Reviews

If you think it's a musical drama, YOU'RE MAKING A MISTAKE!!

I have been into BLs for more than five years, and this is the first time I am taking the time out to write a review about a series I have watched.

I have to say that I went into watching this series without any expectations, solely because of MileApo and their performances in KinnPorsche. But after watching the entire series, not only did I love their performances and get completely hooked on their chemistry, but I was also mesmerised by the story of the second leads, which I personally think was even more impactful than that of the first leads.

What I loved the most about this series was its OSTs and, more importantly, the way they were placed throughout the story.

WOWWWWW!!!

Now, coming to the realistic aspects of the series, I think it did a phenomenal job of portraying how things actually unfold in a person's life. The way certain situations and conflicts were presented felt incredibly realistic.

I am not Thai, so I cannot comment on how accurately the series reflects Thai society or its history. But speaking purely as a human being, I think the way they portrayed Mile's internal conflict, especially in the last episode, was absolutely top-notch.

And coming to the second male lead's ending, I know it was tragic, and I know I might get criticised for saying this, but I genuinely think it was one of the most realistic endings I have ever seen in a series. There was no forced happy ending just for the sake of pleasing the audience. Things ended the way they were supposed to, even if it was heartbreaking.

I do wish they had shown a little more of the reporter's life after the separation, but even without that, this remains one of the 10/10 storylines I have ever come across in a series.

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the job market is shit

a clear critique of the job market and having to work under capitalism utilising metaphors and bat-shit surrealist approaches. honestly perfect.

the horror isn't the ghosts, the monsters and the world beyond, it's the fear of being poor yet having no acceptance within the world and fearing work before you even get the chance to work; it's seemingly getting harder and harder day by day. the horror is the competition and the way humans are pitted against each other - each to their own, all to be able to live because how can someone live without money?

the storyline is extremely compelling and the cgi and costuming as well as sets are so cool and immersive. the pierott clown is such a menace, let me punch you in the face, thanks. the green screen needed some touch up and the music too as it was louder in some scenes than others but overall, it is such an intriguing story and the surrealist aspects and metaphors are just so damn cool and perfect for what the series tries to talk about.

the performances are also amazing and it's truly what also makes the story even stronger, there are some under-utilised aspects but it's clear that they want to make another season which is why the last episode specifically clearly ended with such a big cliffhanger and a rather underwhelming last fight.

literally spent the rest of my day binge watching this series and watching these always reminds me why kdramas are so good at having underlying themes, critiques and different approaches.

will be waiting for a season two for this one 👀.

"poverty is scarier than ghosts."

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She is finally at the top with a proud husband!!!!!!!

What a rollercoaster of dramas LOL. Love Love Love the OST.....
Great job by the cast. And out girl Tian Xi Wei playing 2 roles.
This was my 3rd time watching Yan An in a drama and amazing acting too.
Watching each scene especially before Jun Dai, so many emotions, sadness, anger in one.
I had a feeling Jun Dai wasn't the real daughter but they played so well for us to think maybe they were even twins LOL.
I love the friendships as well as the chemistry between Wei Rao and Lu Zhuo.
I think the story was good. IT DID NOT GET DRAGGY OR BORING after Jun Dai was gone.
Fast forward to the ending, Wei Rao is finally at the top and her proud husband is there watching!!!!!!!

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Lesbian Shaman!

I had a great time watching Khom Khlang. Did I refer to it as "lesbian Khemjira" for a lot of the time? Yes. But considering it's filmed in the same house with a similar enough starting plot...I think it makes sense. I really enjoyed the supernatural aspects of the show, but it felt like the threat of a human trafficking gang that can't be killed due to black magic, and your mom not approving of your partner were treated as equal obstacles in this show. I thought it felt a little off balance in that sense, but overall it was still a very fun watch!

Peem (Puinoon) is a police officer tracking down a gang involved in human trafficking, with personal reasons to have a vendetta against them. When she finally catches one of them, she shoots him - only for the bullet to crumble. Convinced the gang has used black magic, Peem seeks the help of a powerful shaman named Bulan (Bint). Bulan is hesitant to help Peem with her murderous mission, but the ties between them seem to run deeper than this single encounter.

I really enjoyed the tone of most of this show, and thought that the actors did a great job portraying these characters. The romance felt much faster than I expected in a show like this, and while I LOVE seeing two women on my screen, I did find myself wishing we got a bit more of a slow burn. If there's one thing I love more than lesbians, it's lesbian yearning. Still, the romance and supernatural elements of the show worked really well together, and it's a super entertaining watch. I did feel like towards the end, the conflict started to feel less important, but overall I still very much enjoyed the show!

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I dropped this show in the very first episode and won't watch any further. Treating Africa—a massive continent of over 50 diverse countries—as a single, impoverished "country" just to make the male lead look like a hero for digging a well is lazy and deeply insulting.
We have clean water, and Africa is not a charity case or a prop for cheap character development. Poverty and starving children exist in every single country on earth, including Korea and the United States....... anywhere not just in Africa. I cannot support a show that relies on such disrespectful, outdated stereotypes.

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Ridiculously low ratings. Loved the beginning, liked the end the last 10 mins where trash

I had been anticipating this drama since the release of the first teaser/trailer. When it finally revealed an air date and dropped its initial episodes, I thoroughly enjoyed it right from the start. It was a chaotic ride the way through. We accompany Wei Rao as she finds her true identity/family, confronts adversaries (both domestically and politically), and finds romance in between all she went through.

The first half and the second half of WTME had different focuses. The first 16 episodes focused on the reveal of her birth, her true identity, her family, and also laid the foundation for her potential romance. The second half was about court politics, Wei Rao's relationship growth with her estranged family, and navigating the romance between Wei Rao and Lu Zhou.

So let's get to it.

A Chou grew up as a night soil woman; she has been trampled upon, bullied, and insulted. She has fallen on her knees many times, and what's more heartbreaking is that she does all this for her family; when she goes home, she takes good care of her sick mom, and yet her father, who gambles and is a drunkard, makes things harder at home. The fact that he sold his daughter (to be sexually assaulted) to a man while she was sick in bed spoke to the extent of how selfish and wicked he was. Her mother doesn't do anything much better; she does not try to protect her from her husband (and I feel it lies in the fact that she is not her biological child), and what can be worse is she comforts her and always tells her to accept her fate, and don't try to fight back. She does even try to give her a word of hope, but A Chou swore that if she ever receives an opportunity to get out of this frustrating life, she would grab onto it and change her fate. Her mindset is much appreciated, not her conforming to the words of her mother and accepting what fate throws at her.
A golden opportunity came before her; she grasped it, thereby changing her cruel fate from a lowly night soil woman into the wife of a renowned general, Lu Zhou. As the story progresses, she earned her own title, made her own fighters, and was revered by the people because of her kind heart, resilience, wits, and determination.

This is where the name Wei Rao comes in; she takes the name after she grabs the golden opportunity. That was a potential dead end, as she married a man destined for death in the place of the real Wei Rao, who refused to be married to the seemingly dead man. She makes a gamble: if she marries him and he dies, she would live a life of wealth as a widow, while if he survived, it's her fortune. Either way, she wouldn't have to go back to the slums.

Wei Rao is smart, calculative, scheming; she somehow thinks 10 steps ahead of her enemies, even predicting their moves and taking the necessary precautions into account. Though as smart, calculative, and scheming as Wei Rao, she gets cornered a few times in the drama, notably episodes 13 and 23, and she gets cornered when it has to do with someone she's close with, when her emotions make her think less and act faster, without laying necessary plans, and I feel this portrayal made her feel more human. This girl struggles to express her emotions; she also struggles to bring out her true sincerity to others, much more falling in love with someone. And all this has to do with her past, which she fears (a lot). Her past acts like a barrier that stops her from giving true sincerity and love, and yet it also makes her vulnerable, weak, and scared when she's threatened with it and when she thinks of people finding out the truth. I wish they had shown the viewers as she grows up from the fear of her past, becomes bold to let others know, not trying to erase the surface problem, but delving deep to organically erase that fear. I'm happy Lu Zhou always stood by her and protected her.

Lu Zhou is a righteous man who married the woman whom her despises for her cruelty against his choice, while he was unconscious, and when he woke up from his supposedly dead state, he saw this woman whom he despises right beside him on his bed; he exploded and was enraged. He initially felt disgusted and angry at her presence; I felt angry and raged at how he pushed her away, but from his point of view, considering all the evil things she(the other Wei Rao) had done in the past, it made sense. As the story moves forward, he sees someone different from the cruel girl he met; he was in doubt, yet he subtly falls for her, protects her, and cares for her. When he confirms his feelings that he has fallen for her, he is so down for her. Normally, I find many of the persistence men force on women annoying, but with Lu Zhou it never felt so. It was the quiet type, always staying on the sidelines, willing to help. The fact that he recognized his wife JUST from her facial expression should not be forgotten. He was one who made them being a REAL couple possible and wholly appreciated that. I wish we had got a lot more from this man other than being the person who Wei Rao with or without her permission; more of him as a general, maybe? He looked really good in armour.

When I finished episode 16, that felt like a good end to me, except the leads aren't into each other yet. I wondered how the writers would carry the next 14 episodes; then I saw a spoiler of their breakup in episode 17/18, and I decided to pause and wait for more episodes to be released as Youku dropped one episode each day, so as to binge 7/8 episodes. I initially thought/had the impression that their breakup would be cheap, for the purpose of prolonging the plot, but I was so wrong. While I understood Wei Rao choice and partly agree with the choice of backing out of the marriage (of convenience), I believe if she stayed, Lu Zhou would softened her emotional barrier easier/faster, and their bonds and love would have been more earlier and strong.

Their romance felt like a slow-burn, and their chemistry as a young couple was sizzling; their stares, facial expressions, body movements, waist grab- I ate all of that up. Even after they divorced, I appreciate Lu Zhou approach, this man yearned for his woman, while her respected her decisions, even when she rejected him time and again, purposely flirting with other men at the sight of his presence, he cared a lot, he was bothered, worried, protected her, cared for her, understood her, went with (most) of her choices, knew her thoughts, aahh he totally knew his woman and was so down bad for her. His persistence didn't feel annoying; it was like a man down in love with his woman. Wei Rao wanted someone who could give her a love unique to only her, which she didn't receive from anyone in life, yet she never knew Lu Zhou had that unique love she wanted in his heart, and when she had opened up to Lu Zhou in episode 23/24 about her past, she felt free, and her emotional barrier gradually faded away, thereby accepting her feelings for Lu Zhou. Then, when they kissed with that symbolism, I was smiling throughout. Even after they truly married, though it felt rushed, their flirting and interactions were intense. Wei Rao and Lu Zhou have my heart; their entire scene as a truly married young couple was a delight to watch, and I didn't find a single scene boring; I was smiling and giggling all over.


I disliked Jun Dai. Right from the initial episodes, you could see she's unhinged, psychotic, vengeful, totally crazy, and an (attempted) murderer; she basically has no borderline in her insanity. Her pretentious cries always make others get soft and cool with her, but it did absolutely nothing for me, except she was only good at that: playing the victim in every situation, and when she is caught, she flips her mad switch on. She is not even smart, and she's really dumb to me, but at least she knows how to weigh situations and respond. She treats people as pokemon card collects them when in use and dish them when out of use. I hate the way she was so obsessive over possessing Lu Zhou, like she rejected him before now she wants return, GIRL your chance has passed give up. The scene in which she said she was not raised how to love someone, at her last breath, pulled some strings at my heart, even if I found that hardly believable. Be so for real, even if you were never raised/taught on how to love, it should come naturally, not being taught, except her EQ is low, but that does not excuse all the evil, wicked, and cruel things she has done. I wish she didn't get off the hook so easy; her death felt cheap.

I despise, hate, dislike Han Liao right from when I first saw him, and I really have to say the actor nailed the portrayal of this detestable character. The fact that he killed his wife wrote that NO for me. I'm glad his screen time wasn't much/was reduced, because I couldn't stand his face. Oh, how I wish he really, really suffered before his death; that would have been the best closure for me. He and Jun Dai are the perfect match, though I fear Jun Dai might outmatch him domestically.

One thing I hate is when a character acts like a saint, all righteous and forgiving, it draws my suspicion as that one might be "keep your friends close, and your enemies closer." Guess who that is? Of course Wei Chan, from a 100 mile I knew this girl is gonna be clearly an antagonist of this story, when she threw away her skin I wasn't the least surprise, but she hid it well. Her end was soooo satisfying; that was one of the best endings a villain got in this drama. The fact that Wei Rao foster sister came herself with her voice and asked her to be done same thing she did to the girls, satisfied the deepest part of my soul, though I would have loved to see it done.

I'm happy Qi Zhong Kai didn't betray Lu Zhou (his best friend), but I was not really surprised, because his attitude throughout the series, never held those tendencies of betrayal. I hope he finds a woman he loves and cherish, even if she's not up to the Standard of Wei Rao, him loving her and her loving him is enough.Wish the drama showed more on the emperor's struggle to emotionally connect to the empress dowager (his mom), their final argument were tensed with the kind of "you didn't take care of me/love me" but I have birth to you". Also wished to see how the emperor connects to Weird Rao's grandma, as the woman who raised him at the absence of him birth mother. All these should have been tackled and added more complexities to the relationship, but then the ending was on "Speed Mode"

The two girls with the same face seemed to lack logic to me. Even though they are from the same family, I assumed they were twins, but I'm guessing the writers went for some unpredictability and twists. I can't comprehend how two girls who are not twins have the same face and are from the same family; not one I've seen before. Bi Tao death was heartbreaking. Even with the slight betrayal she committed, it could be understood; after all, her family was held hostage, but she ultimately loves her master (Wei Rao). Her actions spoke to it.

In conclusion, I liked the ending; many things were rushed, and it felt like 30 episodes were not enough to complete this. Some details and explanations were left out, but I still enjoyed and liked it; some parts managed to keep me on the edge of my seat. But what was that trash they threw in at the last minute- her brother, the new emperor dying, and it's caused by his brother. That trauma and heartbreak was so uncalled for; her brother was easily the sweetest and least complicated character in this show, yet it was his goodness and mercy that got him killed. I don't think I need a season 2; with all due respect, they should have wrapped this up neatly without the last Ten Minutes.

The woman that you are, Wei Rao: decapitated her sexual assailant, castrated the crown prince, deposed the empress, frightened the empress Dowager; she deserves accolades. I don't get why others doubt Tian Xi Wei's performance; she personally portrayed these two characters distinctively well.

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Porn without plot

I got this show recommended to me a few times and it was short enough that I decided to give it a chance, even though it looked like a case of making an extremely sexual BL and selling it on that. And let me tell you - I was exactly right. There are only the bare bones of a plot in here, only to give the viewer some context for why the characters are always having sex.

I love a plot that involves a hidden relationship in the workplace where the characters are sneaking around the office, making sure superiors don't find out, etc. I kept thinking we were going to get that from this show, but instead we got none of the backlash from a superior dating his subordinate, nothing with them getting caught in the office or anything! It was more sex/make out/sexual tension scenes than anything related to the office plot. If you're looking for slightly censored porn, then I guess this would be a great show for you. If you're looking for an office romance that actually has compelling romance, absolutely skip this one.

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Too Many Missing the Point: Amazing Visual Storytelling

I've noticed a trend in a lot of reviews of shows that feature extended/more graphic NC scenes: bash the show as soft core p*rn. This is incredibly unfair for many of the shows who choose to include graphic NC scenes and screams laziness or puritanical judgement on the part of far too many viewers.

Sex is a powerful weapon/equalizer in storytelling. "Twisted Tie" uses sex as a narrative tool to mark shifting interpersonal dynamics, power imbalances brought into equal balance, and character growth. Sex is the vehicle through which conflict is resolved, redemption is earned, and power shifts. To say that this is a drama without a story that only offers NC scenes truly means the viewer has missed the entire thematic statement of the piece: because all they saw was simulated sex and not damn good visual storytelling.

The series does a truly sublime job of giving us a glimpse into a relationship that started with a power imbalance and takes us on the journey of how that power imbalance is rectified: and how the character most secure in his lofty position of power (Kang Do Jin) is brought to his emotional and psychological knees.

The choreography of the most talked about NC scene is an example of the visual storytelling to which I am referring. With Kang Do Jin on his back, Lee Seon U on top of him, and the creepy client behind Lee Seon U, Kang Do Jin is forced to watch the consequences of his choices in an immediate and urgent way. He's not sulking in a room imagining what is going on with the client and his precious lover, but he has a front seat to it, with the creepy client partaking of Lee Seon U in a way that Kang Do Jin has never done. I can imagine that moment became emotional torture for Kang Do Jin for years, even after Lee Seon U and he had their "fresh start." And the beauty of Lee Seon U's choice to enthusiastically partake for his own selfish reasons, to comfort Kang Do Jin during this difficult reckoning, made this a shared experience that ultimately bonded them very deeply. Lee Seon U was forcing Kang Do Jin to not only see the value in their relationship, but Lee Seon U was attesting that he would stay by Kang Do U's side, even when he might not deserve it. You don't come back from a lesson like that without beautiful scars. Lee Seon U knew it and in my opinion, is part of the reason why Lee Seon U ultimately found that evening so psychologically, emotionally, and physically pleasurable. It is how Lee Seon U shifted the power imbalance. I truly don't think any other visual storytelling beat could have captured this with such ferocity and immediacy. The resolution of conflict is brought to immediate realization for the viewer in the very next scene. While in a meeting, Lee Seon U steps in and takes over presenting to a client, and Kang Do Jin not only lets him (that would simply signify guilt) but enjoys watching is lover "close the deal"- he is proud of the power his lover has wrested for himself. The character growth this shows, again, is visual storytelling at its best.

Where the series falters is not showing the immediate emotional aftermath of the lesson Kang Do Jin is offered. Without spoiling much, I thought the way the writer's dealt with Lee Seon U's final say on the matter was ingenious. His reaction begs the question, "When exactly did the power imbalance shift? In the ill-fated hotel room or slightly before that night? The answer to those questions really adds far more dimension to the Lee Seon U's character. These questions really warranted another episode. I would have relished the opportunity to see that night from Lee Seon U's perspective in an additional episode. Seeing that very important scene from both perspectives and then an immediate confrontation/reckoning between the two men would have made for an emotionally satisfying episode. It also would have made the themes of the piece far more evident. The writer's opened themes (power, vulnerability, pleasure, the lengths we will go for someone we really love, work pressure/societal pressure for constant upward success) but barely explored them before tacking on a slapdash closing to those themes.

I would have rated this higher had any of the above been shown. I've said this before and I'll say it again. For every ten BLs that spoon feed you every beat, there is one gem of a BL that requires more active participation on the part of the viewer in order to understand the depth of the story being told. "Twisted Tie" is that one gem, even if the execution, ironically, is imbalanced.

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Love, Intimacy and the Courage to Live on Your Own Terms

I went into this show expecting to roll my eyes. K-rom-coms and I have never gotten along; I find them immature and naive, and I only pressed play because I was bored. For a while, nothing grabbed me except two things: the FL's family, who look like they time-slipped out of Joseon, and the ML running a sex toy company. Those kept me watching. But the real plot only clicked for me in the last episode, and once it did, everything before it rearranged itself in my head.

What I finally understood is that this is a drama about people losing inside their own families and homes, who have to go out into the world to find themselves because nobody at home let them. Both leads carry that wound, dressed differently. Yeon-su lives surrounded by grandparents, parents, a brother, an aunt, and is still alone in that house. Dal has only his father, and doesn't even recognize him as a father. His father married repeatedly for his son's sake, and none of the new wives treated the boy well, so the marriages ended. The current wife is genuinely kind, which makes the history sadder, because it shows what Dal could have had. Different environments, same result: two people who suffered alone and learned to live like orphans with addresses.

They carried that damage into romance in opposite ways. Dal kept everything surface-level, one-night stands, deciding love was just another ingredient of desire and opting out. Yeon-su did the reverse: a long relationship with no physical or mental intimacy, a year of dating a man she never wanted to sleep with. Both were lost inside their relationships. Whose fault it was doesn't matter; they simply didn't succeed. There's a saying that if something belongs to you, the universe rearranges things for you, and this drama is that saying in script form. They entangle by accident, walk together by accident, and inside that entanglement find themselves and heal. The show makes the healing mutual rather than one person rescuing the other, which is why it works for me.

The supporting characters are where my feelings get messier. Nam-su is not, at first, a boy of his age at all. He has no gut, just endless obedience, grinding through civil service exams he doesn't want. Then Shi-eun gets pregnant and he changes, and I have complicated feelings about it. I don't recommend that immaturity beforehand, and I'm not praising the circumstances that forced him to grow up. But this boy became a real man after that pregnancy. I've heard a person can mature in a single second, that it doesn't take a long period, just one incident, and Nam-su is that idea walking around on a bad leg. His pivot, hiding a construction job, lying about the pregnancy book, is messy and impulsive, and I respect the mess because it's the first choice he ever makes for himself.

Yeon-su's mother is the best person in this drama, a whole green forest of a woman, and I still think she was wrong. She spent thirty years as a daughter-in-law and missed her own children while being dutiful, missed a lot of her life while chasing tradition. She's pitiful and admirable at once, and the show refuses to flatten her. Her finale arc, stepping back as a daughter-in-law and forward as a mother, is the emotional spine of the ending. The scene at the tomb wrecked me, and Yeon-su reframing the hairpin her mother gave her on her twentieth birthday, the burden that felt heavy but kept her grounded, is the most elegant writing in the drama. It lets the mother be both the fence and the person who kept them safe inside it, without pretending the fence wasn't a fence.

The aunt, Mi-young, is the one I see myself in. She's funny, loud, the safe space Yeon-su breathes in, and I read her as someone carrying a great wound under all that noise. I know that type because I am somewhat that type: the easiest way to reduce suffering is to laugh loudly and be funny. Her claiming the confiscated massager at the memorial service, her half-serious campaign to remarry, all read as armor. The show knows it too, which is why it gives her that quiet beat at the tomb, and you see the joke pause.

What surprised me is how seriously the show takes its own premise. The arguments under the banter are real. Dal's defense, that relationships are financially and emotionally expensive, that casual sex carries risks but people still have needs, is coherent. Yeon-su's counter, that the industry is opportunistic and focused on pleasure instead of people's love lives, is equally coherent. Neither is a strawman. What elevates it is that Yeon-su's conservatism is conditioning, not stupidity. She was told women and dishes should never leave the house, told to marry since her college entrance ceremony. Her narrowness isn't a punchline, it's a scar. Her confession that she got into marketing to protect herself, hoping seeing the world differently might give her courage, reframes her whole personality as survival strategy. Her arc becomes a woman unlearning fear.

The sex is treated with unusual honesty. Their first time, Yeon-su wakes satisfied then deflates because Dal's side of the bed is empty; Dal comes back with breakfast to find a note that makes him feel used. Both are wrong and both are understandable. That miscommunication leads to the funniest detour: Yeon-su deciding she'll take whatever crumbs she can get, proposing a friends-with-benefits contract, while Dal, who was about to ask her to be his girlfriend, sits there amused. Her fear that the uncertain future will swallow what they have is the most honest thing she says, and also a deflection, and the show knows it. Maeng-na, the mother who teaches safe sex then blows her top on discovering her daughter is having it, who lies about working at a car company, isn't a hypocrite to be mocked. She's a realistic portrait of performing one set of values in public and another in private, and the drama lets her apologize, which is more grace than most shows give that archetype.

What doesn't fully work is the structure. The real emotional architecture, the parallel loneliness, the family as shelter and cage, only becomes visible near the end, and I spent early episodes without a reason to care beyond the quirky premise. That's a genuine weakness, because a story that hides its thesis until the finale gambles that the audience stays for the banter. It worked on me, barely, but the love-versus-sex bickering gets repetitive, and the misunderstandings, Dal's sexuality, the pregnancy book, the hospital call, are coincidences a tighter drama wouldn't need. The show earns its ending through character work rather than plot, which is why I forgive it, but I notice the seams.

The ending crystallizes everything. Yeon-su moving out, standing on her own, telling Dal not to carry guilt because she chose this, insisting she left because she finally found strength to stand by her choices, not because of him. Dal going to the grandfather to stir his feelings on purpose, admitting he doesn't need approval but Yeon-su does, then being rejected on three grounds including azoospermia right after telling the family the truth, is exactly the absurd, tender, stubborn gesture this show does well. The grandfather painting orchids again, the rain on the anniversary visit possibly being the dead father sulking because his son didn't come, the couple rings, the skating rink, all of it lands because the show made these people specific. The final voiceover, about today's butterflies making tomorrow stronger and bodies knowing we'd fall in love before we did, is sentimental in a way I'd normally reject, and it got me anyway. The thesis is the least romantic and most practical idea possible: two people can build their present while waiting for the future, and that's a love story too.

I came in expecting immaturity and found a drama naive only in its belief that a conservative woman and a progressive man can genuinely change each other without either being destroyed. It's not perfect. It knows what it wants to say about families that love you and suffocate you at once, about people who find themselves only after leaving home, and about the difference between choosing a person and choosing a life. That's more than I expected from something I put on out of boredom, and honestly, that's enough.

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