Reviews

I LOVE THIS SERIES

I never expected Leap Day to hit me this hard, but it truly did. The story was solid, the production flawless, the OST beautifully haunting, the visual effects polished, and the acting… honestly, beyond words.
The moments that broke me the most were in episodes 11 and 12, when Day (Pond Naravit) sacrificed himself to save his brother Ozone. I cried so much during those scenes.. like I couldn’t even breathe properly. It wasn’t just sad, it was devastating in the most beautiful way. Pond Naravit’s performance as Day was absolutely unforgettable. He didn’t just play the role, he became Day. Every tear, every struggle, every sacrifice felt real, and that’s why it hurt so deeply.
and also the entire cast was incredible. From the leads to the supporting characters, everyone delivered genuine and powerful performances that made the whole story come alive. The chemistry between them felt natural, the emotions raw, and the effort they poured into each scene was undeniable. Together, they made this series shine in a way few shows ever do.
For me, Leap Day isn’t just a series, it’s an emotional experience. It made me laugh, it made me cry endlessly, and it reminded me how powerful storytelling can be when every detail is done right.

Truly, one of the best series I’ve ever watched.

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The Agony and Ecstasy of a Lifelong Friendship

GENERAL OVERVIEW:

Friendship, in its truest form, can be a shelter against life’s tempests. But in “You and Everything Else,” it IS the tempest: violent, consuming, and relentless. This decades-spanning drama charts the entanglement of Ryu Eun-jung and Cheon Sang-yeon, two women bound together by intimacy and enmity in equal measure. Their friendship, fraught with rivalry, betrayal, and longing, ultimately bends toward reconciliation, painting a portrait of love and destruction intertwined.

From their first encounter as fourth-grade students in 1992, when Eun-jung was poor and sharp-edged and Sang-yeon seemed perfect as the new transfer student, their dynamic is shaped by mutual resentment and envy. What begins as hostility morphs into a fragile bond through middle and high school, only to become more complicated in college when both fall orbit to Kim Sang-hak, complicating their already fragile dynamic. When they collide again in their thirties, their professional lives spiral into betrayal, jealousy, and stolen ideas within the film industry. In the present day, a terminally ill Sang-yeon re-enters Eun-jung’s life, requesting accompaniment to Switzerland for euthanasia.

What makes this drama remarkable is how believably it captures the way friendships shift with age. Childhood friendships break over small things and reconciliation is just as easy then, but as you get older fights become harder to undo and reconciliations rarer. You could just stop seeing each other and move on. The way the show makes the troubles deepen with time is believable, and it quietly shows the subtle shifts between liking and resenting someone. I especially liked that Sang-yeon and Eun-jung weren’t tied up and made to fight over love alone.

At first Sang-yeon had experienced the death of Cheon Sang-hak, and then mid-series her mother dies, but only after being given a terminal diagnosis does she seem to finally face the lifelong triggers she’d carried. She was full of fear: would she follow her brother into suicide, or suffer like her mother until she died? She said she found comfort in knowing that Switzerland exists. I liked that she had the chance to choose while she was still coherent, and with Eun-jung by her side she was no longer lonely. “Nobody will die happier than me.”

The script, direction, acting, and music were all so calm and composed, with muted colors and long takes that mirror the characters’ emotional restraint... almost documentary-like, and that’s why it made me cry.

It showed so well that Sang-yeon exists as she is now because of Eun-jung, and Eun-jung exists as she is now because of Sang-yeon. Even though their friendship wasn’t all happiness and fond memories, in fact, it was filled more with resentment and jealousy, even those memories became the driving force that shaped them. And so, the show convincingly insists that the two could only ever be each other’s one and only.

Eun-jung felt inferior to Sang-yeon, and Sang-yeon felt inferior to Eun-jung, but I think they were really just trying to fill their own lacks. They drifted apart out of mutual blame and envy.

Eun-jung has always been the one to reach out, so Sang-yeon probably asked her to stay with her at the end knowing Eun-jeong wouldn’t be able to refuse. All the awkwardness, annoyance, and hatred faded, and only then did they find peace, but the saddest thing is that there was no time left to be together. Eun-jung’s face, telling Sang-yeon without hesitation “you did well, you held on,” stuck in my chest.

The final episode in particular was so well made. It was undeniably sad, yet also beautiful. I’ve never seen a drama like this before. It just left me with such a strange, indescribable feeling.


INSIGHTS:

Eun Jung:

Ryu Eun-jung is the central protagonist, portrayed as a resilient, empathetic, and multifaceted woman shaped by hardship, complicated relationships, and a lifelong struggle between bitterness and compassion. Born into poverty, she grows up in a semi-basement with her single mother, a milk delivery worker. Early exposure to inequality, such as school surveys exposing her fatherless home, bullying, and constant financial strain, leaves her both envious of privilege and fiercely resilient. Helping her mother and hiding her shame about home life forge a toughness that coexists with deep vulnerability.

At her core, Eun-jung is considerate and sincere, qualities that draw others in. Even as a child, she refuses revenge when wronged, showing empathy that becomes her quiet strength. This warmth attracts Sang-yeon’s mother (a mentor), Sang-yeon’s brother Cheon Sang-hak (her first love), and later Kim Sang-hak (her college boyfriend). Yet this same natural charm sparks Sang-yeon’s envy, as Eun-jung effortlessly wins affection Sang-yeon struggles to gain. She can be pessimistic, shaped by traumas which leaves her with guilt, anxiety, and a fear of loss.

Her growth is defined by moving from envy to self-preservation. Academically strong but always second to Sang-yeon, she sacrifices personal wants for her mother’s sake. Inspired by Cheon Sang-hak, she pursues photography, but her college romance with Kim Sang-hak collapses in a love triangle with Sang-yeon. Though jealous and insecure, snooping through mailboxes and drawers, Eun-jung ultimately breaks things off to protect herself, showing her shift toward independence.

As a working adult, she remains principled and uncompromising. She clashes with Sang-yeon over ethics, refuses to let victims apologize to abusers, and calls Sang-yeon a thief after being robbed of her work, rejecting compensation to keep her dignity.

Eun-jung’s photography becomes a metaphor for her perspective. She captures moments of truth but struggles to see her own worth until Sang-yeon’s memoir reveals how deeply she shaped Sang-yeon’s life.

Her guilt over Cheon Sang-hak’s suicide stems from believing she could have saved him, a burden that parallels her later decision to support Sang-yeon’s euthanasia, showing her growth in accepting what she cannot control, even while bitter about the timing.

Alone afterward, she embodies the survivor’s paradox: resentful of betrayals, yet unable to hate fully.


Sang Yeon:

Cheon Sang-yeon is a complex antagonist-protagonist: brilliant, ambitious, and deeply flawed, her life arcs from privilege to isolation, driven by envy, loss, and unfulfilled desires. Introduced as a transfer student in 1992, she comes from wealth and stability: an apartment home, intact family, and prestige through her minister grandfather. As class president, she appears the perfect model student: authoritative, disciplined, excelling in academics. Yet this façade conceals insecurity. Rumors about Eun-jung’s milk deliveries (whether started by her or not) spark conflict, and her strict punishments betray a defensive need for control. To Eun-jung, Sang-yeon embodies utopia, everything she lacks, yet Sang-yeon herself suffers from favoritism, neglect, and longing for love.

Her personality blends confidence with fragility. Exceptionally capable, she is also envious and insecure. Her mother favors Eun-jung, her brother confides in her, and Kim Sang-hak loves her, all of which stoke Sang-yeon’s jealousy. Her provocations stem from this longing for validation. Most often she is secretive, manipulative, and destructive which shows when she sabotages friendships through betrayal and rivalry, steals Eun-jung’s work, among other incidents.

Tragedies accelerate her decline. Her brother Sang-hak’s suicide leads to divorce, poverty, and her mother’s eventual cancer. Overshadowed by her brother’s memory and by Eun-jung’s growing importance in her life, Sang-yeon spirals further. In college, she joins the photography club too late to win Kim Sang-hak, fueling regret and obsession. As a working adult, she is ruthless: sleeping with a director, stealing projects to launch her company, and forcing unethical compromises on staff before quitting under pressure.

Her manipulative streak peaks when she steals Eun-jung’s film project, but later revealed that this act stemmed from desperation to prove herself, not just malice, adding nuance to her character.

Her pancreatic cancer diagnosis mirrors her mother’s illness, deepening her fear of losing control and driving her to seek euthanasia as a way to reclaim agency.

Flawed, selfish, and destructive, yet painfully human, Sang-yeon embodies the tragedy of unhealed wounds and unrequited longing.


FINAL THOUGHTS:

I have to say this drama left me in a reflective haze after finishing. It's one of those stories that doesn't just entertain; it burrows into your soul and makes you question the messy threads of your own relationships.

Philosophically, the show burrows deep. It made me think about how envy and loss can warp us into unrecognizable versions of ourselves, how the people we resent most often reflect the parts of us we lack. It’s Nietzsche’s abyss refracted through friendship: stare too long at your insecurities, and they consume you. Yet the drama insists redemption doesn’t come from erasing the past, but from choosing compassion in the face of it.

What I learned here is that forgiveness isn’t for the offender, but it’s freedom for yourself. Grudges are stones in the chest; only by letting go can you breathe. And lastly, pride is an illusion; chase it too long and you end up alone, begging for connection at the end.

The last episode was undeniably sad, yet achingly beautiful. I’ve never seen anything quite like it. It’s melodramatic yet deeply human, heavy yet strangely liberating.

I don’t regret a single scene. If anything, it made me want to text an old friend I’d drifted from, just to say, “Hey.” Because if this drama shows us anything, it’s that love and hate aren’t opposites. They’re entangled threads, woven across decades, impossible to fully untangle. And that’s what makes them endure.

Tysm for reading!

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decent.

Overall, this drama was… just okay for me. The beginning was fine, nothing too special, but around episode 6 it suddenly got really fun and strong. I enjoyed that part a lot! But sadly, at the end, I felt kind of bored… I started skipping ahead just to finish faster T_T

My feelings are really mixed. First couple was cute, the pacing was good, and I liked how Seheon was not only passive but actually stood up for himself sometimes. That was nice to see. But honestly… the second couple was the one who caught my heart. I always find stories about internalized homophobia interesting, especially when it comes out as anger or violence toward the person you actually care about. It feels very real and painful. Their relationship had so much potential, but drama didn’t give enough time for them. I really wish they got their own focus instead of just being side story. Also… too many dead-fish kisses. Please, at least look like you want to kiss!

If the second couple was not here, my rating would be much lower. I had fun overall, but the side couple completely stole the whole show for me. Bonus point: I also liked the A Shoulder to Cry On cameo in the beginning! I didn’t expect it, so it was nice surprise.

Last thoughts, it could have been good! I say this about many lackluster series, but I did really enjoy watching the show. If only it gave us more time....

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The female lead doesn’t deserve the criticism she’s been getting.

My favorite drama this summer. The acting is solid, the production is polished, and while some may find the costumes a bit flashy, they actually fit the setting. The show delivers a clear message throughout. Some of the fight scenes are super cool, and the soundtrack is absolutely on point.

I’ve seen a lot of comments about people dropping the drama because of the female lead, but I personally find her setup reasonable. She’s actually the most clear-headed female lead I’ve seen in a book-transmigration storyline. For an ordinary person suddenly thrown into a fictional world, you can’t really expect them to treat the characters as if they were real people.

That said, the male lead’s character is perhaps too well written — he’s often the one suffering, his inner struggles are well portrayed, and his tragic backstory is fleshed out, while the female lead’s past and inner world remain underdeveloped. This imbalance makes many viewers feel more sympathy for him and resent her.

One strong point of the drama is its supporting cast, especially the female lead’s father, whose character is well crafted.

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One of my favourites

After watching so many BLs with zero chemistry and actors who look like they want to run away from the set, finally We Best Love came and saved me. It really broke the streak and honestly went straight onto my list of all-time favorites.

Even before I passed the first 10 minutes, I already knew I would like it. Rivals to lovers is my absolute weakness. Every time I eat it up like crazy. And wow, the chemistry between Shou Yi and Shi De… maybe the best I’ve ever seen. Their acting made me forget this was even a drama. Usually when actors are stiff, I start thinking things like, “Ah, how embarrassing must it have been to film this scene?” But here I was just fully inside the story, like I was watching real life. And thank god, no dead-fish kisses! They kissed like people who were really in love, which is unfortunately so rare in bls. That alone made me so happy I wanted to clap.

I loved both of them so much, but honestly, Sam Lin stole my heart. He was shining the whole time. Please, someone cast him again as a BL main lead. He is too handsome, it actually hurts. T_T

I can’t even nitpick.. I tried to think of something negative to balance my review, but nothing comes. My mind is empty. We Best Love is just amazing, that’s it!

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Good soundtracks

Those who once enjoyed Love Between Fairy and Devil will likely find this drama appealing, as the storyline is quite similar. Both feature a charismatic, all-powerful male lead and a lazy, somewhat silly female lead.

It’s also understandable why the drama didn’t gain much popularity, even though the original novel was said to rank among the top in China. This type of storyline feels outdated. Viewers who prefer something simple, romance-focused, and not too deep will probably enjoy When Destiny Brings the Demon.

However, the weakness lies in the supporting cast. Just like in Love Between Fairy and Devil, the side characters are rather underwhelming. In fact, this drama handles them even worse — they lack depth and almost feel like NPCs whose sole purpose is to push the plot forward. At times, their actions come across as foolish and lacking any sense of humanity.

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Disappointing

Adaptations always involve changes, but this one cut away everything that made He Yan deserving of the title Female General—her resilience after devastating loss, her grit, and her brilliance on the battlefield. What’s left are speeches about “women can do it all,” without the actions to prove it.
The book Xiao Jue is so cold at the beginning, but there are obvious reasons. We get a hero worth swooning over eventually when he gets to know the FL. Here the writers seems to think just him staring at her with his good looks should have been enough for us.
This was the author’s best novel. Unlike some of his other works, where most women besides the heroine are cast as venomous, here it was much less so, which I appreciated. The strategic scenes were also written with logic, and He Yan’s victories felt earned and exhilarating. By comparison, the drama’s battles and schemes come across as shallow, which feels unfair to both the author and fans of the original work.

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For audiences who purely enjoy the detective/crime-solving genre.

The drama The Wanted Detective feels like a less remarkable version of Mysterious Lotus Casebook. The male lead investigates cases, gets poisoned, is skilled in martial arts, and is falsely accused.

Although the production is fairly polished, it’s understandable why the drama didn’t gain much popularity in China. While both shows focus on solving cases and uncovering deeper conspiracies, Mysterious Lotus Casebook stands out because each case is independent, with its own storyline and foreshadowing that eventually tie into the final mystery. In contrast, The Wanted Detective essentially revolves around a single overarching case from beginning to end, with the smaller cases serving only to lead to the ultimate mastermind.

Another drawback lies in the chemistry between the male and female leads. Despite their supposed romantic relationship, their on-screen interaction feels weak.

One strength of the drama, especially for longtime viewers of Chinese series, is the supporting cast. Many of the roles are played by seasoned and familiar veteran actors, which elevates the overall acting quality.

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It was ART: a beautiful story, but Shu He's character development was questionable

I loved it, the cinematography, OST, characters, dialogues, everything was great. A must watch.

BUT for some reason many seem to dismiss the inconsistency in Shu He's character and blame Duan Zi for everything.

If anything Shu He was the red flag, not the other way around. Shu He turned out to be quite "patriotic" for someone who never cared about politics.

First things first, what was up with returning that presented string to the Crown Prince and giving him cold shoulder after he returned from battle? He gave his insecure brother all the wrong signals to be suspicious of him and never even properly talked to him.
I can understand why he would choose to stay behind and not follow Duan Zi during the rebellion, I understand why he felt betrayed upon learning Duan Zi's origin, but if you think deeper, he himself used Duan Zi and whatever Duan Zi's lie was, he actually had all the reasons to harm South Hi's clan for losing his family and being forced into becoming a Red Shadow Guard since childhood. Yet he put Shu He first and didn't kill any of them up untill that scene at the bridge. Keep in mind, that a person who was devoid of a normal household and was trained to kill, held back.
Yet Shu He still holds Duan Zi accountable for his brother's and even father's death for 5 years - Duan Zu literally killed the Crown Prince after he lunged forward swinging his sword to put Shu He out of his "misery." And the Prince himself killed his own father. So Shu He wanting to "atone" for his unstable brother that wanted to disable him and in the end hurt his hand, framed him and wanted to kill him makes little sense. I understand their bond, and I'm not simplifying Crown Prince's character or their dynamics, but hating Duan Zi all those years and refusing his letters doesn't make. Why doesnt he also hate his brother for killing his father? More importantly revenging a DYING person also doesn't make sense - I can see why Shu He wanted to die, but there're many ways to queitly die without traumatizing "the love of his life". He once mentioned failing he protect his mother, himself and Duan Zi, but turned out to be the only person who actually hurt Duan Zi. He harbored ill will towards no one for any wrongdoings, except for Duan Zi. As if it's easy to confess that you were trained to become an assasin.

I loved all 5 main characters and their stories, almost all of them made many mistakes and were complicated, and all of them carry the reaponsibility for their choices. But Shu He shifted all the blame on Duan Zi up untill the very end. Shu He was the one that lacked coherence and purpose the most - he was like a poison both to the Crown Prince and Duan Zi.

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Best drama of 2025

After a cdrama slump for a year i stumbled upon this drama on Viki. Usually i get bored during thefirst 10 minutes but this drama is the only one in years where i didnt have to fast forward anything at all for all 30 episodes. I especially love the feminist themes throughout the drama and the underlying message that you dont need no man to save you. I find it refreshing in this drama that the FL saves the ML many times throughout instead of the usual damsel in distress dramas.

The pacing is great except for the last few episodes where i did ffwd. The ost is wonderful.

Now i have to say i was truly mesmorized by Xiao Jue and its because of the wonderful acting performed by an actor I have not seen before Cheng Lei!!! Omg this actor had me hooked in episode 1 the moment he appeared on screen. He just played Xiao Jues character to the T. His micro expressions are just wow. Because his character starts of as a very cold intimidating general he does this perfectly but also we get to see the cracks im his demeanour as he falls in love with He Yan, the fl and it was just so nice to watch. I definitely was gigling throughout those scenes of him trying to suppress his jealousy lol.

I also really liked zhou ye. Shes such a loveable actress and really played her role quite well. She had amazing chemistry with cheng lei.
The side characters were great as well. My favourite would be the training at the army.
Overall best drama of the year. I will miss my power couple so much.

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At the end we're all humans ruled by our emotions

I usually don't like watching modern dramas but after When Destiny Brings the Demon I got interested in Arthur Chen and decided to give it a shot. It has become one of my favourite dramas to date.


I admit, I have a type of ML that I like. I'm attracted to capable people who have confidence in themselves and their abilities. But even more so, Li Xun has touched me as someone who is not always perfect, not always considerate of the feelings of others but always strives to do his best, whether to help in his own way or to prevent others from feeling his own pain. He's a bit clumsy with it however, he doesn't realise that people will feel pain for him.

I think a lot of people say he's a red flag. But i think in this society, everyone strives to be seen as perfect. Not just in looks but also public image. But I would like to ask, how do you view yourselves?

Perhaps I relate to this ML because sometimes it's hard to play these people games. Sometimes I know I'm selfish, i can be immature, i can be stubborn and opinionated. We are humans and we have faults. But like what the FL said, it's easy to stand from afar and criticise without understanding it from the person's point of view. If I had undergone what Li Xun experienced in his youth, I'm not sure if I could stand as strong as he, and for that I really admire this character.

Some criticised him for shouting at others, for hurting the FL with his words, for only caring about the bigger picture and not the feelings of others. He's a realist. He is forced to be, because of his situation. Who has not felt overwhelming rage, enough to let you lose all rational thought? Or overwhelming sadness and guilt over decisions that you cannot ever take back that resulted in circumstances beyond your control? If you have never experienced such things, bless your lucky life, please cherish it.

Overall, the couple is cute. I like both of them. They support each other come what may and always try their best for each other. it's rare to ever find people like the both of them in today's society.

I think it always serves as a reminder to not judge a book by its cover. You don't know what the other person has gone through. I hope seeing FL's mother in the show, people would be able to reflect and understand that people have their reasons sometimes. It might not produce a result you agree with, but we are human, not AI. We come into the world with a blank page and fill it with our experiences gained. We don't always make the wisest decisions and we might get emotional but our intentions might not be bad. As someone who has always been misunderstood by friends and family because I'm not good with words... i understand this ML too well.

Anyway, i'm giving this a perfect score. I enjoyed the journey thoroughly and will be rewatching the cute parts definitely for serotonin (:

May Li Xuns and Zhu Yuns of today live great lives that contribute to changing the world for the better.

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How Many Whale Videos Do You Want? Yes!

What a story! The storyline is so ordinary and give us a big awareness on people with autism spectrum disorder (ASD), as well as inequality treatment towards people with disability. I personally think the overall storyline is a bit harsh for a "slice of life", but then it's maybe always this harsh for people with special condition like her. This show features different cases on almost every episode, and I like that the outcome is so ordinary and not always favorable for Young U. The strong friendship is a feature in this show, and the loveline is not overecsatic. Does it require the character an ASD to have a calmer love story?

It must be difficult for Park Eun Bin to play such "special" character, but at the end she delivers it fantastically. The other casts add a great combination to the show, especially Kang Ki Young with some silly things he often pulls. Additionally, most of the characters get a good character development.

While this show has a great highlight on the person with ASD story, it somehow takes toll on the story details. They didn't imply what is the actual beef between Han Seon Yeong and Tae Su Mi, that the former has to use Yeong U as her weapon to "attack" the latter. It is also unknown what happens to Min U that causes his change of heart. On the Children Liberation Army's case, there is a big chance to bring up more message, but they decided to skip the verdict. On the Lottery Ticket Case, Yeong U is told that Ms. Sung gets all the lottery prize amount of 1.1 billion as inheritance. This should be incorrect because her husband has spent all the lottery prize on the car which has been written off in the crash so there is nothing to inherit.

I personally think the final episode doesn't give proper closure. Young U gets a proper closure, and although vague but it's a assumable closure for Myeong Seok, Su Yeon and Min U. However it's questionable what is aftermath for Su Mi, what causes her sudden change of heart, and her relationship with Yeong U, Gwang Ho and Seon Yeong.

On the conclusion, this is a good show because it's heartwarming and has a fresh, unique concept idea.

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A star's end is a supernova, yet its death gives birth to the light of countless others.

I started watching Reset casually, with a relaxed mindset, only to finish it with a contented smile. It’s true what they say about journeys—you can only truly appreciate the path once you look back on it from beginning to end. The same holds true for a film, and indeed, for a human life.

Speaking of the film, Reset truly needs to be evaluated by its beginning, its middle, and its end. What lingers after the credits roll is a feeling of being slightly adrift, a warmth, and a sense of nostalgia, as if I’ve witnessed years, even lifetimes, pass by, all centered around a single, fated love. If I had to make a comparison, the feeling is akin to finishing a long novel series. The plot points may not be perfect, the twists sometimes clumsy, with issues in pacing and a few confusing details, but ultimately, the completeness of the story’s journey takes you somewhere. It leaves you with a poignant, bittersweet feeling. Reset is just that—imperfect, sometimes awkward and uneven, yet when the characters' journey concludes, what remains is a current of emotion, the sense that Tada and Armin's love story continues on in their world, in this life and the next. And honestly, I’m happy for them.

Speaking of life, a person's life is perhaps the most difficult journey to evaluate. The way we are born is different from the way we die, and the way we live our years doesn't directly lead to the circumstances of our departure. A person who lives a righteous life can still die an unjust death. So, how do we measure a successful life? Did we live happily? If we could go back to a single moment, would we make a different choice? No one knows, for each person lives only once. In that final moment of reflection, as everything flashes before our eyes, we will answer all these questions for ourselves. We will judge how we lived, loved, hated, what we endured, and how we died, from both a subjective and objective viewpoint, as if watching someone else's story. Life has a beginning and an end, and we often imagine our years on earth as a kind of journey—a "path of life," perhaps? Returning to Reset, it revisits the theme of returning to the past, of redoing one's life to change regrets. This time, both Armin and Tada are granted the power to reset their lives. This means that when they reached the end of their path and evaluated all they had been through, they were given a chance to return to the beginning, to write a different life, to walk a different journey. That parallel universe of time and space is destiny's gift to their love and their regrets. But I believe it is also a different life, one that doesn't overwrite the past. Armin and Tada don't relive the same life twice; they are simply living two different lives. Their reality is created by the choices they make in the present moment, and the past no longer dictates their path. From the moment they met their destiny in each other, all other fates began to shift. In the end, there was no other destiny for them but each other.

Honestly, I spent the early episodes trying to guess Reset's primary genre. Would it be a "rebirth and revenge" story, with a protagonist using their foreknowledge to triumph over betrayers and cherish those they once overlooked? Or would it be a crime investigation thriller, a hunt for a culprit? I generally assumed it would follow a "single protagonist" narrative, with love as a mere side element. But by the final episodes, looking back at the journey, I realized the ultimate theme the film was always steering towards was love. Love that creates meaning, love that saves, love that reverses fate and bends space-time. A love that heals, regenerates, and resurrects. Tada's love saved Armin more than once, and most importantly, it brought Armin back to life, both physically and spiritually. It was a love that stood quietly in the darkness but shone with the light of a guardian angel. Armin's love began with compassion, then blossomed into a response, a returned gaze, a deliberate kiss. It was a love that came from the light and remained in the light. Ultimately, the driving force of the entire film, the core element that stands at the center of every plot point and character, overshadowing everything else, has always been "love." I believe "love" was also the catalyst for the conflicts and challenges, the cause of death and rebirth, the force that controlled and propelled the darkness in the villains and the light in the heroes. Behind forgiveness lies love; behind hatred, in the end, there is still only love.

That is all I wish to say about the film's message. The ending can be considered perfect—complete and beautiful. It pulled down the red curtain to reveal the brilliant words "Happy Ending." It is no exaggeration to say this is one of the most satisfyingly happy endings I have ever seen. It masterfully comes full circle while also extending the story forward, allowing the viewer's emotions to linger in a state of fulfilled joy. The final act—or more broadly, the last two episodes—excellently fulfilled their mission of encapsulating the entire film, creating a powerful and lasting impression. It gave me answers (along with justifications I found acceptable) to questions I had from the beginning, questions I was ready to leave unanswered. This successfully elevated my final impression of the film. Indeed, what better explanation is there than the power of love, of the desire to be loved, and to live—to truly live one life to its absolute fullest?

I never thought this film would evoke so much emotion in me, nor did I think I would write so much about it. But alongside the feelings stirred by the final moments, I still have mixed feelings about the early episodes. Of course, most things were ultimately explained by the power of "love," but for some reason, I didn't deeply feel the connection between the main couple in the beginning. The fated love story felt a bit too rushed, lacking a certain smoothness in the emotional transition (mostly on Armin's part, as he truly had no romantic feelings for Tada in his previous life). Another small issue is that some events in the second life, which were caused by the new Armin's choices, also occurred identically in the first life. Some character actions also felt a bit stilted, as if they were just following a script rather than acting naturally. The fact that Armin spoke too much about his rebirth or behaved in a way that was too "over-the-top" for his true age was also a minor distraction (though to be fair, Armin wasn't the most mature character in his first life either). Furthermore, there were some plot holes in the time-setting (the 1999 setting wasn't really explored in depth). I was honestly hoping for a more developed revenge trope, wishing the conspiracies were more thrilling. The film often felt a bit too "safe" and stable; in some episodes, moments of danger failed to build peak emotional tension. I also found myself preferring the scenes where Tada and Armin were already in an established relationship over their ambiguous early stages, which is a rare preference for me.

Overall, Reset is still a good film. It has a classic feel, and its plot—a wealthy, powerful CEO who can move mountains falls for only one person, a reborn actor on his way to the top—is quite appealing, easy to watch, and satisfying. There is clear investment in the visuals and set design. While I wouldn't say Reset managed to "reconfigure" my worldview, it is ultimately an interesting, deep, and captivating film that took me by surprise.

***

(A personal musing: Watching this film brought to mind my thoughts on the "rebirth and revenge" trope. I always wonder: are the "bad guys" truly deserving of retribution for actions they haven't yet committed in the protagonist's second life? Does evil exist in one's nature—meaning that no matter the universe, those people will repeat their malicious acts? Like Sam in the film: if Armin had never loved Charlie, would Sam have betrayed Armin for Charlie anyway? And, with a perhaps naively humane thought, I always wonder why characters with a second chance don't try to change events in a way other than revenge. Because if revenge is necessary, shouldn't the target be the person who harmed them in the *previous* life, not the "past version" of their betrayer, the "child who will grow up to be a monster"? In every sense, they are two different people who have or have not yet experienced different things. On this point, I think Reset touches upon this slightly, as Armin's initial intention isn't pure revenge, but rather to live a less miserable life and fulfill his destiny of meeting Tada. The revenge I hoped for was simply to see him return the blow to those who wronged him in this new life—like Lily, Ren, or Thiwthit...)

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