I just completed 1st episode, and I don't feel as good as the comments say. I feel just average.
yes it is actually avrage, but it is a high production. and in the following eps, it is beyond our expectations. am watching ep 7 and now the drama was better than i expected in the first ep. it is not only comedy, it s being serious
Agreed. He is more of a manager type while ML would rather just focus on the Design. That is also why he has a…
Yes, the ML is actually focused on design, and I also think the SML isn’t really involved in the design aspect either. However, both of them are heads of their respective companies. That said, when we see the SML, we can genuinely feel a strong CEO aura. As for the ML… honestly, I don’t feel that presence at all.
Thirty episodes are over, and I’m honestly not ready to say goodbye to this sweet love. This story is truly beautiful—so warm, so gentle, and so addictive that you just want to keep watching. We get to see the ideal boyfriend alive on screen that every girl dreams of. I love that feeling—their chemistry is incredibly strong and sincere. It fills my eyes with tears, because a love this pure and beautiful feels almost too precious .
Your analysis is exceptionally well articulated, and I agree with many of your points. In the early episodes,…
You have articulated the core issues with this drama with remarkable precision. My continued viewing is a testament not to the story's quality, but to my deep admiration for the lead actors, RJL and PXR. Their undeniable talent and dedication are trapped within a narrative that simply does not deserve them.
What keeps me engaged is the fascinating depth I perceive in the characters themselves—a complexity that feels more intricate and compelling than the surface-level plot suggests. I find myself analyzing their inner conflicts and motivations, though I am uncertain whether this nuance is a credit to the actors' exceptional skills or a rare, fleeting glimmer from the source material. It is a profound waste to see such skilled performers navigating a script this messy. Learning that PXR mentioned they didn't have the full script while filming only deepens my frustration with the production's irresponsible approach.
Your breakdown of episodes 20 and 21 is spot-on. The character assassination of LCC is particularly jarring. The script forcibly contorts her into an irrational and volatile position that completely contradicts her established core of dignity and intelligence. The logic is baffling: she can find forgiveness for those who committed heinous betrayals, yet she utterly fails to extend any understanding to XH, whose omissions were born from protectiveness, not malice. Having lived with her father for so long, her inability to see through his manipulations and her subsequent misplaced rage feels like a contrived and weak plot point, designed solely to manufacture artificial drama. If the goal was a male-centric narrative, they should have chosen source material that supported it, rather than dismantling a strong female lead to prop up the male character.
The story's progression is wildly uneven and absurd. The reliance on repetitive tropes—the endless cycle of poisonings, stabbings, and miraculous recoveries—becomes laughable and completely drains any sense of stakes. The villains are equally unconvincing; their schemes are childish, their ambushes perpetually ineffective, and their constant failures render them incompetent cartoon characters rather than genuine threats. While the fight choreography itself is often visually appealing, the writing surrounding these scenes strips them of all emotional weight, making them feel empty and predictable.
Ultimately, your concluding statement is the most crucial takeaway: to criticize the mediocrity of the writers is to show solidarity with RJL and PXR. Holding the writing to a higher standard is a form of support for the actors, acknowledging that their immense talents were wasted on a plot that often feels like it was conceived without structure or logic. This screenwriting team owes the audience, and most of all the cast, a sincere apology for such a disjointed and disappointing execution of a project that had so much potential.
Your analysis is exceptionally well articulated, and I agree with many of your points. In the early episodes,…
Thank you very much for your appreciation. Just jotting down what came to my mind. But many people like this less. Because I appreciate and accuse both of them at the same time
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What keeps me engaged is the fascinating depth I perceive in the characters themselves—a complexity that feels more intricate and compelling than the surface-level plot suggests. I find myself analyzing their inner conflicts and motivations, though I am uncertain whether this nuance is a credit to the actors' exceptional skills or a rare, fleeting glimmer from the source material. It is a profound waste to see such skilled performers navigating a script this messy. Learning that PXR mentioned they didn't have the full script while filming only deepens my frustration with the production's irresponsible approach.
Your breakdown of episodes 20 and 21 is spot-on. The character assassination of LCC is particularly jarring. The script forcibly contorts her into an irrational and volatile position that completely contradicts her established core of dignity and intelligence. The logic is baffling: she can find forgiveness for those who committed heinous betrayals, yet she utterly fails to extend any understanding to XH, whose omissions were born from protectiveness, not malice. Having lived with her father for so long, her inability to see through his manipulations and her subsequent misplaced rage feels like a contrived and weak plot point, designed solely to manufacture artificial drama. If the goal was a male-centric narrative, they should have chosen source material that supported it, rather than dismantling a strong female lead to prop up the male character.
The story's progression is wildly uneven and absurd. The reliance on repetitive tropes—the endless cycle of poisonings, stabbings, and miraculous recoveries—becomes laughable and completely drains any sense of stakes. The villains are equally unconvincing; their schemes are childish, their ambushes perpetually ineffective, and their constant failures render them incompetent cartoon characters rather than genuine threats. While the fight choreography itself is often visually appealing, the writing surrounding these scenes strips them of all emotional weight, making them feel empty and predictable.
Ultimately, your concluding statement is the most crucial takeaway: to criticize the mediocrity of the writers is to show solidarity with RJL and PXR. Holding the writing to a higher standard is a form of support for the actors, acknowledging that their immense talents were wasted on a plot that often feels like it was conceived without structure or logic. This screenwriting team owes the audience, and most of all the cast, a sincere apology for such a disjointed and disappointing execution of a project that had so much potential.