Reviews

vroom vroom

first: weiling and saitharn had the most compelling romance in this entire drama. I need a whole spinoff about weiling and saitharn and their domestic bliss post all of this bullshit.

second: i do not ship kee and lalin. the show speedran through their romance so we barely got any cute scenes past the first episode, and then the rest of it was just kee lying about who she is and why she's with her, and we're supposed to believe that's not messed up and ship them anyway? yeah, no thanks. their relationship started under false pretenses and i think kee should have been made to pay for it with more than just the cold shoulder for 1 episode.

third: i hate the camera they used to film this. technically ridiculous choice.

other memorable moments:

at one point, lalin tells kee: "i know you've been through so much pain, but your dad loved you so, so much. how about you only treasure the good memories of him?" this is immediately after they find out that kee's father was abusive to kee's mother, and while i liked kee's response to this, this was just a really stupid thing to have the love interest say.

at another point, lalin gets kidnapped while her wife is doing donuts in the parking lot.

honourable mention: kee showing a woman who has just had a heart attack and is laying in a hospital bed a live feed of her missing daughter being held at gunpoint. what. the. fuck.

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Stylized Shinsengumi Drama That Sacrifices Historical Authenticity

As a historical drama fan, I found this series visually decent but disappointing in terms of historical authenticity. The portrayal of the Shinsengumi, especially the relationship dynamics between the two leads, strongly implies homoerotic undertones connected to the historical practice of shudo among some samurai. While there is historical basis for that aspect, the series leans so heavily into it that it sometimes feels closer to “boys’ love” than a grounded historical drama.

The story also skips important early history by starting after the Roshigumi had already formed instead of showing the Shieikan days. Many historical scenes were either omitted, heavily improvised, or only loosely inspired by real events rather than accurately portrayed. Even Serizawa Kamo’s henchmen were just treated as background extras.

Another issue was the aesthetic direction. The traditional chonmage hairstyles were mostly removed in favor of long-haired “anime-style samurai” looks, which made the setting feel less authentic. Although I'm not against an anime hairstyle, it would be great if there were few chonmage hairstyle in the series. The swordfight choreography was also sloppy in several scenes, looked fake and lacked the intention and intensity expected from a Shinsengumi drama.

I also think the series could have benefited from a broader cast dynamic (especially more women casts) instead of focusing almost entirely on emotionally intimate interactions between male characters. At times, the leads seemed written more like romantic gay partners than comrades-in-arms.

Overall, it’s more of a stylized reinterpretation of the Shinsengumi rather than a historically faithful adaptation.

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wish it was longer/had a special episode

Overall: with only 6 25 minute episodes, they needed to take out/reduce screentime of the main conflict as there wasn't enough time to properly develop their relationship. It's still cute with a solid ending. I gave this an indie rating bump. Aired on iQIYI https://www.iq.com/play/1p9j07cqimg?lang=en_us&sh_pltf=4 and seems to also be airing on YouTube https://youtube.com/playlist?list=PL0P6L1kgy3ITUD-fneCgsyV7-PgDeZuRO&si=vb2NTEwOIj-EXVIX

Content Warnings: punch, past homophobia, cyber bullying, non con touching

What I Liked
- different personalities
- up front about who they were attracted to/sexual orientation
- noble idiot trope interrupted
- a character sided with the guy he loved and stood up to his own company

Room For Improvement
- the 2 false accusations (in reality it is extremely rare to falsely accuse someone of this)
- rushed romantic development, needed more time to focus on their relationship
- (neutral) quite a lot of far away/camera blocked shots for the kissing and also the interrupted kiss

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Cringe

Well, it’s something fresh in cdramas, more intense and less innocent. If this would be adapted from novel, it would be novel written by 13y old.. A lot of things do not make sense, story is speed up and interactions are forced (she hang on a rope, empty space under her but she falls on the ground on him??). Although scenario is not bad, modern buildings etc, but this fake ass octopus made me laugh and I felt like watching indian drama, which is pretty lame. And one minute before this fake ass octopus they fall from the structure, falling on heart shaped balloons- how unrealistic and hilarious. I enjoy this as i’m a simple person and i like spicy things, but it’s cringe which is sad as the story has a potential. If you are inmature and haven’t red and watched good written stories you will happy.

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Small Town, Smaller Sparks

"Once Upon A Small Town"
Completed: May 2026
Rating: 8.0/10

Throughout the twelve episodes,I kept wondering how Choo Young Woo ended up in this project? While the drama itself was decent, he was undeniably the stronger actor throughout. His performance as the new village veterinarian brought warmth and sincerity to the series, and at times, his interactions with the animals felt more natural and emotionally convincing than some of the relationships with the people around him.

The female lead,Joy as she is known, unfortunately, did not fully work for me. She only seemed to settle into her character much later in the drama, particularly once the dating phase began where she suddenly became more daring, expressive, and emotionally open. However, instead of strengthening the romance, it created an awkward imbalance because Choo Young Woo’s character often looked completely lost in response to her actions, almost as though he did not know how to react to this new dynamic. Rather than feeling charming, those moments became surprisingly difficult to watch.

That said, the drama still earns an 8.0/10, mainly because of the Male Lead’s performance and the refreshing absence of toxic behavior or unnecessary melodrama. Without those strengths, it probably would have landed closer to a 7.7, since the plot and characters were honestly some of the most underwhelming parts of the series. Ironically, the animals ended up being the true stars of the show, and the Male Lead’s struggles with them added a lot of charm and much-needed comic relief.

The story itself is gentle, slow-paced, and relatively uneventful, but after the emotional rollercoaster that was my last drama "Summer Strike" , marketed like a peaceful small town healing story before delivering thriller-like plot at every turn, "Once Upon A Small Town" felt like a calm recovery watch. Not particularly memorable or thrilling, but comforting enough when all you want is something soft, quiet, and stress-free.

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Beautifully written and emotionally unforgettable.

I finally completed A Tale of Thousand Stars, and wow… this one is such a tearjerker.

I’m usually not a fan of slow-burn romance, and honestly, I tend to drop dramas like this halfway through. But the plot was so good and emotionally engaging that I ended up finishing it all the way through... and I’m really glad I did.

What I loved most about this drama is how meaningful the story felt. The characters were written so well, and their growth throughout the story felt natural and realistic, which made everything even more heartfelt.

This drama taught me a lot about life. Not everyone gets a second chance, so we should learn to value the life we have now. Happiness isn’t measured by material things, and sometimes the simplest moments are the ones that matter the most.

I also learned the importance of valuing yourself. Do things because you genuinely want to, not because you feel obligated to please other people. Live for yourself too.

And lastly, this drama reminded me how important forgiveness is... especially learning how to forgive yourself.

Overall, this story was beautiful, emotional, comforting, and unforgettable. Definitely one of the dramas that impacted me deeply and will stay with me for a long time.

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A Slice of Depression

Starting this review of by saying acting was amazing. I had some reservations about GYJ's acting which she sucessfully overcame. Since I had seen other actors in other dramas, I wasn't really worried about overall quality of the performances.
What left me somewhat cold was the writing. I understood what the writer was going for, but some of the comedic and melodramatic moments felt out of place. Overall, directing and music choices fit the drama genre very well.
My review probably leaves you wondering why I gave this drama only 7.5. The reason is quite simple. If you're already struggling mentally, this drama will likely leave you feeling even more depressed. Because of that, I think it's important to watch it at the right time.

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An inspiring tale of entrepreneurship

What I loved most about “My Destiny” was the entrepreneurial and ambitious side woven into the story. Instead of focusing only on romance, the drama highlighted hard work, determination, and building something meaningful through persistence and vision.
Tan Song Yun gave such an inspiring performance, portraying a woman who balances emotion, independence, and ambition so naturally. Her character’s growth, resilience, and drive made the story feel refreshing and motivating. I especially appreciated how the drama showed the realities of chasing success — the setbacks, sacrifices, pressure, and personal growth that come with pursuing your goals.
It’s the kind of drama that leaves you feeling inspired to work harder toward your own dreams.
If you enjoy dramas with strong character growth, ambition, business-minded themes, and heartfelt storytelling, “My Destiny” is definitely worth watching.

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we are all trying and that's okay !

"We are all trying here" is one of the most painfully human dramas I have watched in a long time. It’s not a story built around grand events or shocking twists, but around something much quieter and far more universal: the fear of being left behind, the exhaustion of trying to prove your worth, and the loneliness that comes from believing everyone else has figured life out except you.

What makes this drama so special is how relatable it feels. Every character stands at a different point in their life, career, art, and emotional journey. Some are still dreaming, some are burnt out, some are desperately holding onto what remains of themselves. Yet all of them are trying in their own ways, just like we all are in real life. That is what gives the story so much emotional weight.

I could deeply relate to the main characters as someone who constantly overthinks, struggles with anxiety, and relies mostly on myself. Watching this drama sometimes felt like fresh air, but also like staring into a mirror for too long. There were moments where I had to pause because certain dialogues or silences hit far too close to home. The writing understands emotional vulnerability in a way that feels honest rather than performative.

One of the things I admired most is that the drama never treats one life path as more valuable than another. There is no “correct” timing for success, no superior person, no magical solution to feeling lost. The series quietly reminds us that being human is already enough. That message felt incredibly comforting to me.

The storytelling itself is beautifully restrained. The pacing is slow and introspective, but intentionally so. Instead of forcing dramatic moments, the drama allows emotions to breathe naturally through conversations, monologues, lingering silences, and subtle actions. Every scene feels purposeful, as if the story trusts the audience enough to sit with discomfort instead of escaping it.

The performances are genuinely outstanding across the board. Every actor brings an exhausting kind of realism to their character, the kind where you forget you are watching actors and start feeling like you are witnessing real people unravel in front of you. The casting was honestly perfect because each actor embodied their role with so much nuance and vulnerability. No character felt exaggerated or artificial.

Hwang Dong Man especially stood out to me because of how quietly heartbreaking he was. His fear of worthlessness, his awkward perseverance, and his desperate need to keep going despite repeated failure made him feel painfully real. Byeon Eun A’s emotional restraint was equally incredible, hiding years of anger and fear beneath cold professionalism. Even secondary characters carried emotional depth that many dramas fail to give their leads.

The OST deserves praise as well because it never overpowers the story. Instead, it gently accompanies the emotions like a lingering thought at night. The music feels melancholic, intimate, and healing all at once, perfectly matching the atmosphere of the drama. Some tracks almost felt like they were breathing alongside the characters.

Visually, the drama is simple but incredibly effective. There is no unnecessary glamour or aestheticization of suffering. Everything feels grounded and intimate, which makes the emotional moments hit even harder. It’s rare to find a drama that portrays struggling people without romanticizing pain, ambition, or burnout.

What stayed with me the most after finishing it is this simple realization: maybe life is not about becoming extraordinary. Maybe it is enough to continue living despite everything, to remain soft in a world that constantly pressures us to prove our value.

This drama soothed my heart in a way I did not expect. It made me feel understood through every dialogue, monologue, silence, and small gesture. It reminded me that it’s okay to still be trying. We do not always need to succeed. Sometimes we simply need to live fully and honestly until the end of our own story.

To anyone watching this while struggling with life, loneliness, anxiety, failure, or simply feeling lost:
please be gentle with yourself.

You are also trying.
And that is enough.

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This is in the conversation for one of the WORST dramas ever made

It is rare to see a show change its main character as quickly and drastically as this one. In the beginning, the female lead was introduced as a refreshing change of pace. She was a shrewd, calculating and genuinely a strong woman. By episode 9, however, that writing seems to have been discarded. She has devolved into an immature brat who spends her time being lovestruck, not even over the actual ML, but over his adopted nephew, a character who acts like a total closed book. Watching a once-promising, intelligent woman turn into a regressive character over a secondary figure can be quite frustrating. The rest of the show does very little to save itself from this writing. While the actual ML is depicted as properly ruthless and competent when dealing with his enemies, the domestic scenes surrounding the FL are difficult to sit through. It is a shame, because the toxic family dynamic itself is likely historically accurate for an abandoned legitimate daughter. The villa is entirely run by the scheming concubine and her wicked daughter, while the female lead's biological mother, who is supposed to be the matriarch, is portrayed as a weak and useless parent who refuses to step up. Ultimately, A Splendid Match is a massive disappointment that can lead to irritation. What started as a promising historical drama with a smart heroine has transitioned into a frustrating, immature mess that may not be worth finishing.

Episodes 10–21 gets marginally better than the absolute bin fire of the first nine episodes, but it is still plagued by major problems. While the plot moves away from the FLs initial infatuation, it replaces it with lazy writing, a complete lack of logic and infuriating character dynamics. The 2ML is a difficult character who completely tanks any potential for second-lead syndrome. Despite a decent appearance, the Marquis’s son is a short-sighted individual who cannot see the bigger picture. The ML is desperately trying to save this man's family from ruin, yet the Marquis always accuses him of being petty and holding grudges, completely blind to the fact that he is the one acting in an immature and petty. Least we forget the fact that early on he actually whipped the FL because he was having one of his petulant tantrums because she was giving him some home truths. Very frustrating.
The romance completely stalls out because the female lead has devolved into a bit of an irritating character. The script cuts ridiculous corners, suddenly turning her into an expert archer out of nowhere just to suit the plot. When the ML behaves like a proper adult by confessing his love and proposing, she flat-out rejects him due to baggage over her dead mother, dragging their dynamic into a childish standstill. To top it all off, the show suffers from severe narrative amnesia regarding its core villains. The half-sister and father, whose cruel crimes defined the start of the series, are suddenly treated like background characters and completely sidelined. Instead of giving any satisfaction by punishing them for their past crimes, the script forces us to focus entirely on the father’s extended family and their wicked schemes, turning the show into a frustrating political slog.

Nb. During the first half of this show there are a couple of moments particularly after episode 10 they’re actually quite nice especially between the ML and FL but they are so few and far between that I lose sight of them and almost forget them because of the frustrating elements.

The narrative completely collapses from episode 22 to 28, transitioning from a potential promising historical thriller into a masterclass in script lobotomy and state-approved propaganda. The fierce, calculating heroine we were promised completely regresses into a passive, skittish martyr who spends her time fixing household problems for her abusers and collapsing into her evil grandmother's arms to satisfy censorship-mandated family harmony codes. Meanwhile, the ruthless ML is thoroughly neutered into a passive bystander, and the 2ML throws a psychotic, sword-wielding, blood-spitting tantrum over a heartbreak he never even earned, considering he never properly courted her and literally whipped the FL earlier in the series. The political stakes completely evaporate as the actual mastermind of the corrupt grain swap is lazily let out of prison, the young Emperor suddenly mutates into a telepathic mastermind and the adopted nephew goes on a literal hunger strike over the wedding. To top off this absolute bonfire of garbage writing, the wedding day rewards the unrepentant scumbag father and toxic cousin, grandmother et al with massive imperial prestige and social immunity simply because the FL is marrying up. The show has officially sacrificed every ounce of character logic and cathartic revenge to serve as a pretty, high-budget piece of ideological stability lecturing that is a total insult to the viewer's intelligence.

From episode 29 to 34, it has transformed into a show that is a logic-defying catastrophe where character consistency is sacrificed for lazy padding and state-approved propaganda. The absurdity begins when the Emperor suddenly strips the Marquis title from the household the second the patriarch dies, backing his top confidant (2ML) into a corner over a nonsense power play. Instead of dealing with this high-stakes political crisis, the script bizarrely stalls to let the MLs ex-fiancée launch into a petty lecture scolding the female lead regards the 2mls unrequited obsession, forcing the heroine to endure this unfair humiliation in submissive silence to satisfy censorship-mandated family harmony codes. The story completely abandons basic human psychology and legal consequences as it barrels through its worst writing loops. The weak Fourth Master gathers the brazen audacity to kidnap the fl with the explicit, vile intent to sell her to a brothel so the "whole world would trample on her", yet the supposedly ruthless ml lets him off the hook with a soft exile and a mere kick to the leg. This legal farce peaks when an ironclad treason petition against the corrupt grain minister is derailed by a single verbal claim, causing the bribe-taking uncle to be dragged off in chains while the actual treasonous mastermind is allowed to casually hang out in his luxury mansion instead of rotting in a cell. The script then drags out a repetitive, rage-baiting subplot of the corrupt official's evil wife trying to frame the female lead's restaurant, completely wasting the viewer's time because the writers have run out of original ideas. The ultimate death of character intelligence happens right after the male lead is injured in an ambush. When he acts like a mature adult and asks a perfectly rational question about her past with his nephew, the female lead completely refuses to answer him. Instead of using her brain to resolve the trust barrier, she simply uses a physical kiss as a conversational mute button while the production blasts sweet music to gaslight the audience into ignoring the total breakdown of logic. The show has officially checked out, trading its somewhat early promise for an exhausted, mechanical product that relies on lazy romantic shortcuts and unpunished villains just to crawl to its 40 episode finish line.

Episode 35 to 40. The structural collapse reaches absolute peak psychosis across the battlefield arcs. The top-tier Metropolitan scholar Chen Xuanqing is completely lobotomized, transforming into a knife-wielding madman who takes the heroine hostage out of pure, unearned spite because his uncle got married. The writers then subject him to an absurd, five-minute suicide speedrun where he is lashed forty times, bashes his own head, and reveals he already drank poison, all while the production blasts unearned, manipulative music to force a synthetic tragedy. This is immediately followed by a gruelling display of misery porn during the invasion battle. The script stubbornly refuses to give the audience a single second of heroic triumph; instead, the entire supporting cast of friends and the male lead's personal guard are pointlessly pulverised in the mud. The second male lead takes a cliché spear to the back to cheat his way out of stalking accountability, triggering a grotesque, ten-minute sequence where the female lead screams uncontrollably and tenderly strokes his corpse, completely ignoring her own husband who is literally bleeding out and fainting into the dirt right in front of her.
The final episode is a masterclass in production panic and structural failure. Out of a 41-minute finale, the first seventeen minutes are entirely wasted on the dead rival's funeral and the female lead weeping over a secret letter hidden behind a painting, completely freezing the political plot. When the male lead finally reappears at the 20-minute mark, the script commits a bizarre act of identity theft by forcing him to cosplay in the dead stalker's armor to lead the remaining army. The grand political climax is entirely outsourced to a kitchen-knife standoff inside the mentor's office. In the final two minutes, the writers suddenly remember that the male lead was supposed to be "ruthless" in episode 1, mutating him from a sophisticated statesman into a blade-throwing action-movie assassin who hurls a piece of steel straight through the hostage-taking wife's chest. Within thirty seconds, the entire mention magically mutates into a CGI inferno, allowing the mass-murdering traitors to get a romantic, peaceful "Romeo and Juliet" deathbed embrace while the male lead scoops up his wife in a bridal carry and strolls out of the flames. By completely erasing the supporting cast, ignoring the total breakdown of marital trust, and replacing human dialogue with cheap visual shortcuts, the show finishes as a mechanical, exhausted joke that actively insults the viewer's intelligence. This show is without a doubt in the running for the gold medal for worst of all time in the history of television.

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