Reviews

Makjang fluff, equivalent to drinking a bottle of alcohol or something

The drama is a decent and showy makjang until about ep 7.
The 2 Joseon women tried to be wise from their heart and it was very nice -
but then it started falling apart in ep 7 when I got tired of their whispering voices and ALWAYS ANXIOUS SUFFERING FACES... ALWAYS IN FEAR.... always lying... more and more lying...

AND NO CHARACTER GROWTH IN ANY DRAMA CHARACTER****

SO IT WAS ALL SNAKE OIL, SMOKE AND MIRRORS, TOTALLY FAKE!!!!

I wrote several long posts in the Discussion for this drama on MDL, so you can read that.
I FINISHED THE DRAMA FEELING FURIOUS THAT I WASTED TIME WATCHING THIS TRASH. It was a great study of how cheesy writers bait the audience and how to pay attention to what you are watching and what the red flags are. .

The drama left me absolutely FURIOUS. I was watching and things were ok until I figured out what I was watching - utmost sexism and women as powerless slaves, scared for their life,

Koreans brainwashing that female lying, silence, chronic anxiety and suffering, and "whispering voices" and "demure elegant" conduct is something desirable.
HECK NO. It comes from women being scared for their life and well being, as slaves with NO power or rights; and the brainwashing that they have to sacrifice themselves - for example that a woman must not eat much. KOREAN SOCIETY TREATED - AND STILL TREATS - WOMEN LIKE SLAVES, SO BADLY IT IS DISGUSTING

Practically every culture in the world mistreats women, some more some less, but it is THERE
It was just disgusting to see how Asia did it and STILL DOES IT that is why we get those anxious lying never talking stupid women in 2026 dramas about year 2026.

That gotta STOP we need good female role models. -


So b y ep 7, I started to doubt what I was watching, and then in ep 15, 16 I got very angry at what I was seeing esp in older Joseon woman.

What the drama calls demure, elegant, feminine, considerate, pleasing, trustworthy is actually a POWERLESS FEMALE SLAVE who does not dare say anything that could piss off anyone, so SHE LIES, KEEPS SILENCE, DESTROYS, just to keep her as@ safe.
IT IS DISGUSTING ADVERTISEMENT OF PATRIARCHY

Durian's Affair was not sugarcoating LGBT+ and made this character super selfish and ordinary, "same as usual selfish", just with that orientation.
Also the drama made fun of Catholicism and CHristian "lamb", of Western Food, or plastic surgery for actors, and many many other societal issues.

There is no character growth in this drama, WHATSOEVER, the drama says it is for "ordinary ppl to temporarily forget their rough life" and indeed that is what this drama is, lots of juicy shocking and gossip scenes, lots of meaningless dialogues, ...

It has karmic lessons, ok... and advertises Buddhism... ok ..
but other than that... it is pretty much useless for real life, it is mostly fluff

FOR STARTERS, UP UNTIL ABOUT EP 7:
2 Joseon ladies embody just plain old honesty politeness and kindness that goes waaaay beyond any rotten old moldy sexist Confucianism.... Indeed! So thank you for that thoughtful review.

This drama indeed is a pioneering piece of work, and the script is actually very good and effective, acting is stellar, and of course - the music totally adds to the drama, pun intended. I am glad I watched it.

For the record: I got to this drama by accident, bc there are no dramas for 2 weeks bc of some sports event. So someone recommended the "classic" daily Princess Aurora, so I researched it, found the review on Dramabeans, and watched ep 148, 150 to see for myself. So I got curious about the writer and read her bio here on MDL. Definitely a very contraversial person... who makes effective makjangs. The secrets are great dramatic music, juicy "real life" stereotypes and gossips, ... and even deeper. I already noticed in the 2 episodes of the Princess that many societal issues were addressed, and the overall topic of this drama is the good old "being driven by hormones in spite of all visible red flags."

Read More

Poor Characterization of the Female Lead

What’s up with the weird psycho vibe and the weird music that turns female lead Minori into a psychopath like figure? Just make her act more natural instead of doing these weird psychopath expressions, bug-eyes, creepy smile, fake baby voice, horror music, and hearing “whispering voices” as if she is some kind of crazy horror show. The female lead’s acting is so badly done that it’s comical. It’s natural that the character Minori wants to get revenge, but they make everyone else including the lying husband and his affair girlfriend look normal and make her look unhinged, ominous, and crazy. In the end, the man looks calm and innocent, and the two women- the wife and mistress are pitted against each other fighting like crazy psychos. I find that treatment of her to be quite misogynistic. Making the woman, the wife look crazy when she is the only one who is honest and the victim. The way she acts is so creepy and off-putting. The man-the husband and everyone else lie all day long, and keep a flat calm expression. But the one character that is the victim of all this is being made to look like a crazy person. She laughs to herself while rocking back and forth in a chair. I also don’t like the fact that she uses that innocent teenage boy Wataru to do her bidding and manipulates him so much. The poor boy becomes obsessed with her. Where does he even live when he leaves home? On the street? On a park bench? He’s a teenager with no money. Minori is responsible for that. What she did to him is still child abuse and criminal. She could have gotten revenge without ruining him at all.

Then Minori says she’s getting revenge and then goes around spreading her guts to everyone like the mistress and her son. She spent all that time and effort trying to seduce the mistress’s son just to spill her guts to him like an unhinged mess instead of laying low and making sure he was firm in her trap so that he could be more useful to her. Not exactly calculated is it? Just an unhinged mess. She squeezes half a bottle of ketchup on her husband’s omurice with this ominous music like she’s psycho. Why does she need to be so crazy - instead she can just openly talk to her husband instead of acting like a total weirdo. I get it- a wife would feel like she’s going crazy but this series makes her look like she has serious psychological problems apart from her husband’s affair, which is an attack on the wife’s role.

One dialogue of hers that I did appreciate was when the husband was seducing her and she was going along with it and her inner dialogue says, “It made me realize how ridiculous this is. Somehow the whole thing felt a bit comical.”

Starting episode 5 it starts to get quite interesting…but Minori goes off into the usual psycho crazy laughter with the ominous music starting episode 6. Come on stop make her the crazy one!

The actress playing Minori is very annoying with her baby voice and constant hyperventilating. She’s a grown adult but even to children like her own small son or the teenage boy of her husband’s mistress- she speaks like a baby to them. It’s weird like she’s infantilizing herself. Nothing about her voice sounds natural, like she’s putting it on. It’s offputting. Sometimes her acting also comes across as fake and overdone like her crying scene during the funeral conversation with her real dad, she’s like “Okaasaan!” And breaks down and she just looks so fake. She could be natural but instead she’s trying so hard even during a crying scene to look cute and doing the baby voice and pouty botox duck lips.. like no! It’s a crying scene be natural! Ugh. And she keeps blowing her cover with all the bad guys instead of keeping it cool and calculated which would have been a lot more effective and entertaining. This just makes me irritated like she keeps acting like a psychopath.

Then the scene with fake acting between Minori and her husband & mother in law revealing to them that she knows she’s the Tsukishiro chairman’s daughter (they know that well already). And all was fine until Minori starts doing these weird deranged expressions like bug eyes and pouring too much tea in the cup so that it overflows. Like she should be using that money for psychological treatment of her mental state. What is the point of pouring too much tea in the cup except to look like a psycho? What’s the point of that shot showing her stabbing herself with a fork with those weird whispering hallucination voices? Stabbing her self with a fork? (Episode 8) What kind of ridiculous idea is that? What is the point of those weird behaviors making her look like the creepy scary one? She is the victim in all this but the director and creators of this show made her look bad by doing this. They could have made her more cold and calculating and sharp, instead of a deranged bug eyed person. That’s why I call her characterization misogynistic. When juxtaposed with the husbands acting- he looks so calm and composed and happy go lucky most of the time, and only mildly serious when things go terribly wrong. He’s only ever thinking about himself which is not love. Even after his cover is blown in the office, he still acts like a chill, happy go lucky dude. Only halfway through episode 8, he actually cries and shows any real emotion- that contrast makes his wife Minori’s creepy overacting look even more unhinged and it’s often the way men describe their wives or women in general - crazy, unhinged, scary.

Regarding the story, doesn’t Tsukishiro think it’s odd that Minori- his daughter has married the son of his housekeeper? And the housekeeper is Minori’s mother in law? It should be obvious to him what is going on because technically those two parties should have nothing to do with each other. But somehow they both show up with Minori’s son at the grandfather’s funeral acting like the perfect family- did Tsukishiro think nothing of this? It’s suspect! Or maybe he doesn’t think at all? And as far as the cheating husband and mother in law goes, waiting for 17 years and then waiting for the chairman to die is quite and unrealistically long time to put on an act as if they’re family with Minori just to get her inheritance right? They just be awfully patient and didn’t get even one slip of the truth in those 17 years? Seems unrealistic but I guess Minori was too idealistic with her rose colored glasses to see the truth even if it were right in her face. Maybe this was all her own lucidity and waking up too.

The only actor that I truly thought was natural eith the appropriate acting and expressions for the situation was the guy who played Wataru. The actress playing the wife Minori was way too weird/deranged/psychopathic like she’s the main attraction at a horror show, the husband way too chill like he’s in a Blue’s Clues kid’s show, and everyone else honestly did a better job than the actress playing Minori. While the story was interesting and well written, the acting and execution was severely lacking, mainly due to Minori.

And 7 years later poor Wataru is still in “love” with Minori after that initial manipulation, seduction, and abuse of her power as a teacher when he was a minor. Just because he’s older now doesn’t mean he’s healed from it all. He simply carries on the wound calling it love, and tries to have a relationship with Minori while she tries to ignore him but falls into it again. And what’s with Tsubasa? Minori’s son looks the exact same 7 years later as if he never grew up from 5 years old. And here is 40 year old Minori hooking up with 25 year old Wataru after the sins she committed towards him as a minor. Time for her punishment now?

Well if the kid she manipulated as a minor comes back, who knows if it’s love or a trauma bond from the abuse? How can it be love? But Minori San has no other options. Anyways the very last shot in the last episode that shows the fork drop to the ground as in the first scene is interesting. As if to say.. did it all really happen or is it a hypothetical dream?

Read More

Very “mothers/wives/concubines/daughters scheming” centric.

I like the two main actor and actress leads. It’s a personal preference, but the plot line is very mother/wife/concubines/daughters all fighting and scheming within the same household which is not my favorite trope. I understand why the father stayed away at the border for 19 years! LOL! if it were me, I’d marry off some of those daughters to have some peace and quiet in the house. I’m enjoying it and I wanna see the two main characters get together. The acting is very good from everyone involved. Mid way, episodes 23 and 24 had me feeling every emotion!!! There's some things in this drama I've never seen done before plot wise.

Read More

I expected more

I honestly tried to like it.

The plot really seems interesting and Chinese bls are definitely leading in this year,but this one isn't the one. It's not horrible, but acting isn't very good and I didn't connect with a characters. I couldn't see much from a chemistry for now, but in the first episode it wasn't existing. I don't want to rush and say that series is bad or anything like that, but the firts episode (which is supposedly the most exiting one since it needs to make you interested in a show) really didn't leave me hooked for a second episode. It didn't keep my attention and I think other Chinese bls that are currently airing are much better in every aspect.

I will give it a chance tho and write another review after the story unfolds more.

Read More

Good, But Needed A Nudge

A very decent effort to tell a story that goes beyond a sequence of cute moments and repetitive rom-com storylines. It certainly has some very fun, sweet and dramatic moments, yet doesn't commit enough to make it a truly memorable series. The writing could have been better and lingered more on some aspects that form the core of the story and flesh them out properly.

Regarding the acting, everyone did a good job. Teshow and Ping, for a rookie couple, actually had a lot of chemistry and seemed comfortable with each other on screen, which is something you don't usually expect from a new pairing. To me, they showed a lot of potential to act in a more complex story in the future. As for Sing and Chimon, their dynamic was very adorable and they made it work. I really liked their chemistry and look forward to seeing more of them.

Overall, it's a series I would recommend. There's effort behind it and it's enjoyable to watch.

Read More

**This is one of the most emotionally truthful dramas I have ever watched.**

Throughout almost the entire series, I was mesmerized by how tangible its emotions felt. Everything was so painfully recognizable. The performances—especially Kim Go-eun’s—were unbelievably natural, to the point that I could understand both Eun-jung and Sang-yeon completely, even when I disagreed with them. The story was engaging and often surprisingly gentle, but more importantly, it felt *real*.

And then came the final episode.

It did not seem to be trying very hard to make me cry. There was no desperate attempt to force an emotional reaction, yet my tears came uncontrollably. I rarely cry while watching dramas, and I have seen similar tragic stories many times without feeling much at all. Sometimes I can even feel when a story is trying to make me pity its characters. I never felt that here. The story itself was tragic, of course, but I do not think the illness, the assisted death, or the tragedy of the circumstances was what made me cry. I was crying because, through Kim Go-eun, I felt like I was looking directly into Eun-jung’s heart.

That is what makes her performance so extraordinary. People often praise great acting by pointing to one unforgettable crying scene or one particularly powerful moment. Kim Go-eun does something much harder here. She is phenomenal in *almost every tiny moment*: a brief reaction, an embarrassed smirk, a change in her eyes, the way her throat tightens when she is trying not to cry, the smallest hesitation. I never simply *saw* Eun-jung’s emotions—I felt them. Whenever the camera returned to her face, I could almost immediately sense what was happening underneath it. Her performance was not one spectacular scene. It was fifteen episodes of microscopic, consistent, completely believable human behavior.

And Park Ji-hyun was incredible too. Sang-yeon is such a difficult character to portray because she is neither simply lovable nor simply terrible. She can be selfish, jealous, hurtful and infuriating, while at the same time being deeply attached, vulnerable and painfully human. Both actresses made it possible to understand two people who could hurt each other terribly and still remain profoundly connected.

What I love most about the series, however, is that it never turns their relationship into an idealized friendship full of unconditional loyalty, nor into a hollow relationship defined by betrayal. It is something much more difficult to write: a *real* long-term relationship. We see the very first feelings that formed between them, and then we see how those feelings change over decades. Admiration becomes jealousy. Love coexists with resentment. Attachment can produce hatred, and sometimes you can even end up hating the very thing you love—or hating the fact that you hate it.

Almost nothing happens simply because it would make the story more dramatic. Things happen because they feel like things that could actually happen between real people. That is why the relationships are so unpredictable—not because the drama constantly tries to surprise us, but because real life itself is not written around clichés.

This is also why, after finishing the finale, I initially felt disappointed. I had been waiting for some enormous final message that would tie the entire series together, and I did not get one. Some characters' futures remain unresolved. But a few hours later, I realized that this was probably exactly right. The series was never trying to construct a perfectly closed narrative. It was portraying one relationship—and only showing the parts of other people's lives that mattered to that relationship. In real life, most people do not receive a neat conclusion to every person they once knew. Some stories simply stop being part of ours.

The same thing applies to its themes. I usually prefer stories built around one central idea, but I am glad *You and Everything Else* did not force itself into having one grand message. It touches on many different things—transgender identity, assisted death, childhood experiences, the relationship between parents and children, loneliness, envy, love, resentment, forgiveness, memory and art. They do not all exist to prove the same thesis. They simply exist, the way different lessons and experiences coexist in an actual life.

The treatment of assisted death especially stayed with me. The drama does not seem interested in telling the viewer what to think. Instead, it gives space to the different emotional, moral and personal dimensions surrounding such a decision. Considering how sensitive and legally complicated the subject remains in South Korea, I thought the series handled it with remarkable restraint and care.

I also kept wondering whether the writer had drawn heavily from her own life, because some of the writing felt almost *too* specific to be purely imagined. Eun-jung being a screenwriter makes this even more interesting. There are moments where she talks about storytelling and about whether certain scenes should be removed because doing so would make the audience lose the emotional context behind a character's final reaction. Watching those scenes, I sometimes felt as though the drama was quietly commenting on its own construction—and perhaps even on the ending we were watching. I cannot say the series is autobiographical, because I found no evidence for that, but it is remarkable how deeply lived-in the writing feels.

Sang-yeon's name is another detail I kept thinking about. She explains early on that the “yeon” in her name means *swallow*, and she wants to live like one: free, wandering and unattached. But by the end, the metaphor becomes much more complicated. Sang-yeon really is like a swallow, just not quite in the way she initially thinks. She can leave places, people and parts of her life behind with extraordinary ease, but she cannot truly detach from certain people. She keeps moving, yet she always seems to have somewhere—or someone—to return to.

The scene near the ocean makes this especially clear. She realizes that she has always been the kind of person who leaves things behind and expects them to remain exactly where she left them until she comes back. That, to me, is the tragedy of her idea of freedom. Leaving does not necessarily mean letting go. In a strange way, her departures depend on the belief that what she loves will still be there when she returns. She is a wanderer, but not necessarily a person without a home. Perhaps she is someone who can leave almost anywhere precisely because, somewhere deep inside, she always believes there will be something waiting for her.

And then there is Eun-jung.

I genuinely think Ryu Eun-jung may be the most emotionally mature and fully realized character I have ever seen in a drama. Her maturity does not come from being flawless or endlessly kind. It comes from the fact that she learns to live with the complicated things inside herself without allowing them to destroy the people around her. The conversation about the empty space left by an absent parent also stayed with me. I like to think Eun-jung really listened to Yoon Hyun-sook all those years ago—that instead of allowing the absence of her father to define her, she gradually filled that empty space with other good things and became the person she eventually became.

That is perhaps what makes this drama feel so complete to me now.

At first, I thought the ending had left something missing. Now I think nothing was missing. The series did not need a final revelation, a grand statement, or a perfectly tied-up future for every character. It had already given me what it wanted to give me: a relationship shown across decades, with all its love, envy, cruelty, tenderness, distance, dependence, mistakes and forgiveness.

And perhaps this is what makes their relationship feel so true to me. Long-term friendships in real life can become incredibly difficult to define. The longer two people have known each other—and especially when that relationship began at a very young age—the deeper the attachment can become. You accumulate years of memories, shared experiences, expectations, disappointments and versions of yourselves that only the other person remembers. Love and dependence grow deeper, but so can jealousy, anger and resentment. These feelings do not necessarily replace one another; they can exist simultaneously and become intertwined.

That is also why the people we are most attached to can hurt us more deeply than almost anyone else. When someone has become such a fundamental part of your life, protecting the relationship can mean exposing yourself to more pain. The wounds they cause can reach places that the actions of almost anyone else simply cannot. And walking away from such a relationship—or even trying to leave it behind emotionally—can be far more difficult than leaving almost any other relationship, because you are not only losing a person. You are confronting years of your own life that are inseparable from them.

That is what *You and Everything Else* understands so remarkably well. It does not romanticize lifelong friendship, but it does not reduce it to betrayal and resentment either. It shows that a relationship can contain love and hatred, dependence and distance, admiration and jealousy, tenderness and cruelty—all at the same time. The longer and deeper the relationship becomes, the more complicated those contradictions can become.

It feels less like watching a conventional story and more like being allowed to witness a real life closely enough to see all the tiny emotions underneath it.

I honestly don't know how you even write something this emotionally precise.

**A masterpiece.**

Read More

Obviously very early, but I love it so far.

The first episode is a bit understated and somber because of the FL's condition and the aura of regret surrounding her and Woo-jae, but Ep 2 gets much more spirited and funny right from the opening scene.

I really enjoy the dynamic between the twins and the fact that they're figuring things out as a team instead of the usual monologue-driven exposition in this type of story. Makes it feel very different from Lovely Runner, etc.

The body swap stuff is a lot of fun because so far it's more about the personality swap than the gender swap. The fact that it's siblings adds an extra layer of familiarity and bickering that feels fresh. Bona in particular is totally killing it as the brother.

Also, the time slip storyline is getting really interesting...

I could be wrong, but I'm sensing that I'm going to like it more and more as it goes rather than less and less. But we'll see.

Read More

warm family comedy drama

this drama is about two families with totally different vibes living in qingwu town. the cao and qi families both welcome a new baby—and end up swapping them. the conflict builds from misunderstandings between the caos and qis, and honestly, their bond just falls apart.

this drama really shows how toxic asian parenting can be. qi shi has a dominant mother and a passive father, and she deals with albinism while struggling to succeed. i don't want to blame anyone, but qi shi's struggles start with her mom's bad temper and qi zhi causing trouble. qi's mom is totally self-centered and has zero self-awareness. like, why is she always yelling and blaming her kids for reasons only she thinks make sense?

on the other hand, cao xin's life looks great, bright, and smooth as butter. but nobody knows his struggle against his dad's pressure to study abroad and unilaterally decide his future. when cao xin confronts his dad and says he doesn't want to go, i was honestly so relieved. finally, he has the courage to speak up for what he wants.

the complexity of their characters shows that it's just life.

the script is so good, and the details are totally nailed. it's not just about the main leads; every single character has their own story. the plot flows smoothly, the timeline is pretty clear, and the character development is great. the pacing is good too—slow, but not dragging.

though the writer must have been high when they came up with the baby swap plot, because logically, the older kids in the cao and qi families should have been old enough to realize their siblings got switched🥴 and seriously, i am so not okay with qi shi and qi zhi getting back together. like, after everything they did, their ending is still staying together?? what about the younger siblings, don't you feel bad for them???

sadly, the romance between xin and shi is super, super thin, and the second couple actually stands out more. there's zero explanation for how their feelings even grew—just an ambiguous smile, and boom, they're together in the very last episode. if only there had been more bonding between cao xin and qi shi instead of their older brother and sister, i would totally rewatch this.

overall, it's such a warm family comedy drama. everyone nailed the chemistry and the vibes, and the ost really fits the atmosphere.

Read More

I hope they don’t get stuck making the same kind of BL series over and over again.

The series was fine overall. It had a really good cast, and the actors did a great job portraying their characters. The actors who played the fathers were especially great—the parents really shined and brought a lot of light to the series. The feud between the families also added more color and tension to the story.

Ping is an experienced actor, and I think he did a good job carrying Teshow along throughout the series. Their tennis games also felt realistic, which I appreciated, although I do think the story could have explored the tennis aspect much more deeply. There was so much potential there for the sport itself to become a stronger part of the story.

Honestly, I misjudged this series when it was first announced back in December 2025. I had my doubts about it, but in the end, I think it turned out alright.

That said, I hope GMMTV continues to improve the production and storytelling of their future series. Sometimes, it feels like they’re becoming more focused on producing actors who can carry cute BL stories rather than developing series that are as competitive and layered as Last Twilight, Bad Buddy, or A Tale of Thousand Stars.

I hope they don’t get stuck making the same kind of BL series over and over again. There’s so much potential in these stories beyond the romance, and I’d love to see them explore the deeper and more interesting parts of the characters, their worlds, and the conflicts they’re given.

Overall, Match Point was better than I expected, and I’m glad I gave it a chance.

Read More

Actually, this drama has a good storyline and the basic plot is quite interesting. But after episode 8, the story starts becoming repetitive and a bit messy. The same things keep happening again and again, and Little Jane’s brother is always causing problems. They also keep treating Big Jane as if he isn’t really one of them, and they don’t even try to get help from him when they have problems.
I understand that they had already done a lot for him before, so I can understand why they might not want to depend on him. But because of the way they treat Big Jane, I just didn’t really feel that strong connection or love between them. For me, their relationship didn’t feel as deep or convincing as it was supposed to.

And Little Jane keeps hurting Big Jane and leaving him every time. Even when he loses his memory, he ends up doing the same thing again. At some point, it became frustrating to watch because I felt like we were just going through the same cycle over and over again.
I think I completely lost interest after episode 9. At that point, I just wanted the drama to end quickly.

When I first saw the trailers and added this to my watchlist, I honestly thought it was going to be something like TharnType. I thought it was going to be exactly my kind of drama and maybe even become one of my favorites. But unfortunately, it turned out to be the complete opposite of what I expected.

As for acting Big Jane is good-looking, but I don’t think he is strong enough for this character, from the storyline and the character itself, Big Jane is supposed to be a strong and dangerous character. But somehow, this actor doesn’t really give me that feeling. I don’t know exactly what it is, but he just doesn’t have the strong presence that the character needs. So for me, the dangerous Big Jane character doesn’t really suit this actor.

As for Little Jane, he is not a bad actor, but I wouldn’t say he is particularly good either. His emotional delivery needs some improvement. Especially when he cries, sometimes it looks like he is smiling, so I couldn’t really feel the emotion in those scenes. However, when it comes to showing emotions, I think he is slightly better than Big Jane—maybe only 0.5 better. Neither of them delivers the emotions as strongly as they should.

Actually, both Big Jane and Little Jane sometimes fail to deliver the emotions properly. There are scenes where I feel like the emotion should be much stronger, but their acting doesn’t fully make me feel what the characters are supposed to be feeling. they do have chemistry, but it’s not really chemistry-ing for me. 😂 There is definitely something between them, but their chemistry doesn’t stand out enough to make me fully invested in their relationship.

Overall, the storyline had potential, but the repetitive plot, messy parts, emotional delivery, and the way the relationship was handled made this a huge disappointment for me. Definitely not what I expected from the trailer, and honestly, one of the worst experiences for me.

Read More

This was everything that Bad Buddy should have been!

I'm one of the few people that absolutely hated Bad Buddy. I felt like there was absolutely NO CHEMISTRY between OhmNanon. No hate, I just didn't vibe with them. Really happy for you if you love(d) them. When I first heard that Ping was going to GMMTV I was stoked. I secretly hoped he'd be paired with Dew, but after watching this series, I definitely understand why they put Ping with Teshow. I was afraid that Match Point was going to be a carbon copy of Bad Buddy and that GMMTV was going to do TeshowPing dirty. But, I'm happy to report that it wasn't. This show was so much fun, loved the characters, the actors, and was happy to see that this show was everything that Bad Buddy should have been. On a side note, I like the SingChimon pairing as well. Not sure if it's permanent but they were really cute together. I highly recommend this show. It was so good.

Read More