Reviews

ride or die

Overall: fantastic writing that avoided typical season 2 cliches. 6 episodes about 28 minutes each. Aired on GagaOOLala https://www.gagaoolala.com/en/videos/9351/the-journey-to-killing-you-2025-s02e01

Content Warnings: PTSD/mental health struggles, past murders, blood, attempted murder, kidnapping, violence, non con kissing

Watch Suggestions (to take out most content warnings and focus on their relationship)
- episode 1 watch beginning-2, 2:55-8:20, 12:20-end
- episode 2 beginning-24:50
- skip episode 3
- episode 4 watch 3-17:15
- episode 5 watch 17-end
- episode 6 watch beginning-3:30, 6:50-7:30, 8:15-end

What I Liked
- a short recap of season 1
- dynamic (and that their personalities were the same as in season 1 with some realistic changes)
- a mafia that acted like a mafia (i.e. not comedic)
- unexpected things in episode 5
- how a character was not jealous in episode 6 and said the three were family

Room For Improvement
- the dead fish kiss in episode 6
- some side characters vanished

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It was good for the most part

I've been waiting for this since it was announced in the GMMTV 2026 lineup. I really loved Khobfa and Rin, they are honestly so cute together. I enjoyed their story from start to finish. Krit and Mochi really added nothing to the story until the end. I wish they wouldn't have spent so much time on them, I skipped nearly all their scenes together and I wasn't missing out on anything important. I really loved the ending too, super sweet and funny! Tham and Mac seem to have good chemistry and I wouldn't mind seeing them act in another series together! Overall, this show didn't fully live up to what it could've been, but it was great nonetheless! Can't wait to see Tham and Mac in another series, together or not, I'll be rooting for them!

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If You Are Alive, I Am Alive

Under the Hawthorn Tree looks almost deceptively simple, and that’s the trick. Set against the Cultural Revolution, it strips away what could have made it a standard melodramatic romance and leaves behind something painfully tender: a story of first love under political oppression. It follows two young people, Jing Qiu and Sun Jian Xin, who meet during this turbulent era and fall deeply, almost impossibly, in love. But the movie refuses to be a grand romance. It simply lets two kids like each other while history sits in the corner with its arms crossed.

Director Zhang Yi Mou treats the Cultural Revolution as more than a historical backdrop. It is an invisible force shaping every part of the romance. Political fear, ideological control, and social suspicion become walls standing between Jing and Sun, making their bond feel both dangerous and fragile. A walk by the river or a shared bowl of food becomes a quiet act of rebellion, and every glance, brief touch, and stolen meeting carries monumental weight. They are experiencing first love under a microscope, constrained by poverty, social stigma, and watchful guardians.

That is why the movie's restraint is its greatest charm. Jing and Sun’s romance feels innocent because it is allowed to grow slowly. They are not a perfectly compatible couple from the start. Jing is cautious, inexperienced, and constantly worried about what her mother and society might think. Sun is more confident and playful, yet his affection is remarkably patient. He understands her fear of crossing boundaries and expresses his love through waiting. When holding hands becomes a major plot event, you realize how much the movie is asking you to feel with so little.

I’ll be honest, though. It did not win me over right away. The slow pace will feel either beautifully patient or painfully drawn out, depending on your tolerance for this kind of storytelling. As someone who likes a solid foundation before the feelings kick in, I found the early romance a little thin, and the occasional intertitles did not help. They move the story forward, but they also make parts of the movie feel like someone summarizing a memory instead of letting you live it. Then somewhere in the middle, it got me. I caught myself smiling at the screen like an idiot, and that was the moment I knew I was in trouble.

Trouble, because the movie plants warnings early. Many lines hint at what is to come, giving the story an ominously beautiful quality, like watching a candle burn in a room where you already know the wind is coming. I had some idea of Sun’s condition, yet watching him hide it from Jing and finally come clean still hit me with a wave of shock. Then he says this to her, lying quietly beside her, almost as if he is saying goodbye while urging her to keep living:

“If you are alive, I am alive. If you also die, I will truly be dead.”

It felt quietly devastating. And then comes the line that broke me:

“I cannot wait for you for one year and one month. I cannot wait for you until you are 25. But I have waited for you my whole life.”

Before he became ill, Sun had promised to wait for Jing, and in his own way he did, right to the end. He spent what remained of his life loving her. I cried at what could have been, at the future they were never given the chance to live. The tragedy is not simply that Sun dies, but that their love is cut short before it can become ordinary. The hawthorn tree sums up all of this perfectly. Named after a local legend about revolutionary blood staining its blossoms red, it becomes a symbol of endurance: a love trying to bloom in toxic soil. It represents something tender surviving in a world that gives it very little room to grow.

The performances give the movie its emotional honesty. They feel remarkably unpolished in the best way, bringing an everyday vulnerability that pulls you in. Zhou Dong Yu is wonderful as Jing because she never makes innocence feel artificial. I love her tiny reactions: the nervous glances, awkward smiles, embarrassment when Sun gets too close, and barely contained excitement whenever she knows she will see him. Jing can be stubborn and overly cautious, which makes her feel like a real person rather than a saint. She is a young woman trying to figure out love while carrying the weight of family expectations and political scrutiny.

Shawn Dou is equally compelling. Sun could easily have become a stereotypical perfect romantic hero, but the actor gives him a youthful awkwardness that makes his affection believable. He can be teasing one moment and deeply serious the next. Their chemistry never feels manufactured. It feels like two young people discovering love without quite knowing what to do with it, and that naturalness makes the later tragedy considerably harder to shake off. Though I have to say, for realism purposes, his perfect teeth are far from realistic considering his character and the conditions back then.

Jing’s mother deserves a mention too. She is easy to judge if you look at her only through the lens of romance, because she can seem like an obstacle deliberately placed in the story. But the more you consider the political climate, the more complicated her behavior becomes. She is not simply conservative. She is terrified of what could happen to her family if Jing is seen behaving improperly. I find that to be one of the movie's quieter achievements: the political system does not always need to appear on screen, because its pressure has already seeped into people's homes and relationships.

Visually, the movie adopts a muted, naturalistic style that mirrors the austerity of rural China in the 1970s. Greenery, modest interiors, and soft natural light create a sense of stillness, while the sweeping scenery contrasts with the emotional confinement the characters feel. Seemingly insignificant objects become sources of intimacy too. A basin, a light bulb, a piece of clothing, or two hands inching toward each other can suddenly matter more than an entire romantic speech.

What I find especially effective is the physical distance between Jing and Sun. They are repeatedly placed close enough to reveal their attraction but far enough apart to remind us they cannot behave like an ordinary young couple. They walk side by side without touching. They sit together with a careful gap between them. When they finally get closer, the moment feels enormous precisely because the movie made us wait for it. Intimacy does not have to be explicit to be powerful.

The music follows the same philosophy. Chen Qi Gang’s restrained score, with its romantic themes and traditional Chinese instrumental textures, complements the rural atmosphere without overwhelming it. More importantly, it knows when to step back. Silence, rustling leaves, and distant footsteps often do more emotional work. You are watching the actors, not listening to music desperately trying to make you cry.

The final act abandons some of the quiet realism of the earlier sections and leans harder into melodrama. I understand why some viewers might roll their eyes, but personally, I think it works. Its sentimentality feels earned by everything that came before. Jing and Sun never get the future they deserve, and the movie refuses to soften the jagged edges of history for the sake of a comforting resolution. By the end, the hawthorn tree is a monument to memory, sacrifice, and the love they were never allowed to fully possess.

What stays with me most is how the romance becomes a story about memory. A short stretch of happiness can remain with someone for decades, and first love can become almost mythical when it ends before it has the chance to become ordinary. It reminds me of the Japanese concept of mono no aware, the bittersweet awareness that beautiful things pass. Perhaps that is why the movie feels nostalgic even while we watch the characters experience everything for the first time. We are already looking back on something that has not yet finished happening.

Under the Hawthorn Tree is a poignant tale of young love crushed by the restrictions of the Cultural Revolution. It avoids cheap narrative tricks and finds its force in the quiet devastation of what might have been. It does not leave you thinking about how grandly these two people loved each other. It leaves you thinking about how little they needed to be happy, and how cruel it is that even that little could not be guaranteed. Some love stories break your heart because the people in them were never meant to be together. This one breaks it because, for a brief and beautiful moment, they were, and the world still found a way to take it back.

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Uniquely everything we wanted and more

I wanna start off by saying this series is so unique. The world building was shown strictly through watching it, and even then we weren't fully given a solid understanding of the world that Nour live in amongst humans. In any other series this would have frustrated me but in this it feels like we, as the viewer, are given exactly the same amount of information as the humans of this story are given.
Nour are still not understood (closest I can relate it to is vampire-like but in a different font) and very little is known about why they exist, who they are and how many live in society. I loved that.

I am SO FKN GLAD to see Tongtong in a (another tbh) lead role, he caught my eye originally in The Wicked Game and I was not only impressed by his acting but wishing like hell he had an end game romance (so as not to spoil too much of that series for those who havent seen it yet). I loved the main leads chemistry. However Toey and Phoom's chemistry was off the charts, insanely burning tension between then (no pun intended, iykyk)

People were apparently complaining about the ending, but I think it was well done. We didn't get to see how far along the main leads went with their relationship given the fact that Ken is Nour and James is human (human+ I would say, because he has a unique ability throughout the series) but I think it was a nice way to end it without giving us the sad result of Ken watching James grow old without him nor the satisfaction of James allowing him to turn him into a Nour.
That last bit at the end where James says a rainbow has been in front of him the whole time got me in my feelings, because that was fucking adorable.
Jirat and Chita's story was a rollercoaster from beginning to end, I knew the moment Jirat said "I'm tired" what was going to happen--and it STILL HURT. Including that small alternate life/dream sequence (whatever it was, I loved it regardless) after was everything I wanted to see from them as well, just living a normal life in love.

I think the world Nour live in is overflowing with possibilities for a sequel or prequel; even introducing new characters with new stories would be fun.
I looove supernatural/fantasy themes, and throw that into a BL and I'm sat for it.
Not only did we get that supernatural theme but we also got a law enforcement romance and murder mystery.
10/10, I would recommend this to anyone who like any of those themes.

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A GOOD VAMPIRE BL

After the last few popular vampire BLs, I had given up hope (don't get me STARTED on My Golden Blood) but Nour managed to show what a good supernatural vampire BL can do!! Honestly, I didn't even realize it was a vampire (or vampire adjacent, maybe) show going into it, and the way it is woven into the plot is SO well done! You as a viewer don't know everything for a LONG time, not in a missing plot points way but in a putting together the pieces yourself way. It makes for an excellent story! While I do think we could have gotten a little bit more on some of the characters and the pacing particularly with the main couple romance felt a little off, this show was overall fantastic. If you are also sick of the horrible vampire BLs, this one might be the remedy.

Ken is immortal, and hates it. He has attempted to die over and over again, to no avail. Currently, he works as police officer investigating a case that the locals seem to believe was done by a Nour, a mythical humanoid blood thirsty creature. However, Ken knows personally that these creatures are very real. In Ken's attempt to once again find a way to die, he seems to have found a lead - only for new cop James to show up and try to solve the case himself. The two start at odds with each other, but quickly find themselves drawn to each other instead.

I LOVED the Nour plotline, and even really enjoyed the second couple's story. I thought it was super well done. My only complaint is that it felt like Ken and James went from rivals to lovers way too fast. Ken is a very cold, standoffish man who no one has ever been able to get close to, but this breaks down so much faster than I would have expected as he gets close to James. I also thought we would get a little bit more bloodlust, which I would have loved, but it was still a really great romance. I also REALLY enjoyed the way they handled immortality, and the curse of being a Nour. It didn't feel like a stereotypical vampire plot at all, and I really enjoyed that! If you like crime dramas, vampire dramas, or both, this is definitely worth watching!

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To all the hateful people in their reviews

To everyone who is leaving a hateful review:

You are a racist, xenophobic, ignorant, sad little human. You don’t understand Thai culture. You don’t understand their acting techniques. You don’t understand the genre. You don’t understand anything and you never will. Thai BL has been here and been like this since the beginning. It has progressed and gotten better in quality over time, but their language, their culture, and their way of delivering scenes will never change. It’s THEIR way. It’s THEIR media. It may not be everyone’s cup of tea, but there are countless people working incredibly hard to make it happen, putting money from their own pockets and giving it their all, because they believe in it. They believe in LGBTQ+ representation, and they show it the way they know best. It may have stereotypes. It may have outdated ideals. But they’re still growing and learning with each passing year. They know their public, they hear it, and they deliver what’s best for them. Their scripts, plots and storylines belong to them only, and are not here to cater to your basic, ridiculous, entitled needs.

But you don’t understand it. You don’t want to understand it, and you hate it.

But that may be because it’s not made for your square, basic little mind.

So maybe inform yourself. Maybe read a book. Maybe learn about Thai culture. Maybe watch a Thai BL from the early 2000’s like all of us did, shut your brainless mouth and enjoy it at its face value.

Or better yet, stay away from it and take your bitter, sad little existence somewhere else.

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A Love That Lasted a Lifetime, Until the Very End

Wow, the plot is truly amazing! This is the first drama I’ve watched where we get to see both leads go through their entire lives together from getting married and having children to growing old and eventually passing away after a lifetime of love. 🥹❤️

Honestly, I still don’t know how to feel about the ending. It’s a little sad, but at the same time, it somehow feels like a happy ending, too. They got to spend their entire lives together and grow old side by side. What more could you ask for in a love story? 🥺❤️

I also find it so funny how the male lead basically forced the female lead to marry him, only to end up getting slapped on their wedding day. Like, sir, was that part of the plan?! HAHAHAHA 😂😂

Overall, this drama is truly remarkable. It’s not just about falling in love, but about choosing each other through every stage of life until the very end. A little heartbreaking, a little heartwarming, and a love story that truly comes full circle. ❤️🥹

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"Time is a matter of discussion, an argument you couldn't win"

Writer/Director Maria Estela Paiso’s short film, It’s Raining Frogs Outside, was both grotesque and strangely insightful. And also very enigmatic, leaving much of the film’s interpretation up to the viewer.

Maya contemplates her life in the face of an ongoing onslaught of raining frogs. Trapped alone in her familial home, with every day the same and no human contact, dark nights of the soul begin to turn her inside out. Is she alone in the world?

Paiso used Maya’s childhood memories and body horror to tap into the human mind and how external and internal forces can cause it to unravel. Much like Ito Takashi, Paiso applied special effects to make her storytelling more hallucinatory and psychedelic. The steady thud of frogs hitting the ground brought home the apocalyptic nature of the film. The 2021 release date also brought to mind for me, the isolation and chaos instilled in the early days of the pandemic which pushed many people to a fragile mental edge. Raining frogs conjured images of biblical plagues and punishment, not a comforting setting.

When trapped inside with no connection to others, monotony and inevitability setting in, how does one maintain their identity? In a house full of memories, loneliness and isolation twisted those moments conflating them with what Maya feared was her physical deterioration and transformation. In the face of disaster, did it matter if one’s identity was maintained or was it more important than ever? So, whether it was the end of the world for everyone or just for her, reality exploded more than the frogs leading to a rather surreal metamorphosis.

8 October 2026

Trigger warnings: A creepy cockroach scene. And a disturbing body transformation.

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Sweet as the desserts they sell ...

This is a very lighthearted drama about a convenience store, a manager who everyone adores, a staff that performs perfectly and many sub plots throughout each episode.
While it's not very dramatic, Kento Nakajima does a fantastic job playing a dual role of two brothers. What makes his performance so great, is the fact these two siblings are completely different in appearance as well as personality. You see his real acting ability in this drama.
Several sub plots play out over several episodes ... and while most of them are an easy story line, there are a couple that will tug at your heart strings while watching them play out. It's a good supporting cast that surround Kento, giving for an enjoyable, and at times silly drama/comedy.
If you need a series to cheer you up, settle in your chair and enjoy this one. It's a good watch!

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A Love That Heals, a Story That Stays, and Xu Ruohan Shining as Always!

What I love most about The Best Thing is that it's more than just a romance drama. It's also about healing, learning to slow down, and realizing that we don't always have to be strong on our own. Sometimes, we're so busy taking care of our responsibilities that we forget to take care of ourselves, too.

He Su Ye is such a wonderful male lead! His patience, sincerity, and thoughtful gestures show that real love doesn't always need grand declarations. Sometimes, it's about understanding someone, supporting them, and making them feel safe. Their relationship reminds us that love can be gentle, mature, and peaceful without unnecessary drama.

Xu Ruohan!!! ❤️ She's one of my favorite Chinese actresses, and seeing her as Shen Xi Fan made this drama even more special to me. I love how naturally she portrays her character's exhaustion, vulnerability, and quiet strength, making Shen Xi Fan feel so real and relatable. She has such a special charm that makes me genuinely enjoy watching her projects. Seeing her bring Shen Xi Fan to life made me appreciate her even more.

One of the biggest lessons I learned from this drama is that resting isn't a weakness, and accepting help doesn't make us less independent. We deserve care and understanding, too. Healing takes time, and it's okay not to have everything figured out.
I also love the soothing atmosphere, beautiful cinematography, and music. The little everyday moments make this drama feel warm and comforting. It reminds us that happiness can be found in simple things and that the right person can bring peace into our lives rather than confusion.

Overall, The Best Thing feels like a warm hug after a long, exhausting day. It reminds us to take care of ourselves, appreciate the people who genuinely care about us, and never settle for a love that makes us lose our peace. Definitely a 10/10 for me! I'll gladly rewatch this whenever I need a comforting romance. 💛💐🩵🌷

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A Decent, But Lukewarm Spell

This was a very cute series, but I wish the script was more developed. As for me, the positive aspects do outweigh the negative ones. The script was successful with making me care about the main couple and their ending. Their relationship development also had a nice pacing. The script made most of the characters very likable, especially Rin’s friend group. The script did an ok job introducing the magic aspect of the series, but not a good job creating Rin’s magical world. I’m not asking for something elaborate, just some more details. Unfortunately, this lost focus of the magical aspect of the story at times. There were times I forgot this was part of the plot, especially in the middle. There were also some story aspects that was clear as mud. They introduced random things at times without giving the full details. The main negative aspect for me was the secondary BL couple, I was not a fan of their storyline. Considering the number of episodes, they could have focused on giving us a more developed story with the main couple. Mochi and Krit's storyline had some interesting aspects towards the end, but it was just a case of too little, too late. Although the ending was charming, it was a little too predictable. They also gave some of the characters very feeble redemption arcs. The entire cast did an outstanding job trying to make this script work. It was a very smart move to cast a mixture of relatively new actors with the more seasoned ones. The cinematography was great most of the time, but had some continuity problems and weird editing. There was also some really bad green screen work in episode 5 and 6.

Random Note:

Despite the many flaws, I really did enjoy this. I could see myself rewatching it at some point.

The location used for Khobfa’s grandma’s house is the same one used in the series “I Wanna Be Sup’tar” (Win and Wannueng’s house) and “The Tuxedo” (Aiaoon’s house).

I’m 99% certain that the location for Krit’s parent’s house was also used in the series “Cat for Cash” (Tiger’s house), “Rearrange” (Ek’s house), “Tale of Thousand Stars” (Tian’s parent’s house), and “SOTUS S” (Kongpob’s parent’s house).

I feel like I’ve seen Rin’s house in another series, but not sure which one.

What exactly was the whole competition aspect of the script about?

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Not a Rom-Com, But a Refreshingly Realistic Romance

The first thing I have to say is that See You at Work Tomorrow is not a rom-com. It's a business romance with a calm, realistic, slice-of-life vibe. I honestly think marketing it as a rom-com did the drama a disservice because it attracted expectations that the story was never trying to meet. As the title suggests, work is at the heart of this drama. If you're expecting exaggerated characters, forced comedy, secondhand embarrassment, and grand romantic gestures, you won't find much of that here.

Instead, it's a character-driven story about two adults in their thirties navigating work, relationships, and personal struggles. One is a passionate workaholic, while the other is a burnt-out employee who has reached the point where doing the bare minimum feels like enough. They meet through work, gradually get to know each other, and begin to bring balance back into each other's lives. The pacing is steady, and the story focuses more on the characters' everyday experiences than on dramatic events.

I especially enjoyed the workplace aspect. Business romance is one of my favourite subgenres, and this is only the second K-drama I've watched where the business side genuinely held my interest alongside the romance. We get glimpses of the process behind a product, from ideas and development to design, meetings, testing, and the problems that arise along the way. It doesn't go deeply into every stage, but the work feels like an essential part of the story rather than just a backdrop for the leads to flirt.

I also found the portrayal of burnout incredibly relatable. There's a stage when you start a job full of passion, ideas, and the desire to do everything. Then the pressure builds, and eventually, you reach a point where you just want to finish your tasks and go home. I've experienced that shift myself, so I appreciated how the drama showed that sometimes the passion is still there, buried underneath exhaustion, and all you need is a little encouragement or another reason to care again. The workplace politics, toxic management, and pressure to balance your career with your personal life added another layer of realism.

The romance develops naturally through professional respect and admiration. I liked that the attraction wasn't based purely on appearance. Shi Woo notices Ji Yun's competence, ambition, and ideas, and their connection grows as they get to know each other. Seo In Guk was a pleasant surprise as Shi Woo. He isn't the typical cold, emotionless male lead; his subtle smiles, playful flirting, and caring gestures give him plenty of personality. Park Ji Hyun also portrays Ji Yun's exhaustion and insecurities convincingly. Although Shi Woo can be a little too accommodating at times, I appreciated how the drama emphasized communication, mutual respect, and balance in a relationship.

Another thing I loved was how naturally the drama handled the leads' past relationships. Shi Woo's ex-wife works at the same company, while Ji Yun's ex returns after ghosting her for eight months. Both leads know their previous relationships are over, but that doesn't mean every reminder of the past is comfortable. Ji Yun's decision not to return to someone who hurt her felt like a genuine act of self-respect. I also liked that the women maintained mutual respect rather than being turned into rivals, particularly Ji Yun and her mentor, who happens to be Shi Woo's ex-wife. Their dynamic was a refreshing example of how mature adults can handle complicated circumstances without unnecessary drama.

I also enjoyed the second lead couple because they bring another kind of age-gap romance into the story. While the main couple has an older man and younger woman dynamic, the second couple reverses that with an older woman and younger man. I liked having these two different relationship dynamics in the same drama, showing that attraction and compatibility aren't limited to one particular age arrangement. The younger male lead especially caught my attention, and I'm a little disappointed that this is only his first drama as a main lead and his second drama overall. I'll definitely be keeping an eye on his future projects.

Beyond romance and work, the drama touches on divorce, family expectations, and the difficulties of maintaining a personal life while building a career. The supporting cast adds warmth, and the overall approach feels refreshingly mature. Not every issue needs to become a huge conflict, and not every romantic moment needs to be dramatic to be meaningful.

I almost skipped this drama because of its low MDL rating and the impression that it was a rom-com, but I'm glad I gave it a chance. See You at Work Tomorrow isn't trying to deliver a sweeping love story or reinvent the genre. It's a calm, grounded business romance about ordinary adults finding their way through work, burnout, past relationships, and love. It won't appeal to everyone, but if you enjoy realistic workplace dynamics and character-driven romance where the business side is just as engaging as the relationships, it's definitely worth a try.

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Piano prodigies play with pizzazz

This K-drama stars Song Kang in his second outing as a wannabe prodigy in the world of fine arts. As with Navillera, the primary relationship in the story is not romantic, but bromantic. In both series an unlikely friendship between men from different backgrounds supplies the series with its emotional center of gravity. Unlike Navillera, this time the actor pairs with a man his own age, played by Lee Jun Young. Friendship between the male leads aside, the heartfelt sentiment and generosity of spirit that made Navillera a delight to watch is absent, as the plot wraps (TV-style) musical virtuosity around a story frame replete with bullying, both physical and emotional, as well as cross-generational family in-fighting so stressful that it sours the story's vibe. The acting is superb, and the music provides a pleasant distraction from the violence that makes many episodes kind of downers.

Song plays Kang Pio, a privileged piano prodigy pushed to greatness by his mother’s desperate need for him to succeed because only his success will validate her own life. If Pio has mommy problems, mom has daddy issues of her own, so the family dysfunction typical in K-drama runs strong in this one. The story begins with Kang Pio O in an arts high school when a transfer student on scholarship (the rich and privileged look down in horror!) emerges as a rival. The two quickly strike up a bond over their shared love for and ambition about the piano, a development Pio O’s mother cannot stand since she sees Choi Jeong Yo as an obstacle to her son’s success. Frankly, the tempestuous friendship between Pio and Jeong Yo is one of the most compelling features of this series as each must weigh the attraction of friendship against the rivalry foisted off on them from the outside. Because each has reason to doubt the sincerity of the other's friendship, their not-remotely straightforward pathways toward that amity become more interesting.

Some “only in K-drama” stuff happens, and Choi Jeong Yo disappears in Europe under mysterious circumstances. Midway through the 12 episodes, the plot then jumps forward nine years, and the second half of the series essentially depicts the efforts of the two men, now in their late twenties, to rebuild the trust they once had. Circumstances cleverly reverse their former dynamic: if Pio found their youthful friendship somewhat of a burden, then Jeong Yo has reason to question the adult version. There’s a lot of bullying and emotional torment in this plot, and the twisted family dynamics typical of K-drama overshadow nearly every thing that happens. Those traits either supply the drama or ruin it depending on what you’re tuning in for. There’s a lot more music-making in this series than would typically occur in a series about musicians, but that may be a strength in this case. Worth watching if you’re a fan of Song Kang, don't mind heavy drama, or enjoy a story built around the classical music world. Skip if you’re worn out from excess bullying and shithead K-drama parents.

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Neechan is a Narcissistic Bully

Boku No Neechan is about how a young man endures a bossy, self-centered older sibling as a nightmare roommate who constantly belittles and puts him down. At first based on the soundtrack I thought this series would be about a warm, loving, protective, older sister that is looking out for her brother. But what I saw was a narcissistic, bossy, older sister who is trying to dominate over our younger brother’s perception of his everyday life. They should have named the series: “My Sister, The Bully.” Or “My NPC Sister has Main Character Syndrome.”

She tries to color his perception of everything and acts like the world revolves around her within their living space. Outside, she behaves normally and even lying to please others. But at home, she acts like she’s the boss, the queen, and as if she’s always right. I find her behavior irritating because I have an older sister just like that. If the younger one is having a good day, or if he’s feeling good about himself because some lady paid attention to him, his sister is like a raincloud over him. She’s overbearing, and has this narcissistic, motherly energy, and not in a good way. Sporting a George Washington haircut, she throws her weight around, and comes across as an aggressive, selfish character who acts like she has life all figured out and her way is always the right way. She always has to have her interpretation of events as the official way to think. She is like the thought police at home where her younger brother is constantly walking on eggshells around her. Notice his posture is always hunched over, and he has serious self esteem issues. He encounters a similar bossy female figure at work too, who acts like she owns him. She gives him all sorts of advice, but I wish he would leave her suffocating bubble and move into his own authority. There’s even a line in episode 7 where the older sister says she would get along with his “manly” female boss. “The two of us will tease you,” she said. They’ll get along because they’re both bullies. Go figure.

And yet, all she talks about with her brother is crushes, seducing men, and romance. Her conversations are so dull. The creator of the series makes the viewer wonder, “Is this supposed to be witty? Is belittling someone considered humor?” And the woman that the younger brother likes is a two timer as well. Even being a woman, I can’t relate to any of the female characters in this show- I can only relate to the beaten down and yet innocent existence of the younger brother. And he sees how bleak everything is. His sister’s laugh is annoying and condescending, everything about her screams narcissistic bully. “Luckily I have a mediocre little brother. Very mediocre even among all the mediocre. The most mediocre among the mediocre.” if this is supposed to be a joke or anything resembling humor, it’s exactly what a bully would do. Poor guy is so beaten down. It is no wonder he’s attracted to women who treat him like dirt. When your own older sibling is constantly belittling you and implying that you’re stupid and mediocre, where do you turn for comfort? This series is the exact opposite of Iyashikei- it is not healing at all.

It’s funny because this actress is someone that I loved in Nagi‘s Long Vacation, and it was interesting because in that drama, she was playing a victim of an overbearing mother in that series. But in this series, she plays the narcissistic sister, and I feel sorry for the younger brother. The actress has also gained a lot of weight in the series compared to in Nagi‘s Long Vacation, and she gives off a kind of arrogant, intimidating air. I guess it reminds me of my own older sister. I would say the younger brother should move out and cut contact with his older sister. Or he should have strong boundaries so that he doesn’t let her toxic interpretations of everything color his world. She’s quite jaded and cynical, and keeps telling him that he lives in a fairytale. But his innocence, while does need some wisdom and advice here and there, shouldn’t be made to seem like he’s ignorant. His sister treats him like he needs her to function. This is how bossy older siblings act as if without them the younger one can’t even survive. And they would even say things like “what would you even do without me? Without all my great advice…” If this young man started to live on his own, he would realize that he doesn’t need his sister and her toxic behavior at all. I think he should move out, because his sister needs him more than he needs her.

Even though his sister reads diet books and Cleaning/organizing books despite not actually following it advice, she has her own logic as to why she reads them, and justifies her behavior as reasonable because… She’s the older sister and she can? Whereas everything her younger brother seems to do is not quite good enough to her standards apparently. It makes me sad to see the way she talks down to him, and how he simply absorbs her belittling and abuse.

Then the younger brother goes off to a tennis meet up where he interacts with his senpai’s family, and seeing his young son and wife he feels inspired to have a family of his own and he comes back home to his sister and starts saying things like “I want to get married, having lots of new family experiences, and I’ll probably be a good father.” And as if Right on cue, his sister start shooting him down. She says “you said you wanted to have lots of experiences, but you’ve never been cool. Have you? I guess you’re now drowning in the illusion of landing lucky punches. You have no skill, but always get at least one hit in, by chance. Life is not a dream. There are no lucky punches. Let’s say you have a son. Children are very observant, so he would probably realize on his own. I know more about this than dad. How can you teach your child things like that, I can’t wait to see it.” Wow what a horrible person this sister is! Whenever he comes home, happily, she has to shoot him down. Whenever he comes home, gloomy, she has to shoot him down again by saying he’s spreading his gloomy vibes. And yet she never once looks at herself and completely lacks self awareness. She’s literally projecting her own insecurities and inadequacies onto him.

I think she feels a sense of jealousy and possessiveness about her younger brother. She doesn’t want him to rise any higher or aspire to anything more than she has done. So she tries to cut him down, before he can rise any higher. At the same time she wants to possess him for herself in a way, so one way to do that is to constantly neg him and make him feel less than. Not cool. But I know this older sibling act very well. She always has to control the conversation. Even when she comes back home and. Junpei has something to say, she abruptly changes the topics so that she can remain in control. Then she starts some game that her brother is forced to play with her some word game. If it wasn’t heavily laden with manipulation, control, and self-centered narcissism, it would be fun and spontaneous and cute. But there’s nothing cute about this woman. Her psyche is 100% toxic.

In episode five apparently the older sister goes on a date with a man who’s not her boyfriend and then when she comes back all happy and the younger brother is at home. She expects him to a relish in her happiness, but she never does the same for him. And then when he questions her on why she is going out with other men other than her boyfriend she says it’s an insurance policy. And then he asks “Are things not going well with your current boyfriend?” And then she says “I feel sorry for your narrowminded thinking.” she always has to have the upper hand she always has to have the right thoughts she always has to have the last word by belittling poor Junpei. And she always has to have a condescending comment towards her younger brother.

In the last episode, the sister talks about how their parents are coming to visit and then she says I think we should make a surprise for them and she suggests doing some kind of sushi party and Junpei has to agree and just as he starts talking about it, she switches to a different topic. She always has to have the upper hand. And then later she mentions how she hates the feeling of being belittled where people are looking down on you. And I thought isn’t that how you are 24/7 with your own younger brother? Oh the irony. Then Junpei in a moment of lucidity says “Don’t you often treat me like that too?” and then she changed her expression and says “No way! Never mind, hurry up and keep cleaning!” Finally Junpei is waking up and his older sister wants to divert and distract away from the fact and continue bossing him around. He is aware that she treats him like dirt, but he can’t bring himself to speak up about it. He lacks the courage and always feels like “maybe the person criticizing me is right, maybe I am wrong.” Wherever he goes, women treat him badly. Even at the café, the lady rudely plopped a doughnut on his tray, showing him an attitude. Then poor Junpei thought of his sister, wondering if she would throw the donut on his plate like that. There’s still a part of him, that idolizes his older sibling. But she is not who he needs her to be. She’s simply a selfish narcissist who looks down on him. The fact that the whole series is named after her shows that he has centered his life on a narcissist who looks down on him. Ugh, this series makes me so sad. There is absolutely nothing healing about this series whatsoever. If anything, it is traumatizing.

Then, in the last episode, the parents arrive, the ones who have created this dynamic. And it would’ve been interesting to see more where this came from. Because surely an older sibling bossing over the younger sibling for life, this toxic dynamic, and relationship couldn’t have come out of nowhere. Often, the older sibling is acting out the control that was enforced upon them by the parents. And it’s a kind of transference. The best thing a younger sibling could do is to cut off that toxic older sibling and walk their own path. It’s so sad that the same actress from Nagi’s long vacation ended up playing a narcissist in this drama. my low rating for the show comes from the fact that the younger brother gets no redemption in this series, he’s merely trapped for life. It just shows how the life goes on, even despite that brief moment of acknowledgment that the younger brother had and said to his sister, aren’t you also like that? Don’t you look down on me too. Perhaps it was showing a glimmer of awakening, but I would’ve loved to see him be at free from that prison. If there was a season 2, I’d like to see the series titled “Breaking free from my sister,” and how he cuts contact and lives and self sufficient life alone.

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