Reviews

I have mixed feelings after watching this drama.

On one hand, I really enjoyed it - I laughed, cried, and got frustrated along the way. It was an overall pleasant watch, probably because of the music theme, which I personally love.

On the other hand, I’ve been looking for a really good music-themed drama for a while now, and I feel like this one fell a bit short of that title. Mainly for two reasons:

I would describe this drama as something you have to watch with a grain of salt. There are plenty of silly scenes where the adult characters behave like children, and their actions are often exaggerated and unrealistic.

This was the biggest issue for me — the pacing. In the first few episodes, things moved way too fast; we basically learned the entire plot right away. Then the story slowed down, only to suddenly explode in the final episode. Everything was crammed into it, which made each storyline feel shallow. The fate of the guilty characters and those who should have faced consequences (after annoying me the entire show) was glossed over. The main couple’s story felt rushed (not to mention the secondary couple). Kong Jin Gu’s storyline — built up throughout the series, with him pretending to be poor — was left completely undeveloped by the end. Honestly, the stories of all the characters felt watered down, as did the entire band’s development (what even happened to them afterwards — who knows?).

Read More

The drama started on a strong note, and i really enjoyed the first few eps. However, as it progressed, especially in the middle, it began to feel unnecessarily stretched. By the final eps, i was honestly just waiting for it to end. This drama absolutely did not need 12 eps especially with 60-65 min runtimes, and one episode even running for 82 mins. Ideally, the story could have been wrapped up within 6-8 eps. The dragging added no real value.

If not for the forced misunderstanding created by the SFL, the story could have easily concluded by E6. The leads would have confessed by then and the conflict would already be resolved.

Although both leads were clearly in love, it took far too long for them to actually enter a relationship almost until E10. Multiple plotlines were running simultaneously: the alter ego personality, a love triangle involving the FL, ML and SML and yet another romantic angle from the SFL’s side. At times, it felt less like a triangle and more like a love pentagon.

While the production quality, acting, bgm and chemistry were all solid but overall viewing experience felt boring to me. I did like the Japanese SML, but his presence also seemed more like a tool to stretch the plot rather than serve a meaningful purpose. The SFL’s storyline felt equally unnecessary.

The FL’s traumatic childhood backstory, which explains the development of her alter ego, was another weak point. The alternate personality appeared and disappeared randomly, making it difficult to take seriously or feel convinced by it.

Overall, this was average at best for me.

Read More

Does the weight of a crime disappear if the “crazy” are the only ones who remember it?

1.Moral Inconsistency
In this tale of those branded insane, what bothers me most about this series is the lack of moral consistency. The drama is meticulous almost relentless when it comes to punishing vigilante murderers, yet strikingly indifferent when harm is committed within socially acceptable roles like “parent,” “spouse,” or “family member.” The vigilantes who kill child abusers are pursued, condemned, and destroyed by the narrative. They are framed as criminals first and foremost, regardless of motive or emotional torment. The law closes in, society judges them, and the story ensures they face irreversible consequences. Their actions are treated as unforgivable, even when driven by grief, trauma, or desperation.

Now contrast that with the stepmother who killed her stepdaughter. Her consequence is not legal punishment, social condemnation, or even sustained moral reckoning. The primary “penalty” she faces is that the female lead does not forgive her. But refusal to forgive is not justice, it is an emotional boundary. It protects the victim; it does not hold the perpetrator accountable. Treating emotional estrangement as sufficient consequence for murder is a profound narrative imbalance. The female lead’s refusal to forgive is emotionally valid, but it cannot carry the entire weight of justice alone. Forgiveness is not a substitute for accountability, and silence is not resolution.

And then there is the husband. His infidelity, committed during his wife’s pregnancy, no less is effectively erased. He lives comfortably, faces no meaningful fallout, and continues his life without remorse or accountability. The drama does not even pretend to interrogate his actions. His betrayal is framed as incidental, something too minor to deserve narrative weight.
What disturbed me most was the way the drama implicitly suggests that betrayal becomes acceptable when the victim is unwell or emotionally vulnerable. Does the weight of commitment disappear when a partner is no longer “easy” to love? What, then, becomes of the vow of “in sickness and in health”? The narrative seems to quietly discard it the moment the wife actually needs support. Even more unsettling is how casually the story portrays the daughter’s almost immediate acceptance of the mistress simply because she is “nice,” as though kindness toward a child can neutralize betrayal of the family. This depiction is deeply troubling, not because forgiveness is impossible, but because it is presented as natural, effortless, and morally uncomplicated. The drama normalizes cheating without interrogation or consequence, creating the impression that infidelity falls within an acceptable range of behavior when a spouse is struggling. Leaving a sick partner might draw social judgment, but cheating (according to the narrative) is treated as understandable, even expected. It is not the act alone that disturbs me most, but how easily everyone moves on, as if betrayal is a reasonable response to hardship rather than a deliberate violation of trust.

This raises an uncomfortable question:
Are some harms considered less worthy of consequence simply because they occur within “normal” family structures?
By punishing only those who act outside the system, the drama sends a message: that harm committed quietly, politely, and within accepted social roles is more forgivable than harm committed loudly in response to injustice. This is selective accountability.
The story insists that killing is unforgivable when done by those seeking justice for abused children, yet strangely negotiable when done by a stepmother behind closed doors. It condemns rage born from trauma but excuses betrayal born from convenience. In doing so, it unintentionally reinforces the very societal failures it claims to critique, where power, respectability, and silence shield wrongdoers from consequence.

When the narrative allows certain characters to move on unscathed simply because their wrongdoing is not the “focus,” it diminishes the seriousness of their actions.
Ultimately, the drama asks viewers to accept that some lives are destroyed for crossing moral lines, while others are allowed to thrive because their crimes are inconvenient to confront.


2.COMPLEXITY AND ACCOUNTABILITY
It is important to separate complexity from accountability. A well written character can be layered and still be unequivocally wrong. Depth, trauma, internal conflict, or sympathetic framing can help us understand why a character acts the way they do, but understanding is not the same as justification.

Circumstances may apply pressure, but they do not remove agency. Complexity does not erase choice. Every harmful act depicted in the drama (cheating, betrayal, neglect, even murder) was the result of a decision. Sympathy for their circumstances does not justify the pain they caused, nor does it absolve them of responsibility. When we absolve characters simply because they are nuanced or emotionally conflicted, we blur the line between empathy and excuse making. Explaining why someone chose self interest over commitment does not undo the damage caused, nor does it restore trust, safety, or dignity to the victim. Sympathy for the perpetrator’s internal struggle cannot outweigh accountability for the harm they knowingly caused. Defending these characters because they are “not purely evil” also sets a troubling standard: that wrongdoing is forgivable as long as it is done quietly, politely, or with sufficient emotional complexity. True complexity would require the narrative to hold these characters accountable while acknowledging their inner conflict. Without consequence, complexity becomes a shield rather than a lens. It turns moral failure into a character trait instead of what it actually is: a violation that demands recognition.

Complex characters can be compelling, tragic, even sympathetic. But complexity should deepen responsibility, not erase it.


3.Weight of a crime.
The weight of a crime does not disappear simply because of time, intention, remorse, circumstance, or narrative framing. If the question is whether the severity of wrongdoing lessens because the perpetrator suffered, felt conflicted, believed they had reasons, or because the story moves on, the answer remains the same: harm does not evaporate because it becomes inconvenient to acknowledge.
A crime’s weight is defined by the damage inflicted, not by how quietly it is absorbed, how gracefully the victim endures it, or how sympathetically the offender is portrayed. Silence from the victim does not equal absolution. Survival does not equal healing. Forgiveness, if it even exists does not retroactively erase wrongdoing.

What often does disappear is accountability. Narratives frequently shift focus away from consequences and toward the perpetrator’s emotional state, reframing harm as tragedy rather than responsibility. This does not reduce the crime’s gravity; it merely obscures it. The pain remains, even when it is no longer centered. If anything, the absence of consequences makes the crime heavier, not lighter because it reinforces the idea that some people’s suffering is expected, tolerable, or expendable. The weight does not disappear. It is either carried, acknowledged, and answered for or it is left to rest on the victim alone.


4.Severity can be ranked. Accountability cannot be optional.
Cheating, child harm, and murder cannot be meaningfully compared in a way that makes one “cancel out” or excuse the others, nor can they be reduced into something forgivable simply because a story decides only one of them is “important.”
What can be compared is severity, but comparison is not the same as erasure. In a drama, prioritisation of certain crimes for narrative focus does not change the moral weight of the others. When a story treats child abuse or murder as “serious” while framing cheating as trivial, understandable, or forgettable, it is not making a moral distinction, it is making a narrative convenience. The harm does not become smaller just because the plot moves past it.

Cheating is not equivalent to murder or child abuse in scale, but it is still a serious ethical violation. It involves deliberate betrayal, emotional harm, and often the destabilization of families and children. Reducing it to a forgivable flaw because “worse things exist” is a false moral hierarchy. By that logic, almost any harm could be dismissed as long as something more extreme appears elsewhere in the story.
Child harm and murder are crimes of irreversible damage; cheating is a crime of trust. They are different in form, but all are rooted in choice, power imbalance, and disregard for another person’s wellbeing. None of them become forgivable simply because the perpetrator suffered, had reasons, or was portrayed sympathetically. A drama can choose what it emphasises, but it cannot ethically reduce harm into irrelevance. Prioritizing one crime does not erase another. And no amount of narrative framing can transform intentional harm whether emotional or physical into something morally neutral or automatically forgivable.


5.Normalisation
I think cheating has become far too normalized, especially in media and popular narratives. It’s often framed as something inevitable, understandable, or even romantic, rather than what it actually is: a serious breach of trust. When infidelity is repeatedly portrayed without real consequences, it subtly reshapes how people perceive it, making betrayal seem less severe than it truly is.

Cheating is not a symptom of love “fading” or circumstances being difficult, it is a choice. Normalising it strips accountability from the person who made that choice and shifts focus away from the harm inflicted on the betrayed partner. This is particularly damaging because it minimizes emotional trauma and reinforces the idea that loyalty is optional when things become inconvenient.

Betraying someone you once professed to love, and with whom you share a child cannot be reduced to a narrative inconvenience or a morally neutral act. When infidelity occurs during pregnancy, a time of physical vulnerability and emotional strain, it reflects an even deeper level of disregard. Such behavior is not merely hurtful; it is ethically indefensible.

What is especially troubling is how the show minimizes this act by framing it as secondary to “more important” plot elements. In doing so, it implicitly treats infidelity as commonplace or inevitable, rather than as a serious violation deserving of accountability. The absence of consequences, social, emotional, or moral….creates the impression that betrayal carries little weight. The character in question assumes no responsibility, expresses no remorse, and faces no meaningful repercussions. This narrative choice subtly reinforces the idea that cheating is an acceptable or understandable response to relational difficulty, which is both misleading and harmful.

Cheating is not an unavoidable circumstance; it is a deliberate decision. At every point, there is an opportunity to communicate, seek support, or disengage honestly. Choosing instead to pursue another person, especially while one’s partner is enduring a difficult period reflects a prioritization of self interest over commitment and empathy. Portraying such a choice without consequence undermines the seriousness of the act and dismisses the emotional damage it causes.

Moreover, the lack of visible betrayal or reaction from the affected partner does not negate the harm done. Emotional restraint or forgiveness should not be mistaken for indifference, nor should it erase the wrongdoing itself. Even if the individual character is written as composed or self-sacrificing, the broader impact remains on the family, on those around her, and on the audience interpreting these dynamics. Media representations carry influence, and when betrayal is downplayed, it risks normalizing behavior that fractures trust and destabilizes relationships.
Ultimately, the issue is not simply about one character’s actions, but about the message the narrative conveys. By glossing over infidelity without addressing its moral and emotional consequences, the show fails to acknowledge the real world weight of such choices. Cheating should not be portrayed as a minor flaw or a tolerable norm; it is a serious violation that demands accountability. Ignoring this reality does a disservice not only to the characters involved, but also to viewers who understand the lasting harm betrayal can cause.


6.Thoughts on this Drama
The story unfolded in a fairly intense and engaging way, and I did find the progression compelling. Acting and pacing of the story was well done. However, from the very beginning, it was quite clear to me who was responsible. The character’s lean physique and, more notably, the disproportionate amount of screen time given to someone presented as a “side” character immediately stood out. For a character who was supposedly irrelevant to the central conflict, their repeated appearances felt deliberate rather than incidental. That narrative emphasis made it obvious that they were going to play a much larger role in the story, ultimately giving away the reveal long before it was officially confirmed.

One of the drama’s strongest elements lies in the cases themselves. Each case is disturbing, emotionally heavy, and handled with a level of seriousness that reflects the gravity of the subject matter. Rather than being used for shock value alone, the cases serve as mirrors to broader societal failures: neglect, abuse, silence, and the ways adults repeatedly fail children who depend on them for protection. What makes these cases particularly impactful is how they expose not only individual cruelty, but systemic indifference. The suffering depicted is not exaggerated or sensationalized; it feels painfully plausible, which makes it all the more unsettling. Through these narratives, the drama forces viewers to confront uncomfortable truths about responsibility, complicity, and the long term consequences of unchecked harm.

I thoroughly enjoyed the drama overall. That said, every time the husband appeared on screen, or the stepmother for that matter, I felt genuinely angry. They are not simply family members who made unfortunate mistakes or acted out of ignorance. They made conscious, deliberate choices that directly harmed FL. Their actions were not accidental, nor were they the result of misunderstandings, they knowingly prioritized their own interests at her expense. What frustrates me most is how the narrative attempts to soften their behavior by portraying them as otherwise “decent” or reasonable people. Decency cannot coexist with repeated, intentional harm. Being polite, well spoken, or socially acceptable does not erase the fact that they betrayed her trust and contributed to her suffering. Reducing their actions to mere family conflict minimizes the severity of what they did.

Read More

I can’t understand why this drama is so underrated, because it definitely deserves much more recognition. It’s been a long time since I got THIS hooked on any show.

The plot and storyline are incredibly engaging, and they’re what created the whole atmosphere. We experience everything from beginning to end together with the characters. Just like them, we’re manipulated into thinking we know the truth—when in reality, we don’t—and we slowly uncover it along the way.

However, this is not a typical romance. In my opinion, romance played more of a supporting role here, while the main focus was on the storyline itself. As a romance lover, I didn’t mind it at all, so I wouldn’t discourage anyone because of that. The relationship between the main characters, though complicated, was beautiful. It wasn’t about the physical aspect but the emotional one. True, Qi Lian could be terrible to her at the very beginning while “caring” for “his” Jiang Xiao Yuan (it’s a pity this was brushed under the rug), but we gradually saw him change, and his care for “his” Jiang Xiao Yuan turned into genuine care for Jiang Xiao Yuan.

The character development was also very interesting—especially for Jiang Xiao Yuan. By “moving to another time,” she slowly discovered herself, her dreams, and her passions. She came to understand the meaning of true friendship, love, and what really matters in life. Not wealth or the things she once longed for, but the things she was learning and experiencing along the way. Here, the lead actress deserves huge recognition, as she portrayed all the emotions her character went through remarkably well.

Read More

It was definitely an interesting drama, with a storyline I had never seen before, which made it refreshing for me. The chemistry between the main characters was very good, and Xiao Bao completely stole my heart. On top of that, there were some engaging supporting couples, though one of the relationships wasn’t really explored much. Overall, I had a great time watching, and it never once felt boring—so if I were to rate it purely in terms of entertainment and enjoyment, I’d easily give it a 10/10.

But unfortunately, I also look at things through the lens of how well the storylines are wrapped up, the overall sense of the plot, and the wasted potential—and in that regard, I found a few negatives.

1. The person responsible for the accident involving He Qiao Yan and his family. This storyline could have been developed in a really interesting way, and while watching I even thought of a potentially better twist involving the Lin family—but that never happened. Instead, we suddenly found out about some biggest enemy of the Fe company, who was supposedly such a huge rival, yet had never once been mentioned since the very beginning of the show XD.

2. The Lin family storyline (including the bracelet). We know the bracelet plotline was almost wrapped up, but I still feel like it was lacking a lot. For example, Lin’s parents bribed employees to keep passing on information—but why? What came of it afterward? We never got answers. I was also curious about how the relationship looked later after those employees were taken away, etc. Sadly, we never found out.

3. The Lin Wei storyline. Technically a supporting plot, but still tied to the previous one. It was quite heavily developed for most of the drama, only for us to end up learning nothing about her panic attacks or her relationship with her family in the end.

4.The Yang Ruo Wei family plot. This was also brought up but never properly developed. Why was she so desperate to cut ties? What exactly happened in the past? And how did their relationship look afterward? None of that was answered either.

Read More

I recommend this drama to anyone who wants to watch a comforting and peaceful series. The relationship between the main characters is beautiful and carefree. They are a wonderful support for each other, trust one another completely, and because of that, unnecessary arguments never come between them. The development of their relationship is also amazing—at first, Su Zai Zai seeks contact with him, but soon enough, he wants the same. He slowly begins to open up to her, and she shows him that he, too, is someone special and deserves happiness. What starts as a friendship quickly turns into love, which blossoms in college and continues into adulthood, where their carefree bond and genuine love remain just as visible.

The whole storyline of their friendship as a group of five was also wonderful. Their carefree high school life, the dilemmas connected to university, and later their adult life were all portrayed beautifully. They always stayed together, despite the passing years and separations. On top of that, the relationship between Jiang Jia and Gu Ran was also lovely, and I rooted for them strongly. I was even a little sad that we didn’t get to see more scenes after they became a couple. The only one I truly felt sorry for was Guan Fang, who was the only one in the group not to find happiness, even though he also deserved it (P.S. his grandmother was wonderful).

There weren’t many downsides, although one of them is definitely that the storyline about harassment by the president wasn’t further developed—especially the consequences he faced. Another drawback is that we didn’t get to see Zhang Lu Rang’s parents truly realizing how much harm they had caused their sons (it was only mentioned that they supposedly noticed and changed, but I would have liked to actually see it).

Read More

I wouldn’t say this drama was bad—it was fine, but in my opinion, not much more than that. I didn’t feel like I was watching something exciting that truly captured my heart.

The supporting relationships definitely deserve recognition. They were interesting, and Jiang Zhi Shan completely stole my heart. The main couple was fine as well—especially the female lead, who supported him with all her strength—but I still feel that the whole enemies-to-lovers storyline between them could have been handled much better.

What I disliked the most was that at one point, the female lead’s IQ seemed to drop to the level of a starfish. She knew the male lead was afraid of swimming, and yet she still thought it was a good idea to play videos from his swimming days—despite the fact that this advice came from a girl who had already lied to her once out of jealousy. The female lead even discussed this with her friend beforehand.

Another issue was the breakup, or more specifically, their reconciliation afterward. I genuinely understand that he felt like a burden, but downplaying how terribly he acted made me really angry. It’s not as if she should have immediately run back into his arms, as if feeling like a burden excused his behavior—because it DIDN’T. They should have at least had a much longer and deeper conversation about it.

Other than that, like I said, the drama felt very average to me and didn’t move me, though it wasn’t among the worst either.

As for En Tong, her character was so irritating that for the first time in a long while, I found myself wishing nothing but bad experiences for a female character—karma. And honestly, I was glad we didn’t see her getting a happy ending with anyone. Credit where it’s due though: the actress played the role very well.

Read More

I fell in love with this series. One of the sweetest and most comforting shows I’ve ever watched. The whole “my brother’s friend” trope was exactly what I needed. The chemistry between the main characters was overflowing from the screen, which was wonderful. They were just as amazing to each other — mutual support and being willing to do absolutely anything for the other person. The kissing scenes were beautiful, but honestly, all of their scenes together were. As for the side characters, I also liked how they were written — every single one of them was understandable and well developed.
The only thing that really bothered me was the beginning, where they cast a younger version of the female lead but not of the male lead. The age difference between them was 5 years, but it felt more like at least 10.

Read More

Khemjira is an interesting drama, but one with considerable flaws in editing and execution.

Khemjira is a mystical BL drama with a distinctive historical premise, yet quite uneven in its overall execution. To begin with, its story holds great potential for strong development. Culturally engaging and rooted in Thai traditions, it becomes a true gem that is hard not to admire.

For fans of the supernatural genre—reincarnation, spiritual possession, past lives, and ancient mystical deities—*Khemjira* offers an appealing dish that certainly deserves to be tasted.

Another important point that cannot go unmentioned is the commitment of the entire team to delivering a quality production. This is especially evident in the behind-the-scenes footage shown after each episode.

Unfortunately, in my view, this is where the best aspects of the drama end. I watched it until the very end mainly because of the story itself and, above all, the second couple, Chan and Jet. They completely stole the spotlight from the main protagonists.

With strong performances and chemistry that clearly extends beyond the screen, FirstOne and Tle Matimun portrayed Jet and Chan with mastery, charisma, and that lingering feeling of “wanting more.” Truly beautiful to watch.

On the other hand, the character who should have been the center of attention—Khemjira himself, portrayed by Namping—was a disappointment. Perhaps due to his young age and lack of experience, perhaps because of the way the director shaped his character, or perhaps due to his effeminate mannerisms, he failed to convey sympathy, emotional connection, charisma, or compelling chemistry.

A weak character, overly dependent on others, with an apathetic face and empty or unconvincing expressions, was undoubtedly the worst possible choice for carrying this drama.

His almost nonexistent chemistry with the handsome actor Keng Harit was a missed opportunity. Although Harit himself did not deliver a particularly strong performance—especially considering his potential—his presence in the mildly intimate scenes was appealing. Unfortunately, it simply did not work alongside Namping.

Given Thailand’s tendency to repeatedly pair the same actors across different dramas, I sincerely hope this does not happen with Harit and Namping. Otherwise, their career growth and long-term success could be compromised.

I understand that many viewers may appreciate this casting choice. I do not. Effeminate actors in BL dramas do not appeal to me. My apologies to the fans. That said, my heart remains open—perhaps one day a character like this will win me over.

In conclusion, Khemjira is an interesting drama, but one with considerable flaws in editing and execution. The episodes are excessively long, with oddly paced and unnatural dialogue. Some scenes even become unintentionally comical, with characters staring at each other, seemingly unsure of what to say or how to continue, simply waiting for the “cut” signal.

Do I recommend it? Yes—especially for the secondary couple.

Read More

Comfortable and Cozy drama.

It’s a beautiful drama about two people embarking on a journey of love and healing. The actors have done a wonderful job. While the story isn’t particularly groundbreaking and many events are predictable, the performances elevate it and make it truly engaging. The chemistry between Lu Yuxiao and CXX was great, but the chemistry between Miss Lu and Dai Xu is even more compelling and intriguing. There are many scenes that are genuinely funny and quirky. The FL has great comedic timing and is a joy to watch—she could easily pull off a comedian role.
The part where the FL and ML live together in the small apartment was an especially cute and heartwarming phase of the drama.
I’d give the cinematography a solid 10/10—the framing was consistently beautiful, and the background music complemented the scenes perfectly.

Read More

It’s an enjoyable series to watch. What really deserves recognition is the second couple in the show - I sometimes rooted for them even more than for the main pair, and their storyline seemed so interesting that I would gladly watch a series focused solely on them.

However, in my opinion, the series itself should definitely be taken with a big grain of salt—then many scenes simply become funny. The characters were excessively exaggerated; at times, it felt impossible that someone with that level of reasoning could hold such a high position.
The action often felt the same way. Supposedly, there’s a mafia plot, but while watching, I had the impression I was seeing a “mafia” made up of schoolkids—even though they were supposed to wield enormous power.
On top of that, the slow-motion scenes added even more absurdity (and I honestly felt like I was already my grandmother’s age, watching Turkish dramas :D).
Some storylines were left unresolved, and I didn’t really understand the ending—though maybe that’s just my own silliness.

Despite all this, I had a great time watching the series and laughed many times, which is why I gave it such a high rating. Still, I believe the plot itself and its potential for action were huge, and if not for the issues I mentioned earlier, it could easily have been a solid 10.

Read More

One of the Best Costume Dramas in a Long Time!!

It’s always nice to watch a drama with a fierce matrilineal theme!

“Glory” doesn’t shy away from portraying its women in a courageous manner, as against men who are expected to be docile and submissive. What happens when a fierce tigress meets a fox? Their worlds collide as they adjust to each other and build a world together. Starring Gulnezer Bextiyar & Hou Ming Hao as the main leads, it is only right to say that the show belongs to Gulnezer. Her “Rong Shanbao” is daring, perspective, intelligent, bold and a staunch feminist. In an era of patriarchal society, women from the Rong family rule the city of Linji. They have been leading the tea farms in the mountains, are rich and run a business that grants them incomparable power and wealth. The storyline is crisp, gripping and addictive. If you are into shows with strong female portrayals, then this one should be high on your watchlist!!!

Read the complete article here-

https://kcdramamusings.wordpress.com/2026/01/16/glory-series-review/

Read More

I WHOLEHEARTEDLY RECOMMEND EVERYONE TO WATCH THIS SERIES. The chemistry between the main characters was wonderful, and their relationship developed without major, unnecessary drama. The way the other characters were created was also fantastic — none of them felt bland or forgettable. The plot was engaging enough that I didn’t experience a single moment of boredom, and I absorbed each new episode with genuine interest. There were many plot twists and events I didn’t expect, which is a huge plus — and most importantly, the characters are held accountable for their actions.

For a moment I thought there were no downsides, but after some reflection I did find one. Namely, at least one storyline was left unresolved, and I would really like to see the continuation of the relationship between Gu Xin Er and her father.

spoiler

Yang Hong — I absolutely couldn’t stand that bitch, and I’m glad she didn’t get a happy ending with anyone. I hope she withered away in prison without the support of anyone close to her.

Ling Sheng — I kept telling myself I’d treat him the same way no matter how hard the series tried to redeem him at the end, and that I wouldn’t give in — but I ended up crying during the prison scene with Gu Xin Er, and in the end I understand him a bit. I don’t understand the attempted murder of his brother or that whole scheme, but I do understand that his father shaped him this way, because it’s simply not true that he loved all his sons equally.

Gu Xin Er — I hated her intensely for half of the series, but later she became the character I felt the most sorry for. Girl, find yourself a boyfriend from a family that isn’t completely fucked up.

Read More

I haven’t had such mixed feelings after watching a series in a long time.

Let’s start with the positives. I liked the way the characters were created — especially the female lead, of course. Her development throughout the series and the way she gradually gained confidence were really well done. I also view the show’s message positively: that external appearance doesn’t matter, and what truly counts is who we are on the inside. The male lead, whose personality resembles that of side characters usually rejected by female leads, is also a plus — although in his case we’ll get to the negatives as well. Overall, it was a pleasant series to watch, but I also noticed several major flaws…

First of all, the series is painfully predictable in almost every aspect — though there was one thing that surprised me and counts as a positive: the moment when the female lead broke up and chose herself. Secondly, the male lead — in two specific situations. The first on the rooftop, when she confessed her feelings, and the second by the pool after he didn’t tell her that he actually wasn’t leaving. In those two scenes, he annoyed me more than any other character in the entire series, and I came to the conclusion that he simply didn’t deserve her.

The BIGGEST downside for me, however, was the LACK of kisses and the very small number of scenes where the couples were physically close (and this applies to all the couples). I can understand a lot, but this is a deal-breaker for me. We’re making a romance series where the couples are ADULT university students who don’t kiss even once over several years of a relationship. That might work in a Disney children’s show (although even there they kiss :D), but not in a series that is clearly meant to appeal to older viewers as well.

Read More