Reviews

Anger, Boxing Gloves, and Catching Feelings the Hard Way

📝 Review
(WARNING: Potential Spoilers — I’m Not Saving You from Any Emotional Damage)

I’m very glad I don’t rely on average ratings—because this drama worked for me in a big way.

I Wanna Punch That Scumbag! starts with a simple, emotionally honest premise: the female lead meets a walking red-flag “playboy” male lead, gets understandably furious, and immediately wants to punch him. Instead of spiraling, she channels that anger into something productive—joining a boxing gym—without realizing that the people training her are deeply connected to his past.

From there, the story unfolds in a way that feels both fun and surprisingly grounded. As the female lead grows stronger in the boxing world, she also starts uncovering more about the male lead’s history. Her urge to punch him slowly gives way to curiosity, understanding, and eventually, real feelings. The emotional shift feels earned, not forced.

One of this drama’s biggest strengths is its female lead. She has a backbone—an actual one—but she isn’t written as cold, abrasive, or emotionally shut down. She’s strong and soft, confident and vulnerable. Honestly, she’s the happy medium that more writers should aim for when creating bold female leads.

The male lead’s backstory adds depth and context without excusing his behavior outright, and I genuinely enjoyed learning more about where he came from. There is a twist later in the story, and while I wouldn’t have minded seeing it explored more deeply, the execution was solid enough that it didn’t feel like a letdown.

Overall, this drama is sharp, emotionally engaging, and far more satisfying than its average rating suggests. It knows what it wants to be and commits to it—and that confidence shows.

💭 Final Mood
“Cathartic, charming, and proof that sometimes punching your problems (metaphorically) is character development.”

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A Strong Premise, Rushed Feelings, and a Divorce That Never Quite Lands

📝 Review
(WARNING: Potential Spoilers — I’m Not Saving You from Any Emotional Damage)

This drama has an interesting premise, but it never quite figures out what it wants to do with it.
An arranged marriage, ten years of no contact, and a sudden request for divorce should have been emotionally loaded—but instead, Hello, Nice to Meet You. Let’s Get Divorced. plays out in a strangely uneven, rushed way.

The setup is compelling on paper. The female lead reappears out of nowhere asking for a divorce, and the male lead is understandably blindsided. Unfortunately, once the story gets moving, it settles into a repetitive loop: he falls fast and tries desperately not to get divorced, while she focuses on finding herself and asserting independence. That dynamic could have worked—but it never deepens.

The emotional pacing is off. The male lead’s feelings escalate too quickly to feel earned, and the female lead’s journey, while understandable, isn’t given enough nuance to really resonate. Instead of growth, we get a lot of circling.

Then there’s the randomly placed second male lead, who feels less like a meaningful complication and more like a narrative afterthought. His presence doesn’t add much tension or clarity—it just exists.

The saving grace here is the runtime. Because the series is short, it never overstays its welcome. Had this been longer, I probably wouldn’t have finished it. As it stands, it’s watchable, mildly frustrating, and ultimately forgettable.

💭 Final Mood
“Interesting idea, odd execution, glad it was short.”

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"A mother has to be strong"

Naruse Mikio created a compelling film about the Fukuhara family anchored by a loving and tenacious Mother. Dealing with the aftermath financially and emotionally following WWII, friends and family made the most of their lives and meager incomes.

Fukuhara Toshiko introduces her family-Masako, her mother whom she adores, her father Ryosuke aka Papa Popeye, her little sister Chako, her brother Susumu, and her young cousin Tetsu. Susumu is chronically ill after breathing in dangerous materials at work and is bed bound. Her beloved father is planning to open a laundry service. Her mother sells items out of cart and has taken in her sister’s little boy. The two youngest squabble and play like siblings. And Toshiko helps with a snack shop where the local baker often stops by for food and to share his latest book. Money is tight but everyone finds joy as they face each day and each crisis head on.

Once again, Tanaka Tatsuyo was the center of a film. Masako’s family orbited around her and depended on her strength and insight. Death visited their doorstep not once, but twice and still Masako straightened her spine and carried on. Masako wasn’t maudlin nor the film depressing. She shed her tears and then summoned her smile for her children. The synopsis says that Toshiko was a rebellious teenager. She was far from that. Kagawa Kyoko gave Toshiko a ray of sunshine smile regardless of the never-ending work the teenager faced. Gradually falling in love couldn’t keep Toshiko from helping her family. She had only one stumbling block that was understandable after a loss. Even the younger daughter understood the sacrifice that was required when the dwindling family’s back was up against the wall. What I liked about this film is that the family dealt with loss and sacrifice in a pragmatic and loving way. They did what needed to be done without much complaining.

Mother gave a small view into women’s lives after the war. Unlike Ozu’s middle-class families, these were people on the lower end of the economic scale. Nearly everyone had been touched by the loss of a husband or son. Life went on and each person had to find a way to survive. While the survivors lived with their grief and financial insecurity, they still discovered ways to be content and laughter was always close by. Friends and family rallied to bolster those who were suffering or in need. Mother was not a profound film but I found myself deeply invested in these loyal and likeable people’s struggle to keep moving forward and maintain their love for each other.

3 February 2026

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Familiar Chemistry, Faster Pacing, and a Remake That Mostly Works

📝 Review
(WARNING: Potential Spoilers — I’m Not Saving You from Any Emotional Damage)

This remake works because it knows exactly what it’s trying to do—and what it doesn’t have time for.
The Japanese version of Suspicious Partner stays surprisingly faithful to the spirit of the original while embracing a much shorter runtime. It’s condensed, streamlined, and clearly designed to fit the typical 8–10 episode format.

Yes, that means a lot is missing. Character depth, slower emotional buildup, and some story threads from the Korean version are inevitably trimmed. At times, you can feel where more episodes would have helped the narrative breathe. That said, the upside is that the pacing stays tight, and some of the more drawn-out elements from the original are cut entirely—parts that arguably didn’t need to linger as long as they did.

The result is a remake that feels familiar without being tedious. If you’ve seen the Korean version, you’ll recognize the beats immediately, but the faster pace keeps things moving and prevents the story from dragging. If anything, it plays like a greatest-hits version rather than a full emotional deep dive.

Overall, it’s an enjoyable watch—lighter, quicker, and less emotionally demanding than its predecessor. It doesn’t replace the original, but it doesn’t embarrass itself either, which is more than can be said for some remakes.

💭 Final Mood
“Comfortably familiar, slightly rushed, but still fun.”

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Brave attempt to create a romantic horror BL drama that failed

I’m going to preface my review with the warning for people who are simply fans of PoohPavel because they look cute together on screen and off screen.

I don’t watch dramas just to have something in the background while I’m doing something else. I watch fully engrossed in every detail because I also write and I’m always looking for fresh ideas or interesting delivery methods. And of course, I also watch to get away from real life. The drama has to be entertaining for me to like it. And I consider it entertaining if I have to go to sleep or do some adulting, and instead I keep on watching TV.

Sadly, Goddess Bless You From Death did not deliver. Perhaps I set my expectations way too high after seeing a trailer and then seeing the ratings.

I honestly only saw this duo in PitBabe when it came out, and I never watched the second season because I remember not being overly into it. I saw too many really good BL dramas to remember their acting in PB.

Let’s start from the beginning.

The drama had an interesting and promising premise and I was waiting for things to happen, but everything was just unveiling very slow and there wasn’t anything particular engaging happening on screen.

The bones were there, but the execution and the writing wasn’t very good. I think writing, specifically character interaction and dialogues were poor and sometimes cringey.

The supernatural concept was quite interesting but again all logic was just ignored in most on screen scenarios.

Let’s move on to the romance part.

Again, considering the premise given to us, so much could have been done with Thup and Singha’s a relationship development. Instead, we just have Thup insert himself into Singha’s house and do a couple of chores and that basically turns them into a couple. Angst and real conflict were lacking. Considering we had a policeman and a witness/a person of interest crossing the line, there was so much potential for more. It just felt like a very lazy writing. As if someone said ‘OK, we have a lot of supernatural and freaky stuff, so we don’t really need to make romance interesting.’

There were only two interesting moments between the lead couple, counting the first meeting and the first kiss.

As far as chemistry goes, Pooh and Pavel actually do pretty well. Despite some very abhorrent acting for the most portion of the drama, the intimate scenes seem very natural, which I appreciate. I’ve seen some dramas with amazing acting, but when it came to intimate scenes, acting was immediately downgraded. Also, if you’re going into this show because you have seen this duo in PitBabe, do not expect the same kind of steam. This show is rated 13+ which kind of baffled me a little bit when I started watching, but once we got to the intimate moments, I realized why it was rated like this. The chemistry is there, but this is not the show that concentrates too much on physical relationship between the characters. Which can be a breath of fresh air, if you are looking for less steam and more plot.

Unfortunately, while the plot was not bad, I still found myself constantly taking breaks. At some point watching the drama felt like a chore. I wanted it to be over with so I could watch the next one. Mostly I kept on watching because the rating is extremely high and I wanted to see why. I still haven’t found the answer to this question after watching all 13 episodes.

Now let’s talk a little bit about the acting. As I’ve mentioned earlier, it’s been a while since I’ve seen PitBabe. But I feel almost as if Pooh’s acting has gotten worse. I saw some comments online where fans were defending him because he’s too young. I’m sorry but too young is not an excuse. If you want to be a professional actor, you need to work on your craft. And if you have 3 major dramas under your belt, you need to be somewhat capable. No one‘s asking for Oscar worthy acting chops, but I expect decent skill from someone with such a huge fandom and a drama rated above 8.5.

I think Pavel’s acting was fine. I didn’t find anything distracting. However, Pooh really needs to work on his facial expressions and micro expressions. In half of the situations where he is supposed to convey a specific feeling, he just smiles. At some point, it becomes distracting because that’s his reaction to pretty much anything. And you start wondering if he’s playing a character on spectrum.

And I’m not sure why no one is directing him because he does certain scenes where he needs to express anger or sadness really well. His kissing scenes are also fine, but some of the other reactions he just cannot pull off. I’m honestly hoping this is just poor directing because if the show they have announced just recently where he’ll play Grim Reaper is going to have the same expression on his face, I’m not going to watch anymore dramas from this duo.

I also want to note that I am not bashing the actors in any way. I think it’s admirable that they are pursuing their dreams and that they are not afraid to place themselves in such a niche sector of TV dramas.

However, my expectation is that if you are picked up for a leading role again, I want acting thats’s believable or passable at the very least. Regardless of my thoughts, I still respect the actors and I hope they do well, even if what I saw did not appeal to me. I’m not a spiteful person. If something is not up to my liking doesn’t mean that people should not be acting.

Finally, I want to comment on the subtitle translation. I think confusing pronouns ‘he’ and ‘she’ is nearly impossible. I first noticed the incorrect translation when Sey referred to Darin as she/her. I had to pause and rewind to make sure I wasn’t wrong because the first two episodes the pronounced were ‘he’. Then they were switched to ‘she’ at some point. I couldn’t recollect if it had been mentioned anywhere in the first couple of episode about Darin being trans. But then I started noticing that this was pretty much a common mistake throughout the entire show. Some of the police officers were referred as ‘he’ for eight episodes and then they would become a ‘she.’

It’s not a big deal. I figured this was just a mistake, but it was confusing, especially in light of this being LGBTQ+ show. Getting everyone’s pronouns and gender identity is important to me. It helps to understand the character better. And it’s just general respect.

Overall, Goddess Bless You From Death was indeed a valiant attempt to create a different kind of BL, but unfortunately, it just wasn’t interesting enough for me. The characters were not compelling enough. The writing, specifically dialogues, were not very well done. The romance was kind of subpar. And Pooh needs to work on his acting more.

The rating for the show is kinda inflated in my opinion. Some people may like it. Because apparently a lot already do judging by the reviews, but I have seen much better dramas with lower rating. I think the quality is not quite there.

One thing I really loved about this drama though is the music. There are two gorgeous tracks performed by Pooh and Pavel. I added them to my playlist.

I’m crossing my fingers their next drama is an improvement.

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Contract Marriage Chaos, Family Shenanigans, and 80+ Episodes That Mostly Earned It

📝 Review
(WARNING: Potential Spoilers — I’m Not Saving You from Any Emotional Damage)

This drama pretends it’s about the main couple—but it’s really about the entire family.
Inborn Pair uses a contract marriage as its hook, then quietly shifts focus to generational dynamics, sibling fallout, parental interference, and the long-term consequences of everyone’s choices. That’s why it’s so long—and why it mostly works.

Yes, it’s an 80+ episode commitment, but surprisingly, it stays engaging. There are slower stretches (of course there are), but not enough to make me rage-quit or question my life choices. For a drama of this length, that’s genuinely impressive.

At its core, the story starts with an arranged marriage decided before the leads were even born—which is wild, but very much Taiwanese drama logic. What follows is an enemies-to-friends-to-lovers arc that unfolds gradually and often takes a backseat to the larger family narrative. The romance matters—but it’s not the sole point.

And honestly? The family is where most of the entertainment lives.

The grandfather is an absolute hoot and easily one of the highlights of the show. The grandmother… less so. I’ve enjoyed this actress in other roles, but here the character was mostly grating. The mothers, however, were entertaining in their own meddlesome, overbearing ways and added a lot to the overall chaos.

The siblings are a mixed bag. The older sister’s storyline felt less like tragedy and more like karma collecting with interest. The youngest brother, on the other hand, became increasingly enjoyable—especially in the later episodes, where he finally got room to shine.

And then there’s the mafia-adjacent chaos attached to the youngest brother. The “mafia princess” storyline is… a lot. I love this actress in other roles, but here they pushed the trope to an overbearing, slightly grating extreme. It stopped being fun and crossed into exhausting more than once.
That said—the mob boss dad? Perfectly done. Over the top, fully committed, and somehow still entertaining without tipping into parody. He understood the assignment and delivered exactly the heightened energy this subplot needed. The contrast between the two made the storyline memorable, even when it tested my patience.

As for the extended mess:
The ex-boyfriend? Did all of that really need to happen? Debatable.
The “best friend” who’d been in love with the male lead for years? Catty, catty, catty. I was over her long before the drama was over her.

The female lead is where things get complicated. I like the actress, but her character is borderline unbearable for a significant portion of the show. I appreciate female leads with a backbone—but there’s a difference between strong and exhausting, and this drama doesn’t always find the balance.

And yes—the kid. I’ve seen comments saying he wasn’t necessary, but honestly? I thought he was cute. He added warmth and fit naturally into the family-centered story the drama was actually telling.

In the end, Inborn Pair isn’t really a romance-first drama—it’s a family drama that happens to use marriage as the framework. If you go in expecting that, it’s a much more satisfying experience.

💭 Final Mood
“Long, messy, occasionally frustrating—but rewarding once you realize it’s about everyone, not just the couple.”

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Divine Contracts, High-Stakes Power Games, and a Mini Drama That Deserved a Full Series

📝 Review
(WARNING: Potential Spoilers — I’m Not Saving You from Any Emotional Damage)

This mini drama had no business being as entertaining as it was—and yet, here we are.

Bound to the God is one of those short-form dramas you start casually and then suddenly realize you’ve watched twenty episodes without blinking. Yes, the premise will remind you of My Demon, and no, that didn’t bother me in the slightest. If anything, it made me wish even more that this had been given a full-length treatment.

Li Bo Yan absolutely carries this drama. He’s charismatic, visually striking, and leans fully into that “supernatural protector with questionable morals” energy. At times he gave me serious Jackson Wang vibes, which… helped. A lot. I would not have complained if this had been a Chinese full-series counterpart to My Demon—the bones are there, and the appeal absolutely is too.

What also stood out was the central opposing force—not mystical, not supernatural, but operating on pure influence and control. The conflict leans heavily into tech, money, and far-reaching resources, giving the story a modern, grounded edge. It’s less magic-versus-magic and more power-versus-power, which actually works well within the short-drama format.

Because this was watched through user-uploaded YouTube clips, the music was often muted or cut entirely, making it difficult to judge. Thankfully, the pacing, performances, and concept were engaging enough that the lack of audible OST didn’t detract from the experience.

Ultimately, Bound to the God is fast, entertaining, and frustrating only in the sense that it clearly could have been more. If this concept were ever expanded into a full series, I’d watch it without hesitation.

💭 Final Mood
“Entertained, mildly feral, and wishing this had been 16 full episodes instead of two-minute crumbs.”

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"Vatican's De Exorcismis" with cute love story..

After a long overnight watch of another drama— when my senses had dulled, my mind and body completely worn out—I still decided to start a horror series. A bold choice for someone who can barely handle horror… even though I love it. Hehe.

Tbh, I watched the whole show at 2× speed, with a lot of skips. But despite all that, this was one of the very few horror shows lately that actually satisfied me. Otherwise, I would have dropped it. Call it sloppy if you want, but I still loved the clichés and the sudden, out-of-nowhere plot twists. I almost laughed out loud when I realized how deeply fooled I’d been—and how completely I hadn’t seen it coming.

Because the twist was so refreshing and oddly relieving, I couldn’t help but laugh and smile. It did feel a bit like a “super card” the writer played to fix the script at a point where it couldn’t move forward otherwise. Or maybe it was the writer’s original idea all along—to introduce an alternative flow to the drama.

I’d suggest watching it at 2× speed to keep your interest at its peak, though you might miss the full impact of the jump scares that way. The characters are fairly lovable, and over time, you do start to connect with them. The concept of devil worshipper thing itself was completely new to me, and that’s what made me really enjoy this take.

Unlike the majority audience, i quite loved the ending.. for me that was enough..
Whatever all that happened was more than I could have wished for !!

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About some confusing parts

Was Yoo Seung Seok who kept on deceiving Jae Yun and saved his name as Dim Wit in his mobile was portrayed/shown as his finance in the show? If so, may I please know in which part of the show was it was shown to be so? I am confused about that and since I watched the show in English translation i may have not understood about that part.

It is so unbelievable that Jae Yun who is portrayed as an intelligible person was not able to realize and understand about the fact that Yoo Seung Seok was manipulating and deceiving him and was also faking his emotions towards Jae Yun until he saw the messages in Yoo Seung's mobile phone. It was so apparent to anyone that he was was using Jae Yun for his own selfishness and ulterior motives and did not value him at all. Jae Yun actually didn't deserve Ho Jun after the way by which he accepted breaking off all ties with Ho Jun in spite of being aware how it would affect Ho Jun and went to help Yoo Seung.

In The Episode in which Kim Bit Na was introduced in the show, it seemed that she was deliberately trying to reveal Ho Jun's actual identity to Jae Yun. She seemed pretentious.

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The premises is common but needs to skill to make it engaging

I actually watch Jinze and Zhang Chuxuan second drama first and it was decent watch and know this is their first drama i decided to watch this.

The premise of this drama might be similar to typical regret-filled stories: FL deeply loves the SML, who is unaware of his own love for her but prefers the SFL; FL leaves, ML gets lucky, SML discovers his true love, regrets missing out on the FL, and then begins to punish the scumbags. Typically, the SML is a jerk, and the SFL is a scheming woman. What makes this drama special is its character development

For example, SML isn't a jerk. Initially, he rejects FL decisively, and I even thought FL was asking for trouble in the first half. But after watching the whole series, I felt he was a flesh-and-blood character, and all his actions were consistent with his character. Similarly, the SFL's scheming nature has a reason, unlike some short dramas where scheming is just for the sake of scheming, blaming the FL for every mistake.

ML falls in love with FL at first sight, helps her protect her mother's belongings, rescues her when she's kidnapped, and protects her in every way after marriage. He's also jealous and competitive.

Pacing is tight and smooth without dragging, there's no unnecessary dialogue, and the ending is even more uplifting. Everyone has their own happiness, there's no need to force it, love yourself before loving others.

Recommended to watch.

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“A 90s page, turned by modern hands. A story written in doodles, laughter, and retro dreams.”

The Page in the 90s is a cute, lighthearted watch that doesn’t aim for emotional depth—and maybe that’s exactly why I enjoyed it. It’s the kind of drama you don’t overthink. Much like watching a cartoon (Doraemon comes to mind), you don’t question the logic, you don’t stress over missed “what ifs,” and you don’t expect complexity. You simply take it as it is—and if you do that, it rewards you with laughter and comfort. The retro-theme is so cute, and the mix with 2025 logic is fun. Absolutely adored it.

At the heart of the drama is yu wen aka huaner, who makes everything lively and fun. Her perspective as an overseer who enters the book and treats the world like a system to beat—earning points, completing tasks, and avoiding punishment—was far more engaging than the actual romance. Watching everything unfold through her modern, detached mindset made her reactions entertaining, and slowly, just like her, you grow attached to this world and hesitate at the thought of leaving it behind.

I genuinely don’t know when or how Huaner fell in love..but she did because from the start they seemed like good friends…and suddenly she was afraid to leave. The emotional shifts felt sudden, and moments of sadness or crying came across as abrupt and even out of character. Because of this, it was hard to connect to her love or feel invested in the relationship in the start.. However their acting was good enough to make it believable by the end.

Yu Wen, stood out as the life of the show. Her bossy, dominating presence felt so natural that it was hard to tell whether she was acting or simply being herself—perhaps helped by how comfortable the cast feels with one another. She’s practically a cartoon character: capable of pulling jokes out of nowhere and instantly ruining any moment that seems like it’s about to turn serious. And honestly? I loved her for that.

Xing’s role as a ceo didn’t have much depth like the typical ceo…moreover huaner’s original life is not explored as well.. , but both handled it well. His micro-expressions were effective, his emotional delivery felt natural, and he was quietly funny and undeniably cute.

That said, this couple shines in comedy, and comfort. Huaner’s hilarious banter paired with Gao Haiming’s perpetually dumbfounded expressions creates excellent situational comedy. They feel fluent as friends—or “more than friends” like an old-friends turned lovers set-couple, colleagues-and-partners-in-crime energy—rather than passionately in love star crossed poor lovers. Every time the drama starts leaning toward something emotional, it almost feels intentional that a comedy track is added, pulling you right back into laughter instead. The random, out-of-nowhere conversations and oddly genuine questions only add to that charm.

The second couple, unfortunately, did nothing for me. Their dynamic lacked both humor and emotional pull. The female friend was fine at first, but her constant “system-triggered” interference to keep Huaner and Ouyang from separating quickly became irritating. The police officer character, in particular, was unbearable (purely personal opinion). Compared to Wu Yen’s scenes, theirs felt dull and skippable—and I did skip most of them.

Also—poor Luo. Loved him too. Our luo is still in the company ahahahahahhah.


Yes, the setup is undeniably cliché, but that seems to be the point. The drama treats love itself as something familiar and idealistic—old, predictable, cliché wanting to make a point of that.. A kind of love that softens you, makes you gentler, and quietly stronger.The story is lacking, not all parts land, and emotional depth is minimal.

But despite all that, The Page in the 90s is genuinely fun when it works. It’s a short, refreshing watch with no emotional strings attached—meant to be enjoyed, not analyzed. And sometimes, that’s more than enough.

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