rayabend

Miss Little Hater, who exactly are you talking about when you say “not getting scripts and offers”? 🤣😂 Which rock are you living under? 🤦

Kim Hye-yoon has five projects lined up for release in 2026–2027, with many more in the future. If this still doesn’t register as getting scripts and massive offers, then your understanding of what a busy, in-demand actor looks like is seriously lacking. Ignorance and zero knowledge is not something to brag about, girl. 🤭

I genuinely don’t understand why haters never bother to research before talking nonsense—only to end up making complete clowns out of themselves, just like you did. 🤡😛

The criticism around the VFX and CGI largely comes from the "Netflix Original Tag". When Netflix backs a series, viewers naturally expect a higher level of production value, and that expectation isn’t being met here. If this is the best VFX and CGI Netflix can offer for South Korean manhwa-based series, then expectations for future adaptations should honestly be kept low—especially for titles that demand large-scale action, complex power systems, and visually dense fantasy settings. The issue isn’t the genre or the source material, but the clear disconnect between Netflix’s premium branding and what actually appears on screen.

That said, I too am personally fine with the series overall. I went in expecting dumb fun, and on that level it delivered—some entertaining moments, decent action, and a fairly watchable experience, even if the explanations and narrative depth were lacking.

I just happened to come across this comment, and it sparked a thought I felt like sharing—interpret it however you like.

Most Korean actors who are genuinely strong in terms of acting tend to come from the film industry and only occasionally step into dramaland. As a result, a large portion of the drama-watching audience has grown accustomed to seeing conventionally attractive but relatively limited actors on screen. When one of these actors takes on a slightly different genre or becomes part of a popular project, they are quickly labeled as “the best actors out there,” which is honesty an exaggeration.

The acting standard in K-dramas has never been particularly high to begin with, but lately it seems to have dropped even further. Popularity is increasingly being mistaken for talent, and that distorted perception keeps lowering the bar instead of pushing it higher.

At this point, it feels like nothing more than noise marketing to generate hype. The same thing happened during Snowdrop’s premiere—and that situation was far more severe, as it involved internal Korean politics. Even then, the show ultimately went on air (that so on a cable channel in korea). So there’s really no reason this one wouldn’t (this one is on OTT not even on Korean channels) especially when it has nothing to do with politics or war. If anything, Netflix would be more than happy to let this continue, since it keeps people engaged with the program and saves them a significant amount of marketing budget.

Comments like this — reducing her performances to a single trait — are exactly why it’s clear you’ve had minimal exposure to her body of work.

Before criticizing her choice of roles, it would help to do some basic research and actually look through her résumé. She has portrayed one of the widest ranges of characters among actresses in her age group — from deeply emotional and nuanced roles to comedic and psychologically complex performances — all consistently acknowledged by critics. Her major awards aren’t for show; they’re earned on merit.

You’re free to dislike the plot or find the storyline uninteresting of the drama— that’s subjective. But claiming she has “no diversity” as an actress is simply ignorant. Disliking a story is an opinion; denying an actor’s range despite clear evidence is just misinformation.

Kindly check your facts first; otherwise, you risk making a fool of yourself, as you’ve done here 🤭

I really love HyeYoon; she has never disappointed me in her character portrayals. I’ve watched Lomon before as well, and he is a promising actor. But I have serious doubts about the scriptwriters—their past work was just blah. And not just that, most of the cast is filled with newcomers too, so there’s no added advantage of known faces in the industry, and on top of that, Jan–Feb is packed as hell. Still, I am definitely seated for this for my girl HyeYoon. Let’s see how it plays out. Wishing them all the best. 👍🫰

A single actor can’t carry a show’s entire rating — a drama is evaluated on many factors, and acting is just one of them. An actor’s individual score reflects how well they played their character, whereas the show’s rating depends on the overall execution. So KYJ can absolutely deserve an 8 or 9 for her performance, but since viewers felt the drama itself had several issues, especially after episode 8, it’s fair for them to rate the series lower.

LMAO… if you’re comparing it to Scarlet Heart, then girl, that drama wasn’t even sold to multiple OTTs in 2016. Once a pre-produced show is bought by several platforms before airing, changing the ending becomes impossible. If that basic logic is still flying over your head, there’s no point wasting another second talking to someone this dense. Anyway, we’re done here. Take care, byeeee~ 😌✋

The story started going haywire after episode 6, but I never expected it to get this bad. I’m honestly highly disappointed.

I’m not sure if her story is over” — well, that’s your opinion. I won’t argue about it because mine is definitely different, so let’s just respect each other’s views.

And in general, it’s very difficult to change or re-edit a pre-produced drama once it’s been sold to multiple OTT platforms because those buyers receive a fixed, final version. Any alteration would require new contracts, new subtitles, technical checks, and approvals — all of which are expensive and time-consuming. That’s why post-release changes are highly impractical and rarely happen.

It was a pre-produced show — already filmed, edited, and submitted for broadcast — so the producers had no way of knowing whether it would be a hit, a flop, or just another trendy/overly-hyped show — and Dear X very clearly falls into that last category.

Regardless, there won’t be a season 2 — simply because A Jin’s story is over. (Though the ending could have been better; I wanted Ah Jin to suffer endlessly, but clearly the writer and director didn’t… so whatever 😒.) And honestly, this director has already shown he isn’t capable of handling a proper second season — he literally ruined Sweet Home by unnecessarily dragging it into seasons 2 and 3.

We clearly see this topic a little differently, so I won’t continue debating it. I respect your opinion and hope you can do the same for mine — except for one part I still stand firm on: I don’t agree with the idea that a show’s success is “guaranteed” just because its first season had good ratings. (Though of course, I’d love to see *Good Partner* Season 2 reach all-new heights of success.)**

**The references you mentioned, like *Hospital Playlist 2* and *Taxi Driver 2*, had strong ratings because their production quality stayed consistent with their first seasons — the acting was solid, the script was well-written, and the direction was clean. They delivered a good product through all the seasons.**

**But then we also have cases like *The Fiery Priest 2* and *Tale of the Nine-Tailed 1938*, where the ratings didn’t live up to expectations and many viewers were disappointed with the overall production quality. And on a larger scale, there are examples like *Squid Game* Seasons 2 and 3 and *Sweet Home* Seasons 2 and 3 — they pulled big numbers, but the criticism from viewers was massive, and they never received the same love their first seasons did. So at the end of the day, a drama’s success comes down to timing and execution — it’s never guaranteed.

And with that said, I’ll be signing off.

Speaking as both a viewer and from a business standpoint, I don’t see an issue with agencies supporting their own actors, as long as those actors are skilled and can deliver strong, convincing performances. What I take issue with is when actors who rely purely on face value and can’t act for their life are constantly pushed into leading roles by their companies, thereby taking opportunities away from genuinely talented actors — that’s the real problem, and that’s where concerns should be raised, at least from my point of view.

I’ll also have to disagree with one point: just having good or famous actors doesn’t guarantee a show’s success. A drama’s performance depends on many variables — writing, direction, pacing, execution, chemistry, and overall production — not just the cast alone.

Nam Ji-hyun’s agency already confirmed that she couldn’t reprise her role because of scheduling conflicts, and it was the same for Kim Jun-han (who is also under Artist Company). They weren’t forced out, and it had nothing to do with agency politics or Artist Company pushing their own actors. The new cast isn’t taking over NJH and KJH roles; the second season is simply moving in a new direction with fresh characters and their own storylines. Plus, the actors joining are well-versed, seasoned, and skilled, so viewers shouldn’t have any concerns about performance. The focus should be on how well they deliver the roles — if the acting doesn’t land, that’s when criticism is fair, not based on which agency they’re signed to.

If it’s the Baeksang "Daesang" we are talking about, then it’s primarily meant to recognize cultural impact, not just good acting (don’t know how other awards "Daesang" winners are chosen, so won’t comment on them). That’s why IU and Song Hye-kyo, despite delivering massive hit dramas (*WLGYT* and *The Glory*) with great performances, still didn’t receive Baeksang’s Daesang — because neither their shows nor their acting created a significant national discourse, social shift, or cultural impact. In contrast, *Extraordinary Attorney Woo* and Park Eun-bin’s performance had massive impact in Korea — the impact of *Woo Young-woo* was huge; it sparked nationwide conversations, went viral, and even influenced real-life discussions about autism and inclusivity. That’s why Park Eun-bin received the Daesang.

*Dear X* and KYJ’s performance, on the other hand, are far less popular and influential than the above-mentioned shows and actors, so it’s unrealistic to expect a Daesang for it.

That said, KYJ did a fantastic job in *Dear X*, so a "Best Actor" award is definitely something she can compete for.

"She keeps landing these roles because of her visuals—Korean and wider Asian markets thrive on that, and plenty of other actors fall into the same category".-----This is what had written in my comment, so don’t question or argue unnecessarily; instead read properly.

You finally admitted she’s getting roles based on face value. The core of my argument has always been this: fans need to accept the reality and weaknesses of their favorites instead of blindly following them. Fans should support GYJ, but also critique her where it’s needed. The harsh truth is that her present acting skills really do need strong criticism—they’re very weak and don’t justify the opportunities she has received or is still receiving.

But honestly, if her fans are satisfied with her being just a popular, good-looking actor rather than a skilled one, then that’s okay too."

Everyone is working hard in this world — it’s not just her — so that excuse doesn’t hold up when it comes to her lack of skills and the almost negligible improvement over time (genuine effort reflects in improved work). I’ve enjoyed the projects she’s been part of too, but let’s be honest: it wasn’t her acting that kept me seated through those shows. It was her co-stars, the writers, the directors, and the production teams who carried those projects with their individual crafts, not her presence.

To be brutally honest, the reason she keeps landing these roles is because of her visuals (Korean and wider Asian markets thrive on that, and there are plenty of other actors who fall into the same category as her). Her fans may not want to hear it, but if you look at the caliber of actors she has worked with, or will be working with, they’re all seasoned performers. She’s mainly there for her face value and to serve as eye candy for the public; her acting has very little to do with her casting. The heavy lifting has always been done by the people around her.

(BTW, which co-stars ever speak badly about their colleagues publicly? You’d have to be insane to do that.)

Compared to Netflix, platforms like Disney+, HBO Max, and Viki operate very differently when it comes to viewership transparency. Netflix consistently releases global data—views, hours watched, and weekly rankings—making it much easier to understand a show’s real performance (and while there are discrepancies in their system too, it’s still far more transparent compared to other OTT platforms). But Disney+, HBO Max, and Viki don’t provide detailed watch-hour numbers; they rely mostly on in-app charts or vague PR highlights.

Because of that lack of transparency, even if a show performs well on those platforms, its true global impact is much harder to measure compared to a Netflix release.

So when you take all of this into account, it’s pretty clear that *Dynamite Kiss* is performing far better—especially considering it only premiered last week.

Kim Hye Yoon alone has four major projects lined up if she accepts this one. She’s an actor who’s trusted and respected for her talent and skills, so chill girl — she’s always had plenty of roles. She just picks projects based on her own preferences

Don’t worry, people will watch it if they want to — no platform can actually stop an audience that’s interested. Disney knows that too, which is exactly why they picked it up. And who knows, the production team might even use the same strategy that was used with "Good Boy", where it was released simultaneously on multiple platforms to reach a wider audience. They could easily choose that approach here as well. Let’s wait and see.