Ophanin

The beginning clearly shows the trap set by the police and the justice system. Asking a "suspect" the same question over and over again until she contradicts herself. (We have nothing to say to the police, let's never forget that. And they always lie.) They decide that her reactions are not "normal". They convict her on the basis of evidence, evidence that they have carefully fabricated, because that is our role as good prosecutors and good police officers.
They humiliate her by putting her in prison. They are all very pleased with their work. And terribly hurt when their convictions are contradicted by the facts.
You are deprived of your voice, your freedom, your privacy, you are lectured, your life is rewritten, you become a number to be humiliated.
At least Bach, Oscar Wilde, Jean Genet, Varlam Shalamov and François Villon wrote beautiful books there.

We also see how the lawyer uses the media to put pressure on the trial and restore some dignity to his client in the public eye. How he exposes the abuses of the police, who are always quick to crack down (their sole role) and never willing to listen to the victims.
The characters in this series are truly fascinating ! The one with the electronic tag who wants to do the right thing but is involved in repression, in particular, and finds room for manoeuvre. The prison guards and the uncomfortable inmates. Seeing their reactions, witnessing their exchanges, perhaps understanding them a little...
The slow pace serves the story well, illustrating the steamroller effect of the authorities on their subjects. And alongside this, we follow the resolution of the mysteries surrounding these people. The story always moves forward and never drags unnecessarily. It is brilliantly well written.

We don't know. We only saw death, not before. We don't know the circumstances surrounding the loss of this husband, about whom we know only a few fragments of his life. And the story continues, life goes on. Certain shots follow one another in a particularly meaningful way, illustrating the condition of the two prisoners, such as the door of one's isolation cell, where the camera lingers after it closes, followed by the gaze of the mother feeding her daughter, locked up in her home with an ankle bracelet. She takes her isolation with her.
The mother hears her daughter laughing with the friends who are looking after her for the day and chooses not to disturb them, leaving. The lift doors close behind her, the scene cuts, and the other woman in prison stands behind bars.

Kim Go-Eun is mind-blowing as an evil creature whose mind remains a complete mystery to us. We have no idea what's going to happen with her. Fascinating.
Jeon Do-Yeon also gives an admirable performance as the lost mother, plagued by doubts and guilt. Which she shouldn't normally feel, unless...

There are some tough moments in this series, but no scenes intended to shock. No, we are spared the images, and we don't need them. Generally speaking, I don't understand why anyone would want to show us horrible things. And here, as in Homebound, we get a true representation of COVID-19, dignified and accurate, terrible. Every time I see it in American films or series, it's to ridicule the victims and the people who were afraid, and it makes me incredibly angry, this disrespect from pedants. (I'm talking about you Ari Aster)

Naturally, as always with well-crafted thrillers, you're disappointed when you get to the bottom of it. Nothing can match all the machinations that have gone before.

PS : Lie detectors have never proved to be effective in what they claim to prove. On the other hand, with limited yes or no questions, you can make people say whatever you want. Practical. Like forensic psychology/psychiatry, you can prove whatever you want.

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The character of Lee Kang made me feel really uncomfortable, so much so that I'd skip some of the scenes where he's secretly watching. However. From the very first episode, it's clear that he's just pretending to spy and that he's making up a story. Once you realize that, it begins very, very hard to get interested in a series that tells you right off the bat that nothing is true. So just tell the truth right away or do something with it. Use it to tell something. Have you heard of Straight to Hell ?

I kept watching because Choi Min-sik can't choose a bad script, no ? The end of Episode 2 gets intriguing... only because the characters tell us so. Not because it actually is. So I was watching, thinking only about why all of this was made up in the first place. And, unfortunately, we're only told at the very end, with no clues to figure it out beforehand. This story, when you think about it, wasn't all that exciting. All that for nothing. The problem with twist stories is that if you figure it out right from the start (as is the case here, since we're told right away and literally) it loses its appeal. And ending with a reference to Faust ? let's be a little humble, please.

I totally get that the show wants to question the narrator and our tendency to believe a story. It just needed to be less over-the-top. The kid and his just another sob story, nothing special... okay, great… I actually would've liked it if they'd explored that instead !
I failed to catch this K-drama. I'm annoyed with myself. But I'm reading some very enthusiastic and well-written reviews, so at least that's something.

Let's talk about the difference in acting. Choi Min-sik brings depth of intention and a certain way of looking at people ; he exudes resentment and dissatisfaction. He's an unfriendly man who still can't accept that a woman didn't choose him or that his career as a novelist never took off. An ordinary, selfish man. On the contrary, Choi Hyun-wook, elusive and expressionless, I'm not sure what to make of him by the end. He tries to come across as amoral as the protagonist of Dear X, but it never quite works for me.

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A series about women during the Tang dynasty. No matter how much they excel in their fields, it will never be good enough. They try to escape, but to no avail. And faced with the glass ceiling that awaits them, they must move mountains.

Each case explores women's issues, empowerment and sisterhood, but also arranged marriage, harassment, suicidal thoughts, the cult of youth, the exploitation of bodies without consent (the plight of all those locked-up surrogate mothers is... appalling), and power struggles at the very top of the aristocracy that prove fatal only to women…
The reasons behind doing wrong are sometimes good, however. It's more nuanced than it seems. Even if the series loses a bit of momentum halfway through (the part about the mysterious illness, which isn't Covid, mind you), it picks up again afterwards.

And the romance is really lovely. The two make a lovely couple, each with their own strong qualities and temperaments. Their relationship grows alongside their investigations.
The displays of affection between the two protagonists are heart-warming. Like a cat, Li Peiyi/Bai Lu shows her love in her own way. She's so cool, fearless and assertive. He, Mr Xiao, is more reserved and attentive. He doesn't rush in headlong, but he always supports his partner. He doesn't know how to fight and acts accordingly. I adore them both. It's the same dynamic as in Legend of Zang Hai, which I loved. (And a second season is planned !)

Visually, it's red, black and white everywhere. Or pale pink and green. Or whitish and orange. The colour palette is so beautiful, all in subtle shades. Grandiose sets. Large drapes separating the characters during a mundane conversation in a maze of colours. Wood panelling, indoor gardens, leafy mountains fringed with wispy clouds. Beautiful, beautiful, beautiful.

The fights are kept to a minimum but are impressive. The laws of gravity ? Not for us. The old man with his spear ; what agility !

You just have to get past the first episode and its questionable VFX. I gave up there when it came out. Picking it up again now, I realise my mistake.

Did you know ? You can get rid of poison by pricking your fingertip. No, of course not.

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Reciting Emily Dickinson and then Pushkin, a man of taste. If all police officers spent more time reciting poetry than doing their jobs, the world would be a safer place. This hapless inspector who succeeds in everything despite himself, how could you not find him likeable ?

Top-notch production. Even with cops chatting away in offices, it manages to stay dynamic and quite engaging. The C-dramas are brilliant. It works both as a light-hearted comedy and as a police investigation. It probably didn’t need 24 episodes, given that you can guess very quickly who killed whom.
And naturally, there’s no criticism of Chinese police corruption, as the Chinese police claim they’re beyond reproach in every respect. (ACAB everywhere, all the time)

I don’t know why the music had to keep parodying Georges Bizet’s ‘L’amour est enfant de Bohème’ or Dvořák’s ‘New World Symphony’. I just don’t get it.

After "Pursuit of Jade", it feels strange to see Tian Xi Wei in a supporting role like this. She’s so discreet and flawless.

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Fortune telling works. In fact, it works all too well. Simply because we choose to believe in it. A bit like merit.

Right from the first episode, we hear a line that, as a true Balzac fan, I simply couldn't help but notice : "But I refuse to be poor. I want to make a lot of money." Trapped first by this necessity, and then by the social pressure to become rich. She will stop at nothing, and where it becomes incredible is seeing her in action : she struggles, she loses all her illusions and only becomes more ruthless, going from one debt to another. Even more interesting is the perspective of the author tasked with transcribing the memories of this seemingly cruel old lady. The whole narrative aims to provide an insight into the Japanese mindset regarding "success" and to allow us to reflect on it in turn.

"Better to deceive than to be deceived", a statement that Vautrin would certainly not disavow. In a world where money is king, we are all its slaves ; we are left with no other choice. We choose to believe that if we want to, we can. And it has always been the other way round. By taking the example of a woman who gets rich through her hard work and the sacrifice of her soul on the altar of the golden calf, it only makes this truth all the more glaring.

We find ourselves in the company of a rich and powerful celebrity who fantasizes about her memories of poverty and a penniless author forced to work a side job. It might be tempting to dislike a character like Hosoki Kazuko (Erika Toda), but she embodies the values of her time. This isn't about passing judgment. She chases after money, she spends ostentatiously, she brags about her successful bets, she recounts her petty acts of revenge. And the figure of the Buddha reappears in nearly every episode... everything remains an illusion except for the suffering of this life. We're already straight in hell. This character endures abominable things. (the grip of the yakuza… those leeches as violent as they are arrogant and always detestable) But we are confronted with a terrible thing : it is she who tells the story… a little too well to be honest.

The series doesn't depict the real life of this person who actually existed at all : "Hosoki began managing Tokyo clubs and coffee shops while still a teenager, eventually running up debts to members of Japanese organized crime" says Wikipedia. And that's not a problem, because the form matches the content. That is the series' focus, its vocabulary, purpose and reason for being.

"Self-Portrait of a Trompe-l'œil"

The cinematography is simply magnificent. A visual delight. The nightlife, the illusory wealth, the facades, the contrast between extreme poverty and luxury, the dirt-floored rooms and the beautiful apartments. Behind the scenes lies a ruthless exploitation of oneself and others.

Everyone gives a wonderful performance. That's essential when there are so many long takes and short single-take sequences. The director gives plenty of creative freedom to his lead actress, Erika Toda, who delivers a phenomenal performance in this role spanning 60 years of life. Her style, demeanor, and personality traits evolve with the character's supposed age and depending on who tells the story.

"I don't believe in fortune telling."

At the end of Les Illusions Perdues, Vautrin launches into a long monologue in which Balzac has him say the following :
"Success is the ultimate motive behind all actions, whatever they may be. The act itself is therefore nothing in and of itself ; it exists entirely in the idea that others form of it. [...] When, after having legally amassed a fortune, you are rich and a marquis, you will allow yourself the luxury of honor. You will then profess such refinement that no one will dare accuse you of ever having lacked it."
Isn't the parallel with Straight to Hell striking ?

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First of all, it's incredibly beautiful to look at.
The costumes and sets are sumptuous. No surprise there. Everything is white, red and black, or in pastel shades (fading jade and orange, washed-out blue and yellow). There's a scene with a lateral tracking shot where a character walks past transparent coloured screens in red and green, and pink and blue ; absolutely stunning ! And there are plenty of moments like that. For example, the heroine drinking her tea at night with burgundy curtains matching her dark red and black outfit and soft lantern light... there was no point in creating such a sophisticated set for just a few seconds, but they clearly wanted to do it. Well done, set designers. Well done, cinematographers.

The scenes in the snow-capped mountains, the frozen lake. The red mountains covered in powder snow that they climbed while dressed in olive and burgundy fabrics (Ep. 34)... Cold weather must be the trend this year in Chinese productions. Most of it was shot on location, in harsh weather conditions, below freezing. It must have been torture. It breaks my heart to see them breathing out mist when they speak.

The elliptical storytelling works well. It introduces the numerous characters only when it serves the plot, so I never felt overwhelmed. And yet the first few episodes bombard us with information and plot twists. It gets off to a strong, fast-paced start, and then the writing simply becomes excellent... provided, of course, that you're a fan of period costume dramas.
It never stops. There's always something happening in every episode. These writers are brilliant. The only downside : it s a bit over the top. I loved following all the twists and turns, the mysteries and the conspiracies. They probably overuse and overdo the cataclysmic situations and tragic endings for each character. However, the multiple conflicts intertwine well and their resolution comes at just the right moment. It does, unfortunately, get rather complicated in the final stretch, though. (Watch it as intended: two episodes a day, no more. Beware of the overdose)

Massive spoiler : The final episode cranks everything up to the max ; everyone has to face the inevitability of war. That's too harsh to do this to us. We believed in change ! But apparently, trying to change the system inevitably leads to death… I'm not sure I'm thrilled by that message. It's the complete opposite of the series Princess Agents, of which this is a sequel. It's the opposite of what Rebirth was trying to tell us throughout its first thirty episodes. But it's a huge middle finger to censorship. Certainly.
Does this adaptation of the books differ so much from their source material (The Legend of Chu Qiao) because of the plagiarism the author was guilty of ? I don't know if that's why.

"I Always thought the people here needed me. But I finally realized the truth. It's not that they need me, but rather, I need them. All along, I've wanted to build a world of true equality, a place that people like me could finally call home."

A great cast in which women and men are equally important, with one generation clashing with the next.

_The lead actress, Huangyang Tian Tian, on whose shoulders the entire story rests, is very young but already a seasoned performer. Born in 2007, she has been acting nonstop since she was 9. She plays Chu Qiao with dedication ; her role is certainly complex, but... she's still just a child ! And it shows when she's surrounded by all her co-stars, who are all taller and older than her. A 17-year-old playing an adult and commanding armies. And for good reason : she played the same character as a child in the series Princess Agents, of which Rebirth is a sequel set nine years later. (You can watch it without seeing the first one, but it's better if you have, of course)
There was talk of replacing her because she posted a photo of herself wearing extremely expensive earrings, which caused a backlash in China. It turns out they were counterfeits that her father was selling illegally. Well, irresponsible fathers, what a pain !
But she's definitely there. And she nails her action scenes (all of which are well choreographed). Her deadpan comedy scenes work just as well. As for the emotion… Her love for the ML takes a lot of effort to believe. It feels more like the friendship between an older brother and his little sister. To be honest, Zhuge Yue has more chemistry with his brother-in-arms, touching his hand in episode 21, or in his fights with Yan Xun of Great Yan, plucking a purple petal from his hair, or when he runs hand-in-hand with Li Ce to escape the soldiers. The latter ends up in his arms, like a princess. Haha, come to think of it, he really does have a looooot of affectionate scenes with other men. That’s perfectly fine by me. He's entitled to love. And I'd rather avoid a romance between a schoolgirl who should be at school and a thirty-something grown-ass, if possible. (For goodness sake ! Thankfully, they managed to avoid that)

_Zhuge Yue, the male lead, I didn't really like his drastic change in personality. After all those trials and tribulations, to end up like that ? No. I appreciate seeing characters develop, but come on, let's take it slowly.
His fight with Chu Qiao at the end, all blue, purple and grey, what drama ! It's so sad that someone has to die for peace to reign. Such a pain when that happens.

_The Empress plays a central role in the first half and exerts a certain influence on the rest of the story. She wears cream, emerald and saffron gowns in her luxurious bright-red apartments with dark wood panelling. Such beauty ! One of the cruelest characters, or so we believe, until we see the Emperor in action. A profoundly tragic role from start to finish, and a character who, in her misfortune, hurts everyone around her. We detest her for her actions, yet we feel sympathy for what she has endured.

_The motley crew of criminals surrounding the heroine brings a touch of light-heartedness and humour, as well as some elaborate action scenes. Their camaraderie is always a joy to watch. Too bad we don't see them more often. But, for them too, what a tragic end...

_Li Ce, the unfortunate boy, watches his mother die before his very eyes ; even after burying her, he still longs for a sign of her affection. It's hard to grow up without love. Yet he is kind and wise in his choices. A wonderful character with a truly tragic ending.

_King Ximei of Ximeng, who sends his double in his place to dine with the emperor. Well done.
This bloke is the polar opposite of the heroine, Chu Qiao. He, too, is a former slave, but he takes the place of his masters and becomes the new tyrant. His death is only just. All power to the Soviets.

_General Huan Huan and Princess Helian of Yanbei (a woman of otherworldly beauty with a aquiline nose) make a lovely couple. May they live happily ever after. Brave, courageous women stripped of their free will. Their scenes are pure queer baiting.

_Princess Helian's marriage to Xun Yan, so intense, it feels like we're right in the middle of a soap opera. The two marry out of obligation and give up on their soulmates.

"All because I believe there should be a place in this world where people are not divided by rank or class, where justice exists. Only such a place can truly be called my homeland." The Grapes of Wrath, Part 2.

Right. I don't really understand the negative reviews I've seen about the direction or the acting. Especially since this barrage of complaints started right from the very first episodes : so before the plot twist in the final episodes. Princess Agents was far less well made and was torn to shreds by critics and the public when it aired. Suddenly, it's become the best series in the universe ? Strange. It reeks of gatekeeping. Because Rebirth is aimed at a wider audience, I think. I hope I'm wrong.

As for me, I'm not going to deny myself the pleasure. That lighting, the entire artistic presentation, all designed to delight the eye. Those splashes of scarlet blood on the pale rice-paper doors. (Ep. 22) The comfort these C-dramas bring. The focus on entertainment. It's my safe place !
Always pushing the boundaries of censorship to tackle truly serious issues. Because, in reality, it's about women fighting to survive in a man's world. And about power that offers nothing but an obsession with keeping it all to oneself. It's the old chivalric tale of heroes who deserve to rule because they don't want to and because they care about the people. Here, the powerful are cruel and uncompromising, without merit, ready to kill or let die, ready to commit infanticide.
The heroine, by contrast, is a former slave who rises to the highest echelons of power yet never forgets her roots. She abolishes slavery (I particularly enjoyed seeing those delicate nobles explode with rage when it was taken away from them without compensation. And, oddly enough, they don't give a damn about the country anymore), she stops the wars, she spares the peasants and the thieves. (Are we talking about Jesus or what ?)
But. Whatever the social status of these women, they are always slaves to something: power, alcohol, their husbands, cults. That doesn't make them saints. The empress literally groomed her lover and right-hand man, and she has maids killed for her own pleasure.

"Men will never risk everything for women. They can only be seduiced by power."

Once again, I've written a proper novel ; pointless, too long and uninteresting. (Oh ! I've found a title for my autobiography)

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When I, too, am in a melancholy mood, I stand tall on the ramparts of my domain, my face lashed by winter gales, gazing at the night and the snow that blankets even my painful past. When suddenly ! I find myself stabbed by the one who was meant to be me.

The end credits of the last episode were awesome, with all that behind-the-scenes footage! Way better than that whole "43 years later" segment.

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I'm not a big fan of shows with spirits and possessed people ; VFX are often embarrassing to watch. That's invariably the case here. Stranger Things has done a lot of damage to the "otherworldly". I hope that one day we'll move beyond this blurry and unoriginal digital aesthetic.

Apart from that, the real-world production is quite beautiful, in the snow and all in shades of grey mixed with a deep blue.
They chase away the spirits, but the real monster is the king. It makes you think. The monarchy surrounded by death and decay. I like the direction the story is taking. Let's hope for a more direct and less repetitive sequel.

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"Is that all you found about her ? How can an entire life be summed up in a single page ?" That's exactly what the publisher said to me when I submitted the manuscript of my autobiography. What a coincidence !

The humor relies on an anachronistic contrast, but with intelligence. Really funny but there's more to it than that. It serves the romance that has become inevitable, like two lovers reunited through reincarnation. They're meant for each other, in one era or another. They understand each other right away. And their exuberant personalities, each in their own way, make them so endearing. Impossible not to adore them. These two characters are so well-written and definitely not for everyone.

Seo-ri/Lim Ji-yeon knows that we must not look forward or backward, for we are surrounded by a bottomless abyss. She is that tiny, lost central point we call the present. The rest is nothing but a shapeless cloud, an empty void, and there's no point in plunging into the midst of this chaos. (I'm more or less quoting Jane Eyre.) In this life, she will find what the previous one denied her.

Good for her, she lands all these jobs so easily. No bank account, no resume, no skills that are actually useful in 2026 ? She's so better than me. Very quickly, none of that matters anymore ; money doesn't matter anymore. Everyone is rich... The conflicts between the chaebols weren't exactly thrilling. But, ok, I know, they're meant to be a parallel to the conflicts at the Joseon court... That makes it terribly heavy !

Similarly, the tragic scenes just don't work, aside from the injustice in the very first episode and the (too-long) conclusion. We're asked to care about a character who's no longer there (since Seo-ri has taken her place) and besides, where is she ? What's going on with her ? Her miserable life only matters for a few scenes.
The same goes for the misunderstandings that arise artificially from dialogues where one person refuses to listen to the other's arguments. It happens several times and serves no purpose. Minor flaws… but they really drag down a series that could have been one of the best rom-coms of the year !

"How did you fare last night ? By a sunlit window, my fondness for you grows. If the traces of my visits in your dreams were left as a fragrance, the green garden before your door would be full of butterflies." Unit 203

_Seg-ye's "fiancée" made me feel sorry for her the whole time. She's desperately clinging to someone who never asked for her and rejected her from the start. When she tried to act threatening, I felt even more sorry for her. Poor thing.
_Here we go again with the accident at the end of an episode, and everything’s fine in the next one! This has to stop.

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My goodness, it's incredibly beautiful visually speaking. The sets and costumes are lavishly designed. They really went all out. Lots of light textiles, jade, scarlet red, and gold. The background music is top-notch, with intoxicating strings and choirs. Always a pleasure to start an episode knowing that the music will be there to delight our ears. I really love that solo cello with the echo around it and the pauses between phrases ; it creates a sense of suspense. Lots of ninth chords and open fifths. It's all so, so lovely ! Beautiful, nostalgic songs during the climactic moments. Overall, the music is always exquisite and charming. Everything is sublime.

Episode 1 doesn't reveal much, doesn't really introduce any plot elements, and yet it remains captivating. But… I must admit that the beginning really tested my patience. I understand why the first five episodes were released all at once. We clearly see the heroine receiving secret messages, but we don't know why. She talks to an imaginary friend at times. It's unclear, this whole thing, and they don't revisit it, so oh well... And then, what were we doing in the Lishan Mountains that keeps coming up all the time ? We'll see. Or maybe not. (perhaps)

In any case, as soon as I saw Bai Lu in the cast, I decided to give this C-drama a chance. And you quickly realize that you have to let the series unfold at its own pace. Just enjoy what’s being offered.

I watched this alongside Ashes to Crown, where, on the contrary, a lot happens in every episode. What a contrast. It took a full 13 episodes for the husband to start questioning all those suspicious deaths linked to his wife, just as she arrives in the capital. What a phenomenal coincidence. Anyway, here we are at episode 20 out of 40, and we're still wondering what the series is even about. Everything remains so vague. And mesmerizing. We're denied access to the characters' thoughts and motivations.

"Don't let your life be nothing than a show for them"

Bai Lu first plays a bubbly, lively young bride. She goes for a run every morning in her gilded cage. She sneaks a drink. She makes people happy with her radiant presence. But she's playing a double game, just like her husband. Cheng Lei plays a more reserved role, with intensity ; at first withdrawn and on the verge of exploding, then letting his frustration and anger at being trapped in the past spill out. We're left in the dark about these two characters' pasts and why they act the way they do. The more we learn, the more interesting it gets. But I was disappointed by the slow pace ; the "revelations" don't live up to expectations.

These two spouses are going to get to know each other. They heal each other, thats really the heart of the story : they're both fixing each other. A forced but happy marriage… well, okay. Let's go with that. And they're the most formidable couple in the empire. And they lived happily ever after and apparently didn't have any children ; fine by me.

"_From now on, we'll have each other. No matter what path you take, smooth or thorny, I'll be with you. You won't be alone anymore.
_Once I'm better, I want to hear that again."

Not many fights, but they were all beautifully executed. Bai Lu in an alley. Or the wheelchair fight in episode 22 ! My God, that was classy. And then the spear fight ! Definitely some of the best scenes.

When the show first aired, Bai Lu was accused of firing the writing team so she could rewrite certain episodes to her liking. But I don't quite understand how that's possible. With 40 episodes, a sudden change in the writing would be noticeable, especially since the series is apparently faithful to the novel it's adapted from. So, I don't know, it seems unlikely for such a lavish production. And should we blame an actress for this (if that's even true) or should we be concerned about the production's lack of backbone when dealing with its stars ? If you sign a contract to star in a series, you act, you don't write and you don't fire people. It's easy to pin everything on a woman after you've failed.

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Shin Hae-sun, full stop.
...
One of the best actresses around today, in any category. She's phenomenal as an authoritarian, ruthless, even hurtful, boss. You can't possibly contradict her when she gives orders. She's so funny in this role. A complete contrast to The Art of Sarah, yet still excellent. Gong Myung broke my heart in Way Back Love ; he's also a brilliant comic actor. Both are flawless in every respect. Great chemistry ! I didn't know it was possible to end up in each other's arms quite so inadvertently. What a pair of clumsy fools !

"Isn't it be easier to be honest ?" I often ask myself that question, too.

There's nothing particularly original about this K-drama, but it's a good rom-com. They make a huge fuss about their relationship, even though they're both single. It always surprises me. You're not committing any crime, you know ? It's no big deal. Just love each other ! (my French side coming out, sorry)
For the most part, I really enjoyed the way the story unfolds day by day, with genuine conversations between them. They talk all the time, about everything. Literally. What chatterboxes ! They share so much. I'm not so keen on the melodrama at the end ; it felt unnecessary. But judging by the bloopers at least, the atmosphere on set must have been a lot of fun.

Still. South Korea. A country where beating and abusing someone doesn't land you in court, but where a mere suspicion of infidelity costs you your job and all your friends. Such hypocrisy. On the other hand, defamation is a very serious matter in the eyes of the law ! Which makes sense, since a defamation lawsuit is the weapon of the guilty. All's well that ends well for half of the population.

12 episodes where practically nothing happens, and it almost felt too short to me. Yet office dramas really stress me out, and how ! The trauma of those years trying to work despite my disability ; I totally burned out my brain and body with all that nonsense. Anyway.

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With friends like that, who needs enemies ?

Friends who betray each other for money, what a basic plot… and yet devilishly well executed, with every episode managing to surprise. With friends like that, who needs enemies ?

A dark comedy whose nastiness makes it particularly gripping. The main couple find themselves at the center of it all, despite themselves, and get through it only by making serious compromises. In the end, they are merely pawns of the rich, and they know it, so they act accordingly. You might think you’ll find a little empathy in the heiress, but that’s quickly taken away from you. What happens to her is horrific, but her reaction is just as unacceptable, and she never takes her friends’ financial problems seriously ; to her, three million is nothing, but to them it makes all the difference. The epilogue offers a bitter conclusion, a somewhat unsatisfying resolution, but at least all the pretences have been laid bare.

In the midst of it all, poor Da Rae, the unfortunate girl, suffers greatly. She is the one who has truly been betrayed in this story. And she is used as an excuse to justify the worst possible acts, even though she asks for nothing.

Shim Eun Kyung/Yo Na comes across as rather creepy and cold-hearted at first. You never quite know where you stand with her. A really, really good character, played brilliantly to make her believable.

And finally, well done to Ha Jung Woo/Ki Su Jong for that free latte. At last ! However, those four scenes where he imagines or dreams up things that aren’t actually happening : I declare them illegal and refuse to put up with them.

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Firstly : Why doesn't he wear gloves ?

Otherwise, at first I thought it was a good story, with everything mixed up together and very few details. But it quickly became tedious. You want to shake up certain characters who are deliberately withholding information for no reason other than to prevent the plot from moving forward. It's so absurd ! You can't understand why they keep quiet and make other people miserable.
Of course, they end up revealing the solution by crying over their fate, but they should cut their ties instead, you can't lie for years like that and get away with saying "it's for your own good", especially when it results in the death of a person (one of the best characters) that could have been avoided without all that mumbo jumbo. Ok, actually, that pissed me off. Don't ever do that again.

Besides, this 'psychometric' gift comes in very handy when you need it. What luck... On the other hand, their insistence on presenting people incapable of expressing emotions as dangerous people, I don't like that at all, being autistic and unable to do any masking.

Episode 7 : "being bisexual is unacceptable" ah really ? Well, that's embarrassing. Let's call the whole thing off, Park Jin-young !

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To tell the truth, I don't think I'm particularly fond of the police. This series reminds me of that with a certain acuity. Cops are detestable. We don't talk to them, we have nothing to say to them, we don't let them in, we haven't done anything wrong. They will always find something to make our lives miserable, so let's not make it easy for them. I was absolutely, totally, entirely on the side of this mother and her falsely mysterious sidekick. What poverty drives people to do, though... The theme is less about drugs than about the injustice of this world where being poor condemns you to death, where being honest makes you lose your job, where family only exists when everything is going well. The cycle of economic and social violence ensures that those at the bottom stay at the bottom.
The war on drugs is above all a war on the poor and minorities. And doctors who snitch to the police are no better. And come on, Eun-soo's boss goes in the bin with the rest. We give you a little power, you abuse it, you filthy bosses.

A solid series, albeit a little slow. Some scenes beat around the bush too much, and there's an overuse of the trick of cutting a scene dishonestly to make us believe something else. (I know what I mean)
The ending leaves a bitter taste. Punishing a character once was clearly not enough, they had to insist because, you see, drugs are bad, oh so bad, not good ! Bring on season 2, quickly. I'm in.

However, it's nice to see a male-female duo without any romantic tension. If you see one, you're part of the problem. (What nonsense I can spout)

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