Reviews

A Beautiful Adaptation That Never Escaped the Shadow of Its Predecessors

I went into The Scandal with tremendous anticipation. The source material, Dangerous Liaisons, is one of the most enduring stories about manipulation, desire, revenge, and emotional destruction ever written. The challenge for any adaptation is not simply telling the story again but justifying why this version needs to exist. Unfortunately, while The Scandal is visually elegant and contains some strong performances, it never fully answers that question. The problem is not that it is bad. The problem is that it exists in the shadow of giants. That legacy is both a blessing and a curse for The Scandal.

As a standalone drama, it is handsome, well-acted, and beautifully produced. The costumes are stunning, the cinematography is elegant, and its exploration of social hierarchies within Joseon society provides a natural backdrop for this tale of seduction and betrayal. Yet while the series faithfully adapts the essential elements that have made Dangerous Liaisons endure for centuries, it rarely achieves the emotional devastation that made the best versions unforgettable.

The story itself remains compelling. Lady Cho and Cho Won, two aristocrats accustomed to getting what they want, enter into a dangerous wager involving the virtuous widow Hui-Yeon. What begins as manipulation gradually transforms into something neither participant fully anticipates. Feelings become real, loyalties blur, and people who believe themselves to be masters of human emotion discover they are not nearly as immune to its consequences as they imagined. The central tragedy has always been simple: people convinced they are playing a game eventually discover that the game is playing them. Where The Scandal succeeds most is in its performances, particularly its three leads.

Nana delivers the strongest performance of the series as Hui-Yeon. She is absolutely stunning without makeup and perfectly captures a woman who has spent decades suppressing her desires for duty, reputation, and virtue. Her portrayal has a quiet strength that keeps the character from becoming merely passive or saintly. Hui-Yeon’s restraint feels lived-in. Her vulnerability feels earned. As her relationship with Cho Won develops, Nana makes every emotional concession matter. Small gestures, lingering glances, and moments of hesitation all carry weight because the audience understands exactly how difficult they are for her.

Because Nana builds the character so effectively, I found the emotional payoff frustrating. When Hui-Yeon discovers that she was originally pursued as part of a wager, she is understandably devastated. Nana communicates hurt, humiliation, and heartbreak beautifully. What felt missing was rage. It felt rushed. This is a woman who spent years protecting her principles and denying herself personal happiness. The revelation should have shattered not only her trust in Cho Won but her entire worldview. Instead, the series leans heavily into sorrow where I wanted fury. I found myself remembering Michelle Pfeiffer's Madame de Tourvel and Zhang Ziyi's Du Fenyu, performances that made similar moments feel utterly catastrophic. Nana succeeds where many actresses would have failed. My disappointment lies not with her performance but with the emotional scale the drama allows or does not allow the moment to reach.

Son Ye-jin takes on perhaps the most difficult role in the series in the role as Lady Cho. Lady Cho is not simply a villain. She is intelligent enough to understand the limitations imposed on her and bitter enough to resent them. She has learned to survive by manipulating others because direct power remains largely out of reach. The role requires an actress who can portray intelligence, jealousy, insecurity, cruelty, charm, and vulnerability at once. Son Ye-jin handles much of this exceptionally well. She gives Lady Cho a sharp, calculating presence. Every smile seems measured. Every conversation feels strategic. The audience understands immediately that this is a woman constantly assessing the people around her, searching for weaknesses and opportunities.

What impressed me most was her ability to make Lady Cho understandable without making her sympathetic. We understand her frustration, her resentment, her loneliness, but we also never lose sight of the fact that she repeatedly chooses cruelty. Where the performance falls short for me is in its lack of menace. The greatest interpretations of this character archetype, particularly Glenn Close and Cecilia Cheung, possess an almost frightening authority. Their characters dominate scenes before speaking a single word. Son Ye-jin's Lady Cho often feels more wounded than dangerous. That choice adds humanity to the character, but it also reduces some of her impact. Rather than feeling like the unstoppable architect of everyone's downfall, she occasionally feels like another victim of the world she inhabits. The performance is intelligent and nuanced, but I wanted more danger lurking beneath the surface.

Ji Chang-wook's Cho Won is perhaps the most uneven of the three central performances, although not without considerable strengths. Cho Won is a difficult role because the audience must understand both why people are attracted to him and why they should fear him. He is a seducer, but he is also a profoundly damaged man who has transformed his emotional wounds into a weapon. Ji Chang-wook has the charm required for the role. His confidence feels effortless, and his playful arrogance helps explain why Lady Cho sees him as the perfect instrument for her schemes. To me, though, his strongest scenes are not the seductions. They are the moments when Cho Won begins realizing he has genuine feelings for Hui-Yeon. As the character's confidence starts to unravel, Ji Chang-wook reveals the insecurity and vulnerability beneath the surface. The performance becomes significantly more compelling once Cho Won is forced to confront emotions he can no longer control.

Yet unlike Jang Dong-gun's unforgettable interpretation in Dangerous Liaison (the Korean/Chinese production), I never felt that overwhelming magnetism that makes it impossible to look away whenever the character appears. Ji Chang-wook's version feels more human and approachable, which is not necessarily a flaw, but it does diminish some of the intoxicating danger that defines the character. And it’s why Cho Won's tragedy is intellectually convincing but not always emotionally overwhelming.

The supporting cast performs well within their roles. Shin Youn-ha brings sincerity and vulnerability to So-ok, embodying the innocence that becomes collateral damage in the games her social superiors play. Chani's In Ho reminds us that the consequences of manipulation extend far beyond those directly involved. Both characters help ground the story by showing the human cost of the selfish choices made by Lady Cho and Cho Won.

Ultimately, The Scandal is not a failure. It is a good adaptation of a great story. The production values are impressive. The cast is talented. Nana delivers a performance that deserves recognition. Son Ye-jin offers an intelligent interpretation of Lady Cho, while Ji Chang-wook convincingly captures Cho Won's gradual emotional unraveling. My disappointment stems from knowing how powerful this story can be. Michelle Pfeiffer's heartbreak haunted me longer. Zhang Ziyi's devastation moved me more deeply. Glenn Close's manipulation terrified me more. Cecilia Cheung's cold brilliance proved more unforgettable.

Viewed in isolation, The Scandal is a solid historical melodrama anchored by strong performances and timeless themes. Viewed alongside the greatest adaptations of Dangerous Liaisons, however, it feels less like a definitive interpretation and more like a beautifully crafted echo of stories already told with greater emotional force.

Do with this review what you will. I am neither recommending The Scandal nor discouraging anyone from watching it, if that makes any sense. There is enough here to admire: strong production values, beautiful costumes, a compelling source story, and an excellent performance from Nana. Yet something is missing that keeps me from wholeheartedly championing it. Perhaps the best way to describe my reaction is this: I respected The Scandal far more than I loved it.

For viewers unfamiliar with Dangerous Liaisons, this may be a rewarding introduction to a timeless story. For those who carry vivid memories of Michelle Pfeiffer, Zhang Ziyi, Glenn Close, Cecilia Cheung, Jang Dong-gun, or John Malkovich in the roles that inspired these characters, the experience may feel considerably less impactful. In the end, I admired The Scandal, but I never felt truly devastated. And for a story built upon manipulation, betrayal, and heartbreak, that is perhaps the greatest disappointment of all.

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Frustrating Watch!!!!

I had high hopes tbh because I love classical music and thought the premise of the Schumann love triangle very interesting. However, it was so frustrating to watch the main characters unable to COMMUNICATE. Especially the male lead (pjy) made me sooo angry because in so many crucial moments he didn't get to say anything except "I'm sorry". Urgh. Also, why couldn't you communicate that Song Ah shouldn't wait in the café, you won't come back, or at least apologise for ghosting her?? I didn't really feel the chemistry or the depth of their relationship. Like they were cute from time to time, but there wasn't that much build-up. Or maybe it was because both of them are very shy and introverted. Moreover, I HATED Jeong-Kyeong sooo much. How could you be sooo inconsiderate with the feelings of others?? Like, it was crazy how she played pjy and the second male lead (hhh). She even hurt Song Ah on purpose by telling her about Träumerei. I didn't understand her; maybe she was just a little spoiled child who was used to getting everything she wanted. Even though it was very logical that Song Ah couldn't pursue a music career, why did she have to give up playing the violin entirely??? You can play an instrument as a hobby lol. Four out of ten for the story because there were cute moments, but just sooo so so frustrating.

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Honestly, this is such a beautiful and captivating story. ❤️ Two people who were separated in childhood finally meet again after many years, but neither of them realizes that they are actually the childhood friends they once knew.
What makes the story even more interesting is that both of them are incredibly clever. They understand each other so well, and their chemistry is amazing, yet the truth about their past is still hidden from them. Watching their journey is emotional, heartbreaking, and romantic all at the same time.
And Xu Kai… absolutely brilliant! 👏 His acting is outstanding, especially in the emotional scenes. He really knows how to express feelings through his eyes and expressions.
I’m genuinely loving this drama. It has mystery, emotions, sadness, romance, and a beautiful story that keeps you wanting to watch the next episode. ❤️
Definitely a drama you should give a try! ✨

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Inizialmente pensavo 8,5, poi ho detto chissene.

Ho detto chissene, perché se una cosa mi piace, ho deciso che se una serie mi è piaciuta darò il voto che voglio. Questa serie, come molte serie "vecchie" della GMMTV mi è piaciuta molto. Le serie vecchie mi piacciono e hanno un nonsoché che veramente mi manca. Mi è piaciuta molto la trama, quello che ho visto come personaggio e come crescita. Sono proprio contenta di averla recuperato, anche perché March mi è sempre piaciuto come attore e la chimica con la sua protagonista è molto valida. Una cosa che apprezzato parecchio è che non ci sono sottotrame di gelosie amoroso, chi si deve mettere insieme si mette, le gelosie sono per altre cose, cose della scuola cose che hanno quasi più senso di semplici gelosie. Quindi molto carina e se avete del tempo vedetela: anche perché la ship BL è molto carina e da un lato è forse della chimica un po' sprecata perché DrakeSing sono stati un po' sperecati (diciamo nelle decisioni future, anche perché ora AMO SingChimon). Detto questo, mi è piaciuta coppia principale (hello piccola cotta che ho per March), mi sono piaciuti Pleum e Jan, mi sono piaciuti anche i cattivi.
Sono stata molto contenta di aver recuperato questa serie.

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Painful, yearning, beautiful.

The First Frost — 10/10

I accidentally watched *The First Frost* before *Hidden Love* because I completely forgot the order 😭. I realized it after around 3 episodes, but by then I was already invested, so I decided to just continue.

And honestly… this drama hurt.

The yearning between Sang Yan and Wen Yifan is probably what stayed with me the most. Almost every episode has this feeling of two people who clearly care about each other, but circumstances, trauma, and their own fears keep getting in the way. It never felt like the pain was just there for cheap drama either. You can actually feel how much their past affects the way they approach love.

Wen Yifan especially broke my heart. Watching someone struggle to believe that they deserve to be loved and to have something good without constantly expecting it to disappear was genuinely painful.

And Sang Yan… the way he loves her without constantly forcing her to open up is probably one of my favorite things about their relationship. Their romance is slow, complicated and frustrating, but that's also what made the payoff feel meaningful.

The atmosphere of this drama also fits the story perfectly. Everything feels a little quiet, lonely and melancholic. Even the happy moments somehow have this lingering sadness behind them.

I haven't watched *Hidden Love* yet, so I obviously experienced this story without that background. I'm planning to watch it next, and I'm actually curious how that will change the way I see Sang Yan and the whole story.

This wasn't an easy watch emotionally, but that's probably why it's going to stay with me.

Painful, yearning, frustrating, beautiful.

I came for a romance and left needing emotional recovery. 😭

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Funny and Unexpectedly Deep

Akane is a manga artist and writer who was has been assigned her first Teen Love manga. The problem is she has no romantic experience of her own. She also needs a new place to live. She strikes a deal a guy she meets in her favorite cafe where he will be her muse or reference material is the term they use and live together, eventually entering a FWB relationship, you know, for research purposes.😉🤭

I loved the progression of their relationship, except for thst one hiccup towards the end with the inevitable quasi 3rd Act Break Up.🙄

But from the start the ML is super supportive of Akane's nearly one track mind when it comes to her writing, even if there were sometimes I was annoyed by it on his behalf.😄

It was funny and sometomes sad and I enjoyed it very much

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had such high expectations….

i will start off by saying that i did have fun watching this show and it was entertaining. there were parts that had me stressed out and gripping my chest, but there were also more parts that had me wanting to just skip through them….

this show has very high reviews, and i think it’s mostly from the casting. the main couple had such good chemistry and i really did enjoy watching them together! my issue with this show was genuinely the plot. i personally felt like this show absolutely did not need 24 episodes. i had to watch 14-17 on 2x speed because i genuinely felt like i was going to lose my mind. there was so much back and forth, miscommunication over literally nothing, bad advice given/taken and just so much nonsense happening i almost dropped it. i loveeee some theatrical drama, but it got to a point where i was just like ??? are we done yet? like how long could they possibly drag this out for?

and also the kidnapping arc, the tax evasion arc, and honestly the entirety on the wang shuo arc were so nothingburger to me, and i feel like they were just trying to invent stuff to keep the show interesting, but it was boring me to death. i felt like everything was just very predictable, so i think that took the joy out of the roller coaster for me. for example, the minute chi cheng was presented with the tax papers to be signed, i smelt the tax evasion dilemma coming from a mile away… maybe i just read too much BL, but this show was like every single trope you could think of thrown into a bowl without mixing it together and then throwing it all over the table. i applaud anyone who genuinely enjoyed this, i honestly envy you.

also, a lot of these reviews discuss the dubbing, but i think i just haven’t watched enough cdramas because i honestly didn’t notice it most of the time. i think i thought about some things being weird, but i didn’t process that it was from dubbing in the moment, so i don’t think it made this show unwatchable.

note: i didn’t touch on the blatant romanticization of sexual assault throughout the show, but it definitely bothered me up until the end! i was rooting for a guy who literally enabled a gang rape to happen in the first episode….. that was genuinely crazy… i do understand that it’s not real, and this type of thing is common when it comes to these types of plots, but it doesn’t make it any less uncomfortable. there are definitely ways to write a dominant, forceful top without making him an abuser, but i digress…

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Too much pouting...

This was good enough to enjoy, but there were several things that bothered me.
Episodes 8-9-10 were a anti climax, they were executed so bad. And almost the whole episode 10 was in the in the middle of nowhere, even though we got a NC scene, that whole episode was very boring.
Phatsa heals extremely quick, but the bite mark kept being red after a long time.
The music wasn't very good. I don't understand why they chose to do English songs. It sounded like they were written and sang by Thai people who aren't fluent in English.

Boat and Oat can act, and they know how to deliver good kissing and NC scenes. But i am really getting annoyed by the constant pouting of Oat, he can make a good pouty face, but this was just too much!!
The parents were good actors, but most of the other actors need to take some more acting lessons.

So not a bad watch, but be prepared to have several issues with this drama.

And i have the feeling there will be a special episode.

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Va bene

Allora, copierò quello che ho scritto nel mio diario, perché è verosimilmente quello che pensavo quando sabato ho finito la serie: "mi ricorda qualcosa, ma non so dirvi cosa. Però qualcosa mi ricorda. Detto questo devo dire che è una serie abbastanza particolare tipo che ci sono ottomila fashback e tutto si sarebbe se solo avessero parlato per circa cinque minuti in maniera seria e puntuale fra di loro e con il vecchio. Ma ahimé non è successo nulla di tutto ciò. Per il resto la storia e i personaggi mi sono piaciuti molto, l'unica cosa che non mi è piaciuta devo dire che è quella che il finale mi sembri affrettato, ma è un po' come se avessimo aperto tantissime porte e non sapessimo bene bene come chiuderle, e quindi hanno un po' preso la strada più scorrevole per chiudere il tutto. Si vedrà la prossima stagione".
Mi sono accorta che ha poco senso come frase, però è più o meno quello che intendevo quando ho visto la serie.

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Fast Paced

I wish both main charecters were fleshed out more. I'm unclear when either one of them started liking each other.

I think it needed to be longer or drop that subplot towards the end. I think FL feeling guilty about using him was enough conflict without having to have the competition.

The cousin thing was weird-I had look it up and learned that that is normal in Japan.

I was a great plot idea that needed more breathing room.

Do Me When You Come Home was kind of the same storyline, except with adults and the ML offered and was in the know about being her romance reference. I liked that story better.

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