Reviews

Mostly good

I subtracted one star because of the last item listed below...

What I liked:

1. The wooden box and the book of spells. Audience never quite knows if the spells worked or not–but they were lots of fun.

2. Kim Ro-Woon transforms from a cold-hearted attorney into a spurned lover and a kind-hearted boyfriend. Jo-Boah was cute and appealing at times. The romance between these two was a little clunky, but if you don’t look too close, it’s believable.

3. The co-workers in the Environment and Greenery office weren’t funny. But I really liked the buffoonish Mr. Gong

4. The Environment and Greenery Department–a government department with a focus on plants, flowers, and greenery. The cherry blossoms, the walk in the meadow at the end were gorgeous–nice to get away from the unrelenting urbanization in some of these dramas.

5. Appropriate and tactful sex scenes.

What I didn’t like

6. Jo-Boah’s acting was over the top and way, way too self-conscious. Never-ending mannerisms, posturing, simpering, and over-acting. Tone it down, Girl!

7. Too many plot elements borrowed from other Chinese and Korean series (My Demon).

8. Hey, K-drama writers...there was one scene that was really stomach-churning. It shows a certain character grabbing an octopus and throwing it in boiling water. C’mon. Octopuses are sensitive and intelligent. If you have to keep eating them, at least don’t show people torturing them too. Thanks.

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It could have been so good

I am not one to finish dramas I'm not enjoying. I only persevered through this one because I'm a bit of a Lin Yi simp and through the course of this drama I fell for Xu Lu. They are the only reason I made it to the end.

I think teenage me would have adored this drama. That is the only reason I can denote for why this drama has such a high score. Without the rose colored glasses of teenagehood, this drama is lackluster. Unfortunately, it's been a long time since I was a teenager and I only pulled through by fast forwarding through nearly all scenes about the side characters. All I cared about was the main couple and at some points I was skipping some of their more predictable scenes too. I digress.

The writing of this drama is lackluster. The characters are so flat. Even the main two. I think the actors should be commended for portraying as much emotion as they did with the script they had. Especially Xu Lu. Having to deal with the immature dialogue and actions they've given her after such a stand out first episode is hard. She was such a bad B for that one (1) episode before they infantilized her.

The side characters were not only flat, but down right annoying. Most of their scenes had me rolling my eyes. Character motivations made no sense. Some things were being held on to for so long and their lasting impact duration was too long considering the transgression. I skipped in 10 second chunks so I could get the gist of the plot for the side characters and even just the little bits of it I was seeing made me so annoyed.

I did have a truly silly good time in the first 10 episodes or so. They weren't well written but they were fun! I can take fun even if it's not the best writing. I cannot abide the drama getting boring and that's what this one did. It got so boring! They should have cut it 20 episodes. It would have helped it so much. Some plot points where so clearly thrown in to pad time and then completely forgotten about within 2 episodes!!!

I'm getting wordy and I could probably spend another 5 paragraphs waxing poetic on what I didn't like so I'll wrap it up here. Especially since I don't want to get spoiler-y. If you're under the age of 20, you'll probably like this. Give it a try. If you're older, (or cough ancient by drama watcher standards like me), go in expecting it to be rather immature considering the ages and don't take it too seriously, you might have a good time. It was a good drama to have in while I did other things since I didn't want to be paying super close attention.

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This is not a revenge thriller, but misery porn for 95% of the show

24 episodes at approximately 10 minutes and with a strong start I thought this could be good because of the short format.
However, it is complete garbage. This is not a revenge thriller because the FL doesn’t actually do anything and all the villains just fall into their own traps.
All the heroes are passive and never proactive. It really is horrendous. The usual tropes of turning the evil stepsister crazy when everything is lost. Killing the evil dad off screen and explaining that the evil stepmother was arrested for murder..
This all happened off screen so why do they have the perverse pleasure of showing us the FL being tortured and humiliated for most of her life, we get the offscreen explanation that everything is sorted and she can live a happy life now with the ML.
They even included the horrendous biological mother and I’m still struggling to understand how this gets through Chinese censorship because there is nothing pure or decent about this character. She is pure evil and greedy for money that she abandons her children and beats the FL at every opportunity because she isn’t showing any filial piety and she just stands there and takes it.
I’m struggling to understand how this gets through such rigid censorship when we are told we can’t see actual rough justice being served to the villains because it will paint our heroes in a negative light but we get to enjoy endless humiliation and torture being dished out to the heroes in pretty graphic and harrowing detail.. Just strange.

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Schizophrenic

I watched this drama to the end. Many viewers will probably like it, but for me it was too contrived – with a unpalatable mixture of silly hijinks, gratuitous violence, sadism, ridiculous wishes, and bogus profundity. It had a convoluted plot with too many secondary characters, and a lot of elements that just didn’t come together in a cohesive whole.

In the beginning, the ML is a a big goof ball of a genie who can do anything with a snap of his fingers. Somehow he’s also Satan. He can put out a raging fire or catch someone who’s fallen off a tall building, He can appear and disappear and travel through time. He can fly, burst through the walls of buildings, and deflect bullets. No problemo.

As for the FL, she just doesn’t give two figs about anything because she’s a psychopath (or maybe not). She’s trying to be decent, but she has the soul of a killer. Why should the viewers care about either of these absurd characters? There’s nothing at stake. Neither of them want anything–-or anything substantive–-either from the world or from each other.

As the story progresses, wishes are granted, wishes are postponed, unforeseen circumstances arise. When a romance develops, it seems completely unmotivated.
When are the good people at Netflix going to hire writers who can actually construct a story with heart and nuance–one that doesn’t rely on gimmicks?

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Entertaining and fast-moving

This drama held my interest and entertained me, but didn't impress me deeply as much as the last three Chinese dramas I’ve watched---GUI DUI aka THE LONG WAY BACK, THIS THRIVING LAND, and TWELVE LETTERS. They were all impressive.

FATED HEARTS moved along briskly, with little or no dithering---a rarity in Chinese and Korean dramas. At times the story went off the rails and didn't make sense---the emperor trying to goad his favorite son into killing him, for example. Or when two people were pierced by swords--- swords that not only penetrated their bodies, but came out the other side--and they both lived to tell the tale. (I guess they were only flesh wounds?) And, last but not least, TWO cases of amnesia.

I've complained in previous reviews about Chinese dramas infantalizing women. But this drama reverses that trend. The women out-fight, out-argue, and out-maneuver the men. Whenever love is on the horizon, the woman involved declares her feelings first. Whenever two men are at each other's throats (or one of them is acting like a spoiled brat) the designated woman will jump in, speak the truth, and often solve the problem.

The main FL is one tough cookie. At first, she's grim and tense, even with her kids---whom she's always scolding. When we meet her, she's battling threats from every direction. But couldn't the writers have given her a few moments of peace or playfulness? As it is, she's a fairly rigid, one-note character---until she finally begins to loosen up, about ten or twelve episodes into the series.

At that point, she, takes charge and gives wise counsel to the sensitive and somewhat traumatized First Prince. I don't mean to imply that First Prince can't hold his own---he definitely can---and he does whenever challenged.

The First Prince's mother, we find out in a flashback, was another outspoken, early feminist---until someone ran her through with a sword (and, with no magical medicine available, she died). His sister is also a strong woman, although it takes awhile for us to see that side of her.

Most of the male characters in this series are either physically incapacitated (poisoned, crippled), weaklings (Second Prince), or dealing with past trauma (First Prince, plus his so-called best friend). Man up, guys! The women are way ahead of you.

The platform I watched this on kept intermingling the words of the background songs with the subtitles, so I had to work hard to follow the dialogue, especially during intimate moments. Someone needs to fix this.

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Excellent Drama

The land is truly the main character in this drama. The need for land-the work it entails, the greed it incites, and the love it inspires-is central to everything that happens.

This drama is so well acted by so many that it's hard to know who to single out. But I have to mention, especially, Dahong Ni, who plays the FL's father, a man so craven that he chooses to subject his daughter to rape and disgrace rather than part with the money needed to save her. It's not easy to play a villain, someone who's both utterly despicable-and yet believable and understandable. He's brilliant in this part.

Also, the patriarch of the Feng family, played by Yongjian Lin, is another character twisted by greed-yet he's somehow likable, even lovable at times. His wife, in a role played by Peng Chi, is an absolutely kind, simple, and understated human being who's a healing presence in the family. Both these actors did an outstanding job.

Like many people in both China and America, I come from a long line of farmers, many of them miserably poor. I felt a pang of recognition and sympathy for these simple, hard-working folks, some so deprived they don't even own matches.

Ownership of land is all important in this series--those who don't have land are at the mercy and whims of their landlords. The constriction of their souls have made some of these landlords rapacious and unscrupulous. The working poor, who exist at the edge of starvation, struggle to grow enough food to feed their families. But many still find it in their hearts to share what they have with their neighbors.

One jarring note-whenever any one of the poverty-striken characters opened his or her mouth, I was greeted with the sight of perfectly aligned, gleaming, white teeth-which kept reminding me that I was watching a piece of fiction. Also, I found it a bit unbelievable that (in episode 29 and 30) marginalized, food-insecure human beings would so easily give up their grain reserves in order to feed a mass of unknown refugees swarming through their village. Maybe this was the charitable thing to do, but not psychologically credible, given that every episode prior to this had shown how prized every morsel of food was.

In many Chinese dramas there's one character who's so perfect he or she isn't quite human. In this series that character is the saintly Wendian. (Hey, Chinese movie makers-may I make a suggestion? You don't need to do this to drive the point home.)

This is the first Chinese series I've seen that focuses on the rural poor. It was a welcome change. THIS THRIVING LAND is a fine drama and very watchable.

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This One Tops the Charts!

This is one of the best Kdramas I have ever seen.

The story, acting, production value and everything in between was stellar! 10 stars!


Here's what I liked:

1. The characters felt developed
Each one of them had a story, a personality, and a reason for being the way that they were. I loved delving deeper into the show and learning more about their backgrounds. There was always something more to discover.

2.This show kept me guessing
The horrifying situation Se Ri found herself in twisted and turned in ways I never expected. I sat with rapt attention, theories spinning through my mind. Just when I thought I'd figured it out, the plot developed into so much more than I'd imagined. The writing in this show was spectacular.

3. Ri Jeong Hyeok
Really, what further explanation is needed? In a country that persecutes religion, he was the most Christ-like character I have seen in Korean media. His selflessness, patience, kindness, innocence and willful sacrifice made him an exemplary character. I will admit, I swoon for Ri Jeong Hyeok.

4. Their portrayal of North Koreans
I loved how they depicted North Koreans and showed us that they're just like anyone else--they just happen to live in a country that employs an oppressive regime. The people lived under the rules, and they followed them, but they still joked and laughed and lived their lives the way anyone with meager supplies and a good outlook on life would. They were wonderful characters, and I think they show many people that North Koreans are normal human beings, too.

5. Se Ri
I enjoyed watching Se Ri's character develop and blossom as she learned to love and be loved. Although in the beginning she was closed off and cold, underneath it all she had a beautiful heart. She just needed someone willing to care enough to see it.

6. Lighthearted moments
The comedy relief was enjoyable and I felt it was always at the right time when I needed some levity after the heavy scenes. I also loved some of the familial dynamics between the main and side characters.


What I didn't like:

While the rest of the story was really developed, the end felt rather unfinished and abrupt. Some events that occurred in the final episodes seemed to come out of the blue and didn't make sense to me. I felt some things could have been left out or handled differently (Gu Seung Joon). But that is just my opinion.
I also felt we missed out or didn't see enough towards the end of Se Ri and Ri Jeong Hyeok's story. It all felt somewhat hasty and dreamlike towards the end. I would have liked to see at least another episode or two allowing us to say goodbye to these beloved characters and tie up loose ends. I understand with production costs and time this might not have been possible.


Content: (This section may include spoilers. Please proceed at your own risk!)

During a random inspection, a man and woman are caught having an affair. Nothing sexual is shown. The woman is seen hiding in the closet wrapped in a blanket, while the man cowers under the bed in his underwear.

The main leads kiss several times.

Trucks designed for murdering people are used. We see them ram into cars with people inside two different times. We see a man bleeding from the head during one of the crashes.
One of the cars rammed by a truck falls off a cliff and explodes.
A woman stands in fear, looking at a truck coming towards her, but we don't see anything. Later we hear that she has died.

Several gun fights involving life-threatening wounds occur. Some characters die or come close to death from being shot.

Guns are often brandished.

Attackers wield knives and sticks.

As a sensitive watcher, I was bothered by the violent content, but not so much that I felt the need to discontinue watching the show. The good far outweighs the bad, and the fight against evil is pure and unwavering. I would recommend this drama to anyone 15 and up, with a caution for sensitive viewers. Happy watching, and I hope you enjoy! <3

No one has greater love than this: to lay down his life for his friends. - John 15:13

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Great performance by the actors/actresses, storyline could be slightly better

Very good acting by both characters but FL doesn't really discuss anything with ML even right to the end and love felt very one sided. LJL was more clingy and simpy that I'd like in a ML but HMH is very cute. Last 7 episode was weird/unnecessary/wrong focus towards ending of a drama.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .the end

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A story of "ghostly love"... or rather, a "formidable fate." :)

The serious version: A tale of two "chosen ones" who choose each other in every lifetime.

Khemjira Must Survive. And indeed, Khemjira survived. Not only that, he saved the souls of the dead. This series explores a very fresh angle compared to others in the genre, and this clever strategic move successfully created a buzz for this long-awaited project, elevating the new Thai entertainment duo to "rising star" status. That alone is enough to indicate that Khemjira has successfully nailed the standard aspects of an entertainment series: it has depth and is meticulously invested in both visuals and content.

First and foremost, the series makes a strong initial impression with its unique premise—a spiritual theme deeply intertwined with folklore and belief. I am not easily scared, so naturally, Khemjira didn't strike me as a terrifying horror series that kept me up at night. It is clearly a ghost story in every sense, but beyond the exorcisms, spirit summoning, and wandering souls, the romance remains the standout element. In fact, Khemjira balances the investigation and curse-breaking plotline parallel to the romance quite well. The two halves complement each other, walking hand in hand, just as Wat and Khem resolve past-life grievances while nurturing their love, forging a bond for this lifetime.

Beyond the spooky vibes, the theme introduces the audience to the fascinating and diverse customs of a specific Thai community. Cultural diversity is expressed through imagery, music, colorful details, and primarily through the chosen subject matter. There is also a diversity in human expression—a person can exist in any version, gender, or identity, but at their core, they remain simply human. And when two people fall in love, they just love; gender becomes irrelevant.

Watching the series, I always felt the filmmakers followed the original novel’s progression sequentially and completely, resulting in a smooth, fluid narrative with a clear, layered structure. This is the first clear success in terms of the film's construction. Thanks to the sequential handling of issues, the character introductions, the setting, and the links between sub-plots connect seamlessly without causing boredom (weaving through the past, the present, the previous life, the life before that, and even the future). The series truly built a relatively massive timeline spanning generations, constructing a systematic and substantial universe that successfully conveys the story's underlying meaning: succession. It is the succession between generations, the guardians of the village, the cursed, the old and the young, the living and the dead. It is the connection between those linked from a past life to this one, creating a bridge between past, present, and future through "spiritual" ties. Indeed, the quote at the end was incredibly powerful and encapsulated the film's atmosphere: "Bound by fate, kept by love, strengthened by never giving up." To me, the paramount factor—the alpha and the omega of every event—is always fate. Whether it is the main couple, the side couple, or any character, everyone is connected by a destined arrangement. It is an element that couldn't be more idealistic. And fittingly, that is the dominant atmosphere of the entire film: the color of destiny and idealism.

Witnessing the story unfold in a world permeated with mysticism—full of magic, spirits, and rituals that elevate religious senses—is an interesting and fresh way to perceive the world. Lovers, whether in this world or the next, will eventually be together; those who need to meet will meet. Faith, belief, and most importantly, love, create power. Love becomes the dominant force that neutralizes every curse: because Khemjira is full of love, and because the world around him is filled with love, Khemjira must survive.

Beyond the spiritual meaning and content, a huge plus point is the production value—cinematography, visuals, and sound were all handled with great care. The setting gives the film a vintage, nostalgic feel, like a period piece within a modern space. This is especially true for the smooth, romantic relationship of the main couple. Their dynamic feels fresh because both characters are written seriously with clear backstories, giving them ample space to develop according to the script without feeling shallow or jarring. Their love doesn't feel out of place; you can clearly see the trajectory of their affection and why they love each other so deeply—even if that reason leans heavily on "fatalism."

However, among all these elements, my favorite part of Khemjira is the soundtrack. The music is perfectly timed, ensuring the film rarely feels empty, creating atmosphere and storytelling through sound effectively. The chemistry between the characters lands well. While it’s evident that the actors still have room to grow, one cannot deny that the couples have a natural chemistry that doesn't rely too heavily on technical acting. Because of this, watching the film often feels like watching a "puppy love" romance—innocent, endearing, and cute. It might not perfectly fit the serious character settings, but it’s still very sweet (accidentally capturing the true essence of a first love for both of them).

The secondary couple actually has a clearer setup, and their characters stick closely to that setup from start to finish. Speaking strictly about the romance, I preferred the side couple’s dynamic slightly more, simply because I found it a bit more interesting. The main couple's relationship felt a little "safe" and occasionally relied on clichés. It seemed that, contrary to the deep connection mentioned earlier, Wat and Khem's relationship relied more on their past-life feelings than on a deep, present-day bond. I wish the film had given Khemjira a bit more time to develop their feelings in the now before introducing the tragic romance of the past. That said, the intimate interactions were well-executed. When the opportunities for kisses and conversations arose, the filmmakers—using lighting, sound, camera angles, and direction—did not miss the chance to create polished, emotional, and sweet scenes that fitted each stage of the relationship.

In general, Khemjira is a complete and well-rounded series, a standalone work with genuine depth that doesn't just chase after fan service. It is quite sophisticated, attempting to weave a story that respects the viewer's IQ and EQ. However, there are still elements that could have been developed further, as I sometimes felt something was missing. The story was somewhat predictable; because love was the dominant factor, the sub-plots weren't overly gripping. I expected more suspense and better construction in the "curse" storyline. The romance was gentle and sweet, but there were simply too many coincidences. :) The film is perhaps better suited for those more idealistically minded than I am. The final twist was impressive, even though I saw it coming, and held significant meaning. There were lingering questions—like why the villainess from the past life didn't appear, or why Nampeung only followed Khemjira—but by the end, the film made its message clear: some things happen simply because they must. So, let’s just call it destiny. :)

Finally, regarding the performances: as this is their debut project, it is understandable that the cast has room for refinement. Keng’s role was slightly more complex and demanding than Namping’s, which naturally presented a greater challenge. However, I personally felt that Namping successfully portrayed Khemjira’s various emotional ranges quite clearly. And honestly? The actor who delivered the best performance was Nampeung (the spirit). :D

The main reason the film scores an "average-good" for me is that it meets the standards—it’s stable, it’s good—but it didn't truly break through or create enough intense emotion to keep my eyes glued to the screen.

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Great, then good, then meh!

I love the 4 leads and the beginning was fantastic, I loved the concept and I do agree with comments saying this is one of the best GMMTV has ever made.

Be that as it may, I didn't like how the story went, I loved the idea of solving ghosts problems in a funny way but it got too personal in ep 6 I think...

Not that I'm against that, but I would have loved it more if they solved the whole Chef arc and the accident part last, also the whole Home's family issue is a bit redundant and unnecessary, I know that it could lose it's charm if it was anthological but i believe it won't be boring with this cast was perfectly put together and all were ver, fun to watch, also I loved the first few episodes the most, they were so much fun and ridiculous, when it got personal it became too dark and sad.

The characters were amazing, Jan and Tay in their natural habitat acting as siblings, the Pickering between Tay and New, also Jan and the silent Bodyguard were brilliant I loved them together, the only "character" I didn't like much was Kan, I just didn't like her in general.

Overall, worth the hype and I totally understand wh, people are obsessed with it, for me the story wasn't the best but aside from that I loved everything else ~

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Khun Thee really ought to buy a dedicated time slot to turn his life into a... sitcom.

You know those long-running sitcoms with over a hundred episodes, where each 15-to-30-minute installment focuses on mundane daily situations with a fixed cast of characters? Me and Thee successfully recreates that exact feeling in a 10-episode series, with each episode running for an hour. To be honest, the viewing experience isn't much different from a sitcom, because one hour of runtime feels no different than 15 minutes. The show lacks significant conflict, the plot points feel thin, and both the individual episodes and the series as a whole feel incredibly lightweight. And, much like a quick sitcom, aside from the laughs and the surface-level messages, it doesn't really leave behind any lasting aesthetic or artistic impression.

The structure is clearly designed to be loose, requiring very little connection between events and demanding even less focus or critical thinking from the viewer. Ultimately, the episode where the most actually happens is Episode 1. It introduces the characters, the setting, and establishes the mood and vibe for the remaining nine episodes. It was also the freshest episode. In the beginning (specifically the first two episodes), I was genuinely drawn in by the weirdness, the silliness, and the lack of sobriety in MAT. The comedic bits, the way everything was exaggerated, and the focus on the "cringe" factor typical of Lakorns were unique elements that few BL series have utilized. Novelty easily creates an impression and attracts viewers, but for a series to remain engaging over the long haul, it needs more than just a quirky start; the novelty needs to be sustained. MAT maintained the exact same level of silliness all the way to Episode 10. By that point, while the humor remained, that was all the show had to offer—nothing more.

MAT isn't a bad show, but it’s not for every audience, or at least, not really for me. It’s light, relaxing, and focused on comedy, but sometimes, that weightlessness—combined with repetitive humor—made me feel like I was wasting my time. It’s so light it just floats away, leaving nothing behind. I wouldn't watch MAT for entertainment, as I didn't find it particularly entertaining or relaxing, but if the goal is to kill time, then yes—MAT is the perfect choice for when you’re sitting around with absolutely nothing to do. Unfortunately, I don't exactly have time to kill.

Since the film offers little in terms of substance, I struggle to find much to analyze, though I will commend the cinematography; the color grading and general aesthetic were quite decent. Regarding the cast, Pond and Phuwin have made a noticeable leap compared to their last project I watched (Never Let Me Go). Pond seems more comfortable (though at times I wonder if he embodies Khun Thee because of improvement or simply because the role doesn't require intense acting), and Phuwin dared to step out of his comfort zone with a role (little) different from his previous ones.

However, acknowledging improvement isn't the same as praising the performance as a whole. Solely within the context of this show, the secondary couples often outshone the leads in terms of natural delivery. I don't want to be the contrarian, but for some reason, the interactions between the main pair felt slightly unnatural to me, and the chemistry didn't quite hit the standard I expect from long-time partners. There were moments where the acting felt "too much," and others where it was "not enough." In general, it seemed they struggled to fully grasp their characters. In pivotal episodes meant to mark turning points in character development, certain gaps in emotional delivery became apparent. I found myself asking multiple times: What is this character actually feeling? Why did the plot escalate to this point based on his reaction? Who is Peach, really? Does he have any depth beyond what is shown on the surface, or is he truly that plain? Crucial emotional scenes, particularly the crying scenes, felt like they stopped halfway and didn't quite land the necessary emotional impact. Ultimately, MAT isn't a psychological drama, but I still expected a bit more depth from the romance genre.

In the end, MAT left me disappointed.

I often joked that Episode 2 was the peak of the series, but I wish it had remained a joke. It’s strange that I found the love between the two characters most intense and romantic when they were still strangers—before the feelings were confirmed, when everything was just mutual attraction and lines like "this guy is interesting." It was better than the phase of "I’ll buy you an entire island because you dared to talk back to me, and because you’re the only sane normal person I know—even though we met a few days ago." The romantic progression sped by like a race car on a bumpy road. The two main characters felt like athletes sprinting toward the finish line of marriage, even if that wedding felt like it ran out of budget (no extras, sparse decoration, lack of ceremonial investment, and the groom not even wearing a suit). Even though their intimate moments sometimes felt inexperienced or awkward, and their connection relied largely on flowery jokes or scripted-sounding dialogue, I am sure the marriage of Thee and Peach will last forever—because there are never any real problems between them. Just like the entire series.

That is MAT in a nutshell—light, repetitive, and somewhat meaningless, with philosophical messages delivered directly through dialogue in a "Tell, Don't Show" fashion. And these aren't entirely negative descriptors. Look, I’m just describing the show the same way I’d describe those sitcoms that air right before prime time.

(Regarding the supporting characters, especially the side couples: MAT failed them. RM and TA were told in two almost contradictory ways. RM had a "plot with no plot," built mostly through interaction scenes and saved by the actors' chemistry. Conversely, TA had a messy storyline. Despite being built up from the beginning to the end, the sloppy scriptwriting exposed its flaws and dismantled the characters' image. The way TA's plot was handled solidified my theory: if Thee and Peach’s plot had been dug deeper with more conflicts, MAT likely wouldn't have succeeded with its current nonsensical storytelling style, because the script doesn't actually know how to create and resolve conflict effectively. For example, the way antagonist characters like Vivid or Tee pop up for one scene and then disappear blandly, or how the intern photographer character was stripped of his role compared to the source material.)

One huge minus point: the product placement is excessive. Every segment (15-20 minutes) features a commercial—blatant, irrelevant, sometimes with entire scenes constructed just to advertise a product. I tried not to dwell too much on the logic or realism of the setting, but for a billionaire, Khun Thee must be pretty broke to be doing this many commercials!

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One of the best romantic K-dramas

Actually, it's more than it! One of the best screenplays of romantic k-dramas I have ever watched (and not only k-dramas, but in general), with strong impact to our lives, superb actresses/actors (Yoo In-na is at the top of her game, but she is not the only one playing beautifully), and funny, funny, funny! I laughed a lot, learned a lot, and enjoyed basically every moment! You will not be disappointed at all! I loved the scene at the restaurant when In-na showed to the main lead her methods of seducing; I laughed, but not only!

All the lines are great, and I hope you'll enjoy them even if you are a k-drama beginner! I know that, being on Amazon, Viki or some others don't have access to it, for now. If you can download it, trust me, it won't be for nothing! Do it! You will not regret for one second. It's a great lesson of life, among others!!

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Big budget disaster

Well… to start this series did a great job with location, cinematography, wardrobe etc. Amazing 🤩 they made our beloved actors look good on screen.

Sadly this is where the positives end for me. It was a painful watch. The story started off promising but quickly dwindled into a mess that was difficult to watch. I have been a fan of Zee and New in cutie pie however nothing since then seems to be all that great, cutie pie 2 was a hard watch for me. Zee was great in club Friday! I also have to credit new he is a fantastic music artist.

I do hope that their future projects do better. I definitely will not watch this again.

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