No dream is too small or big

This review will be my thoughts during the movie in order:

1. PSJ! How long has it been since I saw him! How amazing it feels that he's back!

2. IU! Quirky and no-nonsense. Her role felt smaller but IU gives the character its own life and personality through her incredible acting.

3. The backgrounds of all the characters are duly established without interrupting the flow of the story.

4. There are good laughs as well through the team's bickering. Their bond and brotherhood is well portrayed. When they all come together to help Yoon Hong Dae, it's a laugh riot. "Why are you telling that to my thing?" I had to pause and laugh at that.

5. However, the plot feels quite formulaic, the narration is routine and the characterisation of the two mains lacks more depth.

6. But that's just a little downside. The film achieves all its objectives: 1. It makes a statement about the homeless and addresses the main argument against them- the smell and their untidyness. 2. This is the second PSJ outing to have a queer character (if I'm not wrong). There's not as much focus on him but what's important here is the others' reaction to the character's confession.

7. Thirdly, it defines a dream and justifies the title. The climax is very satisfying. The single most original plot point of the story and it is delivered with a resounding goal.

8. I think if we look closer, it also speaks of how we are all ultimately made and broken by fellow humans.

9. The film can be rewatched, if one can bear with the customary screenplay. The music is good and hummable.

A dream is any hope we foster to go on with our days. It could be of a daughter wanting to spend time with her father, a father repenting his past, an athlete tiding through the tough times of his life, a companionship between an unlikely pair or a young man's desperate search for a friend. No dream is too big or small.

This is not a story of underdogs beating the table-toppers to clinch glory. This is a celebration of normal humans, their ordinary dreams and their extrordinary perseverence. That is its beauty.

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Medical dramedy done right

I don't watch dramas when they're airing. The wait for the next episode is too much. But Dr. Cha makes it easier to bear, worth the wait infact. With her kind words and smiles and overall adorableness.
Contrasting her is her husband Seo In Ho who clearly does not deserve her. Competing with him (nearly) is Roy Kim who is literally The Standard (TM). There is the other woman in Sung Hee. The kids, Jung Min, I Rang, Eun Seo and the grandmothers form the main cast around whom the story revolves.
Dr. Cha has everything going for it- good music, cast, performances, plot and emotions. The themes around which it revolves are extremely well done- starting over, self discovery, midlife crisis, a tiny bit of medicine, affair and its problems that are not just jealousy, etc. The characterisation is wonderful as well. However, the screenplay is bizzare in a few segments and some directional faults are obvious.
Right from around 4th or 5th ep, there was a feeling that the show wouldn't end like I want it to; one which is solidifying as more episodes unfold. But Dr. Cha can also dole out good surprises so for now, I'll keep my hopes on that.

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Doldam squad is back! I mean both the cast and the crew!!

Dr. Romantic is probably one of the very few series that keeps going consistently in all its seasons and even betters itself. S2 confirmed it and S3 is looking to cement my opinion.

The stage is all set and all the players are on board. That includes Director Park Min Guk who is now on Kim Sabu's team. And what a cute pair they make! with Director Park following Dr. Kim around like a puppy, discussing the hospital with him, taking his advice, respecting his decisions, nagging and whining at him. It feels so wholesome. As if S2 ended yesterday. And that applies to all characters. They don their character skins like they never changed out of them and played other roles.

Two new doctors join Doldam this season- Jang Dong Hwa (Lee Shin Young) and Lee Seon Wung (Lee Hong Nae). They have interesting traits and their arcs look promising.

Another aspect that continues from the previous season is the character dynamics. Woo Jin's reverence and affection towards Kim Sabu, the two playful romances between Woo Jin and Eun Jae and Ah- Reum and Eun Tak, the friendship of Nurse Oh, Dr. Nam and Gi Tae, the camaraderie among In Soo, Bae Mun Jung, Woo Jin and Eun Tak, are all preserved. Mr. Koo makes an appearance too!

The theme song, background score, the medical accuracy and the nostalgic shots of the Doldam Hospital are other things you can see.

I have mixed feelings about the actor who plays the antagonist but keeping those aside, he seems well written, almost as well as Director Park from S2, while also baring some uncanny similarities. He has the motive and means to be a formidable opponent and his story is something to watch out for. Though I wonder if I'd be any more sympathetic later.

As always, ratings may fluctuate as the episodes go on but I doubt the rating would change. Even if it does, I'd say it would be an upward change.

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It goes from cute to cuter to cutest

Do you remember the romance of yesteryears? When it involved a lot of hugs, cheek kisses, sweet gestures, and not-yet cheesy lines? Maybe not. In many ways, MSP was a trip down the memory lane back to those days of schooling. And this is from someone who hates going back to them. But I see it everywhere in the series- in the secret admiration, the gentle build-up of feelings, their smiles of happiness, their buddy gang. It's in the air.

MSP is the story of the school president and the guy he likes. Quite literally. They make us like them and root for them with all the fluff they ooze. Tinn and Gun, singly and together, are two balls of warmth that light up the screen from the moment they arrive. Gemini and Fourth are excellent casting choices for the story and the characters they play. Tinn and Gun need some softness and delicacy in their portrayal that Gem and Fourth bring to the table in tonnes.

But it's not just about them. Since Tinn is the school president to, well, everyone. He brings the rules to the music club, and solutions to the difficulties presented by the rules as well. "The rule doesn't stop me from hitting on you." Was it routine/expected/previously said? Yes. Did anyone else say it this way before? No. So, did I scream? Yes. This is the only example I remember. There are many others.

Gun needs an audience. Tinn becomes one. He needs to write a song. Tinn gives some advice (that he knows). He needs to be picked up and put back together. Tinn lends a shoulder. Their story is heartwarming and fulfilling.
Then there are the others in the music club who are each their own character and not Gun's sidekicks. The rough and gruff Sound, the constantly irritated Win, the shy and quiet Yo, the naughty Pat and the softie chef Por. Then there is Tiwson, the best wingman there ever is. Kajorn's small character is also not without its quips. He reminds me of Mr. Filch- always out to get the students. MSP is incomplete without them.

They are typical teenagers with dreams. They have typical troubles and typical fights. But they bond over BBQ Pork and music. They push each other up. After pulling each other down. They sink and sail together. Doing typical teenage stuff. Like lazing about one day before the competition, postponing practice to eat food first, bad grades, group studies, going on trips, getting caught lying, help their mate impress his girl. Does this remind you of anyone? Perhaps, yourself some years ago?
When they say boys will be boys, they mean this. (Please take a note) (Of course, this would have been true had this been a girls show as well).

I was done for when they danced for Nook. It was so lovely. I can't remember the last time it happened. See, it is possible to do the old school stuff without making it cringey. It is possible to say Guntaphon Jirawattanakhul while praying. It is possible to say they'd wait until after college for getting together. It is possible to ask to get married right in high school. It can make you swoon. And squeal. And yearn.

It's this depiction of teenage that is beautiful. They are not adults yet, and they do not behave or think as one. They are not kids anymore and do not behave or think as them either. There is hesitation, uncertainty and those moments of teen bravado that makes them bold enough for a minute to confess, spill the secrets, make a move, admit the truth. It's a delight to watch the show. Then there are the parents. Questioning themselves over their teen children, wondering if they were good enough, debating over what is right and wrong. I would have liked to see the mothers interact more. They look like they would have become good friends. It's ok, though, if that is left for us to imagine.

The songs and the music deserve a special mention. I liked them all, but most especially the Thank you and Rock and star. I did wonder if the homophobia in the last episode was necessary. But I liked how it was not added just for the sake of it. And how it was resolved. The tears in Mrs. Principal's eyes? Yes, perfect.

I thought nothing could trump Light on Me as far as school stories are concerned but I'm bowled over. It's a complete package - MSP - the story of Gun and Tinn. It reminds us of those love stories that begin in teenage with sweet rosy promises of "together forever". We perhaps looked back and laughed it all off as dumb shit. It was teen love, after all. But then they come true, and we are surprised. "They are still together? How did they make it work? What was in their love that it stood the test of time?" There are so many burning questions!

Like TinnGun or GunTinn?

I have one of my own. What of TiwsonPor?

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Unsung heroes

This is the kind of school drama we (or at least I) needed. Black dog, the dog that no one adopts at the shelter, or the dog that is left behind, or the dog that is unnoticed (I nearly cried at that close up shot of the little puppy). It's the dog that silently waits to be recognised. Much like the teachers at schools who struggle behind the scenes to make the magic that is a school year (senior year, in particular), work. So maybe, Black Dog is more a workplace drama but irrespective of the name or genre, it is the heartwarming story of one Go Ha Neul and her life as a teacher at Daechi High.

It's not just her who is the Black Dog, though. It's all of the College Advisory department- the loud and gruff Park Seong Soon, kind and perceptive Bae Myung Soo and the charismatic Do Yeon Woo. It's also Ji Hae Won who's been under contract with the school for six years and those who are permanent fixtures at the school. Black Dog is their story. It centres around teachers and tells their story- stories that are unheard of by the walls of the school.

By showing teaching in a new light it prompts us to think. How many of us knew what happened behind the screen in the staff rooms and departments? As students, our only perspective of those who teach was as a teacher- a homeroom teacher, a maths teacher or a social sciences teacher. Beyond that they were also as human as any of us with likes and dislikes, dreams and aspirations. Even excluding those, it’s probably not as easy to be a teacher as they all make it seem.

Case in point, Go Ha Neul, who struggles from day 1 to be the kind of teacher she saw as a student and realising it’s not as easy or rosy as she thought. She is new and a bit naive but is worldly enough to accept the challenge and face it head on. My most favourite moment of her will be when she realises that teachers can be wrong as well. Seo Hyun Jin, whom I’ve long disliked, aces the role so well that she might have as well been Go Ha Neul her whole life.

Go Ha Neul’s relationships with those around her also deserve a special mention, though these pertain more to her character than to the story. Be it her open adoration of Seong Soon, or her camaraderie with Myung Soo, Yeon Woo, Yi Boon and her students, or her guilt-ridden gratitude and friendship with Young Sook, there is an earnestness that’s endearing and inspiring. Her perseverance, determination and effort are laudable. And when she exchanges couple-teddy bears with her favourite person, it’s just plain adorable.

Black Dog’s biggest strengths are its characters- they are flawed, and hence relatable. The world doesn’t just have teachers like those in the College Advisory team. There are people like Song Young Tae, Han Jae Hee and Ha Soo Hyun as well. Likewise, there are students who are unlike Goo Jae Hyun or Jin Yoo Ra. Black Dog makes an effort to include all these little things and incorporates them fittingly into the storyline. The back and forth storytelling narrative also keeps things from becoming boring.

Black Dog wouldn’t have been possible without the stellar performances of its cast. They are all natural and in their element. There is no romance, but plenty of chemistry and honestly, Myung Soo’s suggestion in the final episode should have been given much earlier. The music, clothing, colour palette and cinematography all contribute together to the gentle and soothing feel the drama aims to give. The twinkle in Ha Neul’s eyes every time she’s happy is just the cherry on top of everything.

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Crush on them all!

My first love with this series definitely goes to the colour scheme. Nuea and Toh are mostly seen wearing the oranges and blues respectively (which you know are complementary to each other on the colour wheel, if you’ve studied basic colours) and Sky and Jao wear derivatives of red. It’s not just easy on the eyes, it’s very beautiful to see. This is just one small instance that shows the depths to which the production went to craft out the series. Coupled with excellent actors with fantastic platonic and romantic chemistry and a solid storyline, SCOY makes for an amazing watch.

In a nutshell, Toh has had a crush, no secret crush, on Nuea for long and SCOY is his journey of love. There’s no need to ponder about the difference between a crush and a secret crush because there are well set rules for having a crush in secret, that we are introduced to early on. One of them being, three equals to four. Contrary to common logic, it actually makes sense. As does the concept of secret crush, but it requires us to sit through two or three episodes to understand that it’s not the same as stalking. Toh’s crush on Nuea is his one single obsession in life. It’s not something that fuels his day, it’s what his day itself revolves around. From a completely different perspective, one could call it an addiction of sorts– but it hasn’t yet progressed to the stage where it’s troublesome to either character. Toh is very well aware of what his crush could amount to. He's still sane.

This delicate characterisation and portrayal require extreme care, caution and dedication and this is the show’s greatest asset. It succeeds in depicting an exact likeness of the character as it was conceived in writing. Toh was translated flawlessly from thought to paper to screen. And was given further credibility (and adorableness) by Seng. Normally, Toh is the exact sort of character I hate in stories, books, shows and real life but no one except Seng could have sold Toh for me. I even actually like the guy! Billy is likewise perfect as Nuea. He isn’t the typical overbearing seme. Even when he’s possessive, jealous or sad, his innate softness never goes out of the picture. I can wax poetic on how excellent Jao is, how he rocks pink, how he looks like a cute, squishy human plushie, how he’s just this soft and chubby bear who screams of comfort and gentleness.

You don’t see SCOY compromising anywhere- be it in the plotline, characterisation, costumes or production. There’s mature handling of practical problems that arise in relationships and it’s a treat to watch, especially after the stack of illogical and toxic stories we’ve had in the past. This is not to say that SCOY is impeccable. It has its share of negatives but none of them are disturbing. All of a sudden in the middle of the series, Daisy and Intouch are made the third couple but their track doesn’t have a proper beginning, middle and end. There’s inclusivity sure, but why is it not well presented? One sentence about Daisy’s problem to inform the audience about it and another to resolve it are not how a third couple should be treated. Kongkwan and Fon suffer a similar fate but at least, they are more of a side couple who’ve already got together.

For that matter, SCOY doesn’t resolve a lot of minor conflicts it brought in to further the plot. Kong? Peach? Prao? Flowers at the end? In that sense, SCOY isn’t exempt from how it uses the cliché of a jealous female who comes in between the leads. Prao gets the worst deal of all (especially after Ging’s super awesome Nadia in My Ride). One episode, Nuea and Prao are together and the very next one, Nuea can’t bear the sight of her. Why? The uniforms are different for a change, but it’s basketball again(?) Truthfully though, this is more my dissatisfaction than any criticism speaking because the show is enjoyable regardless. When all is said and done, “Secret crush on you” and “You’re the magic in my life” keep ringing in your ears and there’s a lingering smile on your face. Success? Yes!

P.S.- (repeat after me) We need more of Saint (and his productions)!

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Diagnosis: Borderline insanity, can't be cured.

This is bad on so many levels that I stopped counting after a while. Maybe I shouldn't have started at all? Or else not gone into it with the barest of expectations? I'll never know. Physical Therapy is one of those series that requires fast forwarding or skipping even on 2x. 12 episodes is too much and the story would have been more successful if the number was shortened. Clip some of the length and it would have been enjoyable as well. But it keeps wavering between whether it would like to be plot driven or character driven until the very end and makes use of one to go ahead when the other reaches a dead end. This struggle is painful to watch.

There is not much to the plot either. It's haywire and all over the place, peeping in and reminding us of its presence when the makers think they need to pause the romance between Milk and Pun (which is bland and baseless). Cinematography is childish and the characterisation is bad. Several plot points in the story do not make sense at all but towards the end, expecting them to make sense is just... senseless. The series is littered with a herd of characters that have no work to do. Milk's brother and friend disappear mid way together with the dog, Rosé and her guy pop in at random and I never caught the names or faces of half of Milk's friends. It makes me want to ask- how can anyone be so careless while constructing a plot?

Just when you think the show can't possibly become more ridiculous, in comes the typical female character who is toxic, overbearing and overused and Aek's reason for the breakup. Aek wasn't dealt the worst hand, considering everything actually. It's us- we are the ones that lost. If they weren't going to handle it properly, why bring it up in the first place? Aek and Milk broke up and Milk is unable to take it- a good enough point in itself. It doesn't need any further validations, let alone a nonsensical one. Furthermore, in what is one of the most unbelievable and frustrating scenes ever, we have Aek's friends telling him they'd treat him properly, with basic courtesy, in response to his "problem". *throws up hands because wth!*

Yet, Physical Therapy has its moments (even though they are so few that you'd need a magnifying glass to see them). The courtship period was good even if a bit on the slow side and Milk's family dynamics were cute. That scene where they're all sleeping next to each other on the floor? Single best scene in the show. Then Milk and Pun with the kid save a nanocentimeter of the crappy ending. Maybe I'm just desperately looking for some good here, but the show seemed watchable in these moments.

If you don't watch this, you'll be saving yourself from a boring script filled with clichés, unoriginal dialogues, bad acting (ALL of them need to improve, no, have an acting makeover more like), illogical story and characterisation, lots of second hand embarassment and equal amounts of cringe. I would definitely not recommend this unless some slow moving melodrama bl is what you're looking for. Even then, there are better ones. Choose them first.

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A beautiful ghost story

Something in My Room is littered with metaphors be it when Nuan says the glass is broken and she'd like to repair the wound or when Phat and Phob realise what is holding Phob back. It speaks of the different kinds of love that exist and how none of them are inherently good or bad. The fact that they make Phat say "humans are scarier than ghosts" in one of the initial episodes and then basically go out to prove it is no coincidence either. Looking at it just from a literary standpoint, SIMR is a wonder whose beauty lies in the things it leaves unsaid; open for interpretation while simultaneously being explicit in its intentions.

The story, in a nutshell, is what happens when Phat discovers a ghost, Phob, lurking in the new house he shifted to and decides to help him move on in 49 days. It's an unforgettable journey we make together with them as they navigate the complexities of life, love, humans and ghosts. There is always more than what meets the eye and as the end nears, we realise that no dialogue was offhanded. Furthermore, there are thought provoking remarks about ghosts and aliens, included in a small but meaningful subplot involving them. The care and sincerity that went into presenting the story is visible in every frame of the series.

Bringing the characters alive through their talent are Nut and Plan whose flawless acting makes their every emotion tug at the audience's heartstrings, sometimes in pain, sometimes in longing, sometimes in grief and sometimes in happiness. While the romance is not rushed, it doesn't exactly seem to have been slowly growing in the background. Their chemistry, on the other hand, sizzles with an adequate amount of proper skinship and hot, unreserved, kiss scenes that are simply to die for. Green, Took, Phiao, Faii and Big deliver seamless supporting performances that only add to the beau-no, to the eeriness of the story. The background music is suitably sinister without being spooky and maintains the air of mystery looming over the show.

However, there are a few minuses. Dreamland seems to have been used at convenience- want to communicate? or fuel your paranoia? or write off a scene that doesn't fit into the story? Dream on! Telling Ben and Phob's complicated story through Ben's drama was also a poor choice because it ended up causing unnecessary confusion. Love is used as an element to make, break, heal and cure relationships. It may make one overprotective (Phat's mother) or lie (Ben) or bull-headed or manipulative. Given such a raw portrayal, it makes me question the nature of Phat's life as he recounts it at the fag end. It's obvious where his heart is and who he loves, so what was the reasoning behind a certain choice of his? That love makes one wishful? Phat wouldn't have let go in the first place then. It's a circular loop of doubt. Luck's story remains a mystery but it's unclear if there was no time left to explain it or if they meant to leave it as "some things are inexplicable".

The ending wasn't bad or predictable or unrealistic but it wasn't new either. I kept being reminded of similar endings and hence, it was a bummer. So should you watch it? Yes. Re-watch it? Yes, whenever you want to escape humans because they are scarier than ghosts.

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Cupid strikes but the arrow misses.

Is this the season for experimental BLs? Given the releases we've had in 2021 and 22 (until now), the answer is a yes. Whether it was the groundbreaking portrayal of frenemies to lovers in Bad Buddy or exploring vampirism in Kissable Lips or the soft anti-heroes of Not Me, it's delightful to see BLs leave the greener pastures of college romance to venture into the wonderland lurking just beyond. Cupid's Last Wish is another such attempt in how it's a road-trip BL and for the most part, it delivers without being too didactic.

Once unraveled, the plot of CLW is quite routine. But being set against a rustic backdrop with an interesting set of main characters, suitable music (barring the segment that induces delirious dancing), the little moments of epilogue at the end of each episode, the relevant flashbacks, and the charm EarthMix carry forward from ATOTS, elevate CLW onto another level. Jan's Lin playing Win is another advantage. It's not often we see a clingy and huggy female character who does not whine and act spoiled at the same time. She's just someone who likes to be physical. As Win, she also kicks some butt and goes into Super Dino Mode- Aggressive but one wishes she did that as herself as well. Body swap in dramas almost inevitably includes periods and is usually nauseatingly cringey but CLW treats the subject with due care. It is intelligently incorporated as a plot device with some timely situational humour that gives us an insight into the characters as well. Seeing Mix in that role is both hilarious and endearing. I almost wanted to give him a painkiller.

Then we very obviously have to talk about the swap that happens and the apparent misrepresentation in the show. To me at least, it didn't exist. Korn recognises Win from the moment he wakes up and he keeps addressing him as such and though we see Mix as Win on screen, Korn is actually looking at Lin as Win. The Win he loves may have changed bodies but his love for Win remains the same. Right from the beginning, the whole point of collecting the holy water was only to be a means to an end. The monks' questions and advice are nothing profound or new; they are just the exact set of words that we (and Win) needed to hear to change. These important interactions are disappointingly short but they are to the point and do not take away the real personal growth that the show intended to portray through the journey of 7 days.

When almost nothing was going wrong for the series, the finale arrived with a bang. From what I took as a cue in the first episode regarding how the monk is informed of the car accident, I expected the reason behind the writing of will to be the last wish of the real cupid of the show. Maybe we'd discover a hidden letter from Win's father explaining his actions? As it turns out, the ultimate plot twist is so nonsensical that it is shocking. Absolute zero rationale. Win's aunt and uncle have no real purpose and they might have as well not been a part of the drama for all that they were present and made themselves useful. Non is bright, but there's not much for him to do. While these may exactly not hinder the drama, they do stand out as eye sores.

Who Cupid is and what his last wish is are two questions that remain unanswered but truthfully, Cupid's Last Wish is really about EarthMix fluff. Need any more reasons to watch it?

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A Korean billionaire romance with potential

Seven episodes in, I'm yet to see what the proposal is or what it has to do with any of the businesses in the show because the contractual relationship doesn't seem to be it considering how it was treated. ABP is also guilty of following several stereotypes and clichés that are now so old that they might as well be outdated. How many times haven't we already watched/read a story of a fake identity/contractual relationship? In how many dramas have we not seen women subtly or unsubtly directly or indirectly taking each other down? Since I've not read the original work this series is based on, I can't say if this typical storytelling is the brainchild of the author or the screenwriter but for the premise it promises, it certainly lacks substance.

There is the usual hardworking middle class family of the female lead, her equally crazy and supportive best friend who, refreshingly, has a thing for the second male lead, the charismatic and rich hero who has a tragic past, a sweet and reserved SML who is his best friend and an eccentric grandfather who just wants to hold great grandchildren in his arms. So the characters are ready and the foundation is laid but when these are established, there is not much to take the story forward. ABP thus transcends genres in the sense that it jumps from comedy to romance to what is looking to be melo. The point of discontent here is that the story had (still has) potential but instead goes chasing after useless elements.

An unrequited crush who leads the heroine on, his on again-off again girlfriend who is existentially jealous of Shin Ha Ri and a perverted neighbour are not how a plot moves forward, at least not in 2022. Of course, the men save their women every time and the two women have nothing to talk about other than their suitors or love interests. When this first happened in episode 1, I decided to wait out and hope for some betterment, seeing that it all begins with a blind date, but nothing seems to have improved from then to now. While passing the Bechdel test is not indicative of how well a series does, it is tiring to see women whose entire lives revolve around men, and not themselves. That the original novel has a better reason for Ha Ri agreeing to the contract is just another fact to lament.

BUT, the male characters are written well. Their traits are cute, lovable and new. A big plus to ABP's characterisation is their gentleness. How often do we find an old man addicted to dramas so much that he actually sets up alarms and gives a running commentary while watching them? I can totally see Ha Ri's mother and Tae Moo's grandpa hitting it off when they meet. Tae Moo, in turn, maybe an archaeopteryx who for whatever reason puts on a cold and severe look (that looks very put on) but he's actually a big softie who likes to clean Sung Hoon's apartment whenever he's stressed. Then there's this fuzzy fur ball of a Sung Hoon who's just fluff bundled into a human. Nothing much can be said of Ha Ri and Yeong Soo but the food product development team is a delight (pun intended). Music delivers and at this point, the drama is watchable only for its actors.

It's not that ABP is bad. Even though it takes its women for granted, it gives them room to breathe. They make their own decisions and they initiate the relationships when they are ready. There are no toxic narcissistic overbearing tropes to be found. It's just that ABP fails to utilise its characters, their quirks and a solid foundation of a popular and successful premise.

NOTE: Ratings may vary by the time the drama ends and if, like I'm hoping, the show redeems itself, this review may vary too.
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EDIT: Turns out I was rather wishful. The last two episodes were particularly over the top dramatic, as if no one knew how to end this story. I guess they didn't. The characters don't change and even until the end, remain good on their own, failing in their dynamics with other characters. The plot takes unnecessary turns that are illogical and are not given a proper closure. Min Woo and Yoo Ra remain consistent in how much of a train wreck they are and their arcs remain meaningless. Tae Moo's past also meanders into a dead end.

There is some pointless last episode drama as well and we see some deviation in characters here- favourite grandpa unusually (but maybe not unexpectedly) turns into a typical mother-in-law and instead of seeing a rosy wedding (which in my opinion would have saved the drama's ending), there is just added frustration. He also never got to meet the owners of the chicken house and he'd wished his granddaughter be from a modest family like that in the first episode. *sigh*

Even though it puts a smile on our faces, ABP largely remains a wasted potential and the lone bright spot remains the Tae Moo- Sung Hoon duo. It makes me want to ask- why are people still writing such shallow plots and why are people still watching them? Most importantly, why is it that people think visuals and kisses can salvage a story? The high ratings should probably explain it.

All said, ABP is cute and light hearted and those looking for some sweet mindless romance will definitely like it.

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Oh! That was fun!

Oh! Boarding House is what happens when a bunch of adorable characters decide to stay together at the same boarding house. The first episode is a riot. This series has one of the best opening episodes I've seen-- not to mention, the hilarious reason behind it. But that is where the entertainment quotient ends and the love story begins. Is it cliché? Yes, but it feels new. Is it predictable? Yes, but it makes us watch till the end. It has every kind of common flavour that is seen in bls and regular dramas alike, complete with a love triangle, a straight side couple and visibly distinguishable seme-uke vibes. But the characters and actors are cute and it is just two hours long so OBH is an easy breezy watch.

However, the pacing is off. It noticeably slows down in the second half and though there are no filler moments or dialogues, it still lags. The story itself is not without its faults. Seol Won is broke and jobless and apart from managing the lodgings (which I admit looks like a full time job in itself), doesn't make any efforts to look for work even though he has some outstanding amount to be paid. The main love track is a slow burn and spends a lot of time in the "not friends-not housemates- not just a tenant- not yet lovers" zone. The actors emote well and effectively convey their emotions but are lacking in terms of a good chemistry. These two points make their overall arc a bit boring towards the end. Furthermore, this series functions as an advertisement of sorts to Nobleman Ryu's Wedding and Behind Cut.

To give credit where it's due, the romance is natural and suitably age appropriate. So while we have two twenty five plus men getting shy over an intimate scene on TV, they don't shy away from affection in real life. It shows a certain level of maturity that other shows don't have. There is also decent character development, except Seol Won's, which is ironic. My heart went out to the sweet, jealous and still level-headed Bong Deok. There is proper communication between Hee Su and Ye Min (even though Hee Su takes the initiative and does most of it) and both know when to give in and when to hold on. More instances of mellowed story telling (which warrant the 8 in the story rating). Music barely stands out; cinematography is okay. OBH has a long way to go to be perfect, but is rewatchable whenever someone wants something simple and light.

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Beautiful but flawed

FLA is the story of a man who remembers his past lives (the last three of them) and is waiting to be reunited with his lover - something that hadn't happened in any of his other past lives. The reason for his remembrance and his continued reincarnations, is because what he wants is love. His first love to be precise. FLA and Yeon Seok lead us to assume that his first love would 1. Reincarnate 2. Reincarnate in the same time period as him 3. Meet him and fall in love with him again. 4. Is born with the same name again. FLA leads Yeon Seok to assume the same as well, because of which he keeps waiting for Ha Yeon to show up. Maybe we would have benefitted from seeing what happened to a Yeon Seok who didn’t meet Ha Yeon or fell in love with someone who was not Ha Yeon.

But FLA is a simple series and likes to keep things that way. It takes some chances and liberties to be as uncomplicated as possible, sacrificing some crucial developments of character and plot in the process. Jin Hyeok serves no purpose in any timeline. It’s unclear what he wants from Ha Yeon. The situations we see him in are obviously made to look like he’d like to pursue Ha Yeon but he never makes a move. Ha Yeon himself was so ambiguous in the beginning that I was sure he remembered as well. His adoration of Yeon Seok and his novel seem to stem from something deeper. But those threads are abandoned. There are other unanswered questions like- is Yeon Seok going to keep reincarnating until he finds his love?

That said, this is truly a five character-six episode series that does justice to its time and the story it takes up. By keeping the plotline simple, it avoids drama and is able to present its issues in a realistic and empathetic way. The leads’ conflicts on finding out the harsh truths may be predictable but they appeal to our emotions and make us root for them. This is further accentuated by some amazing performances from Jin Gun and Jeon Chang Ha. Even if the resolution of the conflicts is a disaster (we never got to know why Ha Yeon changed his mind; in that respect we also needed a better confirmation that Yeon Seok of the present loved Ha Yeon of the present, than one single statement at an offhanded moment), the story achieves its objective.

Reincarnation is more or less an unused trope in bl. Fantasy is not. Therefore, FLA plays out pretty well overall. It is amply helped by good cinematography, costumes, visuals and music. Though the ending is warped, its emphasis is, in what is a pun on the title, on falling in love for the first time, much like Because This is my First Life is about experiencing life for the first time. That redeemed the entire show for me.

PS- don’t miss the epilogues.

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Colossal mess

Reasons for a 5.5 (the lowest I ever rated a drama):
1. Spoiling a good premise
2. Mishandling of well set characters
3. Ruining first season

Reasons this still gets a 5.5:
1. Mark & Kit
2. Kimmon & Copter

P'Pa singlehandedly upsets the delicate balance on which several friendships and relationships were loosely hanging on by and that is pretty much the entire story. 4 eps or so in, the focus that was equally distributed on all 3 couples tilts completely onto Wayu and Thanu, whose plotline is sedative at best and a melodrama at worst. Everyone around them knows how their relationship ought to and ought not to be and why and watching the few romantic scenes they do have between them is just a painful cringe. The situations change and the dialogues are slightly tweaked but it's pretty much the same- Wayu is uncharacteristically confused and muddle headed and Thanu is going to quietly wait until Wayu comes around. We understood that the first time, can we move onto something else now?

Problem is, GenY2 tried its best to present realistic issues that may arise in relationships in a very unrealistic way, not to mention said issues are resolved improperly at best and incompletely at worst. Long distancing, dealing with the exes of past in the present, the difference between the love we give/want to give and what actually the other person needs, the respect that exists in the relationships, meddling third parties...are an interesting set of obstacles one may encounter and thus make for good story elements. But what use are good ingredients when the cooking is a disaster? We are not even talking about Destiny and Fate that were needlessly incorporated into the story in S1. Why have the hide and seek happen and visions of a possible future unfold only to refute the concept of Destiny and its role in love 12 eps later? But then, what about Thanu and Wayu whose story and journey together is an antithesis of the moral GenY2 perpetuates? Furthermore, Sandee, Phai and Padbok are given endings that make one go, "That's it? That's the reason?", making their entire arcs meaningless. Likewise, P'Pa is an unnecessary character if all we are going to get as a reason for him abandoning Wayu is that. 'I don't love you anymore, this is not working for me' is a much better reason.

Wayu and Thanu take up so much of the storytelling that the others don't get their due, Pok and Tong taking the brunt of this damage. Mark-Kit manage to have an exclusive spot for themselves but what little they have is complicated by their (irrational) decision regarding Kit's scholarship. Jack-Ko are necessary (and welcome) comic interludes but Sandee's small crush on Phai is never addressed. It's a pity that everyone except Wayu-Thanu had so much to offer but we see so less of them. Ever since S1, I've had the feeling that Wayu-Thanu were supposed to be the "mature, soft and gentle couple", Mark-Kit, the "cute and playful couple" and Pok-Tong, the "hot, messy, teen couple" and S2 reinforced my belief. But there is a way to show "mature, soft and gentle" and this is not it. The actors are good, except Dun, who needs to improve. Gen Y2 is something that needs fast forwarding even when you're watching it on 1.5x or 2x mode. That says everything about the mess of a drama it is.

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Wonky and hot vampire romance

Kissable Lips lives up to its name in the sense that said lips are truly extremely kissable. But, for obvious reasons, the kiss doesn't actually take place until towards the end- and when it does happen, the twenty seconds kiss is totally worth the wait. A dying vampire, Jun Ho, finds a solution to save himself on a chance encounter with fellow college student, Min Hyun and falls for him in the process of making Min Hyun fall for him. The story is that simple and basic; surprising considering that it deals with a heavy subject-death. It derives its charm from the excellent acting, Chemistry (with a capital C- that eight in the rating is solely for that, and the sexual tension) and visuals of the leads, the lilting background score and the picturesque shots of cinematography. It is well paced and gives due weightage to its characters, without going overboard with any of them.

However, the story takes far too many creative liberties with the plot and leaves room for a lot of explanation. There is no prologue to how vampires came to exist, which wouldn't have been a problem if the plot's focus was not on the death of one. Alright, they exist, but how? Min Hyun's brother seems to know all about vampires but what is his source? Did something related happen to their parents? He also disappears after warning Min Hyun about Jun Ho and learning his brother likes a vampire, which is in contradiction to his paranoid actions until then. After knowing where Min Hyun was spending his after school time, was his brother suddenly okay with Min Hyun's decision? What do Hae Soo's red eyes signify? And is his ending justified or necessary? And the biggest question of all that is left hanging and forgotten- who exactly is Ok Mi Ran? If she's a vampire, why does she look old (seeing that other vampires are young), if she's not, what was she doing with that bag and how did she become friends with the vampires? Turning, which is usually a big thing in any vampire/werewolf/creature stories, is glaringly missing. It's not mentioned even once.

Realistically, it's probably impossible to address all the above issues, but a single line here and there, even in passing, about at least the most obvious of the problems, wouldn't have hurt the narrative. That said, I'm impressed with the ending, with the choices they make and the future both decide to face, with the ending the show decides to give the viewers and how. It's not often that the pain and beauty of love are so well portrayed. Kissable Lips has a melancholic air to it that is masked by the romantic effervescence between the leads, until the very last minute of the drama. It's maybe not everyone's cup of tea, but those who taste it, will definitely find it enjoyable.

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Deadly Tales

Thai BLs are known for their diversity in setting up their stories. We can find almost no two dramas alike. The characterisation is unique to each show as well. Clearly this was sarcasm and anyone who's watched Thai BL shows has already figured it out. We have the few rare exceptions like A Tale of Thousand Stars, but experimenting with the genre of crime thriller in BL, a world that has been predominantly romantic so far, is a new and fresh take that is really unique.

In that sense, MoD has much to offer. Once unraveled, the plot is relatively simple despite how convoluted it initially appears to be. It's this simplicity that's brilliant- the motivations of the characters that caused them to act the way they did, the manipulations, the betrayals, losses and the subtle gore are all well written. At no point of time does the show attempt to gloss over the gruesome parts; it confronts them head on and incorporates them into its core. Much like the Voice series, there is no shying away from the depiction of evil in its barest form. It is a particularly commendable effort.

Contrasting these heavy themes is the sizzling hot romance of Bun and Tan that is excellently brought to life by the insane chemistry of Max and Tul. There is the equally cute side pair of That and Sorn which is just as pleasing to watch, butterflies in stomach included. There is a blink-and-miss moment between a third pair as well towards the end of the series and honestly, I want to see more of them.

To watch MoD, however, we need to set aside certain basic standards of logic and reasoning, in fields of both medicine and law, that we have grown accustomed to. Townspeople don't appear in the show again after that brief stint at the beginning. The hospital neither looks like one nor has any significant number of staff or patients or doctors. Even if I'm not a native of Thai, coming from the medical field, I do have a small amount of medicolegal knowledge that felt challenged at every episode- like how a police personnel is not present during autopsy. The investigation of the murders, or what we should understand as one, feels incomplete and inadequate. It's as if everyone forgot fingerprints or GPS tracking existed. Even the media, when it is called in as a plot device, is hardly more than an announcement heard over mobile phones. There are several other loop holes (the villains failing to catch the leads despite having force at hand) and lose ends (the mysterious second memory card) that remain unexplained.

The problem is, all these avoidable mistakes decrease the credibility of a well written story. It was sometimes quite challenging to sit through the forty minute ordeal. Yet, none of the scenes could reasonably be called fillers. So what was the issue? The poor amalgamation of the various intersecting story lines. Until That and Sorn became involved in the crux of the plot, they were barely just more than extras. Romance runs parallelly and is often abrupt. The car scenes didn't appear to be filmed properly. On the whole, it gives the appearance of a haphazardly patched up cloth of rags that is torn at best and missing at worst. The story frankly deserved better treatment.

Characterisation was not bad but there was an overabundance in some characters and a glaring lack in others. Bun is the multitasker of the show. He is firstly a medical examiner who doubles up as an emergency doctor performing surgeries (without proper equipment) if the need arises. He investigates the case on his own on the side and at home, he is a chef. Tan pales in comparison, having nothing next to a protective instinct towards Bun and a sad past to back him. He could have been a little more twisted for how grey he was. On the other side, the mastermind behind everything is shown to be far more evil than the perps who actually did the deed. They are equally bad and should have been shown as such. Similarly, Inspector M was an interesting character who deserved more depth than he was served.

One of the best things the show gets right is also, ironically, the character dynamics. The single straight relationship in the show is unequal and imbalanced. Por, Pued and Tan and Rung and Jane represent textbook definitions of toxic relationships. They are crafted well and the tension amongst them is brilliantly utilised and portrayed. I'm pretty sure I've never seen a more despicable character than the villain here and that I will continue to despise them even if I re-watch the series later, is a testament to how perfectly sketched they are.

The background score is suitable and the soundtrack is good. Cinematography could have been better, especially of the hospital segments. All actors give decent performances but Max and Tul often appeared somewhat restricted. Bhu, Putter and Great were comparatively free in their expressions. Overall production value seems low but is not as off putting. At 14 episodes, the story felt drawn out, only coming together towards the end, in around 3-4 episodes. I would recommend it solely for its unapologetic portrayal of the Bad but I'm not going to re-watch this show.

Manner of Death deserves every applause for exploring dark themes and is a hit or miss, depending on the audience's taste. If only it was tighter in all the places it is weak!

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