Reviews

Pro's and Con's (because many reviews take mostly one side)

The concept of I-Land can be understood without having seen all the episodes. In this review I would like to describe both 'good' and 'bad' aspects of the show, so that I don't tell anyone directly that they should or shouldn't watch the show. There are no major spoilers in this review, just small facts.

Pro's:
- their experience definitely helps the trainees of Bighit (the 23 participants)
- once a trainee has been selected to leave the show, he knows what his goal must be to have his debut later on
- they make close friends with different age groups (1998-2006)
- they improve their ability to work in a team
- they broaden their horizons with the help of their team members
- they learn that compatibility is very important ➡️ a dispute MUST be solved with talking to each other, you can't just hope that it will be over sometime without doing anything➡️ they get to know each other better, understand others more, become more selfless / cooperative / supportive to each other
- they learn how much responsibility a leader and the person with the most singing/dancing parts have ("the team is as strong as the weakest member")
- they learn that it can be either harder or easier to reach the goal as a team
- all participants are from different countries (South Korea, Japan, Vietnam, Australia etc.)
- the songs are sooooo good!!
- the participants are absolutely good looking... Stunning! !! (just to mention that too)

Con's:
- the show did some of them dirty
- 'uninteresting' members are rarely or not at all shown, which can lead to them getting fewer votes in global voting
- the drama is always shown (there are mainly good moments to be seen, but of course in the middle of it scenes are shown where a participant behaves stupidly and then no good moment is shown by him ➡️ which can lead to less votes)
- it focuses mainly on dancing (they have to sing and rap well when performing, but it doesn't seem as important as dancing and facial expressions
- They have to choose each other out and into the team
- they have to distribute their parts in songs with each other ➡️ they went through all the parts of the song and one of them wanted every part (because he didn't get the last part) every time but never got the part (he probably got the feeling that he is not good enough)
- because of the scoring points (0-100) they get the feeling that they have never given a perfect performance
- they all make friends with each other, but they don't all make their debut together at the end (only 7/23)
- you automatically have a favourite, but you have to hope every episode that he gets further
- they have to solve tasks as a team, but are valued against each other in the evaluation

I think bighit should have done the kind of survival show that Straykids did (a fixed group being tested to see if they have the potential to make their debut). Still, the show contains many beautiful moments that make the audience love the participants.
I hope my review is helpful and my english isn't too bad :)

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Before any of you die-hard BoF fans rage at me for the ratings, please not that this is my own *personal* opinion, ergo you don't have to read it if you don't like it. II'm not trying to be mean or rude, I'm just saying that everyone has an opinion and you have to accept that.
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"Boys Over Flowers" might have been my first drama ever, but I can't really remember. I do remember that this was the first drama I watched I finished. At the time, I really had no idea what to expect, but seeing how much the friend who introduced it to me loved this drama, I figured it had to be pretty good. So I watched it and wondered how exactly a mess like this got such high ratings.
Story: Speaking from an objective standpoint, BoF is a hot mess. The fans must have been really forgiving to fall in love with characters who drove kids to suicide, and a story that had the main couple breaking up and getting together pretty much every other episode. I like romance and watching the OTP get through conflicts victorious, but I also like having another overlying story arc to keep me interested. In here, was there even something beyond Jan Di's and Jun Pyo's romance? I didn't even ship them.
Acting: Lee Min Ho, despite his mane of shame, is a good actor. I haven't really seen him anywhere else, but he's good here. Kim Bum is outstanding and his chemistry with Kim So Eun was pretty much the only reason I kept watching this. Kim Joon didn't really have that many scenes, but he was good and I'm fairly certain the only reason Kim Hyun Joong is here is because they needed another "flower boy" and were running short. He's really not that great of an actor, but pretty moves mountains. I'm not a hater, since I'm a huge fan of his music, but maybe he can brush up on his acting. Ko Hye Sun, frankly speaking, annoyed me to no end. Not just her character, but her in general. I don't think I'll ever watch a drama with her ever again. She's not a bad actor, but I don't feel like she's particularly good either. Plus, her chemistry with Lee Min Ho felt a bit forced.
Music: I'm still not sure if it was meant to be so funny. "Almost Paradise" killed me no matter what scene it showed up in. The director was really unwieldy in using the music wisely and spacing out the songs, so most of the other music grated on my nerves by episode 15.
Rewatch Value: Ha. No. Never. You would have to pay me to get me to sit through it. This drama may have been other people's favorite, but to me it was tedious and long. The plot spun in circles and the angst shot through the roof and there was still no plot beyond Jan Di and Jun Pyo.
Overall: This drama was so popular for a reason, I guess. Pretty is such a powerful force its nearly sentient. Another reason? If you were sincerely rooting for the main couple and honestly really liked them together, you would watch just for them and for the gratification that came with seeing them together. If you really did not care about the main couple, you would probably throw your computer out a window.

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Left Underwhelmed

I was excited to watch this movie after seeing its praise and hype continuously pop up in my news feed, as well as in light of the many prestigious awards it's won. However, having finished it, I must say that I am firmly rooted in the camp that's left a little underwhelmed. I found the movie entertaining and remained interested until the end, but for reasons stated below, I couldn't bring myself to rate it as highly as others have.

Perhaps the best thing about this film are the actors. Each one was amazing, performing incredibly well in his or her role. That said, the characters fell flat for me. All of them were stock characters: one-dimensional creations that lacked depth and complexity. The plot left me feeling like little was accomplished, and story lines felt under-developed and rushed. Certain scenes seemed to be added only for the sake of shock value; they added little (if anything) to the story and didn't, in my opinion, serve much meaningful purpose. The theme of class warfare, which has been highly praised as one of the film's accomplishments, was superficial and shallow, relying on stereotypes to portray a message that could have been explored more deeply had more time been spent on it.

Overall, it's a decent movie, but I wouldn't call it a masterpiece. For as many awards as it won, I wouldn't say that this is the best Korea has to offer (which is what I'd expect given the number of accolades). It's not that I don't understand what the writer and director were trying to accomplish and portray; it's that the message got lost in one-dimensional, stereotypical characters and situations, as well as scenes that added little to the story beyond gratuity and cheap thrills.

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It's been a while since a drama annoyed me this much. I'm not even sure why I watched every episode of "Lovestruck in the City", but I definitely could have skipped this one. This drama tries to be different by being more self-aware and mimicking a reality TV format. The main characters confess to the camera throughout the show, which got old for me fast, and then we see slices of their lives in reality, how they all connect, and how reality contradicts what they tell the audience. If I'm honest there is only one reason I kept watching... Ji Chang Wook. Sadly, the last drama I saw him in was equally awful "Melting Me Softly", but he is always so charming that I'm willing to watch a terrible drama just to watch him smile and be in love. If this drama had a less appealing actor in his role I would have dropped this after episode one.

So how was the rest of the cast? They were good, but it was hard to separate characters who were badly written from the actor. Kim Ji Won is a perfect example. There was nothing wrong with her performance but her character irritated me for the majority of the drama. She had pretty good chemistry with Chang Wook, but I honestly didn't understand what made him so obsessed with her. The chemistry wasn't enough to carry the weak storyline.

The other main characters did a good enough job of being distinctive but bad writing made their stories pretty dull. I won't spoil how the stories connect but I guess the point was to explore different kinds of relationships (the good and bad) between men and women... friendships, crushes, long-time commitments, encounters with exes, casual relationships, and summer flings are represented. For the entire drama the only character who didn't annoy me at all was Kang Gun, but I was honestly bored by all the other interactions. The women characters is particular are often irrational and make frustrating decisions. I think I was waiting to relate to the characters as I got to know them but that never happened. I was just constantly waiting for the "story" to start. Sadly once it started it turned into one repetitive episode after another.

If I could describe the plot in one word I'd say it felt pointless. If you like the idea of non-sequitur relationship snippets then maybe you will like this more than I did. To me, it felt like filler interrupting the main plot which didn't have enough substance to fill all 16+ episodes. Then there's a weird resolution at the end that feels thrown together, that's interrupted by another random story with random minor characters. I think I would have liked it better, maybe, if there was a different story each week because this just felt like I was watching an unscripted mess. That didn't make it feel more authentic to me either, in fact, it felt more fake, especially with the awkward product placement moments.

Would I watch this again? Hard Pass! Not even for Ji Chang Wook's smile.

Also, the random old school rock "theme" song with the unnecessary music video was equally irritating.

Overall, this drama felt like a concept without a plan. I guess I can piece together moments that I liked enough that it kept me watching, but there were far more frustrating moments that made me wonder why I didn't drop it after every single episode. More than anything I didn't care at all about who stayed together and who didn't, which is bad for a romance-themed drama. There are intimate confessions that seem out of place, especially since the characters seem to have no idea who is listening and responding. Do you enjoy watching people act irrationally in relationships, and drag out misunderstandings, or drive people they care about crazy with their unresolved issues... then enjoy. I can't imagine sitting through this for another season myself, although I can see there being a possible setup for one. Since there were many times I was literally rooting for the main couple to never deal with each other again, I can't recommend this drama. Yes, eventually there are reasons and amends but the frustration to get there made it very anticlimactic. I definitely wasn't lovestruck with this drama. It almost makes "forever alone" seem like the better option.

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A minority of one here

I can understand the praise which all the other reviewers shower on various aspects of this series. The cinematography. The acting. The writing. The music. From a thoroughly dispassionate standpoint, I am able to give "good" ratings to some of those dimensions too. Anyhow, I leave it to The Shipper's many enthusiastic fans to praise it to the skies, as they do. But I found the series so intensely disagreeable that my feelings of shock and unease will probably stay with me a long time whenever I think of The Shipper. In brief, it gives us a very weird message about life and death, and a bitterly homophobic account of human love. The one and only love story here is a heterosexual love story about a girl trapped in a male body. This might lead to an interesting exploration of trans identity, or an attempt to look at a non-binary self-understanding. But no. She's in a male body, that's all, and the nature of the relationship is utterly conventional heterosexual girl/boy romance. As for the same-sex possibility here (no point even referring to the concept of "BL"), it is literally killed off, stone dead. There is no chance of love between males, the storyline seems to say - it's doomed. Fatal. Something which has to be terminated, erased. As happens here. The only way love could exist between two seemingly male persons, the series tells us, is when one of them in reality is a woman - meaning it's not really any sort of "m/m" relationship at all. It's a hideous and cruel message and it's what this whole series is based on. Hence my low rating. Yes, I should have abandoned it long, long ago. And I did. But I came back to see how it ended. I'm sorry I did.

Footnote: I realise I am not in a minority of one. Fortunately. There are a couple of other discerning viewers who were equally alert to, and dismayed by, the crude homophobic message conveyed by The Shipper. Meanwhile, however, I've read the other reviews here, and I'll say that I'm - well, intrigued. One could say they exhibit a ... striking unity. First of all, there are a great many of them. A huge number of reviews. All for The Shipper. OK, very well. This suggests that it was an exceptionally popular series, watched by a very high number of viewers. Was it? I'm not sure I got that impression ... Next: many, if not most, of the reviews are rather close to identical. They seem to follow a set formula. Read along, and you'll quickly get the picture. The reviewer immediately announces that the series isn't "BL" - and always finds space to make some dismissive comment about BL fans. Then we're told that The Shipper is a vastly superior product - with more than a few reviewers going out of their way to pour scorn on BL, yaoi, m/m romance, LGBT material etc. Next, they tell you that this series is an edifying moral lesson, or a series of inspiring moral messages. Finally, they award it a series of 9s and 10s.

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Too many episodes, not enough story…

I know I’m probably in the minority with my rating but this drama was good but not amazing to me. The plot was a basic setup, very similar to some other modern dramas but managed to keep me until the end.

What I liked:

The TCM profession was interesting and I would have liked to see more about it in the show. I know the focus was on romance so it only skimmed the surface of the profession. I also enjoyed the story between Shen Xifan and her ex. It definitely pulled on my heart strings when it reached the conclusion because it’s very relatable. Although there were some moments where I felt the directors trying to push the drama to be for a younger audience (i.e. them tiptoeing around Shen Xifan’s need to spend the night), overall, the drama did offer a more mature view on relationships and I appreciated that especially since most of the cast is late 20s/early 30s. I like when dramas provide a more realistic take on adult relationships in this age range.

What I didn’t like:

This show shouldn’t have been no more than about 16 episodes. There wasn’t much story to tell especially after the main couple got together. There was a ton of uneventful dialogue and basically we were just watching a couple date, sending random text messages about nothing, having conversations about who fell in love first and late night dinners. There just wasn’t a story, it was just a series of random events between two people. I wish I would have but I didn’t find that very entertaining because it dragged on for so many episodes. One thing that bothered me was the overuse of slow-mos. There were so many slow motion scenes throughout this drama when watching the main couple date or stare at each other. To me, it just dragged the already uneventful scenes even more. The supporting cast also didn’t add much value to the story. They attempted to give us a little bit of them here and there but most of the interactions with the main couple was just uneventful and they didn’t flesh those characters out at all. The final thing I will say is the character setup between Shen Xifan and He Suye was cliche. Follows the same formula as a lot of other modern dramas. Female Lead is in a long-term relationship when they meet and Male Lead is single but falls first. Would have been nice if maybe the roles were reversed or both were in relationships or single. I wish these dramas would give us something different.

Overall, if you’re just watching because you are fans of the actors, then you’ll enjoy this along with most of the ratings here. Judge it for yourself.

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The Real Villain of Honour Isn’t Violence. It’s Cheating.

Welcome to MDL comment section where infidelity outranks abuse in the hierarchy of outrage. Where people are united to criticise hypocrisy of women in this drama while silently accepting the existence and actions of pedoflies. I am not here to discuss whether cheating and sexual violence belong in the same moral category. I’m pointing out the public reaction to them. It is telling that the priority of some people lie in the judgment of a "messy" cheating woman over the systemic reality of assault. Honour drama matters because it refuses to give us "perfect" victims and some people seem more disturbed by that imperfection than by the violence itself.

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SELECTIVE MORAL OUTRAGE VS. STRUCTURAL VIOLENCE.
My question is does a character’s moral failure invalidate a story’s thematic argument?
Reducing a drama about trauma, coercion, sexual violence against women and minors, pedophilia, and female solidarity to “she cheated, therefore the show is trash” is intellectually lazy and critically shallow. Cheating is being treated as the central moral failure of the drama and SA is being sidelined in discussion. Honour isn’t a tale about infidelity, it’s a story about how past abuse shapes lives, how women navigate power and vulnerability, and how solidarity and resilience become survival tools.

To focus solely on Hyeonjin’s affair is to ignore the narrative’s core. The hypocrisy is the point. These women are legal warriors for justice who are simultaneously messy, dishonest, and compromised. This isn’t a narrative flaw… it’s realism. Trauma doesn’t produce moral saints, it produces survivors navigating shame and survival. That does not diminish the responsibility for their actions. The cheating storyline is ethically messy. Hyeonjin is not written as triumphant or empowered in her betrayal, she is destabilised. The encounter itself is narratively uncomfortable: she says no, attempts to leave, and is kissed again before ultimately giving in. That sequence introduces ambiguity around agency, coercion, emotional vulnerability, and unresolved attachment.

They are not romanticising cheating. It reads as a moment of weakness entangled with power dynamics and unresolved past trauma. The subsequent lies, the hidden earring, the possibility of pregnancy… these are not celebratory plot devices. They are destabilisers. The drama does not present adultery as liberation. They are not offering her a "get out of jail free" card, she is clearly driving toward a cliff of social and personal consequences. Presence of moral failure among the protagonists complicates the message, it does not ERASE it. The story depicts a survivor who is a brilliant advocate for others but a fragmented, self sabotaging disaster in her private life. To demand she be a "moral saint" to be a worthy protagonist is to demand a fiction that doesn't exist in the real world of trauma. We can hold her accountable for the betrayal of her marriage while simultaneously recognising that her personal failures do not justify or diminish the systemic violence she fights against.

Criticise Hyeonjin. Dislike her. Hold her accountable for the betrayal of her marriage, the narrative certainly does. But to let her infidelity become the only takeaway from a story about the industrial scale violation of women and minors is fundamentally dishonest. In dramas like Penthouse/ Love in the Moonlight/ Shine/ Eve, the infidelity outrage is the point of the exercise. For this drama to be discredited, it would need to trivialise sexual violence, glamorise coercion, or selectively condemn certain moral failures while excusing others without consequence. The cheating arc generates tension, fallout, and instability rather than reward. It complicates the characters’ credibility but does not erase the seriousness of the issues they confront in court.

We should be capable of holding a character’s personal failure in one hand and the world’s systemic cruelty in the other without dropping the latter because the former makes us uncomfortable.

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PERFECT VICTIM
Focusing on SA victims in this drama, I want to make one thing clear: abuse is defined by the actions of the abuser, not the personality of the abused. Must a victim be perfect to deserve sympathy? Does a woman’s imperfection erase the harm done to her? If she isn’t universally likable, are her bruises, fear, and trauma any less real?

Societies often measure women against an “perfect victim” standard: she must be passive, gentle, sexually restrained but not prudish, emotional but not hysterical, composed but not cold; she must have no prior mistakes, no anger, no contradictions, no complex history. People subconsciously look for reasons to distance themselves from discomfort by asking, “What did she do?” rather than “What was done to her?” suggesting if the woman harmed is even worthy of belief. Sympathy is granted most easily to those who fit a narrow image of innocence. The myth of the perfect victim allows people to believe that violence only happens to the exceptionally innocent, and therefore can be avoided by behaving correctly.

People find it hard to believe victims because believing them is uncomfortable. It forces people to accept that harm can come from ordinary people and that it could happen to anyone, including themselves. Doubting the victim feels safer and easier, and blaming them gives people a sense of control, as if bad things only happen when someone “does something wrong.” Many also misunderstand how trauma works, mistaking confusion, fear, or emotional reactions for lying /exaggeration /weakness. Public cases involving women such as Tara Reade, Amber Heard, Angelina Jolie, Christine Blasey Ford, Chanel Miller, and Anita Hill reveal how credibility is filtered through race, sexuality, likability, timing, demeanor, and presumed motive. Credibility cannot be based on how likeable someone is. Imperfection becomes evidence, anger becomes instability, sexual history becomes motive, delay becomes fabrication, survival strategies become aggression. The demand for “purity” is less about truth and more about preserving social comfort.

“If the victim is flawed, the world feels orderly. If she is difficult, perhaps he isn’t so bad.”

A woman can be brash, ambitious, selfish, queer, contradictory, difficult and still be abused. Suggesting otherwise shifts responsibility from the abuser to the abused, inflicting a secondary violence by silencing survivors who fear disbelief and internalise blame because they don’t fit the archetype they were taught. A victim deserves sympathy not because she is pure, but because she is human and her flaws, whatever they are, do not retroactively justify someone abusing her.

Showing empathy to victims doesn’t mean ignoring fairness, it means remembering that real people are carrying real trauma. We should be more outraged by acts of violence than by the imperfections of those who survive them. Sexual violence is a choice made by the perpetrator, not a mistake or weakness of the survivor. Instead of questioning what the victim did or didn’t do, we need to ask why someone thought it was okay to violate another person. It’s time to assign the blame where it belongs… on the perpetrators and not the survivors. Holding perpetrators accountable, rather than scrutinising survivors, is how we show true justice and compassion.

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MAGNITUDE OF SA
“He was my friend/ relative/ father/ brother/ colleague.” ONE IN THREE women can say this. Violence at that scale is not an anomaly, not a “few bad men”, not a misfortune. It’s a pattern and patterns are built and tolerated by societies.

While you are reading this, 8 more crimes against women will be recorded in my country. Every 16 minutes, a man in my country makes a decision to violate a woman. 86 new victims every single day. We panic over rare dangers, redesign airports after one incident. If 86 bridges collapsed in one day, we would call it a national emergency. But 86 women being assaulted? It has become a statistic and routine news cycle. Just a number we learn to live with. For every case you hear about, there are many you don’t. Silence is not absence. People think of SA as isolated incidents, but for many women it functions like an atmosphere, shaping daily calculations about what to wear, how to walk, who to call, and when to share their location. It is not just something that happens occasionally; it quietly structures ordinary behavior, from gripping keys between fingers to texting, “I got home.”

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MEN’S BRIGHT FUTURE
Are women’s lives and suffering expendable when weighed against a man’s “bright future”?
As someone who listens to true crime all the time, it’s impossible not to notice how often phrases like “boys will be boys”or “but he has a bright future” are used to excuse harm. They frame cruelty as immaturity, entitlement as potential, and accountability as something unfair or excessive. By doing this, people protect the idea of who the man could be rather than what he actually did.

What’s disturbing is that these excuses almost always come at the victim’s expense. No one asks about their bright future, their lost sense of safety, or the life altered by someone else’s actions. Instead, the narrative centers on preserving male promise and comfort. Society is often quicker to mourn a perpetrator’s consequences than to acknowledge a victim’s suffering. Her losses are emotionalised and minimised and his losses are treated as tragic and unjust.
This is because systems of power have been built to protect men’s futures over women’s safety. When accountability is seen as cruelty and harm is seen as collateral damage, it decides whose life is worth defending. Until harm to women is treated as more serious than discomfort to men, the message remains the same: women are expected to pay the price so men can keep theirs intact.

Men especially those with status, authority, talent, or social connections are seen as more valuable to protect than to hold accountable. Admitting harm would mean questioning respected institutions, friendships, families, or one’s own judgment, so people minimise, excuse, or deny the behavior instead. There’s also a long standing culture that normalised male aggression and entitlement while doubting or silencing those who speak up, especially when it would “ruin a good man’s life.”

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GLAMORISATION AND DESENSITISATION OF SA IN FILM.
There is long tradition in television where sexual violence appears less as a lived trauma and more as narrative currency. Violation often functions as ignition and what lingers is not the wound, but the spectacle that follows it. When violation repeatedly serves as character development, as motivation, as spectacle, people expect it as part of storytelling grammar. The trope embeds itself quietly, shaping cultural assumptions about whose pain advances the plot and whose pain is secondary to it.

Experimental evidence suggests that repeated exposure to sexually violent films can dull emotional responses, reduce empathy for victims, and lessen the perceived seriousness of abuse. Sexually degrading portrayals may also shape beliefs about sexual assault, reinforce objectification, and foster harmful attitudes toward women. Research indicates that sexually aggressive media can affect not only men’s attitudes but also women’s psychological responses and self perception. Media can distort understandings of consent and responsibility y normalising gender stereotypes, blaming victims, or presenting male aggression without critique.

I also think romanticisation of SA plays a huge role in desensitisation. 365 days, Ffifty shades of grey, GOT, After and many other films aestheticise dominance, persistence, and forced intimacy as proof of desire. Threat becomes foreplay and control becomes charisma. Resistance is framed as tension and coercion as chemistry. Over time, audiences learn to read violation as romance not because the act changes, but because the framing does.

Desensitisation often looks like reduced shock, reduced empathy, treating it as “just another trope”, but reduced outward reaction doesn’t automatically mean reduced empathy. If you respond emotionally to real world harm but not to dramatised scenes, that’s often media habituation, not moral desensitisation.

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INFIDELITY IN CINEMA.
Imagine looking into the eyes of the person you love, the one you trust without hesitation, the one you depend on, the one you’ve built your life around and not knowing they are choosing again and again, to lie to you. Just to protect the betrayal instead of protecting you. Cheating isn’t just a mistake. It is a form of moral bankruptcy. It shows a complete disregard for the very person you promised to respect and protect. In this drama, what happens cannot simply be dismissed as a “single lapse in judgment.” Even if the physical act happened only once, it did not exist in isolation. There was secrecy, emotional boundary crossing, rationalising the situation, staying despite discomfort, and then continued deception. She lies to her husband even when confronted with evidence. When pregnancy enters the picture, the consequences of those choices become even more devastating. Calling this a momentary mistake is an oversimplification of what cheating really is. It reflects not just one impulsive act, but a series of conscious decisions made when there were multiple chances to stop, to leave, or to tell the truth. It reveals a willingness to betray when the opportunity presented itself. The damage is not measured by how many times it happened. For the person who was betrayed, even once can permanently shatter trust. One breach is enough to change how love feels, how safety feels, and how the entire relationship is understood.

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HOW DESENSITISED ARE WE?
Romanticisation frames cheating as emotionally profound, fated, or spiritually meaningful. Glamorisation emphasises aesthetic appeal (luxury/ sensuality/ thrill/ personal liberation). Both reduce moral weight by reframing cheating as self discovery, emotional authenticity or rebellion against restrictive norms. Because viewers are repeatedly exposed to these portrayals, desensitisation occurs where infidelity begins to feel more normal, less shocking, and more understandable. This opens a possibility where repeated narrative framing can reshape moral perception and relationship expectations.

In recent dramas I have watched (Shine and Love in the moonlight) there was intense romanticisation of cheating. Storytelling is designed to make us deeply identify with the central couple framing their relationship as destined, pure, or emotionally unavoidable. When cheating is presented within that emotional framework, people tend to evaluate it through empathy rather than moral principle, seeing it as tragic or justified instead of wrong. Over time, this emotional alignment can make infidelity seem more acceptable within fictional contexts, even if audience might not support it in real life.

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MY THOUGHTS ON THIS DRAMA
It is not a bad drama people are claiming it to be in the sense of poor craft. It is purposefully provocative, and people mistake their own moral discomfort for a failure in storytelling. When a show refuses to provide a "perfect" protagonist and instead mirrors the messy, compromised reality of survivors, it stops being a comfortable escape and starts being a mirror that many audiences are unwilling to look into.

This drama is challenging the very hierarchy of outrage that allows real world trauma to be sidelined in favor of "safer" scandals. Low ratings suggest a "moral purity gap" where audiences conflate a character’s personal flaws with the show’s overall quality. While viewers frequently tolerate or even celebrate "anti hero" men, a messy, unfaithful female protagonist often triggers a visceral likability tax, leading audiences to "downvote" the show as a form of moral protest rather than focusing on its technical or thematic core messages. People prefer glamorous escapism over the gruelling confrontation.

We must move beyond "likability" to understand that mirroring a messy reality is not an endorsement of it. Rejecting this entire drama because the victim is flawed only upholds the "perfect victim" myth, suggesting that empathy is reserved for the stainless. Don’t fall into the narrative trap of selective empathy. Husband is undeniably a victim of a devastating personal breach. His suffering also does not negate or compete with the systemic violation of women’s bodily autonomy and these are not mutually exclusive tragedies. When we allow a husband’s heartbreak to become the loudest part of the conversation, we are choosing the "safer" anger of a private scandal over the necessary rage required to confront a culture of sexual violence.

(Explicit terms for sexual violence are omitted to prevent this review from being flagged. It is not a self censorship. I know the legal distinction between general SA and more severe violations (r word). My goal here is to address the collective trauma of survivors. I have documented all statistical references used here so feel free to message me for the source link.)

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I didn’t think I’d like this, but I really did

I’ve watched so many college BLs. And just when I thought I couldn’t possibly be satisfied by yet another 2 young and dumb boys … I SOMEHOW LOVE THIS!

The story of Kluen and Daonuea is a classic tale of meeting your high school crush after entering college and falling in love with them (all over again). Variations of this plot have been done to death – recall 2moons, 2gether and Bad Buddy? OK, so the plot isn’t terribly original, but so what?

I think Joong and Dunk have created a pretty solid product together with their chemistry. It’s always the chemistry that makes or breaks a typical plot or trope.

The entire show is a string of misunderstandings that could have been averted if they were brave enough to speak plainly from the start. But as the web gradually untangles and their feelings for each other are uncovered, this frustrating rollercoaster ride turns out to be quite lovely and rewarding after all.

Yes, this is yet another college BL. And one day, maybe this high school sweetheart plot will well and truly go extinct. But not this time. And until then, please take it from me: Go watch Star In My Mind.

My full review here: https://asianblreviews.wordpress.com/2022/05/27/star-in-my-mind-bl-review/

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Warning BL CLICKBAIT, played more like a Bromance

I was in total disbelief when i saw Tine crying before the end of the penultimate episode. WHY WOULD HE cry like that? Way to go from being Mr Chic to becoming a confused little sissy.

The problem is I see this a lot in Thai dramas - the one main lead gets jealous of the other main lead when he sees him kissing or hugging another guy (or girl). There will be no talking, just the couple breaking up. It is just lazy writing, cant they think of other ways to create drama for their series?

I blame the show's weakness on the story, the script and the directing. This one started out strong - 2 alpha males fake dating and falling inlove. Although Tine was a typical Thai BL character of a 'straight boy' loving a guy, I liked the fact that Sarawat was always a guy who likes a guy and never pretended to like a girl.

What happened in the later episodes were somewhat of a mess - after they became 2gether and lived in the same flat, the editing and jumping from one scene to next just happened way too fast in an attempt to give us more story from the source material. There was also lack of real conflict to further develop and create a mature story. There was also obviously a conscious effort not show a lot of couple emotions and activities. Its like watching 2 bros living together. What i think the series needed is 2 to 3 more episodes to better tell the story.

However, despite all the flaws, cliches and shortcomings, I still immensely enjoyed it.

First, the cast. Win and Bright - definite eye candies however may need a bit of acting workshop. I love Frank and Drake and i think they have relegated them to a very minor supporting role- i keep wishing they used them more, Mike and Toptap, Gun, and even the friends did a good job. Without The 4 main lead i would have dropped this series midway.

Second, the music - this is probably the Thai series with the best choice for music, i loved the opening and end songs, and i loved the songs they used within the show.

Would i rewatch it, i would initially say yes, but after careful considerations i think ill just move on to the extension series. If you are new to the BL genre, this may be a fun watch, just keep in mind that it is definitely not the best drama.

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One more "Flower Boy" series are over... and I am left with yet another broadly smiling face. Though I will not spill compliments that these series left me breathless, like the previous, "Shut Up Flower Boy Band", did, but this drama, in its genre of bubbly, funny, cutey-cutey-cutey, totally had me from the first moment till the last.

First of all, I am now noticing a pattern in the series as I have watched all of them, though they are called "Pretty Boy" and hey, who can say you don't see enough pretty here, but has anyone also caught him/herself on the thought that the characters crated for these series seem very real? I mean, forgetting about the bubbly front, there were real people, real feeling, real problems, and I like it so much, that it feels real watching these characters. I like characters that have depth, and the series have never failed to give me the characters. And though at first you may thing Enrique is the most funny, cute and bubbly character you could ever see, throughout the series he will show you so much humanity, so much sadness, so many unforgettable words... Though Dok-Mi may seem the girl who has closed herself and hasn't thought about her life ever since, will show you so much smile, so much strength, so much pain that she has been through and how much she grows by the end of the series, how much she changes Enrique and changes herself...

As the drama is mostly a comedy, I thought it is important to note that you'll find here not only comedy but also real characters who will make you feel for them, which I really appreciate.

This was the 3rd drama I was watching with Park Shin-Hye, and she again proved her abilities, I adore the girl.
Yoo Si-Yoon was just adorable as puppy-panda Enrique, I hope to watch other things with him.

Music was, like the drama, cute and calm. I really like the slow piece during the sad parts, and Park Shin-Hye's song, so alike her character and warm to my heart.

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Don't like the ending at all!!!

This drama was great at the beginning but in my opinion she was really mean to him, and in the end he always came back to her i think she was really narcissistic and thinks only on her and not on hyuk feelings for my it wasn't fair or gain at all , and she only said that she loves him in the last episode when all he did for her from the beginning was love .
They deserve better ending, the secondary leads had better ending than theirs this was a complete disappointment for me because it was a great drama.
For me was more gain than love , for the secondary actors than them .

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pure, healing and beautiful

the plot is nothing special, the story is really basic but somehow this is one of the most beautiful dramas I've ever watched, and not just in 2020.
there are 2 things I love that as long as they don't mess it up then I'll give the drama a 10/10 without a second thought. one is a strong independent smart capable diverse female character, honestly they can never go wrong when they have a female character that carries her own weight if not more.
And two is character driven slice of life healing dramas, I LOVE these types of stories, they are just raw and emotional and sad but beautiful enough to make you feel jealous

at a certain point in the drama they handled the mains "complicated" bickering relationship, they focused on Moon Sang Tae's natural jealous feelings because he was no longer his brothers "one and only" and it could've gone really badly if the writers used it for cheap angst but they handled it so beautifully that the developing relationships became 1000x better.

"mystery" wise I do think they lacked a little, but it's becasue they didn't use it for cheap thrill and looming danger but it was the base for their healing.
even throughout their "inevitable breakups" it was never about their selflessness or selfishness but it was another natural step to overcoming their past and struggles.
I was worried after ep14 that things might get off track but they stayed true to their story and I'm really pleased about where it's going

side character wise, again they lacked in delivery, the side stories and the effects they used to deliver the stories were beautiful and heartbreaking but I felt like they weren't 100% invested in their stories and they felt like mere time fillers, like Yoo Seung Jae never got any character depth and even though Jo Jae Soo was Moon Gang Tae's best friend for 10 years I couldn't understand how they all miraculously ended up in ok town (I'm sorry I don't know the name of their location xD)
that didn't make their unexpected friendships and familial bonds any less meaningful, but I wish they gave them a little more thought

the editing is beautiful, moonyoung's fairy tales and the use of fairy tale resembles, the ost and moonyoung's OOTD's just made this drama more enchanting and amazing~

I never rewatch stuff but it's only ep15 and I already miss them so much that I'm crying so I'd like to rewatch this again and again and again ;D

watching the ending I'm even happier now, this drama didn't use the past connections and the trauma as the main dish, it was always just the spice.
like in itaewon class the revenge and past trauma was the last big fight and the end was just a cleanup but this, it was always about the "cleanup" and I'm really satisfied with everything

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Rich, atmospheric and utterly entrancing, Blood River is all those things and more.. It’s a fantastic concept that kept me enthralled till the last episode.. Blood River is an adventure in all the best ways.. The characters are interesting, memorable and have quirks and distinct personalities that make them feel vividly alive.. For me, this drama shines.. It’s a world filled with assassins and clans whose loyalties are written in water, where every character seems to whisper an unfinished feud.. It’s a place where righteousness is fragile, trust is a rare currency and the river runs dark with history and betrayal.. The action begins right from the first scene and never really lets up.. There’s no onerous worldbuilding, no tedious introductions, Blood River gets to the good part immediately..

Blood River has beautiful visuals and some breathtaking sequences, along with masterfully crafted fight sequences.. All wrapped in that dark, moody vibe, it was pure bliss.. And in that same vein, this drama introduces a whole lineup of compelling side characters.. While the main characters are good, the side characters are all really interesting too.. None of them are particularly well developed, but there are intriguing dynamics at play..

No idea why Peng Xiao Ran is listed as second lead or even a main lead.. Her only role seems to be lovesick for a character we are barely invested in.. Honestly, she wouldn’t be missed if she wasn’t in the drama.. She is completely underused and her story arc feels disconnected from the main plot.. The supporting cast had far better storylines to be honest.. There’s nothing else to her outside of being the girl who desperately looks for love, she has no real personality, no aspirations and nothing beyond the basic 'love me, love me, look at me' behavior..

Chang Hua Sen was really good here.. I actually felt he was even better than Gong Jun in terms of screen presence and performance.. Gong Jun’s facial expressions looked odd at times.. Even in the final reunion scene, he looked like he had eaten something bad and was wondering why the camera was still rolling..

If I had to choose a favorite character apart from the two male leads, it would be Bai He Huai.. I loved her mannerisms and her costumes were really beautiful..

Now, the world building here is rich, detailed enough and well thought out.. The plot stays consistent and true to itself.. The pacing fluctuates a bit in the last 18 or so episodes but mostly stays fast paced thanks to the huge number of fight sequences.. And that last fight was really something.. I liked that they didn’t show the main leads as overpowered, we actually got a long, hard fought battle where they had to go all out to take down their foe..

Overall, Blood River has the full spectrum of feelings.. From good to bad, joy to frustration, excitement to depression.. It puts everything together in a well balanced plot with a weave of storytelling that pulls you as far away from reality as you can possibly get.. Blood River might not have been perfect and it definitely stuck to some of the mid cliches I expected but I was pleasantly surprised by how much this story kept me interested.. Even with such a large number of characters, it managed to make me care about their lives and the outcomes of their struggles.. Well, except PXR I guess..

Then why did I rate it only 8.5?? Because the last few minutes of the drama disappointed me.. I watched 38 episodes of their struggle to reach the other shore only for the result of all that hard work to show up as a subtitle.. Like you couldn’t give us a 10 minute sequence?? And what was that whole happy ending after 12 years thing?? Just stupid.. There was absolutely no need for it.. If you are going to give us a last minute reunion, why bother separating them at all?? Was that separation even necessary?? I honestly don’t understand this obsession with time jumps for happy endings..

Well, them getting a bittersweet kind of hope instead of a dramatic ending fits the wuxia tradition, since it rarely gives perfect happy endings.. I guess it works as the completion of Su Mu Yu’s journey, with Bai He Huai returning as the light in his life and it gives an ending that isn’t fully happy or tragic, just human..

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No Tale to Tell Indeed

This drama turned out to be a huge disappointment. I was initially excited to start this drama. Fantasy romance is my absolute favorite drama genre. I thought the first 4 episodes were the strongest. They set the story up nicely and I thought we were going to get a descent story. Unfortunately, after the 4th episode, this drama just faded into a nothing burger. Nothing interesting really happened. There wasn't much growth in the characters. The shaman plot was so ridiculous and unnecessary. The other villain was annoying at best. I honestly should've dropped this around episode 7 or 8 but I felt if I made it that far, I might as well finish the last few episodes. Save your time on this one, there are much better dramas to watch.

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