Reviews

Great showcase of Hong Kong talent

I am writing this before next week because i know that after the end of the show, i will have to drag myself out of the rabbit hole with great difficulty.
I am pleasantly surprised to see this production after "Sammy's children's day". It doesn't shy away from the story of the location, use local talents where visible, and this truly pays off and gives an authentic feeling of the show. More importantly, the action scenes are slick (comparing to KP from BOC), story lines are sensible (comparing to the novel), supporting cast is professional, and makeup is natraulistic (a bit on the heavy side but at least they matched the foundation to the actors skin tone). I don't actually want to mention that the leads are gorgeous and their acting is of an acceptable standard, because I feel that's something I normally "accommodate " when watching productions in this genre, which is a shame. The whole thing shows how, despite that Hong Kong tv/film's golden era in the 90s has long gone, local talents remain and are just awaiting the right opportunity and investment.
A couple of things can be improved. The NC scenes feel a bit vanilla and staged to my personal taste. But then again, although Hong Kong has a great tradition of category 3 movies, they're mostly sex comedies, so maybe that's not where local strength lies. The music writing can really do better. Apart from Kingston's cover of a late artist's song, the others can really do better. I am not asking for full revival of the glory of Cantopop but at least don't just copy and paste a few notes to the background music because you want 3 more seconds of arm caressing, it just bothers me, who is not all that into "free jazz".
Overall it's an entertaining watch, and for me personally, to have a BL series in my native dialect is a treat.
Outside of the series, LeoKing pull out all the stops and faithfully play their lovers role in both reactions and dating vlogs, and I find myself mindlessly watching them play camping after a hard day's work. That's the main reason why I will need to drag myself out of this after next week.

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The Knot Came Undone ?

Sooooo disappointing. The trailer was so hot, thrilling, and dark. This show was NOTHING like the trailer. I understand they need to make a trailer/plot to get investors, but where the f*ck is the heat? It turned into a tepid bath with no bubbles, no lights, no music, and got colder and colder by the second. They literally managed to make it fluffy when its supposed to be serious and dark, and the fluff was not even a good fluff.

They repeated scenes, using the same dialog over and over and over, and it was so boring! I swear one episode 6 of them were in a room together, 3 had lines and it was like them talking for 5 mins, then awkward pauses, then the other 3 actors would almost reiterate the same lines again for another 5 mins. It was uninteresting and boring. It breaks my heart to say that, but I never made it through the rest of the series without saying how boring it was in every episode.

Honestly, the "story" wasn't the problem, it was the writing and directing. Probably, mostly, the writing. They had a good premise, but it felt undeveloped and poorly executed.

I did like that they used the Omegaverse terms, but I feel like they did it in an overly dramatic way, like explaining Omega and Alpha to each other repeatedly. Idk it was, I seriously struggled to get through this, even with 2x speed and/or skipping scenes altogether.

⚠️ SPOILER ALERT ⚠️

Phatsa gets pregnant, but then the show literally ends. We don't get to see the pregnancy, the baby, or anything. They showed more in 'ABO Desire'. 🙄 They might have a special episode, but they had 12 hour+ long episodes to show the baby and family. I'll probably skim through it tbh.

I loved that Nakhun took on Phatsa's pregnancy symptoms.

I guess part of it was my fault for expecting too much. I excepted the storyline to be slightly better from 'My Stubborn', more coherent, and it was in some areas, but it was so much worse in every other way. The only reason I gave it a 5 stars was because I love BoatOat.

2 good things in this drama were BoatOat and Boat's pretty song that plays sometimes, which is why I gave the music such a high score. That opening song is so bad imo.

The trailer version never being made into a full drama will always be a crime. I guess it's still a good step for the Omegaverse and for the whole cast. It's not even the worst show I've seen and I usually tell people they should give shows a chance, but I don't even want to for this one. 😕

Boat and Oats NC scenes are good, so there's that. Idk maybe you'll like it, lots of other people seemed to like it. Cheers to you if you watch it. Susu!

Better luck next time ✌️

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A Slice-of-Life Drama with an Ethnic Culture

With this drama, I got to know a different side of China and discovered a culture that felt really warm and calming. The beautiful people, beautiful scenery, and especially the people's bonds with one another and their culture warmed me the most. It was really refreshing.

As for the story, what I liked the most was the family bond and the connections between the characters. I really loved the way the three friends supported each other and treated one another like real sisters. I actually enjoyed the stories of the 2nd FL and 3rd FL more than the main couple's story. Although some parts of their stories were heartbreaking, I found them very interesting and motivating.

The main FL and the main couple's story was okay, but I think it could have been better. It felt a little bland. I know their kind of relationship is something that can happen in real life, but as the main couple of the drama, I expected their story to have a little more impact. Still, the other couples and the family-like bonds between the characters made the drama enjoyable and refreshing.

Finally, I recommend this drama if you want to experience and learn about another side of China and its ethnic cultures. It can also be a great break if you've watched too many complicated dramas in a row.

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unique

This is such a unique take on the superpower genre because it covers so many different aspects of people we normally consider heroes. Usually, when we watch superhero shows, we only get to see the cool side of having superpowers, the strength, the abilities, the excitement, and all the things that make us think, “I wish I could have a superpower too.” But this drama shows the side we rarely get to see.

These people have abilities that are supposed to be their greatest strength, but those same abilities become their biggest weakness. Instead of making their lives better, their powers take away their chance to live a normal life with the people they love. They become targets simply because they have something other people want or are afraid of.

What really gets me is that they can’t even fully control their own lives. They have to be watched, protected, and guarded by others because people are constantly trying to take advantage of their abilities. They don’t get the freedom to simply live as ordinary people.

And honestly, why should having a special ability automatically mean that you have to become a hero? Having a power doesn’t mean you owe the world your life. They should have the choice to decide whether they want to use their abilities to help others or simply live a quiet life with the people they love.

What makes this drama interesting is that their biggest fight isn’t necessarily about saving the world. It’s about having the freedom to live their own lives. They’re not fighting because they want to be heroes. They’re fighting just to have the chance to live normally, and somehow that feels much more human than the usual superhero story.

It really made me rethink the whole idea of superpowers. Maybe having a special ability isn’t always a gift. Sometimes, the thing that makes you different can also be the thing that takes away your freedom.

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interesting plot

It’s such a good short drama to watch, with a really interesting plot and twist after twist. Honestly, all the twists are giving me a headache because there are just so many! 😂
The ML and FL both have their own personalities, principles, and stances. They don’t just exist to be “the ML for the FL” and “the FL for the ML.” They both feel like true leads in their own right, and I really appreciate that.
Somehow, the main characters are written better than in some long dramas where the story feels like it was written around the billing order of the actors.
The visuals and filming are also impressive. Even with a tight budget, it has the look and feel of a much longer drama. Everything is just right and doesn’t feel unnecessarily overdone.
And the acting? On point.

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EXCEPTIONAL DRAMA

This is a Chinese drama that takes place in a fictional country and era that resembles the Ming dynasty. It focuses on the harsh, difficult lives of women in general. Palace maids in particular, have no power, no prestige, and aren’t much better off than slaves.

But even upper class women have a hard time in this culture. Any woman who makes one mistake might be asked to kill herself to preserve the honor of her family.

If she doesn’t have money she might be sold to a brothel.
The maids have no rights at all. They’re subject to brutal punishment and can be beaten to death at any time.

The story centers on one maid, the quick-witted, kind FL, originally a nobleman's granddaughter, who manages to find solace, friends and to eventually flourish in this treacherous society.

To be clear, this series isn’t a downer. There are plenty of lighthearted and tender moments, and the plot moves along at a nice pace. Some viewers will disagree because a lot of the action is taking place in the gestures, the facial expressions, and the subtext, so it can seem slower. You have to be able to see what’s going on under the surface to get the full impact.

It’s a very good drama. But it would have been better if the writers (and I presume the director) had not felt the need to drive the theme home every chance they got.

And what exactly is the theme? The horrible abuses women have had to suffer at the hands of men throughout history.

The writers are so insistent that you get this message that Li Meng (more on her later) appears in episode 36 to preach it to us one more time. And she brings all this up while she’s mortally wounded.

Believe me, the FL doesn’t need a reminder of this sorry fact. Her whole life embodies it. Forgive me for harping on this–but the script writers should be sent to a re-education camp for this crime against good writing.

Li Meng reminds the FL that all men are rotten to the core. She even imagines a time in the future when women will be able to control their own lives.

The FL assures her that, yes, “that day will surely come.”

Dear movie makers, It’s an insult to your audience to inundate them with this level of didacticism.

But back to the story...the female lead in this story is fiendishly clever. And she knows how to level the playing the field when she needs to.

It takes awhile to get there, though, so be patient.

At times the plot is melodramatic. Someone is kidnapped; an innocent person is put in prison. Twice it turns into a police procederal with one of the two leads following the clues and saving the day. In many places, the story-telling, acting, directing, and grown-up themes are truly impressive.

The main negatives for me were the sections where the plot was confusing--and I had difficulty figuring out what was happening. I’m not sure if this was a problem with the editing, the subtitles, or the script.

One example–in episode 39 the FL is trying to explain something important to the ML. She creates a dramatic production to make her case, and they watch this production together. Judging by his reaction, the ML gets it.

He gets it–but what about the audience?

What exactly is the FL trying to say? I played this scene over several times–and it was still vague, incoherent and obscure.

But for every scene like that–there are others that are magnificent.

Most of the actors seem well-suited for their roles–and a few stand out. One is the actor Li Meng, mentioned above, who did an amazing job playing the husband-stealer in THE EPOCH OF MIYU. She’s the heavy in this drama as well, but she lets the audience know in a well-written and brilliantly delivered speech in Episode 8 that she (an upper class woman forced into a loveless marriage) is also a victim.

While the FL’s mother was very sweet and lovable, I was a little disappointed that the FL cried harder when her mom died than when the ML died. The ML was trying to console himself with the thought that they could be husband and wife in the next life. Her comment? “Once is enough.” I suppose you can read this several ways, but I admit it was pretty cold.

But with all its flaws, this is one of the better dramas of 2026

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The Women of Bukchon

After all, Korea is not France.

I think director Jung Ji Woo knew exactly what he was doing when he adapted Les Liaisons dangereuses into a Korean period drama. The two societies were very different. Laclos gave us French aristocrats playing dangerous games with sex, love and reputation. Joseon society was much more controlled, especially for women. How they dressed, behaved, loved and even showed desire had rules.

So instead of simply putting the French story in Korean period, the director changed it.

Even the outcome is different. The original story ends with death, disgrace and destruction. The Scandal is much more subtle. There is still honor among sinners, and morality and reputation continue to control their lives. Oh yes, there is sex and nudity…but please, a few breasts and buttocks hardly compare with the scandalous behavior of the original story. Again…subtleties. And subtlety is both the strength and weakness of this series.

Eight episodes gave the director plenty of time to explain these characters and why they behaved the way they did. Unfortunately, it also gave us long conversations, slower pacing and less intensity. Sometimes I wanted the manipulation to burn instead of simmer. I honestly think this would have been much better as a tightly written three hour movie. Keep the beautiful cinematography, the glances, the silence and the sexual tension…but move the story along.

I admire the actors for taking risks, especially Ji Chang Wook. He stepped away from the clean and romantic image many of us are used to and played a man who uses sex and seduction as weapons. Earlier I wondered if Cho Won could eventually make me forget Ji Chang Wook. Not completely…but I admire him for trying something different.

Nana will probably divide viewers. Some saw her quiet performance as lacking emotion. I saw a young widow whose husband died before she really had a chance to live. Instead of enjoying marriage, she was expected to mourn, remain pure and behave exactly as society demanded. Even seeing her smile became difficult during these eight episodes. Her restraint was not necessarily a lack of emotion…perhaps it was a woman who had learned she was not allowed to show it.

By the end, I wondered if The Scandal should have been called The Women of Bukchon. Lady Cho fights the rules by manipulating them. Hui Yeon survives by living within them until she finally begins choosing for herself. Both women want something society tells them they should not want.

Maybe that is what this version ultimately became. It started with Laclos and his scandalous games of sex, power and manipulation, but somewhere along the way it became a story about women, desire and the price of living in a society that decides what is proper.

It is not the French story copied into Korea. And it should not be. After all…Korea is not France

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A great story, told without its tension

The story at the center of this show is one of the best ever written about seduction and its cost. Anyone who knows Laclos's Les Liaisons dangereuses (or its screen versions, Dangerous Liaisons and Untold Scandal): a cruel, charming libertine, a devout woman he sets out to conquer, and a scheming noblewoman pulling the strings, with all three ending up ruined. I tried to watch this as a fresh take rather than a comparison, but the core is the same, so the question is how well this version tells it. My answer is: not well enough.

The biggest problem is length. This story works as a pressure cooker, and the mind games between Lady Cho and Cho Won are the whole point. Here they keep getting interrupted by palace intrigue that adds runtime but no tension. It also leans toward tragic romance, when the story is at heart a psychological chess match that nobody wins.

The second problem is chemistry. I never felt the pull between Cho Won and Ahn Hui-yeon, or the old power struggle between him and Lady Cho. Beautiful leads do not guarantee spark, and the direction did not create it. Cho Won often plays as a caricature, and Hui-yeon's fear reads as timidity rather than a woman with real convictions being slowly worn down. Because of this, the central arc never lands. I never saw him change from a man who respects nothing into one who realizes what he could have had. The intimate scenes are explicit, but they show no tenderness, doubt or dawning feeling, which is what would have given them meaning.

Lady Cho's ending is the last disappointment. She is one of literature's great villains, and here she suffers no real consequences and moves through society as before. The final scenes then imply she was pining for him all along, which turns a schemer into a heartbroken woman and removes the downfall the story needs.

Across Netflix's Asian productions, I've also noticed sexual behavior that would carry real social weight in these cultures shown as casual and consequence-free, whether or not the story needs it. Tribhuvan Mishra: CA Topper is one example, where a married chartered accountant with a respectable day job moonlights as a gigolo for women in his community. Aap Jaisa Koi is another, pairing a conservative, socially awkward man with a much more worldly woman, while his sister-in-law begins a relationship with the woman's uncle and the film frames it as reclaiming her independence. Many viewers in these societies seem to experience this as imposed from outside rather than growing out of the stories being told. A drama like this one, set in a rigid social order, is exactly where sexuality should carry consequences, and the lack of chemistry and consequence here shows what happens when it becomes decoration.

None of this is a criticism of the cast. They worked with the scripts, direction and choices they were given, and the blame belongs with the writers, producers and platform.

A great story, badly told: the scandal here is what they left out.

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Tropes Done Right

“After Moving Seats, the Boy Behind Me Has a Crush on Me” gave me so many fun BL tropes to enjoy... the popular guy falling for the introvert, a lovable and chaotic friend group, and, most importantly, SO much chemistry between the main couple. Everything came together in such a light, fun, and genuinely enjoyable way!

It’s definitely not trying to be anything groundbreaking, and honestly, it doesn’t need to be. It knows exactly what kind of story it wants to tell and fully embraces its tropes without making them feel boring or overused. It’s just such a cute, easygoing BL that’s perfect to sit back, have fun with, and enjoy the romance, the characters, and all the chemistry between the leads. ❤️

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Box was a 1982 short film by Ito Takashi. Unlike other shorts by this director that I’ve seen, this one appeared to just be a dizzying experimental film. Ito used various scenes on a cube and then rotated them ninety degrees filming frame by frame causing it to appear to spin. He used different filters and techniques with a disorienting music background. Without any story, however thin, this came across as a “Look at what I can do!” film. While cool to look at for a couple of minutes, eight minutes of a flashing turning cube with screeching music in the background began to wear on my nerves, brain, and eyesight. He might have been having fun but it began to make me want to lash out irrationally. Ito’s works are open to interpretation due to his style. If you’ve ever watched Chuck (2007-2012), you’ll understand when I say it felt like I’d had the Intersect downloaded into my brain…with the accompanying headache.

25 September 2026

Trigger warning: If you are sensitive to flashing lights and lots of erratic movements you might want to avoid this film.

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A Messy Road that Leads to Perfection

Moral of the story: people don’t need to be enmeshed in suffocating roles or relationships. They can set themselves free while still being connected to each other. That’s perfect.

Here are my feelings as they ebb and flow throughout the series. In case you’re wondering, my 10/10 rating comes from the last episodes and how things resolved themselves in the end:

In episode 5, the phone conversation between Sakiko and Seo in the café that Naoto is now taking care of, and after almost a year of her husband gone missing and disappeared and calling his café once in a while to see how she’s doing. All I can say is what a weird person, and even more cruel and sadistic to continue checking up on her like that. He did something like that and put her through all that trauma just to conduct surveillance and monitoring on her mental state and if she’s eating well or sleeping well. And then when she speaks to him over the phone, he gives one word answers. Why did he even bother calling if he’s gonna give one word answers sounding like an emotionally unavailable puppet? And Sakiko has to drag all the answers out of him but she gets nothing after a year of him disappearing, except one word answers. And even she is like putting on this false façade at first like “Oh are you eating well or are you sleeping well?” like who cares!? And she’s like Azusa was Sonoda‘s beloved wife why did you go with her and why did she die and he just says “mmm” and she’s left talking to herself. What an emotionally unavailable, cold, heartless conversation. This was the end of the relationship. And all he has to say is, “I’m glad you sound well. Take care.” WHAT?

It’s like they both try to act like they’re totally fine after he abandoned his wife for a year. Why don’t these people speak openly with honesty and vulnerability? Just be emotionally honest and ask straightforward questions instead of saying poetic nonsense like “Yes the sky is a deep blue today isn’t it?” while crying. And other people like Naoto and the bookstore owner that Azusa used to work at actually has the nerve to speak badly about Sonoda and Sakiko. When Azusa and Seo were sneaking around and caused them all this pain. I don’t see why the spouses left behind are the ones who have to suffer and be blamed for seeking comfort in each other. It’s like they also have to feel guilty getting along with each other and getting closer to each other. It’s as if they’re expected to hang onto the deceased forever and never allowing themselves to be happy ever again. That’s simply not fair. They didn’t do anything wrong. And even then, after speaking to him over the phone in this sad conversation, Sakiko acts like a martyr and says I can’t hate him. It’s really pathetic. Why does everyone have to act like a saint as if they’re not angry? Is this the expectation of saintliness in marriage and family? it’s not natural at all. It’s just a fake performance. An even despite having these phone conversations, nothing actually gets communicated. They just put up a fake front like a mask and persona. If you get one conversation with a guy who ran away for a year, wouldn’t you ask him real questions? Instead of having the superficial conversation and hanging onto this robot like husband who has nothing value to say? Sakiko and Sonoda are so much more open with each other. So they should be with each other. So the relationship between them that I was initially skeptical about now feels completely right. And then just as Sonoda and Sakiko are cleaning up her house with the conviction that she needs to get rid of Mitsuru’s things, even ordering pizza in a light moment of bonding, Mitsuru decides to come back with a beard saying , “Tadaima,” and expects his wife to say “okairi” like a robot. Unless this guy has some supernatural explanation kind of amnesia or some serious accident where his memory was lost, he has no right or excused to come back, showing his face to his wife who went through so much trauma because of him. How can this man just expect her to not move on after he abandoned her like that? What a terrible husband. No one openly communicates in this series- what is the point why does no one ask any question or communicate openly? What is wrong with these people? Why do they act like robots? Then Mitsuru goes about his business, making coffee like he’s not accountable for anything. Instead of asking any relevant question she asks her husband, “How are you feeling right now?” What?!? It’s not a therapy session, it should be an interrogation! Then she says “Seeing you acting all nonchalant like that makes me angry.” Finally, she’s getting a backbone. But he offers zero explanation. Then they talk about other useless things like “Do you wanna have a smoke while you’re drinking coffee?” and he says, “oh I haven’t smoked in a year.” what is this nonsense conversation and small talk at an intense time like this? It’s like they’re playing husband and wife saying all the scripted lines like “oh I’m going to the supermarket. Do you want anything?” Arrrg it’s so frustrating to watch.

Then it goes into a flashback of how these two met, and this husband seemed like a pretty dull character, even from the wedding that they met at. And they seemed to have bonded over negative things that each other hated. I don’t think this relationship had much of a future or foundation. Sakiko describes her mother who sounds like a narcissist, and seeing this man who seems to be emotionally cold and unavailable, it seems like she’s falling into his trap or developing a trauma bond with a wounded man. Then he proposes after the third date and then he disappears for three months and then text her saying he’s back from a business trip and she is so excited to hear from him again. These are huge red flags. They didn’t even have a wedding ceremony so the whole thing feels kind of shady. It is definitely a trauma bond and possibly a narcissistic abuse relationship.

Why are they doing this whole “Okaeri/tadaima/oyasumi” charade after the guy abandoned her for a year, came back, and still offers zero explanation other than “mmm.” Then “Did you clean the floor? Oh the warranty for the vacuum expired” like WHAT? Are either experiencing human emotions right now? Why does Sakiko need to do that performance? They’re just supposed to act like nothing is seriously messed up about this relationship? First they said he was dead, then he’s missing, then he did it on purpose and is weirdly checking up on her, then a year later he shows up acting like nothing even happened and as if he doesn’t even care or owe anyone an explanation. What is wrong with this show and the characters in it? Is this how robotic and emotionally dead relationships are? Why is this Sakiko so fixated on him and beating around the bush? They say a lot of nonsense but don’t get to the actual point, “Why did you leave for a year without a word and why did you come back? Why were you with Sonoda’s wife?” Why can’t these people talk about anything beyond the superficial and formal? Ask these simple questions for Heaven’s sakes! Why is it always passive aggressive?

Then they have the so-called important meeting where Sonoda is dressed up in a nice suit everyone is dressed up except for the husband who is still dressed like a hobo, and tea is prepared. Everything looks so formal and perfect and then all they end up asking were you having an affair with Azusa? Why don’t they ask this guy why he left for a year? I went to visit my parents without even telling my wife? Taking another woman on the trip with me and gone missing for a year? And why on earth do Sakiko and Sonoda not ask him that question? Why did you leave without a word? Why did you abandon your wife? Going to visit my parents is not explaining anything. All they can ask is about the affair, is that’s all they care about? Why don’t they ask more comprehensive questions? It’s so frustrating to watch these characters with such poor communication skills. And then Sakiko gives him the weakest slap that I’ve ever seen. He needs to be held accountable until he confesses what he’s been up to. Instead of doing this mysterious silent routine and pretending like everything is fine.

And then his husband actually has the nerve to ask “What exactly is both of your relationship and acts like he’s mad about it when he’s the one who ran away.” And he actually has the nerve to lecture to both of them saying how can you prove it’s not an affair, etc. Episode 6 is so frustrating to watch. The poor communication!

Episode 7 starts with Sonoda taking initiative to talk with the husband in private, but whenever they get to the real question of why he disappeared Sonoda is like ”I don’t even care to know the reason it doesn’t even matter.” What??! Yes it does matter!!!! Then Sonoda storms off after not even having a real conversation.. Meanwhile Sakiko is cleaning their tea cups at home as if they’ve just had a lovely meeting.

In the flashback of how Azusa and Mitsuru met at the laundromat, for some reason Azusa seems thoroughly unlikeable desperately trying to make useless conversation with a stranger just so she distract Mitsuru and call attention to herself. At first I thought it was sad that she died, but she seems to be quite an annoying character. I feel the most sorry for Sonoda who had to go through so much and now this loss.

As for Mitsuru’s excuse and backstory as to why he ran away… it was actually very believable. Shady, yes. But very believable. And it makes sense if he’s been doing that since he was a child. I know the feeling. I actually had empathy for him at that point once he started explaining. I think Azusa’s death was a result of her own silliness and desperation for attention following Mitsuru on a bus ride and getting herself involved in that bus accident. She seemed eager to start a relationship with Mitsuru.. I guess Azusa was his monthly therapy session (which he should have been going to in general) that kept him sane in his marriage relationship, so when his therapist died, he decided to disappear for a year. Interesting.

When Azusa starts this thing about tagging along with the bus ride, she seems to be proposing an affair. She’s trying to convince him that there was no affair and there was absolutely the precursor to an affair. She was proposing disappearing together and going something “scandalous.” She started the affair and it’s her own fault she died. If they had something to hide, even if I’m not against it and do understand, If it had gone on for longer, I believe it would have definitely become an affair between the two.

The episodes start getting more ridiculous after episode 8 with Sakiko running away and her husband calling a town hall meeting with all the characters to get info on her to find out where she could be. Then she ends up at the ocean with some ex-husband fisherman dude and his kids and she sounds more energetic and giddy than ever (seriously these characters are quite fake and performative with positive emotions). Then Mitsuru runs to Chiba and Sakiko runs back to Tokyo. And the husband Mitsuru actually has the nerve to act all worried that Sakiko has run away after his one year stint. These men really have zero sense of irony and empathy when it comes to their women.

In a hilarious turn of events, Sakiko’s side of the dysfunction reveals that she was married 4 times before. It’s hard to believe but uh.. okay!

There are still so many unexplained things like how Mitsuru was living with his parents for a year without any issues? And how is Sakiko supposed to live happily and normally without abandonment issues from now on? What a shame of a marriage. When he works late, she gets traumatized from not seeing him and not responding. How can there be any trust in the relationship anymore?

I love Sakiko’s attitude at the beginning of episode 10. In fact my rating is based on the resolution of this drama. I love how it all ended. She’s basically stopped giving a hoot about family or marriage or what her husband thinks of her relationship with Sonoda- and she’s like “yep yep having an affair, whatever! Think whatever you want.” After being alone for a year and discovering her own inner strength on her own, she realizes she doesn’t need a husband anymore and that’s when I can see her true strength and independence come out for the first time. She’s breaking free of this marriage/family trap. I love it.

The kitchen conversation after Mitsuru throws her divorce application in the curry pot, was the most honest conversation in the whole series. They’re spitting their true feelings at each other so easily at that point because there’s nothing more to hide or defend. Sakiko says let’s stop this ridiculous marriage role and have an easier relationship. I love that message. The marriage relationship and husband/roles are so heavy and suffocating that you can’t even be yourself anymore and have to run away. Freedom to be yourself is important. Family and marriage roles are so heavy that it ruins relationships. One person can’t fulfill all your needs.

I love the way they split up and the reasons they split up for. So they can be free human beings and not trapped in this suffocating relationship anymore. Even their attitude about it in the end speaking with a blind of freedom- harmonious without fighting, acknowledging each other’s sadness, and working together to wash the sheets and curtains before leaving. Their departure- Mitsuru’s departure was lovely, without conflict. With Sakiko’s self assurance that she’ll be fine. I like how everyone gets to be their messy selves and unburdened by the heavy roles of family relationships. I feels like the future of how human relationships should be.

They all come together and bond even in their sadness, kids, love, history, flaws, and experiences. I loved watching Sakiko living alone - connected to others while being alone in her autonomy and personal power. It was perfect. It ended up leaving a warm fuzzy feeling in my heart.

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