Reviews

A Critique That Becomes the Problem

Viral Hit is built around a premise that requires the audience to abandon common sense almost immediately. The idea that a teenager could become an internet celebrity and attract millions of followers simply by getting beaten up on camera over and over again stretches credibility far beyond its limits.

In reality, a channel dedicated almost entirely to broadcasting a boy being humiliated and assaulted would likely be removed by platform moderation policies long before reaching massive popularity. And even if it somehow survived, the protagonist would probably end up in a hospital long before collecting any meaningful revenue.

At first, the series appears to be setting up a social satire about internet culture, clickbait, and the growing obsession with views at any cost. Unfortunately, that premise quickly fades into the background.

Rather than examining why audiences consume this content or exploring the mechanisms behind online fame, the story becomes trapped in the very spectacle it claims to criticize. Episode after episode, the narrative relies on increasingly exaggerated fights, humiliations, and shock-value moments designed to keep viewers watching.

This is where Viral Hit ultimately undermines itself. The series feels less like a thoughtful critique of internet culture and more like a product engineered to capitalize on the same impulses it condemns.

Ironically, Viral Hit serves as a perfect example of its own message. Its popularity is not driven by compelling storytelling, complex characters, or meaningful social commentary. It succeeds because controversy, violence, and spectacle attract attention—even when the narrative itself struggles to make sense.

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Magnum Opus!

This is one of those rare journeys that comes along every so often that initially seems so straightforward but ends up becoming a transcendent traversal.
This gently told paragon may be the best-written and best-acted BL of the year. The foundation begins rather mundane and, in a sense, ordinary. By its end, however, it may prompt you to reflect on your own life and think back to moments when you wished you had maybe disappeared or imagined being someone else who might have made you feel more understood and appreciated. What would happen if you really did disappear…. But in the process, you realize that what you had all along was exactly what you had been looking for and seeking? Is it now too late as the reality that one might drift into oblivion? It seeks to answer the question: What happens if what one impulsively wished for, actually came true? Yet not in the utopian sense one thought it would have.
This fantasy is a soft, gentle, deeply reflective, pensive, and introspective parable. Yet, it contains two of the most passionate love stories to come out in a long time, both with such genteel touches. Simply enjoy its themed message and ask yourself: What would happen if your essence suddenly disappeared, yet you remained? How would you sense having never existed yet here you are? It makes you think about this perhaps for your own epitaph.

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The story of friendship, obsession and co-dependency

Their friendship starts when they’re children, too young to understand what it will do to them in the future. The pattern of mutual jealousy starts with Eun-jung towards Sang-yeon’s seemingly glamorous life, then Sang-yeon towards Eun-jung’s lovable personality. The emotions might be the same, but the manifestations are different. Eun-jung’s jealousy is expressed more like admiration. Sang-yeon’s jealousy becomes quiet animosity towards Eun-jung that builds up throughout their lives.

Everything that happens in their lives past that point is because of each other. This is the start of their co-dependent relationship.

Eun-jung is the kind and empathetic one, especially towards Sang-yeon. Sang-yeon is distant; nice enough while still hiding her emotions. This is shown in her disappearance after her brother’s death and cutting contact with Eun-jung. Despite this, Eun-jung is the one to reach out to her first when they reconnect in university.

This starts the second cycle of their friendship. This is where the line between love and hate becomes blurred.

Fate seems to always bring them together. But this time, it has a name, Sang-hak. Sang-yeon’s deceased brother, and Eun-jung’s now boyfriend with the same name. This continues the theme that, no matter what they do, they are forever intertwined.

In the beginning, their friendship is seemingly normal, filling in the gaps of their lives, but the cracks start to form when Eun-jung’s reaching out is not being reciprocated by Sang-yeon.

Driven by their competitive dynamic, they keep finding qualities in one another that they themselves lack. Eun-jung’s jealousy of Sang-yeon’s natural talent and Sang-yeon’s of Eun-jung’s natural warmth and everyone’s gravitation towards her keeps them in this vicious cycle. None of them are willing to admit to this, in fear of confirming this inferiority.

The fate that brings them together is the exact thing that breaks them apart. When an additional bond between Sang-yeon and Sang-hak forms, Eun-jung’s well-hidden insecurities are brought to the surface as she becomes obsessed with their suspicious friendship. Sang-yeon has found a confidant in Sang-hak, sharing the trauma of her brother’s, his friend’s, death, but this comes at the expense of her and Eun-jung’s friendship.

Eun-jung reaches breaking point, ending both her relationship and her friendship. Sang-yeon has given Eun-jung an emotional ultimatum that ruins their friendship for good. That ends the second cycle.

The third cycle starts years later when the three of them reconnect through a film they’re shooting. Their connection runs so deep that, even their careers intertwine. Forced to work together, they must put their differences aside. Once again, Eun-jung is confronted with the fact that Sang-yeon excels in all that she does, reminding her of that jealousy she once held onto. When Sang-hak reappears, Sang-yeon is reminded of how Eun-jung is so much more loved than she is. Old feelings silently resurface, uncovering the resentment buried by time.

In this cycle, Sang-yeon is the one who has her breaking point. Unable to express her emotions normally, they manifest into obsession. Her feelings for Sang-hak turn into the need to possess him and keep him away from Eun-jung, blurring the line between love and obsession. Her inability to be loved by Sang-hak grows into a resentment towards Eun-jung because, in her eyes, that love is something that was stolen from her. In all this, Eun-jung still deals with Sang-yeon with care and refuses to rekindle her and Sang-hak’s relationship for her, and this seems to aggravate Sang-yeon even more.

Something in Sang-yeon snaps, and her goal becomes to ruin Eun-jung the way she, herself, is ruined. Her pure evilness is the last straw for Eun-jung who vows to never forgive her again.

This brings us to the fourth and final cycle. Sang-yeon is sick and asks Eun-jung, her only friend, to spend her last days with her. Eun-jung, still unable to forgive Sang-yeon, refuses. But Sang-yeon plays on Eun-jung’s kind nature and eventually convinces her. Seeing how fragile she is, Eun-jung’s heart is softened towards her. Despite everything, the prevalent link is their love and need for each other.

This is a story about two women who ruin each other when they’re together, but can’t bear to be without one another.

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The Kdrama home I keep returning to

Just like Se-ri accidentally landed in North Korea, I accidentally landed in the K-drama world with Crash Landing on You and what a beautiful accident it was.

I had no idea this drama would give me so much comfort while also filling me with butterflies. I absolutely loved the star-crossed lovers story set between two enemy nations. It felt impossible, yet the show made every emotion believable.

In a time when memorable dialogues feel rare, this drama delivered some truly beautiful and meaningful ones. I still can’t get over quotes like, “If you pray hard enough, you will get to see the ones you miss,” and “Wrong train can take you to the right station.” These are the kind of lines that stay with you long after the show ends.

Another thing Crash Landing on You does exceptionally well is character development. Watching Se-ri transform from a cold, snobbish heiress into someone softer, more empathetic, was rewarding parts of the drama. Likewise, seeing Captain Ri slowly open up emotionally and allow himself to love despite all the risks made his journey just as compelling. The drama also never loses momentum.

For me, Gu Seung-jun had one of the best character arcs in the entire drama. He started out as a selfish conman who mostly looked out for himself. His transformation was incredible, which is exactly why his ending hurt so much.

And then there’s Seo Dan forever a boss lady. Throughout the drama, she never lost her self-respect, or strength, and that's something I deeply admired about her character. Even when her heart was broken, she carried herself with grace, making her one of the most memorable characters in the show.

And the chemistry between the leads? Absolutely flawless. I completely fell in love with Captain Ri and Se-ri. Their journey had yearning but it is hopeful, and unforgettable. It took years, countless obstacles, and more than a little fate, but seeing them find their way back to each other made the ending all the more satisfying. Though you could argue that the ending wasn’t beautiful for everyone. The second-lead couple absolutely broke my heart. Their story had tragic end.

Rewatching this gem made me realize what’s missing from many K-dramas today. It’s not that the stories are bad, but very few are executed with the same level of care and emotional depth. So many dramas feel forgettable, while Crash Landing on You gives you everything—longing, yearning, heartbreak, hope, and romance—all balanced perfectly with comedy that never feels forced or over-the-top. It constantly gives you reasons to root for the characters and desperately wish for their reunion.

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Good buddy movie

Personally, I think this would have been much better as a movie or a 12-episode drama. It felt too drawn out to me, with its plethora of bad guys. However, all the bad guys were good, bad guys, if that makes any sense. None were over the top, evil for the sake of being evil. Mostly, they were morally grey, hungry for power and money.

The female lead, all I could focus on was her unfortunate (extremely unfortunate!) hairstyle. Every time she was on screen, there it was.

That being said, the two MLs were amazing!
Park Hae Jin as K - Cold, stoic, observant spy. He had the perfect "blank" face for this part. So much of his emotions needed to be conveyed with his eyes, or the small quirk in his mouth. Watching him becoming more human as time went along was a joy.
Park Sung Woong as Yeo Woon - I've seen him as a bad guy a lot, so I had to adjust my thinking. I loved watching him go from self-centered "the world revolves around me" to a very caring individual.
These two together had a wonderful bromance. Yeo Woon was all in, K was reluctant but got sucked in anyway. Their interactions were fun to watch.

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This drama simply wasn’t the kind of storytelling that kept me completely hooked.

I started Glory (2025) because of the interesting premise, the mystery surrounding the characters, and of course… Hou Ming Hao. After seeing many positive reviews and TikTok recommendations, I expected this to become one of my next favorites.

The drama definitely has its strengths. I appreciated the beautiful visuals, especially the tea mountain plantation setting, the cinematography, and the elegant costumes. The overall atmosphere was refreshing and different from the usual historical dramas. The cast also delivered solid performances, and Hou Ming Hao was definitely one of the reasons I stayed until the end.

However, despite having an intriguing concept involving business, hidden identities, revenge, and investigation, I struggled to become fully invested in the story. The biggest challenge for me was the pacing. The plot felt like it revolved around one major case for a long time, with slow progress in uncovering the truth. Instead of feeling eager to know what would happen next, I found myself checking my phone during some episodes.

I usually enjoy mystery dramas, especially those with clever strategies and investigations, but I think I personally prefer stories where each episode gives a stronger sense of progress, new discoveries, or changing dynamics between characters.

That being said, I still appreciate the effort put into the production. The visuals, tea mountain scenery, costumes, and overall concept were beautiful. This drama simply wasn’t the kind of storytelling that kept me completely hooked.

Final thoughts:
A beautifully made drama with an interesting premise and great visuals, but the slow pacing prevented me from forming a stronger emotional connection with the story and characters.

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Honestly... this was an easy 10 for me before I even reached the ending
The thing I loved most is that this drama not relies on huge shocking twists or over thetop suspense .. instead.. it builds its story through strong characters + meaningful conflicts + situations that feel frustratingly real
The acting was amazing across the board. Every character felt believable and the performances made even the lighter moments enjoyable. The comedy was also perfectly balanced. Just when things started getting intense.. the humor would step in to keep the drama entertaining
The theme really was another reason .. as a student myself i found it hard not to think about how many situations in real life are similar... sometimes people knowingly do the wrong thing simply because theyre confident there will be no consequences.. this drama challenges that mindset asking.. what happens when someone finally decides that enough is enough..
And that makes the story so satisfying
Ofc its not perfect... there are a few flaws.. and some legal or practical aspects arent explored as deeply as they could have been. but honestly.. those issues never felt big enough to damage the overall experience
The plot is engaging.. the pacing stays interesting.. the comedy lands the emotional moments work and the characters make you thriveabout what comin next.. the type that quietly pulls you in... and before you realize it youre fully invested.

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Mystery, Brotherhood, and Adventure at Its Absolute Best

Wow, this series came completely out of nowhere. I was just browsing on iQIYI and stumbled across Archives: The Nanyang Mystery, and what an incredible surprise it turned out to be. This Chinese bromance starring Xin Cheng and Zhou Jie has quickly become one of my favorite series of the year.

The production quality is outstanding. The cinematography, costumes, visuals, soundtrack, and action sequences all feel incredibly polished. Every episode pulls me deeper into its world, blending Action, Thriller, Historical, and Mystery elements perfectly. There is also a great balance of adventure, suspense, slight comedy, horror, and conspiracy that keeps the story constantly engaging.

Without revealing too much, the series follows a mysterious investigation that begins with a bizarre case connected to the Zhang family during the Republic of China era. What starts as a dangerous mission gradually unfolds into a much larger mystery filled with secrets, hidden organizations, and unexpected twists. The writing is extremely clever. Every episode leaves me with new questions, but the answers slowly emerge through carefully placed clues, making the journey feel rewarding rather than frustrating.

Xin Cheng continues to impress me after Justice in the Dark. This is his second bromance, and while I wish it could have been a true BL, China's restrictions on the genre do not stop this from being a masterpiece. His chemistry with Zhou Jie is fantastic. The bond between their characters goes far beyond friendship. They constantly protect, trust, and sacrifice for each other in ways that feel deeper than many actual brothers. Their dynamic as polar opposites works wonderfully, and their relationship is easily one of the strongest parts of the series.

The supporting cast is equally strong, especially the skilled and badass female characters who bring even more energy to the story. The teamwork, mentor-mentee elements, smart characters, secret organizations, and intense fight scenes all add to the excitement.

I am only halfway through, but I am already completely invested. Between the mystery, horror atmosphere, thrilling action, emotional character relationships, and fascinating adventure, this series has exceeded all my expectations. If it continues at this level, it will easily remain one of the best shows I watch this year.

Highly recommended. 10/10.

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An Aesthetic Triumph: Where Flawless Cinematography Meets Gripping Storytelling

At its core, the show is a thrilling second-chance survival story. When the general’s daughter, Chu Zhao, is betrayed and killed on the eve of her wedding, she is miraculously reborn with a vow to rewrite her destiny. Instead of fleeing the political turmoil that destroyed her past life, she plunges straight into the fire to seize power. The story never drags, keeping you hooked with high-stakes manoeuvres and deeply emotional character arcs. The acting across the board is stellar and entirely grounds the sweeping drama.

While the plot and performances are more than enough to carry the show, the costume design and artistic focus are what elevate this series into the stratosphere. It is, quite simply, out of this world. The visual composition just kills me. Every single frame feels like a meticulous, high-budget painting. The directors clearly have an obsessive eye for cinematography and spatial depth. Whether the scene is a tense, sprawling standoff in the grand imperial court or an intimate, quiet conversation in a courtyard, the framing is always absolute perfection.

The costumes deserve their own dedicated praise, going far beyond standard historical fare to become a core part of the storytelling. The intricate textures and layering of the traditional garments and battle armour are so incredibly detailed that you can practically feel the heavy weight of the silk, metal, and leather through the screen. The stark, deliberate colour palettes perfectly reflect the characters' internal shifts from innocence to absolute ruthlessness, and the impeccable hair and makeup styling amplify the regal, intimidating presence of the entire cast.

Beyond the breathtaking visual splendour, it is the phenomenal cast and the labyrinth of plot twists that will truly keep you on the edge of your seat. Just when you think you have the political manoeuvrings and character allegiances figured out, the story pulls the rug out from under you with yet another masterful misdirection. The actors anchor these chaotic shifts flawlessly, delivering performances so emotionally resonant that every shocking revelation lands with maximum impact. If you appreciate the grand scale and sweeping aesthetics of epics like Ashes of Love or Eternal Love, the cinematography here will leave you speechless, but it is the brilliantly woven web of deception and stellar acting that solidifies Ashes to Crown as an unmissable 10/10 masterpiece.

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Finally a solid thriller Thai BL

Gonna start by saying this is unlike many other thriller Thai BLs, by which I don't mean the story (I know that's Korean) I mean the production quality. A lot of time thriller Thai BLs aren't given enough budget to produce a good series, though its changing in recent times and this one is highly impressive. My friend even said she couldn't believe its a Thai BL lol.

The atmosphere is amazing, I'm glad they're not inserting too many gags or silly sounds to make it funny. Humor is good but it can ruin the vibe especially when this deals with a lot of heavy themes. The casting is fabulous, having read the manhwa I can say this is one of the best casting. Both actors have amazing tension, the side characters are adorable and frustrating where they need to be.

I know many people are review bombing this which is frankly pathetic. This is an independent production and they're already giving more than some big production companies. I hope more people give it an honest try because this has a lot of potential.

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Lousy Writing, Another Botched Adaptation

I just can’t stand the trope of dumbing down and weakening a female character just so the male lead would outshine her. In the novel, Chu Zhao could almost stand side by side with Chu Qiao from Princess Agent (the novel, not the tv adaptation), somebody who is forged with blood and sweat with an exceptional mind of a strategist. And this she accumulated not by mere chance like how this weak adaptation portrayed, but from her 20years of being the empress of the land before the emperor turned his back on her and connivingly killed her by the hands of others. Chu Zhao is supposed to learn her lesson from her past life, and put extra effort to relive her life so the past tragedy won’t ever take place. It makes sense in the novel, but in the adaptation here, she miraculously supposed to be brilliant after dying right after being crowned empress, WTH now? 😵‍💫 the premise is so blatantly stupid that it made onscreen Chu Zhao ridiculous sight to behold.

In the novel, Chu Zhao doesnt flinch at the sight of blood, and she definitely doesnt shudder when holding the sword. This doesnt hapoen just because she’s the lead character, but because she is the daughter of a frontier general who had seen enough blood on the battlefield before she made the mistake of abandoning her father for a luxury life in the capital in her past life. As for Xie Yanlai, he too shouldve worked on his own merits through blood and sweat that eventually became the shield for the current reborn Chu Zhao, but he should not need to stay by Chu Zhao’s side for that. The novel had been a female centric piece where Chu Zhao never needed much saving from the ML (heck the ML is mostly away from her 80% of the time), plus even as a spoiled brat of her past life, Chu Zhao had rode and killed the enemy alongside her father, so why the heck would she need swordsmanship lessons from Xie Yanlai? Like, seriously Mr Screenwriter? 😒 That sword lesson scene that turned into quite a sexual tension is too laughable. And excuse me, Chu Zhao went into shock just because she stabbed someone to death? OMG I was so mad to see that. That is not Chu Zhao at all! It is so funny (and particularly annoying) that the screenwriter just had to put down the FL so much so the ML could make his own mark, while desperately try to build up the romance between them. The show lost its substance when they laid foundation with the shallow background of the first life and went hyperdrive on romance instead.

The way FL would huff and puff at every crisis also made my eyes roll. The actress definitely went a little extra on that part. She’s also lousy at trying to look bold and fearless, let alone to embody the conniving aura that novel Chu Zhao has. I especially cant stand FL’s bewildered expression whenever her plans is foiled. It’s just too bad, i was looking forward to see another badass FL after Tian Xiwei’s phenomenal portrayal of Fan Changyu. Honestly Chen Duling’s Chu Zhao went off track so bad I cant even force myself to watch on just for the plot. And i just can’t stand it when they push the romance onscreen so desperately. Chu Zhao is the only reason I even wanted to watch the show, and for them to turn this character into an unrecognizable one is just too disheartening.

I was so excited for the adaptation after reading the novel, too bad it did not only fell short, it actually stumbled right into the mudpit. Instead of focusing on court politics plot and FL’s military merit, they went on full blown romance buildup right off the start, when it was the very last thing to happen in the novel. To make matters worse, I failed to feel the couple’s chemistry even when they try so hard on that part. What a total disappointment after so much hype about the series. This is what you get when you try to cramp up 390+ chapters into 24 episodes. It is also a downside that I read the novel first because i already have a set of expectation waiting to be fulfilled, and when the show failed miserably at this, you get a bad review. The novel had been so good with total sense, i just dont get how did the screenwriter manage to turn it into an abomination. It wouldve been such a good show had they stayed even faithful to the original source.

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How to build a house on ashes, dust, and ruins

Betrayal. Obsession. Possessiveness. Manipulation. Non-consensual acts. Threats. The destruction of trust. People sacrificing themselves for someone who has hurt them. The possibility that love can mutate into something terrifying without necessarily ceasing to be love. = ashes, dust, and ruins
Now the house:


Too many things to say about that. It never bodes well.

Since some kind soul connected Double Helix with A Round Trip to Love, I'm going to treat it as such.

The problem is that with A Round Trip to Love, I saw the devastation in comparison to their youthful, careless, unconditional love versus the extent to which such passion, love, and devotion can destroy a human being. And then that human being is ready to destroy another human being without there being any evidence, without there being any justification for it, even on the emotional level.

Because if we say "rape" in a fictional world, it always and primarily should refer to some sort of symbolism and not a literal translation into what it means in real life.

And I'm just shocked that I did not recognize A Round Trip to Love in Double Helix. And in retrospect, since I finished both, I see why that is.

There was an incredible amount of love, passion, tension, and expectation if you watched it in two hours. The scale of a whole series is...

And here comes—I am going to altogether skip everything I wanted to say and any yapping I could have inserted.

What I lack absolutely in Double Helix is any sort of both/all-sided tension.

And what I mean by that is that I perceive (as a problem) both of the characters as very flat. The passion, the exaggerated emotions, the tension—it's all there beneath the surface, but the surface is so thick and flat. You kind of cannot get into it.

The series is literally "tell, don't show," while A Round Trip to Love was exactly the opposite. It was "show, don't tell." It was creating a visceral reaction inside of you through what you had seen, experiencing it with the characters.

And Double Helix is the exact opposite.

You were told everything.

Sometimes there was, like, scrutinizing details. I have a lot of forgiveness toward A Round Trip to Love just based on the emotional connection I had there. It spoke to me on a level where I could understand how this could create this reaction (in other characters).

In Double Helix, I feel nothing. Like, zero. Absolutely nothing whatsoever in terms of connectability.

They are so literally inside their brains, inside their logic, inside the logic itself, inside the descriptive level of storytelling.

Sometimes they break character, and it's very strange because you can see there is potential. If someone had directed it differently, it would have been such a roller coaster, as it's supposed to be.

But if I imagine rape, I imagine it the way A Round Trip to Love showed it, not the way Double Helix showed it.

And then, if we are talking about symbolism and how much BL series should be emotional—because this is the primary attraction for people who want to unwind and want to feel, not think—I cannot help but think about you telling me, not showing me, as a flat way around certain topics you didn't want to discuss.

I cannot help but think about it.

You had taken out of real life certain ideas about how not to do it and how not to mess with people, not make them angry, not turn them against you.

And I understand that feeling/need. Esp. as a creator.

But it's unforgivable for me in art, specifically.

So I get that Double Helix might be way more digestible than the aeons-old, two-movie-only A Round Trip to Love for wide audience who do not know what they are gouing into.

And I see that you could have worked with the actors differently, and I see an incredible amount of quality in the series, which is why it is so devastating for me that you opted for avoiding certain controversial topics.

Like, look, you could have skipped it altogether. People would have been much happier.

Or you could have done it in a very visceral way, as A Round Trip to Love did.

But this is somehow sort of halfway—not to offend anyone, not to please anyone—which is maybe why it has such a good rating, to be honest.

But it's nowhere near where I imagine pushing art, at least a certain branch of art, because I feel like it's highly needed and it has its place.

I mean, people these days are obsessed with not showing, only telling. And I cannot imagine not having these boundaries broken.

Something that is so supposed to be connected with love, passion, sex, gender—if you flatten it, you are doing a great justice to composed minds, and you are doing a great injustice to the animals we have inside ourselves.

I think it absolutely has its place - creating for composed minds.

I'm just not sure *this* story specifically is a great choice for doing it on.

So, in a weird way, I perceive Double Helix and A Round Trip to Love as absolutely separate—two units and two different stories, to be honest—dealing with the same topic, basically, doing approximately the same journey, but not really.

And I really appreciate that you did not devastate me (as thoroughly as you could) because I could not think of the things that happened in Double Helix as rape in a way that would give me a visceral reaction (and incapacitated me and my ability to do other things during the day).

I do know it is rape.

I see it as rape sometimes.

I know other people will see it as a rape.

Sometimes it's very questionable what it actually was though, which is how it was intended to be done.

But you never showed me anything over the top. You never went as far as Revenge Love in terms of kissing or showing anything physical getting together.

You never really showed me, without any doubt, maybe with one exception only, that a noncon/rape was non-con/rape.

And you never showed me—which is the greatest reason why I am even composing this whole freaking review—you never showed me a proper reaction to the insanity you had told me about.

You told me about and showed me the greatest injustices. You showed me things unforgivable, unforgettable, traumatizing— incredibly traumatizing. Sometimes more traumatizing for audience than for the characters themselves.

You spoke about them very lightly, in a very scientific (flat, distatnt, disengaged) way.

And it's not what I wanted from characters, to have such sterile reactions to it.

Especially with the second main male lead (in this case, it would be Cheng Yi Chen / Xiao Chen), I kept thinking: what is he like? What does he think? What does he _feel_?

I had a very hard time getting into his character.

I just don't know what that dude thought. How he perceived what was going on. If he even was into Lu Feng or not.

I don't know what he felt.

I don't know anything about that dude.

He looked like paper for the first main male lead (Lu Feng in this series, in Round Trip I would say the importance was equal or switched), who did all of the acting there (at least some very normal emotional psycho of them all).

And the minimalism of the second main male lead (Yi Chen again) —I just couldn't get him.

If these things were done to me, if they were even threatened toward me, I would definitely have significantly stronger reactions.

Even if I trusted that person, and loved that person and could forgive that person, I would have significant reactions to what was being done, said and threatened.

Some things didn't even make sense.

That dude literally endangered your brother's life on the stairs, possibly damaged his walking ability, and the thing you do after four years of being married to someone else and running away from him (Lu Feng) is return (crawl!) back and explain yourself to him, excuse yourself to him. Ask for understanding/forgiveness.

But on what grounds?

((...because you married, i know, but things were ambiguous between you when you left. So why? It's not how it would look like really.) He did not find you. He never did anything to help your brother. Things around him always seemed to get worse, and 3/4 of the times he did it to both of you.)

I mean, I'm sorry if it is in the original material, but here it is not shown or told properly.

On the bright side, it's the only shortcut I have any problem with, which is a very, very positive thing to say (the brother off the stairs thing).

It's even partially forgivable.

I would still love this to make more sense and be more rational (the brother off the stairs thing).

But...

I mean, you are dealing with non-consensual sex, you are dealing with rape, and you are dealing with two insane people who still, despite all of this, want to get together.

I cannot imagine this being set within the boundaries of logic.

If you want to do it, the only way to do it is emotionally.

But you skipped all of the emotions out of the story.

So it just does not make sense to me.

Despite all of what I have said and all of the complaints I might have about this—and there would be a shit ton of them—I love it.

I loved A Round Trip to Love.

I think I get it on a level that many people just cannot stomach or don't get at all, because they haven't experienced certain things in their life—or maybe because they did.

But it's such my blood type of story.

Again, most normal people would imagine it's all about the rape.

It's not.

I promise it's not.

It's not about the non-consensual stuff.

If not among two real-life people, if it is only me being affected by what I have seen through storytelling, it speaks to me volumes on a symbolic level.

No one wants to have anything to do with this shit in real life.

And I would be very saddened thinking or assuming that anyone who watches these types of audiovisual projects would then go and do something like that in real life—that they would take a lesson out of it, that they would somehow transfer it literally into their life or excuse themselves with it.

But on a very symbolic level, where there is only purity and symbols, it speaks so loudly and represents something so important to me.

I can't explain it.

But it's there.

And I believe it's the reason why we all return to something that today's youth would call toxic relationships, toxic dynamics, or toxic characters.

It's not only about that.

If it was only about that, we would refuse it, and it would stop working the moment we put a finger on it.

But this is not it.

So yes, I do love Double Helix.

I just think that if it had been done the way I imagined it and had taken lessons from the good examples of A Round Trip to Love, it had the potential to be a much bigger fire than even Revenge Love, probably.

Especially if someone had really written it with the loopholes it has.

And it has incredible loopholes beneath the surface level.

You could have dived into so many things with a depth I can't even explain.

But I do love it.

I love this type of storytelling.

I love this type of intensity.

I love this type of depth.

I love this type of meaning.

I love it.

And if this has a third, fourth, and fifth adaptation where they would actually show what I am talking about here right now, I would love Double Helix for what it is.

It's an abbreviation and a specific type of portrayal of how love, no matter how pure, can maim people to the point and level that they don't recognize themselves and still be slaves to, and sacrifice everything for, the person they love, no matter how much they hurt them.

And how the other side has an incredible amount within themselves for forgiveness, if it matters to them.

The capacity for forgiveness you have for someone you love—it might be parents, it might be brothers, it might be lovers, it might be a child—is vast.

It's endless.

The condition there should be that you both know the game, you both know the downsides and upsides of it, you know the boundaries, and you are able, no matter how much the other side is raging and at their worst, and no matter how much they need help—either yours or some professional's—you can still see them in it, in the animal that lashed out.

So, yeah.

I mean, if you don't have real-life traumas, if you are not overly sensitive, watch these types of series.

They really are no... They have their place, is what I want to say.

And I hope for more adaptations of this story because it deserves them.

Because there are so many unexplored places there.

Thanks.

Thank you very much.

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Perceived possibility that the described things are wrong on my side: 30% (scientist/analyst) / 50% (human) / 70% (creator).

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