The problem with everyone hating on this. Is that everyone is so used to the "cutesy" BL tropes that are…
As a fellow gay, I agree. Only last weekend I tried to weign in on giving perspective on a drama and was told to go to hell. Then you just take it with a grain of salt and remember you are dealing with a lot of teens on this platform who lack life experience. Or you just accept there are the many narcissistic, brain dead ones as well who can barwly construct a simple sentence or thought š I love this series.
Ep 8 was but a tragic affair... Speaking of tragic, special shout-out to KingTyrik, Lord of the Drain Rats, who told a bunch of us to go to hell last night because we disagreed with him/her/it. On a discussion board. Where people discuss things. Shocking concept, I know. The way you blocked people after running your mouth is honestly embarrassing. If Lu Feng is toxic for being hurt and angry, then what exactly do we call someone who insults everyone, blocks them, and then comes back acting innocent? King Toxic sounds about right š š¼š
I don't see him as toxic. In my opinion, Lu Fengās pain in is honestly exhausting to watch, because he keeps…
Aaaaaah, only you are allowed an opinion. If you don't want people to react to your 'opinion' then don't post here. Kinda defeats the purpose. But clearly the concept is too complicated for you. Shame
I don't see him as toxic. In my opinion, Lu Fengās pain in is honestly exhausting to watch, because he keeps…
hahahahahahahaha! Because you never make typos, you're just so perfect! I am waiting for you to explain why I should go to hell? I gave you a sincere reply with my opinion and was told to go to hell. You must be 12... time to go to bed! And pack up your toys first, okay sweetie?
I don't see him as toxic. In my opinion, Lu Fengās pain in is honestly exhausting to watch, because he keeps…
If āgo to hellā is all you have, then Iāll take that as your resignation from the conversation. It must be exhausting being that confident with so little to contribute. Just another drain rat with no purpose lurking on this app
I don't see him as toxic. In my opinion, Lu Fengās pain in is honestly exhausting to watch, because he keeps being the one forced to fight for a relationship that Yi Chen seems ready to surrender the moment family guilt is placed in front of him. Lu Feng is losing pieces of his life from every direction, yet he still tries to hold on. He keeps choosing Yi Chen, even when that choice costs him family and dignity. He is standing there with everything on the line, while Yi Chen retreats in a heartbeat. Parhetic!
That was terrible. I'm not sure why anyone is rating this above a 5, but it doesn't deserve anything better. It's…
But no one forced you to watch this. What were you expecting to get out of this? Why torment yourself just to come and complain about a narrative that clearly didn"t' resonate with you? You are obviously entitled to dislike the series, but your comment reads less like a critique and more like frustration that the story refused to become the simpler, tidier version you apparently wanted. You say the show is āinconsistentā because Ko Yeong is sometimes kind, sometimes cruel, sometimes loving, sometimes selfish, sometimes devoted, and sometimes avoidant. But that is not necessarily inconsistency. That is characterisation. People, especially people dealing with loneliness, trauma, shame, family rejection, desire, grief, and self-sabotage, are not fixed moral categories. A character being contradictory does not automatically mean the writers ādonāt know what theyāre doingā. It may simply mean you were expecting a much simpler story than the one being told. The same applies to your issue with the Dublin Prize. Winning a literary award does not magically erase someoneās personal damage, financial instability, emotional confusion, or inability to sustain healthy relationships. You seem to think that because he receives recognition as a writer, the show should suddenly become about his fame, admirers, or professional success. But that would be an entirely different narrative. The prize is not there to turn him into a glamorous literary celebrity. It exists alongside the rest of his life, which remains messy, lonely, and unresolved. That is not a plot hole. That is adult life! Your criticism of the flashbacks at the end also misses the point. When he returns to Bangkok, he is not simply being dragged through random memories for no reason. He is revisiting a place where he once experienced intimacy with Gyu-ho, and only later, in solitude, does he understand the emotional weight of what he had. The flashbacks are not there to announce, āThis was the perfect relationship.ā They show delayed recognition. Sometimes people only understand love after they have lost it. A shocking concept, I know, but human beings have been emotionally incompetent for centuries. And the fireworks ending does make sense. It is not some shallow āeverything is wonderful nowā celebration. It can be read as a celebration of survival, self-recognition, and the fact that life continues even without perfect answers. Go Young does not suddenly solve love, identity, or loneliness. But he reaches a point where he can exist inside that uncertainty. The fireworks are beautiful, temporary, excessive, and a little hollow, which fits the tone of the story far better than a neat moral conclusion would have. What bothers me most about your comment is the assumption that because the show did not resonate with you, it must therefore be meaningless. Not every queer drama exists for comfort or easy entertainment. Some stories are about toxicity, shame, longing, casual cruelty, chosen family, sexual confusion, emotional avoidance, and the daily loneliness that can exist even in crowded cities and active social lives. Those themes may not speak to you, and that is fine. But not understanding them is not the same as the show failing. You repeatedly frame your personal discomfort as objective failure. āI didnāt connect with thisā would have been a perfectly valid response. āThis is a show about nothing because I could not identify what the characters were supposed to beā is not criticism; it is a confession that you needed the series to do your interpretation for you. So no, people do not need to rate it below a 5 because you found it depressing or unresolved. Other viewers may have recognised the emotional, cultural, and queer-specific experiences the series was exploring. Your inability or unwillingness to engage with those layers does not make everyone else wrong. It just means the show was operating on a frequency you were not tuned into. Dislike it all you want. But calling it meaningless because it did not hand you clean motivations, tidy relationships, and a comforting conclusion says far more about the limits of your own understanding than it does about the writing.
Let's put things into perspective. There is no romance. It's called infatuation - this doesn't entail a physical romantic relationship, only admiration. Let's also put this into a practical example and something that is still a sensitive topic and highly controversial, namely the Kim Soo Hyun legal battle, where it is alleged that he had a relationship with a minor (who has since died in an apparent suicide). It would be highly unethical and cause international backlash if a show were to introduce an adult-minor romantic storyline, given the sensitivity of this matter in both South Korea and internationally... This would be career suicide for the actors and producers involved. So please, let's all enjoy the show for what it is... @markiepooh has also worded it perfectly in the response below.
This was such an incredible watch. I'm all here for Chinese BL. Just good-old sincere storytelling without the theatrics and cringe (here's looking at you GMMTV)
1 
The way you blocked people after running your mouth is honestly embarrassing. If Lu Feng is toxic for being hurt and angry, then what exactly do we call someone who insults everyone, blocks them, and then comes back acting innocent? King Toxic sounds about right š š¼š
You say the show is āinconsistentā because Ko Yeong is sometimes kind, sometimes cruel, sometimes loving, sometimes selfish, sometimes devoted, and sometimes avoidant. But that is not necessarily inconsistency. That is characterisation. People, especially people dealing with loneliness, trauma, shame, family rejection, desire, grief, and self-sabotage, are not fixed moral categories. A character being contradictory does not automatically mean the writers ādonāt know what theyāre doingā. It may simply mean you were expecting a much simpler story than the one being told.
The same applies to your issue with the Dublin Prize. Winning a literary award does not magically erase someoneās personal damage, financial instability, emotional confusion, or inability to sustain healthy relationships. You seem to think that because he receives recognition as a writer, the show should suddenly become about his fame, admirers, or professional success. But that would be an entirely different narrative. The prize is not there to turn him into a glamorous literary celebrity. It exists alongside the rest of his life, which remains messy, lonely, and unresolved. That is not a plot hole. That is adult life!
Your criticism of the flashbacks at the end also misses the point. When he returns to Bangkok, he is not simply being dragged through random memories for no reason. He is revisiting a place where he once experienced intimacy with Gyu-ho, and only later, in solitude, does he understand the emotional weight of what he had. The flashbacks are not there to announce, āThis was the perfect relationship.ā They show delayed recognition. Sometimes people only understand love after they have lost it. A shocking concept, I know, but human beings have been emotionally incompetent for centuries.
And the fireworks ending does make sense. It is not some shallow āeverything is wonderful nowā celebration. It can be read as a celebration of survival, self-recognition, and the fact that life continues even without perfect answers. Go Young does not suddenly solve love, identity, or loneliness. But he reaches a point where he can exist inside that uncertainty. The fireworks are beautiful, temporary, excessive, and a little hollow, which fits the tone of the story far better than a neat moral conclusion would have.
What bothers me most about your comment is the assumption that because the show did not resonate with you, it must therefore be meaningless. Not every queer drama exists for comfort or easy entertainment. Some stories are about toxicity, shame, longing, casual cruelty, chosen family, sexual confusion, emotional avoidance, and the daily loneliness that can exist even in crowded cities and active social lives. Those themes may not speak to you, and that is fine. But not understanding them is not the same as the show failing.
You repeatedly frame your personal discomfort as objective failure. āI didnāt connect with thisā would have been a perfectly valid response. āThis is a show about nothing because I could not identify what the characters were supposed to beā is not criticism; it is a confession that you needed the series to do your interpretation for you.
So no, people do not need to rate it below a 5 because you found it depressing or unresolved. Other viewers may have recognised the emotional, cultural, and queer-specific experiences the series was exploring. Your inability or unwillingness to engage with those layers does not make everyone else wrong. It just means the show was operating on a frequency you were not tuned into.
Dislike it all you want. But calling it meaningless because it did not hand you clean motivations, tidy relationships, and a comforting conclusion says far more about the limits of your own understanding than it does about the writing.