Reviews

This One Tops the Charts!

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

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


Here's what I liked:

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

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

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

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

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

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


What I didn't like:

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


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

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

The main leads kiss several times.

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

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

Guns are often brandished.

Attackers wield knives and sticks.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Great, then good, then meh!

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

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

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

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

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

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

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

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

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

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

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

In the end, MAT left me disappointed.

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

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

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

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

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One of the best romantic K-dramas

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

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

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Big budget disaster

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

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

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

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To my beloved thief

It was incredibly entertaining to see the characters struggle with their new bodies. Eun-jo, now in the Prince’s body, is completely lost regarding palace etiquette, while the Prince is hilariously uncomfortable in a woman's body. Moon Sang-min and Nam Ji-hyun both delivered stellar performances—seeing the Prince attempt to act feminine was definitely the highlight of the episode!
The swap forced them to stay close to protect each other's secrets. As they navigate their daily lives in disguise, the bond between them is clearly deepening. That transition from "Please take care of my body" to genuine concern for one another makes their chemistry feel very natural and sweet.
Despite the humor, the tension remains high. Eun-jo’s family issues and the Prince’s secret investigation are still ongoing, but now they have to handle these stakes while being in the wrong skin. The mystery of how they will switch back keeps the audience on the edge of their seats.
"Their chemistry is leveling up after the body swap! 😍"
"Episode 5 of To My Beloved Thief was a perfect mix of laughs and heart-fluttering moments. Watching the Prince navigate life in Eun-jo's body was pure gold! It's so sweet to see them helping each other and catching feelings in the process. I can’t wait to see what kind of chaotic trouble they’ll get into in the next episode!"

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This show was hilarious and made me laugh more than any show in a WHILE. Loved PondPhuwin and could see they both have improved a lot. Honestly can't wait to see what they have to offer us next.
However, at some parts the acting felt stiff and not natural at all. I understand Lookpeach is not very affectionate and can be a bit awkward, which was very well portrayed, but still it left me wishing for more. I loved that there wasn't any unnecessary drama in the show, it felt very refreshing for sure.

I was waiting so much from the last episode and I did love it, but it felt like something was missing and maybe it was a bit rushed.. Meaning I need there to be more episodes 😂

I also wanted to see more WilliamEst, but I understand this is not about them. Maybe one day they'll get their own show as Mok and Rome..

I will definitely miss this show as it has brought me so much joy and so many memes to make me laugh 😂. Can't wait to see what GMM THEE V will have to offer next 😉

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Thee comedic festival no phuwin intended!!?

I waited to watch this till it had finished airing as I just could not get into into when it started. Honestly I was enthralled by other shows that has stronger storyline and chemistry.

Having watched this I will say this is a comedic gem carried by Pond. He embodies Thee so well. I was not shocked that somehow Phuwin appears to be the same character in all the shows he is in including this one. I don’t see much difference between him in never let me go, we are and this one same character. I think he may need to stretch his acting or he is in danger of being type casted.

That said it does not detract from the overall show itself. Will and Est that was nice side couple story. Santa and Perth storyline was not even necessary. It did nothing for the actual show!

I am not going to go to much details but just to say if you are looking for some lol moments, fluffy romance and questionable plot holes you have come to the right place.

Would I rewatch this probably not, maybe certain episodes.

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Positively Yours’: When Irresponsibility Is Framed as Romance”

A woman is forced to carry the responsibility of pregnancy simply because she had a one-night stand, while the man who refused to use protection can walk away. Even if he later “takes responsibility,” he will never go through pregnancy, labor pain, or childbirth. That burden is forced on the woman by nature alone.

And what if she’s married? What if she doesn’t want to be involved with him, doesn’t want to marry him, or doesn’t want to be a mother at all? Consent to sex is not consent to pregnancy—something even married couples decide together.

Not using protection isn’t a tragic flaw or romantic complexity; it’s basic irresponsibility and a lack of respect. It strips a woman of choice and forces life-altering consequences onto her without consent.

When a show presents this casually, people are completely justified in criticizing it—even after just one episode.

The show treats stalking as if it’s romantic concern. Finding her address without consent, watching her from a distance, intruding into her personal life, and interrogating her choices are framed as “caring.” This is not concern—it’s surveillance. If this were happening in real life, it would be frightening, not flattering.

What’s even more disturbing is how the narrative openly pressures her to carry and deliver his baby. She is not asked what she wants. She is not given space to decide. Instead, she is pushed, cornered, and emotionally coerced—then told to “at least try” dating him. Not because she desires it, not because she consented, but because he decided this is how things should go.

This is not courtship. He is not requesting the chance to get to know her. He is imposing rules—meeting three times a week, maintaining contact, staying involved—despite her clear discomfort. That is control, not romance.

The woman is reduced to a function: a womb with obligations. Her autonomy, freedom, and right to refuse are treated as inconveniences that the story expects her to “grow out of.” This framing dehumanizes her, turning her into a baby-making machine whose life must now revolve around a man’s mistake and entitlement.

Calling this “love” or “responsibility” is dishonest. It is forced intimacy dressed up as destiny.

When dramas normalize this behavior, they are not exploring moral complexity—they are promoting a deeply regressive idea: that a woman’s body and future can be claimed once sex occurs, regardless of her will. That is not romantic. That is coercive. And yes, it is barbaric.

So no, viewers don’t need to “watch more episodes” to criticize this. When a show casually excuses stalking, erases consent, and glorifies the stripping of a woman’s freedom, one episode is more than enough to recognize the problem.

He is the president of the company she works for. He holds institutional authority over her career, her future, and her daily professional life. She was selected to study in Germany—something she genuinely wanted, something that represents independence, growth, and a future beyond him. That context matters.

So when he says things like, “It’s your choice whether you keep the baby or not,” those words are meaningless. Consent cannot exist under intimidation. A choice made while someone controls your job, your visa prospects, and your professional future is not a real choice—it’s pressure disguised as politeness.

His actions repeatedly contradict his words. While claiming to respect her decision, he continuously pushes, manipulates, and corners her into keeping the pregnancy. While acknowledging her refusal to marry him, he still forces the idea of marriage onto her, treating her clear NO as something temporary, negotiable, or irrelevant.

This is textbook coercion.
Emotional coercion.
Economic coercion.
Professional coercion.

The show normalizes a deeply disturbing dynamic where a powerful man uses his position to override a woman’s autonomy, then masks it with soft dialogue so the audience is expected to see him as “responsible” or “misunderstood.” He is neither.

Saying “it’s your choice” while actively sabotaging her ability to choose is manipulation, not respect. Ignoring her refusal and continuing to push marriage and forced intimacy is not persistence—it’s entitlement.

When a drama frames this as romance instead of abuse, it isn’t just bad writing. It’s dangerous storytelling. It teaches that women’s boundaries don’t matter if a man is powerful, persistent, or emotionally invested enough.

And that is exactly why criticism after just one—or two—episodes is not premature. The message is already loud and clear.

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A classic by the Hong Sisters

This is a solid classic. I loved it and stayed up way too late to binge it last Friday night.

Listen to no one, not even me. Proceed with caution, and try this out for yourself. The summaries given out publically before the show aired may have been somewhat misleading.

The frame is that of a crew and actors shooting a romantic dating-reality show. The two stars of this show-within-the-show, the Korean actress, suddenly made famous by a role as an axe-wielding zombie, and the princely Japanese romance lead, have to summon romantic feelings as part of their jobs. The basic genre which develops inside of that frame is that of a psychological thriller, because it turns out that the actress has crazy difficulty with romance. The issue of sincerity -- how do you know if someone means what they say? -- is thus handled very cleverly at both levels.

The misunderstandings of the OTP turn out not to be linguistic, since both the interpreter and the lead actress speak Korean. The ML, played by the legendary Kim Seon Ho, struggles wryly, as will you, to understand the FL. The SML, Hiro, the Japanese co-star of the dating show, also struggles; he doesnt know Korean, she understands neither Japanese nor English, so he ends up learning Korean.

Go Yoon Jung really shines. The actress she plays, MuHui, constantly hallucinates an intensely funny, mischievous and irresponsible alter. She suffers from a classic case of dissociative personality disorder due to a very traumatic childhood. Do-Ra-Mi, the alter, takes over MuHui's personality in her off-hours and meddles with MuHui's love life..

Zombie love. Most of MuHui's energy and joy is captured in her alternate self. She slept in a coma through the growth of her fame. The ML, a classic taciturn lead, is still enraptured by a love he could never achieve. He has a richly difficult family life, swiftly introduced but not given as much visual time as his amazing house full of books tottering on every surface. The house itself is allusive, literary. It is inhabited by a wild-haired author, a family friend; also by the love rival from the frozen past, a bohemian brother. Many more secondary characters are clearly drawn and reflect issues brought up by the OTP. without their own entire arc made visible.

The script and dialogue of Can This Love Be Translated are classic Hong Sisters: heavy on metaphor, difficult to translate into English, thick and rich with all sorts of plot textures. THE HS ARE NEVER EVER PREDICTABLE. HS shows often involve some incredibly creative twists on currently popular genres which put them at the top of the class. Some love the HS, some hate them. Find out who you are.

My favorite visual trick amongst many lovely scenes, shots and sequences, is that the show starts out in the open light of day, in Italy, Japan and most notably in the wide open spaces of the Canadian West. At the end of the Canada episodes the crew chases the spectacle of the Northern Lights, the Aurora Borealis, only to fall asleep exhausted and miss the show. The lovers, up late by chance, do see it. The show, then moving to Italy, dives into darkness psychologically and frequently visually, as the two begin to heal her illness. The show finishes in Korea at a dark sky reserve where the lovers stargaze under the brilliant night sky. Nice, huh?

But before we get there there is a lot of translation to be done by the viewer. Does Hiro fall for MuHui, will MuHui and the interpreter ever wake up and fall in love, why ever does MuHui appear at one point to try to seduce poor Hiro? Why are certain conversations between the ML and FL completely opaque; how do they suddenly turn into fights? (tbh, this is a RL experience for many of us, right?) At some points at the ends of one or two scenes the actors' dialogues are left unsubtitled -- horrifyingly, this may have been deliberate?

The romance is a bit old-school, for my taste. The structures of the 12ep plot may seem old-school too, since the HS wrote that book on 16 episode romcom that you are reading from. The halfway mark is hit at ep6 -- the lovers commit. Troubles and travails begin in episode 7 right on cue. Instant resolutions and sudden wrap-ups are held in the final episodes 11-12, as a vestigial representation of the old scramble of non pre-produced shows. I was actually happy that this took up two episodes instead of the often crazy old-style one episode wrap.

The Hong Sisters have written 14 shows, each distinct, in many genres, It is a mystery how they manage to hit the public sweet spot every time. If you want your favourite romantic recipe, this isnt for you. But this is the real warning: they mostly write smash hits, so you may miss out.

ps. I normally strive for short, somewhat condensed reviews. Apologies for this one. It confuses me that my own view of the show was so different than most others', so I tried to lay out why. Probably not very well, but whatever.

pps. here is another way to look at it. People always contrast the Hong sisters' top shows to those of Kim EunSook, the writer for Goblin and most recently, for Genie Make a Wish. For me the imperfections of even the best of the HS still have more heart and sincerity than the slicker and often more entertaining KES. Both brilliant. Both classic.

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