all trying our best
.
Koo Kyo Hwan is definitely not an actor I actively follow, but I know that when he is in a drama, it is going to be good. On that note, Go Youn Jung is the queen of picking scripts. Her range will forever amaze me and how different each of her characters feels from the last.

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The most fascinating aspect of Double Helix isn't the romance, the conflict, or even the tragedy. It's how the series dismantles the illusion that morality is ever simple.

Too often, audiences approach stories looking for someone to root for and someone to condemn. Double Helix refuses to satisfy that expectation. Every character exists in the uncomfortable space between victim and perpetrator, where past wounds influence present choices, but never completely erase personal responsibility.

What makes the writing so effective is its understanding that people rarely become destructive overnight. Harm is cumulative. A childhood deprived of emotional security, relationships built on fear rather than trust, societal expectations that demand conformity over authenticity, and years of unresolved trauma gradually shape the way each character understands love. By the time they begin making morally questionable decisions, those decisions already feel logical to them.

This is particularly evident in the relationship between Lu Feng and Cheng Yichen. Neither of them loves in a healthy way, but neither is incapable of genuine love either. Their greatest tragedy is that affection alone cannot overcome emotional damage. They continually mistake endurance for devotion, sacrifice for love, and control for protection. The more desperately they try to preserve their relationship, the more they undermine the very thing they are trying to save.

What I appreciated most is that the drama doesn't romanticize suffering, even though suffering is at the heart of the story. Pain is never portrayed as something that automatically makes a person kinder or wiser. Sometimes it makes people fearful. Sometimes it makes them selfish. Sometimes it convinces them that hurting others is the only way to avoid being hurt themselves. That is an uncomfortable truth, but also a deeply human one.

Another strength of the series is its commitment to consequences. Emotional wounds don't disappear after a heartfelt confession. Trust cannot be restored simply because someone regrets their actions. Every choice leaves scars, and the characters are forced to carry those scars rather than being rescued by convenient redemption.

For me, Double Helix succeeds because it understands that empathy and accountability are not mutually exclusive. I can empathize with why a character behaves the way they do while still recognizing the damage they cause. In fact, that tension is exactly what makes the story so compelling. It asks us to resist easy judgments and instead examine the fragile intersection between trauma, choice, love, and responsibility.

This isn't a story that tells us who deserves forgiveness. It's a story that asks a far more difficult question: How much of who we become is shaped by our circumstances, and at what point do our choices become entirely our own? That question lingers long after the final episode, which is why Double Helix stayed with me far longer than many dramas with far happier endings.

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One of the biggest mistakes viewers can make while watching Double Helix is expecting the characters to fit neatly into the categories of "good" and "evil." This story simply isn't written that way.

Every significant decision in the drama carries a moral cost. The characters are constantly forced to choose between competing values: love or dignity, loyalty or justice, forgiveness or self-preservation. The tragedy is that there is rarely a choice that leaves everyone unharmed. Someone always pays the price.

What impressed me most was the way the series separates explanation from justification. It carefully explains why characters become controlling, resentful, manipulative, or emotionally withdrawn, but it never suggests that these behaviours are acceptable. Understanding where someone's pain comes from is not the same as excusing the pain they inflict on others. That distinction is what gives the writing its emotional maturity.

Lu Feng is perhaps the clearest example of this. He loves intensely, but because his understanding of love has been shaped by fear of abandonment and a need for control, that love often becomes destructive. His actions are difficult to defend, yet they are psychologically coherent. The drama allows us to understand the origins of his behaviour while still confronting us with its consequences.

Yichen's moral complexity is quieter but equally compelling. His choices are often interpreted as weakness, yet they stem from a lifetime of compromise and emotional suppression. He repeatedly sacrifices his own happiness to preserve peace, believing that enduring suffering himself is preferable to causing it for others. Ironically, that silence often creates even greater suffering, reminding us that inaction can be just as consequential as action.

The brilliance of Double Helix lies in its refusal to grant moral immunity to anyone. Love does not erase accountability. Trauma does not erase responsibility. Good intentions do not erase harmful consequences. Every character is required to live with the results of their decisions, no matter how understandable those decisions may be.

Perhaps that's why the drama feels so unsettling. It doesn't offer the comfort of clear moral answers. Instead, it asks us to sit with contradiction: a person can love deeply and still be abusive. A victim can become someone who hurts others. A noble intention can lead to irreversible damage. None of these truths cancel each other out. They simply coexist.

To me, Double Helix is less a conventional romance than an exploration of how people are shaped by the environments they survive, the relationships that define them, and the choices they make when love collides with fear. It isn't asking us to decide who deserves our forgiveness. It's asking whether we can acknowledge the full complexity of human behaviour without reducing people to either monsters or saints.

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"To understand is not to forgive." That sentence perfectly encapsulates Double Helix.
One criticism I keep seeing is that the characters are "toxic," "abusive," or "irredeemable." While those labels aren't entirely wrong, stopping there misses what the drama is trying to explore. Double Helix isn't interested in presenting morally righteous characters. It examines what happens when love develops in an environment dominated by fear, power, emotional neglect, and social prejudice.


Lu Feng is probably the most controversial character. Many of his actions are controlling, impulsive, and at times indefensible. But the series repeatedly hints that these behaviours are rooted in the way he was raised. Growing up in a family where love is conditional and obedience is valued above emotional expression leaves him emotionally stunted. He confuses possession with protection and control with security. His greatest flaw is not a lack of love, but his inability to express it in a healthy way. That doesn't excuse the harm he causes, but it explains why he believes that holding on tighter is the only way to avoid losing the person he loves.



Cheng Yichen is often misunderstood because his passivity is mistaken for weakness. In reality, his silence is a survival mechanism. Unlike Lu Feng, who externalizes his emotions through anger and control, Yichen internalizes everything. He has spent years prioritizing everyone else's expectations over his own happiness. His decisions often appear frustrating because they are driven by fear, guilt, and self-sacrifice rather than desire. He isn't indecisive. He has simply been conditioned to believe that his own needs matter the least.
What fascinated me most was how both characters repeatedly hurt each other while genuinely believing they were acting out of love. Neither possesses the emotional tools to build a healthy relationship because neither has ever experienced one. Their tragedy is not the absence of love but the absence of emotional maturity, communication, and psychological safety.
The drama also refuses to make family and society passive background obstacles. Homophobia, rigid family expectations, and the pressure to protect family reputation are active forces shaping every decision. Many of the characters don't choose freely. They choose the option that seems least destructive within a system that has already limited their choices. Personal responsibility still exists, but the story insists that responsibility and circumstance can coexist.



What I appreciate most is that Double Helix never asks the audience to celebrate harmful behaviour. Instead, it asks us to confront an uncomfortable truth: people can be victims and perpetrators at the same time. Trauma can explain cruelty without absolving it. Love can exist alongside manipulation. A person can be deeply devoted and deeply damaging simultaneously.



That moral ambiguity is the drama's greatest strength. It trusts its audience to wrestle with contradictions instead of handing out easy heroes or villains. Whether you ultimately sympathize with Lu Feng or Yichen is less important than recognizing that both are products of wounds they never learned to heal.


Double Helix isn't a romance about perfect love. It's a psychological study of how love is distorted by trauma, power, and fear, and how two broken people struggle to find each other despite carrying the weight of everything that broke them in the first place.

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Background Motive is the only trash.

A trauma experienced by an 8-year-old child can certainly leave a wound, but it is highly unlikely to turn into deep-seated resentment. In particular, I don't believe that a brief, hours-long encounter leading to dissatisfaction in an 8-year-old would escalate into a deeply rooted trauma. A 13-year-old teenager would be a different story. Based on Child Psychology and Mindset Development, I analyze that it wouldn't naturally escalate to this extent.

However, reflecting on my dissatisfaction with Episode 6, the narrative flow itself reveals that the events and the story being told by the boy do not feel like a novel written with a meticulously planned beginning, middle, and end that was later refined. Instead, it feels more like a travelogue or a collection of memo notes, unfolding spontaneously day by day based on whatever happens next. Therefore, given the twists and turns of the plot, I can only conclude that the Professor is just a big fool—blindly believing every single line and fully romanticizing everything created by the storytelling prowess of that boy.

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relationally deep

this drama handled so many things well. lots of times I’ll watch a drama and once the couple gets together, it’s so boring wi th nothing left to the story. this drama didn’t do that at all. we don’t find out some important information until almost the end and they tied it up nicely.

also the couples in this were so well done. lazy husband of pregnant wife and unappreciative husband of long time wife are both redeemed. I appreciated how it showed these kinds of relationships. these clueless men have no idea what they’re doing wrong and we get to go through their process of realization.

also I couldn’t really get over the kids. they were such a cute addition and their tears made me cry more than anything else.

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This was everything I'd hoped for.

(I got a few questions at the bottom of this review if anyone wants to answer them)


Goddess Bless You From Death had everything I love: horror, mystery, romance, humor, you name it.

It is such a beautifully shot, atmospheric show. Even the abandoned/dilapidated buildings had a haunting beauty to them and the way they were shot. The plot was just complex enough to keep you wondering and guessing, but not too complex that you had a hard time following along. The makeup for the deceased/sacrificed characters was so creepy I will forever have nightmares about The Split Mouth Ghost and the Hollowed Eye Ghost.

I had no clue about one of the ghost kids being Thup's half-brother, but I did have my suspicions about Aisoon being Atikun. Overall, I was hooked from the first episode and loved every second of it. I enjoyed seeing an actual relationship with Darin and Sey since we didn't get much in PitBabe. I think their chemistry can make them a powerhouse in the BL world. (But maybe lose the red/pink hair) I love puppydog Pooh and tough Pavel, but I would love to see the roles reversed in the future.

I still have a few leftover questions, so if you read this and have the answers, let me know.
* Who was Bau, and why was Atikun/Asioon crying over their body and singing happy birthday to them? We know he had two kids, Bom by Chaba and Thup by Dao, so was Bau supposed to be another kid of his?
* When we start the show, the seven body ritual was completed already. Why was it restarted? From what I saw, it wasn't interrupted; Thup found the doll by the tree later on. So why was the ritual repeated so soon?
*What was the point in showing the Hollowed Eyed Ghost killing Mesa? Was that just a way to connect Mesa and Thup since they could both see ghosts?

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When guidance becomes possession and talent becomes a weapon

Notes from the Last Row is a slow-burn, character-first drama that makes its power in small, exacting moments rather than plot fireworks. At its centre is Heo Mun O (Choi Min-sik), a once-promising writer turned cynical professor whose life is reshaped when he notices Lee Gang (Choi Hyun-wook), a reticent student with an unsettlingly original voice. What begins as mentorship soon tilts into something darker: Mun O’s hunger to reclaim meaning and Lee Gang’s brutal, unguarded talent form a combustible dynamic that the series explores with clinical intensity.

Choi Min-sik anchors the show with a layered performance — wounded, charismatic, and quietly menacing. He makes Mun O feel simultaneously sympathetic and unnerving; you understand his motives even as you recoil from his choices. Choi Hyun-wook matches him in a subtler register. As Lee Gang he conveys an eerie maturity and emotional restraint that make the character’s eruptions and manipulations land with real weight. Their scenes together are the show’s strongest currency: electric, unpredictable, and often painfully intimate.

Supporting players deepen the texture rather than divert attention. Huh Joon-ho’s Kim Su-hun and Kim Yoon-jin’s An Eun-ju provide moral counterpoints and human stakes that keep the central pair from becoming an isolated experiment. Jin Kyung as Cho Hyeon-suk offers quiet solidity; her presence adds needed shading to the story’s ethical questions.

The series excels at tone and atmosphere — muted cinematography, careful pacing, and a melancholic soundscape underline the themes of authorship, ownership, and the cost of ambition. It deliberately refuses tidy moralizing: characters are flawed in ways that make judgment complicated, and the show invites you to sit with that ambiguity.

Pacing will test some viewers. The narrative leans on conversation, implication, and psychological escalation rather than action, so those expecting a conventional thriller may find it slow. But if you appreciate character studies where tension is born from intimacy and moral compromise, Notes from the Last Row rewards patience.

Who it’s for

Fans of performance-driven dramas and psychological mentorship stories.
Viewers who like moral ambiguity, slow-burn tension, and strong lead work.
Not ideal for audiences wanting fast-moving plots or clear-cut heroes and villains.

Bottom line
A smart, unsettling study of influence and obsession carried by two extraordinary leads. It’s less about plot twists and more about the corrosive emotional logic between teacher and student — a painful, compelling watch for those who value acting and character over spectacle.

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Fun to watch

It was really enjoyable to watch. This one was listed on Netflix as “Leaving Soon”, it’s a shame I didn’t watch it sooner, because I would have loved to watch it again. The lead actors did a fantastic job. The chemistry between the two leads was wonderful to watch. Especially when they laughed together, particularly when the male lead said or did something funny. I was hooked until the very end, especially because of the twists and turns that unfolded throughout the series. And I haven’t even mentioned the leads’ outfits yet, the male lead, in particular, really stood out with his suits and jackets.

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I Actually Liked It??‍♀️

Quick Overall Thoughts:
The ship, their chemistry, the acting by the cast members, and the romance plot carried this show. The production value is incredible as well. However, the plot involving the police case could've been better. It wasn't explored deeply enough for the issues it tried to handle/bring to light.

I do enjoy watching this ship, so some may call me biased. But I do feel that, despite the issues further outlined below, this is a good show to give your time to. While it still deals with deep family and societal matters, it is a much lighter instalment than what we got in 'My Stand In,' and a chance to see what else the actors bring to the proverbial table

Okay, now for my actual thought spewing...👇🏾

What I Liked

🍓The Acting - The people in the cast did their job well. I saw Up back in 2022 in 'Lovely Writer,' then spent 2 years hoping he'd grace my screen again. I'm glad he and Poom chose to be a pair coz I get to see more of him. Poom, the man, blew me away in his role as Joe in 'My Stand In'. And now in this show, he once again proves that he is not a one-hit wonder. May the BL gods and whatever powers that be in that world keep giving them more roles, interesting scripts, good production budgets, and good directors.

Ps. I feel like I should give a shout-out to the actress who played Wayu's sister. Her crying in their reunion scene remains stuck in my mind. It genuinely felt and sounded like she was crying from the very depths of her soul.

🍓The Chemistry - The ship never fails to deliver on the chemistry front, and I love that they choose to go all the way in delivering the scenes as they are required.

🍓The Comedy - From the bits of the trailer that I'd seen b4 the show aired, I'd expected the show to be more on the more serious and sensual side. So you can imagine my confusion and worry after seeing all the comedy in the 1st 2 episodes. It is no secret that Thai comedy is usually a miss for me. However, I liked it in this one. It wasn't overly done and didn't overwhelm or take away from the show. I appreciate that toning down from what we're generally used to

🍓Wayu's & Tai's Friendship - Somebody once left a comment saying that these two gave off the vibe of 'two idiots sitting together telling each other 'exactly!'' and I couldn't have put it better if I tried. They are so idiotic. Great friends, but both are dumbasses. I still cannot believe that Wayu's police spy finsta was never discovered by the bad guys they were trying to catch and used against him/Krit.

🍓The Plot - It is different, and I appreciate that. While some aspects could've been explored further, I appreciate that we ventured outside the box. While Wayu was still in uni, this is not a university-based series. It is also more grounded in real-life issues that both characters face, including familial, financial, career, and societal concerns.

🍓The pole dancing - I liked most of the dance scenes in the Moonlight bar. However, the pole scene... that takes the entire cake. I have always had (and still have) a deep respect for people who can do pole. While I do agree that the dance is sexy, I think what always wows me more is the balance, as well as core and upper body strength needed for pole tricks. By God, I too shall learn how to do pole b4 I exit this earth.

🍓Rose - The actress is talented and beautiful. The character she played was a good friend and offered good comedic relief. We should've seen more of her

What Could've Been Better

🍓The Plot - I think romantic shows that explore serious topics often have a problem balancing both sides.
For example, I loved the investigation side of 'Goddess Bless You From Death,' but I felt that the romance took a back seat. In this one, I loved seeing their feelings grow, their individual struggles with both families, Wayu's financial matters, both characters' relationship with Singto, etc., but felt disappointed by the investigative side.

The police plotline had some potential. Things like
a. Krit navigating being a superior at work while simultaneously being looked down upon since he likely got his title due to nepotism

b. The sex trafficking and human organ trafficking thing - We could have gone deeper with this. Imagine all the corrupt politicians and likely police officers who also benefited from the lives lost due to the organ and sex trafficking ring

c. Ice and his creepy darkweb sex, p🌽rn, and murder business. That likely could've been tied to point 'b' above
I think they'd have been really interesting had we seen more of these things. Could've also tied up the loose ends of the investigation plot better. The bad guy storyline just up and disappeared ater the arrest.

🍓The fight scenes - They could've been directed better TBH. They don't look realistic/convincing, and some feats were outright impossible

🍓 Krit's Parents - Just thinking about them makes me mad all over again. Episode 9 really hurt me. Unless I'm mistaken, this is the episode in which they break up because of the threat that Krit's dad made. The same episode where Krit's mother heard her son breaking down and weeping in his room, and simply walked away, doing nothing. Changing nothing. Just chose to stand behind her husband as he once again forced his son to get married. This time it's even worse coz they know what his sexual orientation is, but their wants and position in society matter more than their kid.

The mum makes me livid. She just sat there doing nothing, but it's framed as though she's the better parent because she didn't abuse her son or actively push him to get married. Yeah, she didn't do all that, but she sat passively while her husband did it. She turned a blind eye to it all, and that makes her just as bad, if not lowkey worse IMO. And let's not forget how she never even knew that her son hated potatoes!!

As for the dad.... Man, I'm tired of this man. Idk about the actor IRL. He's probably a great man. I wouldn't know. But, like..., why is this man a horrible dad in every universe I see him in? He was shit in this drama, he is shit in the currently airing 'Ticket to Heaven', and I'm currently on EP 6 of 'The Evil Lawyer' and guess what....he's a crappy dad and husband in there too!!!! Does the entire Thai industry have this man on speed dial when they need someone to play a homophobic dad and shitty husband? My God!

Now back to the show. After all the shit they put their son through for (I'm assuming) 30 years of his life, all that gets sorted (read swept under the rug) in point 5 seconds because the mum sees Wayu take care of Krit at the hospital and the dad hears that Wayu is a talented and award-winning interior designer? This once again shows how uncaring and classist Krit's parents were. Horrible people.

I do love that Krit got to be happy and accepted by his family, and they accepted the man he loved and his poorer family, too. I think he deserved to feel that familial love from his family after being denied it for so long. But still... I'd have liked a better resolution than what we got.

🍓Wait...now that I think of it, wasn't Wayu in school to be an architect? How did that change to interior design?

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A Beautiful Blend of Fantasy, Mystery, and Romance

A joyous wedding at the Wei Manor is intruded by six highly skilled, uninvited guests: two cunning nine-tailed fox spirits, two Shilin guards from the temple of the Dragon Deity, and two formidable demons. Each serves a different master, each has their own agenda, yet all have come searching for the same person—Xiao Wei, a fugitive from the Formless Moon Fox Shrine and the prime suspect behind a series of brutal murders.

The Shilin guards are particularly intriguing. One is the temple's respected commander, while the other appears to be an ordinary, seemingly powerless young man. Yet behind closed doors, even the commander obeys his every command. Who is he, and why does he command such unquestionable authority?

Their investigation soon leads them to a temple devoted to the God of Matchmaking, but this murder case is merely the first piece of a much larger puzzle.

What I enjoyed:

Veil of Shadows is a captivating blend of fantasy, romance and mystery, wrapped in gorgeous costumes, impressive visual effects, a beautiful soundtrack, and a cast that both looks the part and delivers strong performances.

The story is its greatest strength. Rather than ending with the resolution of Xiao Wei's case, that investigation opens the door to an even greater mystery. Powerful factions are secretly competing for the Dragon Deity's divine power. Can the current Dragon Deity—the last survivor of his dragon clan—protect that power with only a handful of human Shilin guards? And what terrifying force is Xiao Wei really running from?

The plot is cleverly layered. There is never just one secret waiting to be uncovered. Nearly every major character hides another identity, another past, or another truth—sometimes even from themselves. As the story unfolds through multiple timelines and repeated attempts to change fate, each journey reveals new consequences. Every solution creates another problem, keeping the suspense alive throughout.

Visually, the drama is a feast. Joseph Zeng and Tian Jia Rui are effortlessly charismatic, while Ju Jing Yi and Chen Du Ling are absolutely stunning in their costumes and styling. There are attractive actresses throughout the cast, but this is one drama where the handsome male cast almost steals the spotlight. More importantly, both lead couples share excellent chemistry, making the romantic moments genuinely enjoyable.

What I did not enjoy:

There are only a few shortcomings.

One mystery near the ending is left unexplained. Ji Ling brings the nine-tailed fox fairy back to the present, yet the present-day Ji Ling is still the innocent young man who has never experienced the tragic events of the earlier timeline. So what became of the older Ji Ling who brought the nine-tailed back? That loose end left me wondering whether it was intentionally left open or simply overlooked.

The plot can also become confusing at times. With its multiple timelines, intertwined storylines, and numerous hidden identities, it occasionally demands your full attention. Fortunately, most of the confusion is eventually resolved as the pieces gradually fall into place.

Final thoughts:

Although I would not place Veil of Shadows among the absolute top-tier fantasy dramas, it is still a thoroughly enjoyable watch. It offers an engaging mystery, memorable characters, beautiful production values, and enough twists to keep you guessing until the very end. If you enjoy fantasy dramas filled with hidden identities, ancient legends, romance, and time-bending mysteries, this one is well worth your time.

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I watched this for Cheng Lei... and honestly, I have no regrets.

I'm not even going to pretend I started this drama because of the story. I watched it for one reason and one reason only: Cheng Lei.

I absolutely love him as an actor. His acting is always so natural, and let's be honest... his smile alone is enough to make me start a drama. So when I found out he was in Footprints of Change, I immediately gave it a try.

Everything involving his character was enjoyable to watch. He completely kept my attention, and I genuinely liked every scene he was in. His chemistry with his co-actor was completely mind-blowing. their chemistry is top notch !

That said, once his part was over, I lost all interest. I didn't really want to continue watching the rest of the story or the other characters, so I decided to drop the drama. It wasn't because I thought the show was bad. I was simply there for Cheng Lei, and once I got what I wanted, I was satisfied.😭

So if you're watching this for the overall story, I can't really give a fair opinion since I didn't finish it. But if you're a Cheng Lei fan like me, his scenes are definitely worth watching! 😭❤️

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