Reviews

Lucky My Love: A light and gentle romance

The storyline of Lucky My Love fits within the familiar framework of office romantic comedies, a genre that the series manages to approach with a certain freshness. The story follows Nubdao, a young woman searching for love, torn between her boss Pheem and her new colleague Wela. Although the character development is intentionally simple and sometimes archetypal, this lightness contributes to the smoothness of the narrative and allows the focus to remain on what matters most: the emotions and subtle nuances of human relationships. With a short format of five episodes, the series avoids unnecessary length and offers an accessible and enjoyable story, perfect for a quick, light-hearted watch.

On the directing side, Lucky My Love favors simplicity. This minimalism is not a flaw but rather a choice that highlights the authenticity of the interactions between characters. The modest sets and measured pacing help center attention on dialogue and glances—key elements in a romance where emotional tension often plays out in subtlety. Although some transitions may feel a bit abrupt, they don’t disrupt the overall coherence and flow. For a low-budget production, K11D House does quite well.

The performances of the actresses, Bmine and Near, are promising. While their acting can sometimes seem a bit restrained or awkward, it helps create a gentle and sincere atmosphere, far from dramatic excesses. As for the chemistry between the leads, it occasionally lacks depth, making intimate scenes less convincing. But considering these are their first major roles, this is understandable!

In sum, Lucky My Love charms with its simplicity and understated appeal. Without trying to revolutionize the genre, the series offers a light, sincere, and pleasant romance, ideal for those who appreciate stories where emotions are expressed with subtlety.

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Show Me Love: Englot’s chemistry shines amidst production challenges

The series is inspired by the true experience of the duo Englot, whose story captivated audiences during their participation in the 2022 edition of Miss Grand Thailand. Of course, this storyline is fictionalized for the sake of the script.

In terms of the plot, the core idea remains interesting. Show Me Love offers a glimpse behind the scenes of beauty pageants, notably through the lens of Miss Grand Thailand. This setting, rarely explored in depth, allows the series to address the expectations, pressures, and demands placed on the contestants, balancing competitiveness, public image, and rehearsed performances. This aspect could have provided a rich narrative playground, blending social critique with psychological development — unfortunately, it often remains only lightly touched upon and never fully exploited.

Moreover, the series clearly suffers from editing and storytelling issues. The episode cuts lack coherence, and transitions between scenes often feel rushed, as if moments were simply stitched together without real dramatic logic. This "patchwork" impression undermines the narrative’s fluidity: some scenes follow one another without clear connections, creating confusion that sometimes makes the story hard to follow. This lack of structural rigor weakens immersion and gives the impression of a rushed project, not fully controlled on a narrative level.

I have been a big fan of the Englot pairing since their meeting at Miss Grand Thailand in 2022. Their natural chemistry is undeniable: they share a rare, spontaneous, almost magnetic connection, which they know how to nurture and portray both in public appearances and daily interactions. This unique dynamic is one of the key reasons why Show Me Love is so endearing.

However, while their bond feels authentic, their acting in the series doesn’t always match the same intensity. At times, their performances fall short—sometimes too stiff, sometimes overly exaggerated—as if the sincerity of their personal relationship doesn’t fully translate on screen. There is clearly strong potential, but it remains untapped. Their presence is touching, yes, but it would have benefited from better direction and a more rigorous production.

Show Me Love had the potential to make a significant mark on the landscape of Thai GL dramas, especially thanks to the popularity of its lead duo. However, production and narrative issues hindered its full realization. That said, despite its flaws, Show Me Love remains a charming offering for Englot fans: an imperfect but heartfelt extension of the chemistry that so many admire.

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cinematic, nothing to complain about

I'll go same as ratings starting off with story.
I didn't read manga nor watched anime, I found out about Top Form after honey scene went viral and barely knew what to expect. Was not expecting fireworks and was right with that because there wasn't really any fireworks/plot twists.
BUT
I was right only partly. It's obvious I wouldn't find here aliens having breakfast with Akin or dancing cows but the plot was here for sure. Looking back at it, something was happening all the time. I'd catch myself checking how much time of episode do I got left and being surprised only half of it passed since I felt like so much has already happened. I didn't feel like it was too fast or overwhelming but more like if time slowed every time I'd click play. Top Form knows how to get you invested.
Even if the scene wasn't packed with dynamic action and was focusing more on romance/relationship where we can easily predict some patterns or behaviours - it wasn't boring. Due to other aspects as well written script, acting and directing making it attractive and very enjoyable to watch.

SmartBoom understood the assignment serving top form acting and chemistry. I have nothing to complain about. The script and the way SmartBoom acted it out showed characters emotion really well, the tough ones, the depth but also balanced it with a bit of unconcerned cuteness and playfulness which I feel is overloaded in many series not leaving space for what we've got here - real drama.
Side casts did good job too.
Directing ATE. I didn't put cinematic in the headline for no reason. Every frame was beautiful and satisfied me as an aesthete but also I just simply like the way director moved the story onto to the screen.

Now what I always enjoy the most - music. Aside of when music they chose, it's when they chose to play it. It wasn't just only copyrighted free bg music in cheesy moments - music played a role, it was a cherry on top of every ep and I'd like to single out the honey scene here because piano completed the mood so per.fect.ly. it deserves its own applause. Non skippable intro makes or all even better from the first minutes.

Overall: Worth watching, would recommend

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GAP: The Series — Thailand’s First GL Drama Breaks Ground

The story, adapted from an online novel by Chao Planoy, follows Mon, a young, energetic and idealistic woman who joins a large company in hopes of meeting Sam, her superior—cold, brilliant, and distant. The main dramatic tension lies in the gap between these two female figures: a social gap, an age gap, an emotional gap. The plot follows a familiar structure, using the classic office romance and CEO-intern trope seen in many modern love stories—which works well. But beneath this apparent contrast between innocence and coldness runs a deeper thread: that of mutual learning. Sam is not just the distant embodiment of female power—she is also the product of a patriarchal, conservative society, where being a powerful woman often requires sacrifice and a certain hardness. Mon, on the other hand, represents a freer generation, more open with her emotions, perhaps more naive, but also bolder.

In terms of direction, the series remains simple, even conventional at times, borrowing heavily from romantic drama codes: slow motion, lingering glances, emotionally charged music. And yet, this simplicity serves its purpose—it’s not about subverting form, but about normalizing representation. Making lesbian love feel just as “expected” and “ordinary” as any romance on screen is, in itself, a quiet but real revolution.

Of course, it would be unfair not to mention the rare chemistry between the two leads, Freen and Becky, whose dynamic goes far beyond the script. Their performance transcends dialogue—it’s found in glances, silences, subtle physical hesitations. Through them, the series offers a queer physicality, a different way of filming desire, far from the male gaze or oversexualized clichés.

Naturally, the overall cast is well chosen and plays a key role in the show’s unique charm. While Freen and Becky carry the emotional weight of the story, the rest of the cast is equally memorable—funny and endearing, balancing the romantic tension with humor that’s sometimes absurd, sometimes tender.

The show’s greatest strength lies in how it situates this romance in a deeply political context—without ever explicitly framing it as such. The romantic stakes become a space of identity affirmation and negotiation, and that’s where GAP draws its power. The series subtly addresses the social constraints faced by Thai women: arranged marriage, filial duty, latent homophobia, and the rigid hierarchies of the corporate world. Through Sam’s journey—torn between her social position and her desires—we can read a quiet rejection of the role of the docile woman, the obedient future wife, the carrier of a silent patriarchal legacy.

Ultimately, GAP: The Series is a significant work that not only entertained, but also contributed to a more inclusive representation of sapphic relationships on Thai television. While it may have its flaws, its cultural importance and impact on the GL genre make it a must-watch for fans of queer storytelling.

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Taxi Driver 2 — Buckle Up, Justice Is Coming (With Style)

This drama is a total blast on wheels! 🚖💥
Lee Je-hoon returns as Kim Do-gi — calm, cool, and basically a one-man justice machine with killer disguises. Honestly, this man can out-cosplay Comic-Con and still punch bad guys in the face with class.
The whole Rainbow Taxi crew is back and funnier than ever. Pyo Ye-jin’s hacker skills? Sharp. Jang Hyuk-jin and Bae Yoo-ram’s bromance? Unmatched. Kim Eui-sung as the boss? The perfect blend of shady and wise.
Each episode serves up karma hot and fast — corrupt CEOs, bullies, and scammers beware. The revenge is creative, the stunts are slick, and the jokes land right between the gut punches.
If you want justice, laughs, undercover wigs, and some action that slaps — this is your ride.
⭐⭐⭐⭐⭐
Would take this taxi again. No meter needed.

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No spoilers here

I love everything in this series I miss the characters from s1. I hope they make s3 and everyone will be there that would be really fun to watch! All casts portrayed their characters well and that's what I really liked. Every episode is so exciting and no boring parts

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Princess and her lighter man?

so this is my all time favorite chinese drama till today and I'm sure it's going to be my favourite forever....the chemistry between them 🥹🥹made me so happy.....I justt love them so much.....overall the story line is good....but when they get older it become Little bit boring but it's still worth it... because of both of them's chemistry.....i saw so many reviews where people were saying that he is red flag...I don't think he is red flag at all...my all time fav couple specially zhang jingyi is my favvvv actress I like her as whole.... she is effortlessly beautiful,her acting is so good , her voice and main thing her choice of drama omg so good and even chen Arthur he is also so good in this drama i didn't watch his other dramas but his acting his face expression are just apt....they will be forever LI XUN and ZHU YUN for me...I think this is and underrated drama....this drama deserves more .. specially more than some over hyped drama....

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Better stay as a manga instead of a live action adaptation - So slow, so many "Eh?"

“Takara no Vidro” aka “Takara’s Treasure” is a typical story about how two opposites attract and end up together. Technically, the story is sweet and the two male leads are good-looking. Visually, they are perfectly casted. Iwase Yoji, playing the super popular Takara, is handsome and cool, and just has that tsundere aura around him. Him just casually sitting on the bench reading a book is a sight to behold. Contrasting him is the cute and bubbly Taishin, played by Konishi Eito. Konishi’s big eyes really sparkle like the marbles.

The plot is simple and predictable. The first half was filled with creepy, stalkerish and annoying ‘eh?’ If Taishin is a girl, I would have complained about the character just as much. In a manga, Taishin might be cute and adorable, and it’s up to the reader to set the pace. But in an adaptation, whether he’s a boy or girl, I just can’t stand that naive, sloooow talking/processing character who gives you puppy eyes and acts surprised all the time. It’s so slow!!!

It’s so unfortunate because I really enjoy the last few episodes when they are finally dating. Taishin is still Taishin, but at least we have deeper conversations, and they really try to open up to each other. Their feelings are conveyed honestly, no matter how embarrassing they feel inside. They really do want to make this relationship work. Seeing Takara getting possessive and jealous, and acting out of his cool character is fun. I wish we had seen more of this between them. I also would like to see Takara express his feelings more verbally.

J-dramas are usually rated lower on MDL, so I am quite surprised “Takra no Vidro” actually has an 8.0. Despite loving the male leads visually, the acting is actually not bad, and enjoying the last few episodes, this drama is just too slow for me. I am also not a fan of overly naive characters. You can still have a bubbly vs tsundere, opposite attracts plot without making the character so dumb.


Completed: 5/27/2025 - Review #584

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2025 must-watch

It’s been a while guys since I’ve watched a WOWOW drama and watching Sai made me realized just how much I miss the quality of their production. From the insanely gorgeous visuals to the hauntingly beautiful scoring the quality of this drama was just so damn good. 



I think psychological suspense dramas like this are hard to come by recently for me. Teruyuki Kagawa’s character of an elusive force of figure appearing and bringing a certain "disaster" on the lives of six different people was absolutely creepy. And of course we have Anne Nakamura. This could easily have been an extension of her detective role in Yakusuko. I think she suits this type of roles so well.

The idea of creating that link between disaster and crime was really interesting to delve into. And as the show tries to blur the lines between the two, viewers are forced to question the nature of disasters. Is it natural or man-made?

But I think what fascinated me the most with this drama is how it shows the different perception of the people with misfortune. It makes you think about the misfortunes that you may encounter in your daily life. It’s quite frankly scary to think about. 



The ending left me with mixed emotions.

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this completely rewired my brain

Literally thee best show of all time. Hou Minghao gives one of the most exquisite performances I've ever seen, and while he stands out among the rest of the cast, everyone else is also incredible in this too. The Zhao Yuanzhou/Wen Xiao romance was everything to me and the polyam vibes were off the charts as the second half of the show devotes quite a bit of time to Zhao Yuanzhou and Zhuo Yichen's dynamic. The found family story was beautifully done and you really believe that these people will risk absolutely everything to protect and/or save each other. Every song on the soundtrack is perfection and no matter how many times I hear some of the character themes (especially the themes belonging to Li Lun and Zhao Yuanzhou), I will still go bonkers insane every time.

I have some minor gripes with some writing decisions which is why I give this a 9/10 on story, but this is an absolutely must watch show for me.

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Hidden gem of a documentary

Hidden Letters is not an academic documentary. Instead it reveals history through the present, following two modern Nushu writers. Except for the opening frames (I'll address those below), the documentary is a delicate and thoughtful exploration of Nushu in its present form.

The documentary explores the modern-day contestation around Nushu – through the women who engage with it – but also the opinions of men who think they know what they're talking about. (It turns out that mansplaining is the same in every language.) Unsurprisingly, it's the discussions between women about Nushu which come across as the most sincere.

The two Nushu writers meet with their own struggles as women, in part related to Nushu and in part related to their existence as women in a patriarchal society. Of course, these two things are enmeshed with one another. It is through their lives that Hidden Letters drives its emotions and messages.

For me, the only downside of this documentary is the opening frames. These are simply lines of text on a black background:

"For thousands of years, women in China were born to obey their husbands, fathers and sons.
Forbidden to read and write, their voices were silenced. Most left no record of their lives."

I'm not sure why Hidden Figures opens with such sa weeping, homogeneising statement (and in English too?). Particularly when what follows is a nuanced and complex insight into the evolution of Nushu. In a historical sense, Nushu itself was limited to the women of the inner chambers (and therefore not relevant to peasant women). But even saying "their voices were silenced" is in direct contradiction to the existence of Nushu itself – as well as other written records left by Chinese women of the past.

I'm not saying that oppression of women didn't exist - on the contrary, it was under such conditions that Nushu came into being – but I think Hidden Figures does itself a bit of injustice by opening with such a reductionist introduction to a deeply complicated form of communication.

That said, I highly recommend this documentary. It's well crafted and provides an intriguing insight into the intersection of Nushu and the everyday struggles of women.

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would've been a masterpiece if not for the ableism

The set up is really good and the mystery is really compelling and then everything is ruined bc around the halfway point the show decided to be really stigmatizing about D.I.D. It sucks because the acting is phenomenal (esp Namkoong Min), I really liked most of the characters, you're constantly on your toes with clever misdirects or the show hiding a moment from you to be revealed later and then it recontextualizes another scene, the humor is great, the villains are horrifying (and so infuriating) and easy to root against... there really is so much that is great about this. But I cannot in good conscience give this a higher rating because the outright harmful depiction of D.I.D.

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