Reviews

Sensual, Forbidden Love Drama That I Loved Way Too Much

Love in the Moonlight is a gorgeous, emotional, sometimes over-the-top dramatic love story between a prince and a musician set against the political turmoil of the 60s. This couple that will undoubtedly linger with you long after the credits roll.

The plot is nothing new but the drama left me speechless simply because of its execution. I wouldn’t say it’s particularly high-budget, and yes, it has some sound issues, but the way it’s shot—and the creators’ attempts to recreate that old-school lakorn feel—actually adds an interesting flavor to the overall packaging.

The story revolves around an extremely complicated love triangle (but not quite a triangle) between a young woman Pin, Prince Saenkaew, and Pin’s cousin Sasin.

Pin and Saenkaew are engaged (or rather forced to) for their families’ mutual benefit. Saenkaew’s family is running away from the new political regime and needs to have a family is running away from the new political regime and needs to have a Thai relative to transfer their assets to to avoid confiscation. Pin’s family is broke. So the parents get together and decide that marriage is the best option for each family to get what they need.

And while Pin likes Saenkaew, he doesn’t see her more than her little sister. Not because there’s something wrong with her—no, she is very wifey material—but simply because he doesn’t like women.

Enter Pin’s cousin, Sasin. The sparks fly right away, even if characters are clueless in the first few episodes.

This a tension filled forbidden love trope set against the political turmoil of the early 60s, a time when same-sex relationships were frowned upon and people faced judgment for their feelings. This is especially complicated for a royal family. With the political regime changing, dignity and respect is all Saenkaew’s father thinks their family has left as they are on the run from the new regime that does not recognizing royalty. He does not want anyone to find out that his only son is gay, so whether Saenkaew wants to get married or not the poor guy has to. It’s the only way for his father to ensure his son is safe. But his father really does it in such a roundabout way, using every method available to him, including violence.

Poor prince Saenkaew is stuck in a hopeless situation. He is caring the legacy of his entire family on his shoulders. The stakes get higher when Sasin turns into more than just Pin’s cousin. He eve irritates Saenkaew's planned out life, throwing his world into chaos.

Let’s be real: the characters aren’t perfect. In fact, they’re far from it. Saenkaew and Sasin pull some morally questionable stunts—not particularly in terms of loving one another but in their efforts to shield others, especially Pin, from the truth. They are trying to solve the problem without taking into account that it’s not just the two of them, but their respective families in the picture. Yet, toward the end of the drama they are redeemable because they come to terms with their flaws. That includes Pin, who probably shouldn’t have done what she did. But I could actually understand why she did it. I think many women in such situation would do exactly the same thing. There wasn’t much time for them to think anything through before the wedding.

The acting is superb, especially the intimate moments between Sasin and Saenkaew; they feel natural and genuine rather than acted out. And the music? Absolutely amazing! It enhances the overall emotional and melancholic vibe of the drama.

Sure, you'll find yourself hating the characters at times. There are some truly unredeemable individuals in this drama, but, spoiler alert, they get what’s coming to them. While there's a sprinkle of comic relief, don't expect the lighthearted banter typical of K-dramas. For the most part, Love in the Moonlight is dramatically over-the-top, which works well to ground viewers in the era the creators are depicting.

There are episodes, like the heart-wrenching sixth one, that reveal the depths of the character's struggles, it hits hard.

I truly loved this drama. I've been on a bit of a bad streak with new BL dramas lately—trying out several—and only one was decent. But Love in the Moonlight turned out absolutely amazing! I doubt anything can top it from 2025, except maybe Top Form, but that’s a whole different kettle of fish. I’m mostly talking about the emotional depth, the complexity of the characters, and how intimacy is portrayed on screen.

If you like dramas that rip your heart before putting it back together, this one’s for you. The on-screen chemistry is truly remarkable. You may need to suspend your disbelief a little, but that's par for the course in any romance drama. Definitely give this one a watch!

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Dark Subject Matter but Well Played

I give this movie a 9/10 not because it has any flaw that detracts but mainly, for me, I am not as big of fan of movies that portray the darker aspects of life. It's technically very well-made and does an excellent job portraying the harsh realities of someone forced to flee their country and live illegally in another—especially in an extreme case like a North Korean defector's. Refugees, before they have legal status, inevitably end up dealing with the most undesirable elements of society because of the undocumented status, and the film captures that grim truth without sugarcoating it. It's dark and a little depressing, but that's the reality—there are some very dark and depressing things in this world.

I enjoyed watching it. Would recommend to those that like dramas that expose a harsh reality in life with a romantic element. I wouldn't say it is a romance per se, the focus i not on that for a large portion of the movie, but more a slice of a really difficult lens of life.

Spoilers

The acting is strong across the board; everyone plays their roles convincingly. I was pleasantly surprised by the actors that played the locals in Brussels—the European actors in Asian productions are often B-grade or worse, but these felt like solid, capable performers.

The story really sticks with you. Things such as when Marie was looking at Loh Kiwan's scars and he said he got some of them from carrying razor blades because the place they left was so bad they would rather die than return was haunting and powerful. They do not need to show you what their life was like in North Korea to understand it was extremely bad.

Her life isn't much better. Somewhat of her own making just having extreme grief from the horrible way she lost her mother. So, she is also dwelling in the underground, crime ridden, layer of society. And that is how they meet. She is dealing with her life by being reckless and almost inviting something bad to happen. Through it all, Loh Kiwan and Marie stay good people at their core. She wasn't necessarily doing the best things when he met her, but he sort of brought her back to herself. Although he met her when she stole his wallet, he could see that goodness in her still and it was very heartwarming. The film showed, in many aspects, this realistic range of how people handle such difficulties—for example, the lady with kids (Seon-ju) who stole the meat. Loh Kiwan lectures her at first but then understands her desperation. And he even sees her point, that they aren't getting paid enough to even buy food, so it is survival. It's disappointing when she lies and says he isn't North Korean, but given the circumstances, it makes sense—and she truly redeems herself by finding proof about his mother.

I loved how Marie's dad comes to see that Loh Kiwan is really a great guy. I just wish we'd had a bit more time with their reunion. The romance is beautifully done; I really wanted the best for these two after the incredibly hard lives they'd both led.

I was a little disappointed in the end just because it was brief, and hard to determine where they were. It's not entirely clear what country they're in during the final scenes or exactly how it allows him to come and go freely (it might be the USA based on some interpretations, but the film keeps it ambiguous—likely a place where his refugee status enables more mobility).

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I liked second couple more & FL was less annoying in this version

I was pleasantly surprised when I saw the poster of this drama upon its release. I like 3 out of 4 cast members - Han Jia Hui, Chen Zheng Yang & Duan Mei Yang. I am familiar of the plot as I have seen the Wang Nian Jiang Cheng - He Tian Tian - Xue Zi Qi - Xiang Shuai version. I liked this version too. I'd like to see collab between Han Jia Hui and Duan Mei Yang and between her and Chen Zheng Yang.

What I liked:
1. Romance couple #2 - Fiery. Passionate. She was not as aggressive as XZQ's SML but more loving. Hot kisses & intimate scenes.
2. Personalities - I liked that opposite attracts concept was explored & done well.
3. Styling - I really liked the clothes chosen for ML, SFL & SML. SFL looked hot in little black dress & businesswear.
4. Characterisation - All four were done well. FL wasn't too childish & cloying like He Tian Tian's FL.
5. Acting - All 4 gave good performances. There was better chemistry between 4 leads - even between the ladies and the gents.
6. Ending - I was surprised and liked it.

What I disliked:
1. Romance couple #1 - Not sure why the kisses were lacklustre when I know that Chen Zheng Yang & Cheng Zi can kiss. It felt as though director wanted to make FL innocent young girl / lolita vibe.
2. Styling for FL - Her dressing made her look like a high school student.
3. Antagonist - FL's cousin was pathetic. Also disliked brothers' father.
4. Third act - Felt long & draggy.

Favourite scene
Bath tub

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Love, Struggles, and Life in the 1970s

As the title suggests, Love Story in the 1970s is exactly that, a simple love story set in a very specific historical period. The drama takes us back to 1970s China and shows a time when life appeared simple on the surface but was actually full of social pressure, limited opportunities, and strict systems that shaped people’s lives.

The story follows Fei Ni, a hardworking young woman who works in a textile factory but dreams of changing her life through education. During that time, getting into university depended on recommendations rather than exams, and Fei Ni repeatedly struggles to secure one. Her life becomes even more complicated when she reconnects with her former classmate Fang Mu Yang, who becomes known as a local hero after getting injured while saving people. Feeling both responsible and hopeful that helping him might improve her chances at a recommendation, Fei Ni begins taking care of him. As life pressures grow, especially housing problems within her family, she proposes a fake marriage so they can obtain a house. What begins as a practical arrangement slowly turns into a genuine relationship as they navigate everyday struggles together.

Fei Ni’s character carries much of the emotional weight of the drama. She constantly faces setbacks such as rejections from university, unstable living conditions, and the burden of always putting others before herself. At times her kindness almost feels frustrating because she sacrifices so much for others. However, as the story progresses, her persistence and sincerity become the core of her character. Rather than turning into a dramatic strong heroine, she grows gradually, learning to stand up for herself and becoming more confident over time.

Fang Mu Yang also undergoes noticeable development. In the beginning he can feel overly passive and somewhat frustrating, especially with the memory loss storyline. However, once he regains his memory, his character becomes much more proactive and mature. His relationship with Fei Ni slowly transforms into a genuine partnership, and their love story is portrayed in a very innocent and gentle way. Their quiet moments together, studying in libraries, supporting each other’s dreams, and navigating daily struggles, create a sweet and simple romance.

Interestingly, the secondary couple Fang Mu Jing and Qu Hua sometimes feels even more compelling than the main pair. Their relationship is built on tension, misunderstandings, and gradual emotional growth. Fang Mu Jing is an especially fascinating character. She is ambitious, guarded, and deeply independent because of her difficult past. Qu Hua enters her life with emotional baggage of his own, including the painful truth that he initially married her because she resembled someone he once loved. Their slow journey toward genuine affection adds another emotional layer to the drama.

Of course, the drama also includes characters designed to test viewers’ patience. Feng Lin, in particular, acts as a constant source of conflict with her manipulative and jealous behavior. While frustrating, she serves her role well as an antagonist, and seeing her face consequences later on is quite satisfying.

One aspect the drama handles well is pacing in terms of conflict resolution. Even though there are many obstacles including career struggles, family issues, misunderstandings, and social pressure, most conflicts are resolved fairly quickly rather than dragging on for too long. This helps keep the story moving even when the overall plot is fairly simple.

The production design also deserves praise. The costumes, sets, and small visual details effectively recreate the atmosphere of the 1970s. From the modest clothing to the simple hairstyles and housing environments, the drama does a good job immersing viewers in that era. Even the opening title sequence is thoughtfully designed and gradually fills a color palette as the story progresses.

That being said, the drama is not without flaws. The overall storyline can feel predictable, and sometimes slow, and certain parts of the narrative carry strong moral messaging. Sometimes it also feels that the story lacks deeper complexity despite its interesting historical backdrop.

Overall, Love Story in the 1970s is a gentle and character driven drama that focuses more on everyday struggles and quiet emotional growth than on dramatic twists. While the story can occasionally feel slow or predictable, it offers heartfelt moments, solid performances, and an interesting glimpse into life during that era. It may not be the most thrilling drama, but it provides a warm and reflective viewing experience for those who enjoy slower relationship focused stories.

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The journey is worth it

Finished. What fantastic performances, I'm blown away by how each of the actors played their characters. They truly lived the roles. The detailing of each little thing and the courtesy in interactions all felt very authentic, with cinematic liberty in fun moments that made it even more enjoyable. I loved it.

Park Hyung Sik as Lee Hwan and Jeon So Nee as Min Jae-yi were wonderful to watch. He carried the weight, intelligence, and vulnerability of the Crown Prince so well, while Min Jae-yi’s sharp mind and courage made her character feel strong and inspiring. Their chemistry and growing trust felt natural and real. It's a very long drama but still hooks you till the end. Even after 20 episodes it felt the final episode was rushed, yet the investment in the characters is very rewarding for me.

I'm happy and want to preserve this emotion for some time and will think about this drama from time to time.

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Could Have Been A Great Drama But Became Average Due To Extremely Poor Editing

This drama is certainly not the best one, but it is not bad either. In terms of casting, it was nice to see so many fresh faces, but unfortunately, none of their acting was good enough to make me connect to their characters, except for the main leads. In terms of acting, Zhou Yi Ran and Bao Shang En performed brilliantly. Zhou Yi Ran was too good at playing an unhinged character. He really should do more costume drama. I really hope he will get to do more costume drama now. I really liked Bao Shang En doing a serious role. The leads were perfectly cast. The cinematography was really nice, especially the outdoor scenes and the scenes of the Qingque Sect. The visuals were great. In my opinion, there were significant issues with the editing and pacing. There was also a bit overdose of the FL's aunt in my opinion. I mean, the FL is always quoting her aunt this and that. Nonetheless, I liked that the FL was strong and independent. The storytelling was a bit average in my opinion. The story picked up after episode 10 for me. After that, it went well. The leads had great chemistry. Though it was a happy ending, I did not like it much. I preferred the original ending of the novel. Overall, it was a nice one-time watch for me.

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Story of two couples - FL was childish but other 3 were likeable

I got interested to see this drama because of the cast in particular Xue Zi Qi & Wang Nian Jiang Cheng. I watched this drama within 24 hours of its release. The beginning was odd but overall it was OK watch.

What I liked:
1. Romance - Good steamy scenes for both couples. I was surprised by main couple's bedroom antics. There was heat.
2. Personalities - I liked the contrasting personalities between the two couples.
3. Characterisation - I liked SFL a lot. Less screen time but her arc had impact on me. I also liked ML's arc especially his struggles. I also liked SML's arc.
4. Interactions - I liked when Fu Yang & Su Wan discussed their partners' habits.
5. Styling - Loved the outfits and hairstyles for SFL, ML & SML.

What I disliked:
1. FL characterisation - FL acted like a petulant child. That childish cry was irritating. She was pampered and selfish.
2. Funeral - Wow, so many relatives were disrespectful - fighting for inheritance at graveyard.
3. Antagonists - ML's father was vicious and controlling.

Favourite scene
When SFL showed her vulnerable side to SML

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Such a pleasant surprise!

Truth be told, I only watched this for Seo Kang Jun, but was I in for a treat. Just when k-dramas have been pretty disappointing of late, this one was such a refreshing change! To my surprise, I enjoyed this so much.

This is such a fun, lighthearted, and cute romance drama. I liked how simple the concept of the story is and how easy it was to follow along. The biggest thing that draws you in is the line-up of good looking men in this series! It was such a treat! I loved all the cameos and their storylines!

Jisoo is always a delight. She was perfectly cast for this role and for some reason, was very relatable in this drama. In Guk has always been a favorite as well. This drama won't win acting awards or anything of that sort but this made me smile and feel giddy a lot which is rare in recent k-drama offerings.

What is weird is that although this movie is pretty simplistic, there is an underlying societal theme and lesson that is the pulse of this show. Is AI or virtual reality replacing human relationships? Is it better? That seems to be a question this show is trying to ask and in a way, it was able to tap into some answers. I really enjoyed this one and would probably find my way into rewatching this in the future.

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Classic college BL, but with PondPhuwin (๑ơ ₃ ơ)♥

PLOT: Two groups of students in different departments of the university, one with Phum (architecture), the other with Peem (plastic arts). Phum damages the painting Peem was supposed to exhibit, and Peem retaliates with a hard kick. Phum demands that Peem be his "slave" for some months as compensation. During this time, they will form bonds, even fall in love. Tan (in love with Phum's brother) is the link between these two groups. Friendships and two secondary romances.

+++ Pond and Phuwin (๑◔‿◔๑), handsome and very cute. Pond has a very natural acting style, but Phuwin always struggles with intimate scenes. Alas !
+++ A bunch of excellent actors. Boom is very handsome and shines in this series.
+++ Coherent, believable, but very classic story. Effective and well-done direction.
+++ Excellent OSTs (especially the duet sung by Pond & Phuwin (ოර⌄රო)).

### I don't understand the behavior of some characters: Toey in particular (sometimes Tan), excessively childish and capricious. He's 20, not 6! Is it supposed to be cute ?

=> Feel-good and comforting BL. Nothing revolutionary, just classic but enjoyable.
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Classique BL universitaire, mais avec PondPhuwin (๑ơ ₃ ơ)♥

PLOT: 2 gpes d'étudiants dans des départements différents de l'université, un avec Phum (architecture), l'autre avec Peem (Beaux Arts). Phum abîme le tableau que Peem devait exposer, et Peem se venge d'1 rude coup de pied. Phum exige que Peem soit son "esclave" pdt 2 mois pr compenser. Pdt ce tps, ils vont créer des liens, mm tomber amoureux. Tan (in love avec Phum's brother) est le lien entre ces 2 gpes. Amitiés & 2 romances secondaires.

+++ Pond et Phuwin (๑◔‿◔๑) , handsome et très cute. Pond a un jeu très naturel, mais Phuwin a tjs du mal avec les scènes intimes. Dommage !
+++ Bcp d'excellents acteurs. Boom est très beau et brille ds cette série.
+++ Story cohérente, crédible, mais très classique. Réalis° efficace et maitrisée.
+++ Excellents OSTs (en particulier le duo chanté par Pond & Phuwin ( ოර⌄රო )

### Je ne comprends pas le comportement de certains personnages : Toey en particulier (parfois Tan) excessivement puéril et capricieux. Il a 20 ans, pas 6 ans !

=> BL feel-good et réconfortante. Rien de révolutionnaire, juste classique mais agréable.

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Two Lonely Boys Standing on Opposite Sides

This is a quiet high school BL drama about two boys who seem completely different on the surface but share similar emotional wounds underneath.

Shota is an outgoing, seemingly carefree boy who has lost his passion for soccer after being overshadowed by his talented younger brother and dealing with a past injury. Akira, on the other hand, is a quiet and introverted student from the advanced class who prefers solitude and old rock music played on a portable CD player.

Despite having almost nothing in common, they keep noticing each other. Their relationship slowly grows through small moments—meeting on the stair landing to the rooftop, sharing music, and spending quiet time together. Through these interactions, they gradually begin to understand each other's loneliness, insecurity, and hidden frustrations.

What this drama does well is portraying the emotional distance and gradual connection between the two boys. Their personalities create a strong contrast—one outwardly bright but internally empty, the other deeply withdrawn and negative—but that difference is exactly what draws them together.

However, there is one element in the story that personally didn’t work for me. A subplot involving an older character taking advantage of a younger boy’s emotional vulnerability felt uncomfortable and slightly undermined the otherwise delicate portrayal of adolescence.

Even so, the series succeeds in capturing the fragile emotional world of teenagers and the quiet way two lonely people can begin to understand each other.

The performances are strong, especially Atsuyo Akune, whose calm and beautiful presence adds depth to the role of Akira.

The series consists of 8 episodes and is currently available for streaming on FOD (Fuji TV On Demand) in Japan.

Overall, a thoughtful coming-of-age BL drama that focuses more on emotional healing than romance.

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Almost nothing to complain about so far.

What I can say so far: I liked the character introductions, the episode's dynamic was very good – I believe each character had a good amount of screen time, and I'm in love with Bambi – I think she's the best character so far, and the production looks very good, as expected from GMMTv. I didn't like the opening sequence of the series; I thought it was pretty mediocre. Both the music and the visuals look like a clothing advertisement. It makes no sense. The script is "reasonable" so far (I HAVEN'T READ THE NOVEL), it didn't excite me much, but I didn't think it was bad either. Let's see if it improves or worsens in the next episodes, after all this GL was highly anticipated and there's a risk it will decline simply because fan expectations were so high.

Prim and Bambi: You can feel their chemistry from afar, it's crazy how their eyes ignite! Their dynamic is insane, we can see how problematic Bambi is but also how much Prim still has feelings for her, and this puts them in this impasse of "This has already made me suffer before, but I can't love another person, can I confirm it again?"

Min and Praew: Their dynamic is slower, like a kind of "cure," you know? Praew seems very mature and wants to give Min the security to open up and love. I find this very sweet and it breaks some of the tension of the other couples; it's a great contrast and creates balance for the plot.

Sasha and Gorya: I didn't think they matched, and this is the 3rd MilkLove GL I've seen and I still have the same thought: They have no chemistry! Besides, I can't like Sasha because she has the personality I hate most: "The man who believes he's irresistible and doesn't take no for an answer." Sasha can't accept that a woman doesn't like her! So when she finds one, she becomes a kind of "trophy" that she needs to "conquer." And the worst part of this behavior is that when she can't win the woman over, Sasha lies to Gorya to make her feel bad.

PS: Sasha and Bambi may have similar behaviors, but they are different. Because Bambi knows that Prim has feelings for her and that's why she doesn't give up, because when she does something, Prim always ends up giving in... Letting Gorya sleep at her house, wanting to take her home after a night out, etc. However, Gorya made it clear in every way that she WANTS NOTHING to do with Sasha, and yet Sasha doesn't give up. I get angry every time Sasha shows up.

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First impression: messy and excessive, but also appealing in its mix of nostalgia and easy fun

The first episodes of Love Like a Bike leaves a curious impression: the series seems fully aware of its own exaggerations, yet it also becomes trapped by them. Right from the opening scene, the meeting between the protagonists comes from a situation so unlikely that it challenges not only dramatic logic but even the most basic sense of plausibility. This introduction sets the tone for the drama, which leans heavily on classic BL tropes: convenient accidents, unexpected kisses, and intense encounters that appear almost out of nowhere. At several points, the production recalls the style of late-2010s BL series, with a simple aesthetic and narrative choices that shift between the naïve and the openly absurd. Still, there is something oddly charming about this lack of polish. The show embraces its role as light entertainment, and because of that it ends up feeling like one of those slightly chaotic guilty pleasures that are hard to stop watching.

At the same time, the narrative’s weaknesses become noticeable even in these early episodes. The script often jumps from conflict to romance without convincing transitions, creating moments where arguments or fights quickly turn into intimacy without much emotional buildup. Sailom’s characterization adds to this unevenness: the character moves between genuine vulnerability and behavior so exaggerated that it occasionally undermines the story’s emotional credibility. Even so, the series isn’t without its engaging elements. There are brief sparks of chemistry between some of the pairs and a natural curiosity surrounding the multiple romantic storylines the drama tries to develop. In the end, Love Like a Bike begins as a messy and excessive drama, but one that still finds a certain appeal in its blend of nostalgia, strangeness, and unpretentious entertainment.

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