Reviews

A tsundere office rom-com on the surface, something much deeper underneath

I came into The Early Spring expecting a standard boss-falls-for-junior office romance. What I got was one of those dramas that gets so under your skin you feel a bit empty when it ends. I watched it daily, and I genuinely put off the final episode for three days because I didn't want it to be over.

THE STORY
Set in 2013 at a Beijing advertising agency, it follows Flora, a fresh graduate who ends up working under Luke, a brilliant, arrogant and famously cold creative director who tells her on day one she's "not suitable". What starts as a boss-from-hell dynamic slowly turns into something much more complicated, spanning six years

On the surface it's all the classic tropes. Underneath, it's a surprisingly thoughtful story about communication, pride, class, grief and learning to let love in. It doesn't shy away from heavy themes either, and it handles them with real care.

LEADS
Luke will test your patience. He's not a red flag so much as emotionally unintelligent: a man who shows love through actions and never says a kind word when it would actually help. You'll want to shake him for a good chunk of the drama. But the show never pretends he's perfect, and it lets him grow, which makes the payoff so satisfying.

Flora is the real heart of the show. Her growth from a naive junior into a woman who stands as his equal is the best thing about it. She's not the prize at the end of his story. Her journey IS the story.

THE SUPPORTING CAST
This is where it shines even brighter. Lumi is the ultimate girl's girl and an absolute scene-stealer. Tan Mian is the best friend everyone deserves. And the flatmates carry some of the most emotional storylines in the whole drama. Plus there's a dog, and the dog is iconic.

THE MUSIC
The OST is gorgeous. "Her" by Liu Yuning, the opening theme and Luke's character song, became my cue that something was about to happen between the leads. The second it started, you just KNEW.

WHAT DIDN'T WORK
The constant miscommunication can be maddening (yes, it's the point, but it tests you). Luke's cold moments are sometimes genuinely hard to forgive. And there's a stretch in the middle where Flora's growth stalls before the back half more than makes up for it.

SHOULD YOU WATCH IT?
Yes, if you like a slow burn, a flawed male lead who actually has to earn his happy ending, and a heroine who grows into her own power. The finale sticks the landing, which so many dramas don't. Bring tissues for the back half.

9/10. The bitter winter finally gives way to early spring, and it's worth every episode.

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Impressive drama with little emotional resonance

365: Repeat the Year is a genuinely novel drama. It brings something fresh to the mystery, thriller and sci-fi space, and if you're an avid aficionado of these genres, I would absolutely put it on your K-drama essential viewing list.

It does a lot right. The premise is inventive, the plot is well thought out, and the pacing does enough to keep you engaged. It understands the mechanics of a good thriller and delivers some best in class twists. My misgiving was lack of emotional resonance.

Hence the 6.5. And for the record, this is a strong 6.5. I genuinely wish MDL would let us score in decimal increments because I'd happily give this a 6.7 or 6.8. I'm just not quite convinced it deserves a 7.

Back to the lack of emotional resonance issue: it reaches for some rather grand themes like fate, destiny, soul connections and the possibility that our lives are somehow intertwined but I never quite felt those ideas in my viewing experience. The characters talk about them, the screenplay gestures towards them,BUT the drama rarely gives us those searing moments that make you stop and wonder whether these things might actually be a thing.

You know the kind of scene I mean: the one that makes you pause, rewind, stare , cry at the screen and contemplate for a minute. I needed more of that. I needed the emotional and philosophical implications of the premise to hit me as hard as the competent plot did.

And that is particularly frustrating because the cast has such great chemistry, especially the leads. There's a will-they-won't-they dynamic which is handled well. There is enough warmth and possibility amongst all characters to give the story a much stronger emotional foundation.But the screenplay never quite capitalises on it.

I keep thinking about Nine: Nine Time Travels, which was, at times, an incredibly boring watch for me. Yet years later, I can still recall scenes that felt sweeping and unforgettable. Don't have that with 365

The villains are another sticking point. Their motivations felt disappointingly one-dimensional, especially considering how much the drama builds towards its revelations. After all that anticipation, I wanted something more psychologically complex .

And that's a shame, because the drama is clearly ambitious. It has the premise, the cast, the chemistry and the structural ingenuity to be something truly exceptional. But ambition without pathos can leave you with a very impressive machine that never quite develops a heartbeat.

So, 365: Repeat the Year gets a strong 6.5 from me, perhaps a 6.7 if kisskh would allow it. It is inventive, well constructed and absolutely worth experiencing for what it contributes to the genre.

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What a beautiful, heartfelt, and heart wrenching story.

I watched this for Park Ji Hoon, and I loved it because of him. He is an amazing actor, and his performances can stir your soul.

The story itself ... Historical drama ... so I already knew where it was going and how it would make me feel. I had to grit my teeth because I knew, I knew, and I scoffed at my own stubbornness. I will forever remember those eyes and that character. I can do nothing but shake my head and sigh and be grateful this was not a series ... There is only so much I can take.

The cast was amazing and their acting was on point. The chemistry was lovely to watch.

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If you asked AI to come up with a version of Pirates of the Caribbean: Dead Man’s Chest, but skip the loony captain, focus only on Will, and make Elizabeth a damsel in distress, The Sea Monster is what you’d get. It would feel like clips from a longer movie, using only the more “emotional” shots. At least the Kraken looked good, even if he came in sizes small, medium, and large.

Captain Lu is lost when a Kraken attacks his ship on their way to Devil’s Island. Lin Xiao feels responsible for being unable to save him and breaks up with Lu Qi, the captain’s daughter. Cai, who survived the shipwreck, talks a magistrate into funding another ship to search for the treasure on Devil’s Island. With another survivor from the disaster the two men seek to bring the now drunken Lin Xiao back on board. Cai tells him Captain Lu might still be alive and he wants to see if they can find him. With Lu Qi’s encouragement they convince Lin Xiao to join the crew and off the ship sets. Aside from the Kraken, the intrepid treasure seekers will also have to deal with Japanese pirates!

I didn’t have any problem with The Sea Monster being heavily inspired by Pirates. My problem with the film was that it was built on posing clips and hero walks. If one scene of Lin Xiao on the sails looked good, ten would be better! The Dr. Smolder Bravestone posing wore quite thin. Hero walks are already an overused eyerolling trope but even more eyerolling when the walk is composed of extras! The last few minutes were filled with flashbacks of heroic posing of different characters. The film acted like they had developed the characters enough for the audience to care. There was lots of rousing generic music to let you know that a scene was supposed to evoke emotion. But given most of the deaths were extras, they meant little. The Japanese pirates’ storyline was poorly developed, not that they were on screen long. Lu Qi bragged her dad taught her to fight and shoot, yet she had to be rescued every few minutes.

For a low-budget film, the Kraken was actually pretty good. Far better than the creature in Tentacles. What they didn’t address was if there was more than one, because this fellow changed sizes. The ship and boat sets appeared very fake with the obvious blue screen backgrounds and artificial ocean. The film actually reused action footage. I thought I’d somehow hit rewind and was watching an earlier Kraken attack, but I had not.

The Sea Monster had the potential to be entertaining. I just have very little patience for posing acting and storytelling. Due to the short runtime, something you’ll rarely hear me complain about, the actual story was given short shrift, had glaring plot holes, and ended up less coherent than a high school play. The Kraken is probably complaining to his agent about this one.

13 October 2026

Annoying notes: Aside from a great treasure, the crew was searching for the Divine Mechanism Arsenal. There was also a tree with magical divine fruit that made an appearance near the end. The Kraken was supposed to be the protector of the tree which had me rooting for the Kraken!

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Another Victim of Second Couple Sabotage

Rating: 8/10

Moonlight is a cute, trope-heavy romance that I enjoyed overall. The story isn't especially original, but romantic tropes are popular for a reason! The main couple has good chemistry, the characters are well developed, and the publishing-industry setting gives the drama more to explore than romance alone.

If you're an Esther Yu fan, you know her acting style. She uses her signature baby voice quite a bit, which fits the character but won't appeal to everyone. I enjoyed her performance overall, although I sometimes wished she would dial it back a little.

The drama does drag in places, and I wasn't equally invested in every storyline. I notice a trend in more current dramas where, for whatever reason, the second couple is just completely unlikable (as a couple). Not sure why but multiple recent dramas have had it so I was annoyed when the second couple had screen time. I felt that way with this one. Still, I enjoyed it enough that I don't regret watching it. I wouldn't rewatch it, but I wouldn't turn it off if it came on, either. I'd recommend it to fans of lighthearted Chinese romances and workplace dramas.

Spoilers

I loved Chu Li and Zhou Chuan together. He's gruff, mischievous, and very much a tsundere, while she sees through his exterior and brings out his softer side. Their personalities complement each other well, and their chemistry carried the drama for me.

My biggest mixed feeling was Esther Yu's baby voice. It suits Chu Li, but after watching Esther in several dramas, the same mannerisms can become repetitive. A little more variation would have made some emotional scenes stronger.

The second couple, Jiang Yucheng and Gu Baizhi, frustrated me. Their problems never felt fully resolved, yet they suddenly seemed deeply in love. I also wasn't invested in Yu Yao's relationship with her husband, although I understood his frustration with her neglecting her family for work.

I was glad Chief Editor Xia's credibility took a hit. His snobbish attitude toward Chu Li because she hadn't studied literature was unfair; formal education isn't the only way to develop talent.

I also loved that Zhou Chuan remained devoted to Chu Li when the actress showed interest in him. He wasn't swayed, and I appreciated that loyalty. Overall, the main couple carried the show for me. The slower pacing and frustrating secondary romances kept it from being a favorite, but I still enjoyed it.

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Absolute Best!

Hands down the best drama of 2026 for me!
This drama treats every character with so much respect. Everyone feels so real and alive. It really shows the constraints and helplessness of that era, but also the strength of women. Being a woman in feudal society was brutal; they were treated like commodities. In an age with such a strict hierarchy, it was genuinely hard for ordinary people at the bottom to survive. Everyone is just trying their hardest to live well and live earnestly. 😢😢
The details are insane. The two directors really knows how to shoot; the camera work pulls you right into the story. The beginning is super fun and satisfying, but the later it gets, the harder I cried. Literally cried or teary eyed in every episodes! 🤧😪

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I hate Hana!

So the plot of this drama is like my favorite thing in the world. Hana Top actress and twin brother Haru Top Judo fighter get sent back in time by a mysterious Camcorder after the loss of their best friend/ Hana's love intrest the twist they go back in each other's bodies. I mean it's absolutely ridiculous and that's why it's so appealing to me at least. Problem, they can only go back to a moment in time in the Camcorder once they use that video it's gone forever and they can't use it again so they have to be smart about what they're doing as to not change the past too much, but of course they do the exact opposite.

The first thing that bothered me was the fact that Haru in Hana's body is super strong for no reason on top of having all the fighting knowledge and Hana in Haru's body doesn't have any fighting knowledge and on top of that is ridiculously weak, it makes no sense I know it's fantasy it doesn't necessarily have to make sense but logically even within all the stupidity of the drama it should've been Haru in Hana's body with all the knowledge and none of the strength and Hana in Haru's body has no idea how to move the body but is very strong and clumsily is able to defend himself/herself it would've been way funnier and the actors both are very good at portraying the swap. I was so afraid for Haru's future as soon as I saw that and also how reckless Hana is, only thinking about saving Ujae and then it happened she completely ruined Haru's career and is still only thinking about Ujae! Ughhh Haru is way too kind and Hana is just the worst, I was going to give it a chance watch a few more episodes to see how they were going to fix it, but I cannot watch anymore I cannot bring myself to start episode 5 because I don't even want to look a Hana I love Bona ever since I saw her in 25-21 but Hana sucks!! And Park Seoham is a horrible actor, He did great in Semantic Error but every other character I've seen him do has been really bad, so I will not continue with this one.

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The Kind of Drama That Makes You Feel Everything

My first time watching Pinocchio in 2026, and honestly, I can't believe it took me this long to get to it! Even after all these years, this drama still has everything I look for in a good story: an engaging plot, meaningful character development, emotional depth, romance, comedy, and a wonderful supporting cast. I went in expecting a good drama, but I didn't expect to become so emotionally invested that I would find myself crying in almost every episode after episode four. Out of over 500+ dramas I've watched so far, only three or four have made me cry, and that alone says a lot about how connected I became to these characters.

First, I have to appreciate the writer and screenwriter for the thought put into the storytelling. One of my favourite details was how the episodes were named after books, with each book's message reflecting the events or themes explored in that episode. The way those individual messages connected back to the larger story was genuinely clever. It's the kind of detail that makes you appreciate how carefully a drama has been put together.

The premise initially sounds like it could easily become a gimmick. Choi In Ha has Pinocchio syndrome, which causes her to hiccup whenever she lies, while Choi Dal Po is a seemingly ordinary young man hiding a painful past and an extraordinary mind. But the drama never relies too heavily on her condition to carry the plot. Instead, it uses it to add humour, make her interactions with others more interesting, and explore the complicated relationship between truth and honesty. The real story is about journalism, the responsibility that comes with reporting the news, and the devastating consequences when people in the media choose sensationalism over the truth.

What impressed me most was how well the drama balanced its different elements. It has the youthful charm of a story about aspiring reporters, the sweetness of a romance, the humour of workplace rivalries, and the emotional intensity of a melodrama. Yet none of these elements completely overwhelms the others. The romance is important, but the story never loses sight of its larger purpose. Dal Po's journey is about seeking justice for his family, confronting his desire for revenge, and learning what it truly means to pursue the truth when his own emotions and loyalties complicate everything.

The journalism storyline was particularly compelling. The rivalry between YGN and MSC gave us plenty of entertaining moments, but beneath the competition was a serious examination of media ethics, public responsibility, and professional integrity. I loved watching the tables turn as characters used their opponents' own words against them. The drama shows how easily public opinion can be manipulated when a powerful person controls the narrative, and how difficult it is to correct a lie once it has spread. These themes still feel relevant today, which is one reason the story holds up so well.

Dal Po was easily one of my favourite characters. Lee Jong Suk did a wonderful job portraying someone whose life was shaped by tragedy but who still had the intelligence, determination, and compassion to keep moving forward. His desire to expose the truth is understandable, yet the drama doesn't pretend that his intentions automatically make every decision right. He struggles with the line between justice and revenge, especially when his feelings for In Ha conflict with his hatred for the people he believes destroyed his family. Watching him navigate those contradictions made his character much more compelling than a straightforward revenge-driven male lead.

And I absolutely loved his softer side! He could be sharp, observant, and serious when it mattered, but he was also incredibly playful with In Ha and so caring towards her family. His teasing, protective gestures, and quiet affection made me smile, especially when contrasted with the pain he carried. His relationship with his brother was another emotional highlight. Their shared history adds so much weight to Dal Po's journey, and I found their bond deeply moving. It made me wonder how differently Dal Po might have turned out if he hadn't found a family willing to take him in and love him when he needed it most.

In Ha was equally memorable for me. Park Shin Hye brought so much warmth and energy to the character, and I loved her determination to become a reporter despite the prejudice she faced because of her condition. She isn't perfect, and there are moments when I wished she had been more perceptive, but her integrity and willingness to put others before herself made her easy to root for. Her inability to lie isn't just a quirky character trait; it creates interesting situations and reinforces the drama's central questions about honesty, responsibility, and what it means to tell the truth. Her interactions with the people around her also brought a lovely mix of humour and sincerity.

And the romance? I absolutely loved Dal Po and In Ha together. Their relationship has an unusual starting point, but the actors made their connection feel natural and believable. There's something especially endearing about how comfortable they are with each other, from their playful teasing to the quieter moments when they understand what the other person needs without having to say much. Their romance develops alongside the main storyline rather than taking it over, and their feelings have real consequences for the decisions they make. I loved how their bond gave them both comfort while also forcing them to confront difficult truths.

What makes Pinocchio stand out even more is that this emotional connection isn't limited to the main couple. The relationships throughout the drama are one of its greatest strengths. Dal Po's bond with his brother, his affectionate relationship with In Ha's father and grandfather, his interactions with Inspector Cha, and the connections he builds with his fellow reporters all contribute to his development. Even relationships between supporting characters feel meaningful rather than existing simply to fill screen time. The found-family aspect was especially touching. I kept thinking about how easily Dal Po's life could have followed a much darker path if the people who took him in had abandoned him instead.

The supporting cast deserves just as much appreciation as the leads. The reporters at both news stations have their own personalities, motivations, and room to grow. I particularly enjoyed seeing characters reconsider their beliefs and learn to become more understanding. Even those who initially seem cold or self-serving are given enough context to make their behaviour understandable, without necessarily excusing the harm they cause. The drama allows its characters to be flawed, conflicted, and human. Not everyone is entirely good or entirely bad, and that moral complexity makes the story much more satisfying.

I also really enjoyed Seo Beom Jo, played by Kim Young Kwang. He could easily have been another typical wealthy second male lead, but he has his own struggles and development beyond his feelings for In Ha. Yoon Yoo Rae brings plenty of humour and energy, while Yoon Sang and Shin Jae Ha also leave a strong impression in their roles. The rivalry between the news teams is entertaining, but what I appreciated most was how these characters gradually became more than just colleagues competing for stories. Their experiences shape their understanding of what responsible journalism should look like.

Of course, the drama has a few exaggerated or convenient moments, and some developments may be predictable if you've watched a lot of K-dramas. The first few episodes also require a little patience with Dal Po's hairstyle. But once the story gets going, it's incredibly easy to become invested. The pacing keeps the plot moving while still allowing room for relationships to develop, and the emotional scenes feel earned because the drama takes the time to establish the characters' histories and motivations. I laughed, worried about the characters, felt frustrated on their behalf, and cried far more than I expected. By the end, I wasn't just interested in finding out how the mystery would be resolved. I genuinely cared about what would happen to everyone.

What made the drama particularly interesting to me was how it explored the idea of truth and lies. In my review of City of Romance, my second-last drama, I mentioned a line about how some lies can be well-intentioned. I understood the message behind it, but I didn't necessarily agree with it at the time. Then, in Pinocchio, when I discovered that Dal Po's adoptive father had been pretending not to remember that Dal Po wasn't his biological son, I was genuinely glad he had lied. His lie gave a lost and deeply hurt child the chance to start a new life, to belong to a family, and to experience the love and acceptance he desperately needed. That was the first thought that came to my mind: some lies really can be well-intentioned. It was such an interesting contrast with my earlier reaction to that idea. I still think lies can cause terrible damage, especially when people use them to manipulate others, but this story reminded me that intentions and circumstances matter too. Sometimes, a lie can protect someone rather than destroy them, and I loved how this particular storyline made me reconsider something I had previously disagreed with.

Overall, Pinocchio reminded me why a well-written drama can remain memorable long after its original release. It delivers a compelling story about truth, justice, revenge, family, and the responsibilities that come with having a voice. More importantly, it gives us characters who connect with one another in believable, meaningful ways, allowing their relationships to become just as important as the central plot. I finished it feeling emotionally satisfied, and I can absolutely understand why it remains a favourite for so many people.

If you've been putting this one off, I genuinely recommend giving it a chance. Just be prepared for an emotional ride, and perhaps don't underestimate how attached you'll become to these characters.

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Rather not

I’ve got to say it. Season 2 wasn’t needed if this is what we got. Should have left it at season 1. Think they could have done it so much better.

Even until the very end I couldn’t believe Takashi really loved Miyata. I just didn’t like how Takashi was portrayed throughout the whole show and Robin didn’t really sell it for me in the last episode. You could see he was really trying hard to cry. I don’t think it’s down to Robin as I’ve seen him in a lot of BLs and is someone I enjoy watching but I think the writing and the directing was a bit off in this one.

I’d say I’m left rather disappointed.

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Somewhat better than season 1

Season 1 I had a much more negative reaction to Iwanaga. So, I went into this season with kind of a chip on my shoulder toward this character. Watching the first couple of episodes, my opinion really didn't change much ... however, stay with it, because not only does this feeling definitely change toward him, the series gets better as you get toward the ending. I felt it was a better season than the first one.
Robin Furuya & Makoto Hasegawa do make some good chemistry together, of course that's when they're actually together. Miyata is so unsure of himself throughout each episode, it does become a bit repetitive with him questioning his partner's true feelings. I mean, we get the picture, Iwanaga had many many boyfriends in the past, and Miyata always seems to run into one of them. It's like they're all over Japan. However, once you get beyond this annoyance, the story does come together, especially in the final two episodes.
The finale turns out to be much better than I anticipated. The two protagonists give us a great conclusion to the two seasons of this series. A few characters of the supporting cast play a role in this as well.
We do get an enjoyable ending, and they give us something to smile about!

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