Reviews

When the music burned brighter than the actual plot!

Sometimes, music is the way to express ourselves, and the drama leans heavily into that. Music didn't just set the mood here, it hijacked the plot, stole the spotlight and not in a subtle way. It's the heartbeat of the story. With every strum, beat and verse, the drama tries to convey things its characters can't say directly and even when the writing slips, the music saves it all.

The story revolves around Saijo Akane, a drummer who her previous mates abandoned, and gets a second chance when she is invited to join the band "TENBLANK".

TENBLANK band members or should I say the "plots" :
✨Fujitani Naoki: He was the genius but eccentric composer with a messy heart and even messier hair. The creative nucleus of the group. I would describe him as intense, obsessive, borderline reclusive, but a fascinating creature. Under all that facade, he is a man weighed down by unresolved emotions and secrets he would protect at all costs. Takeru Satoh did a great job. I know he is a fine actor and it showed. I recently saw him in Marry my husband and the character difference shows his versatile range.

✨Takaoka Sho: He was the guitarist who didn't demand attention but had mine from start to finish! He was soft spoken, observant and incredibly skilled. Machida Keita completely stole the show for me. From episode one to the finale, his styling was absolutely flawless. From the turtlenecks to that effortlessly perfect long hair, every detail was on point. I know this isn't exactly about his acting (which is already well-respected, no need for testimonials there) but the look he served in this drama was iconic. He had me catching second lead syndrome so bad. I mean, imagine ignoring Satoh... and yet, here I am.

✨Sakamoto Kazushi: He was sharp, confident and wasn't afraid to speak his mind, especially when it came to challenging Naoki's authority. But I feel the writing didn't give him enough to fully bloom. We get glimpses of pride and conflict but it feels underdeveloped. Shison Jun did a solid job in portraying this character. He played the perfect tsundere.

✨And the newly added member was Miss Sajio Akane, the underdog drummer, as they say. She had grit, she listened, she learned and she put in the work, not just for show. Nothing she did felt fake or wasted.
Miyazaki Yu gave a genuinely likeable and grounded performance. She played the perfect mix of insecurity and inner fire. I rooted and cheered for Akane.

🔥 Wild card Toya: I know he isn't the official member of TENBLANK but he isn't the one to ignore. You just can't! He is the kind of character who could walk into a scene mid-chaos and steal every ounce of attention. He is a loud, intense bona fide rockstar who seemed crazy but beneath all that is a man who is haunted by choices, loss and love that never really left. He is both tragic and unforgettable. Some scenes definitely tossed realism out the window, but it served the drama and I ate it up.
Maski Suda devoured this role. At first glance, I didn't recognise him. He was raw, a bit feral and had the reckless energy exuding. You just can't look away.

But not everything in the mix felt right. While the music and the stellar cast were a win, the pacing was all over the place, especially in the second half. This would be just me but we (I) DO NOT need a romantic subplot to show up like the last-minute guest. The story would have worked fine without a romantic storyline, it might have worked better if I were being honest. We could have focused more on the other band members and their stories. I feel there was barely any spotlight given to them. There were times it felt like a one-man show, but then a group performance glossed over that feeling, but it definitely lingered more than it should.

Another thing I noticed and maybe this is just me (again), was how the energy and adrenaline would spike during each performance, but then drop off right after. It didn’t really carry over once that fantastic music stopped playing. The in-between moments felt a bit dull and I kept waiting for them to practice or be back on stage to feel that energy again.
Maybe this is what happens when you have full-blown performances. This wasn't just "slap a ballad or two on it" drama but it gave us actual bangers. I feel the music is the main plot here and the rest of everything feels secondary.

The cinematography was stunning, especially the rain shots. And the camera work during the concert sequences was pure artistry. It screamed budget in the best way.

Overall, despite the scratches, this was an entertaining and binge worthy watch. It didn't exactly stick the landing or maybe I had high expectations from the actual plot "writing", but the journey is worth it for the vibes, stellar cast and amazing soundtracks. It's the kind of predictable plot where you will be rolling your eyes a bit but still replay the songs on loop. Not perfect, but comfortable in its own ways.

If you have made it this far, thank you for reading my review! <3
I thought I was going to keep this short… and yet here we are lmao. If you decide to check out the drama, I hope you enjoy it as much as I did!

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Addictive hot mess but a disservice to mental health

Did I enjoy this drama all the way? YES.
Was this a good fictional story in general? YES.
Was Kim Yoo Jung’s performance brilliant? YES.

BUT and here comes,
For a show that introduces the FL as someone with antisocial personality disorder, did this do a good job? NO. Yes Ah Jin has traits present in people with ASPD but is it not a disservice to paint people wjth this disorder as a monster and as evil? Shouldn’t the drama actually delved into her psychology and into understanding how her traumas, her experiences made it difficult for her to connect with others and empathise with others? Having the FL repeat her trauma and act like a victim who has been wronged is mere surface-level characterisation and understanding of ASPD.
If the drama did not want to talk about mental health, why label her as someone with this disorder? What a freaking disservice this was to people who deserve treatment rather than merely being labelled as diabolical / evil / monstrous. Who is Ah Jin beyond the person that is always trying to survive? What are basic likes and dislikes? Who are the people she loves? People with ASPD are capable of loving.. just that they don’t love the same way “normal” humans do.

The documentary framing Ah Jin as a criminal while everyone else became a victim was unfair. What about Ah Jin’s perspective? Again I’m not defending or justifying her actions, but the black and white perspective and one-note characterisations the show re-iterated time and time again was really baffling.

What was the point of the CEO’s character? Was it to merely add some thrill to the show? Till the end I did not understand the purpose he served to the story and to our understanding of Ah Jin’s journey.

Ah Jin used all these men, yes. But she did not put a gun to their heads. If we talk about Ah Jin’s choice in making the horrible decisions she did, we need to talk about Jae Oh and Joon Seo’s choices. Ah Jin never promised them love or flowers. She was clear that she needed them and they willingly stepped in.

Jae Oh’s death made absolute sense. But what about Joon Seo? For someone who “loved” Ah Jin, he never tried to understand her. He always assumed the worst of her, saw her as someone making use of others but never saw her the human. He never saw her as someone who needed support or help. He saw her as someone he wanted to control, someone he hoped would change for him and in the end when she pushed him away, he exposed her to tie her down. His death was no act of martyr. He brought it upon himself. But my question is - why? The writer had the choice to either (1) have Joon Seo walk away as he did 2 episodes prior to the finale or (2) have Joon Seo expose Ah Jin and get her treated. I did not understand his let’s-go-to-hell-together like the writer was trying to spin this into some epic Romeo / Juliet romance. Also what was Jun Seo’s motive in exposing Ah Jin?

And the ending- I am a fan of open endings but this was one of the worst endings the writer could come up with after this journey. Yes she’s alive somewhere and she’ll probably continue to manipulate her way through but humans can’t live their lives on this repeat cycle all the way till the end. There has to be a stop or a change in pattern. In Ah Jin’s case it could have been death, treatment or insanity - either of the three could have been used to conclude her journey but the writer did so in the laziest way.

Also what kind of message does this writer want to give out with Ah Jin surviving while everybody is dead? Again this would have worked as a work of fiction but adding that tag of ASPD did this a huge disservice.

Do I recommend this? Yes. It wasn’t a bad drama per se. The performances were top notch, the score was haunting, the vibe and the dark relationships were different from the usual South Korean dramas. But having said that, this clearly fell shot of being a stellar drama because the complexity of the characters were not fleshed out well enough. In the end, I left this drama not understanding what the CEO, Ah Jin, Jun Seo and Jun Seo’s mum even wanted because they were all just so one-note and didnt feel like actual human beings with a gamut of emotions and a life beyond Ah Jin.

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The plot had so much potential with the reincarnation trope leading the story, but it was never really used. While I enjoyed the beginning episodes quite a lot, at some point I was questioning myself for watching it. It wanted to be deeper, more dramatic and moving, but used all wrong directing choices to achieve it, and in the end, it did not work for me.

CHARACTERS/COUPLES
Truth to be told, I was far more interested in all side/past couples than the main one. I didn’t feel that much chemistry between them. Don’t get me wrong, there were moments when I found them as cute as possible, but I always thought it was more about good directing and not their acting. The romance scenes were simply well written and shot. I still believe Pharm and Dean’s first kiss was filmed in a fantastic way.

I truly loved the fun and entertaining chemistry going on between Team and Win and I wish we could have seen more of them and how they developed feelings for each other. We kind of knew they would end up together… and then they did. Not much of that development was really shown.

Earth and Kao were really good in their roles and I truly did feel the pain and desperation watching their scenes. Wish we could have a prequel telling just their story in greater detail.

Sadly, I felt like Ohm had the same facial expression 90% of the drama, with Fluke showing a bit more diversity: happy grin, shocked grin, massive crying (+ the quite well acted total meltdown in the last episode). While at the beginning I did not mind, at some point I was just bored by their scenes and performance.

Character wise, both Dean and Pharm were nothing special. I mean… Did Dean even have a personality? I did enjoy their relationship though, because, they played off of each other's characteristics well - Pharm being on a shy note and Dean leading the interactions, but as separate characters… they had close to nothing going on.

THAT SAID, I have to applaud the drama for one specific scene. We got some good representation of setting boundaries. When Dean gets a bit too touchy with Pharm, but Pharm quickly puts him back in place, clearly says it was unwanted and it must never happen again. We don’t see scenes like that a lot in BLs.
Also, justice for Manow. Poor girl was literally forgotten at some point of the drama.

DIRECTING
Oh boy. All the long, slow scenes of them doing literally nothing, like… looking at their phone, or cooking but without interacting with each other. The dialogues with way too many pauses. They literally took breaks every 2 or 3 words. There were many scenes that just felt like fillers. Few seconds here, few seconds there… but no content to be found. It made the drama look more aesthetically pleasing, but at the same time, I could not move my finger away from the right arrow on my keyboard, because I was sure there will be more than one occasion I will want to skip the next 5 seconds of them doing nothing.

As I was watching and the story progressed more and more, I could not wait for it to end. It dragged so badly and it was so amazingly slow. Everything was slow. They talked slowly, the shots were slow, the background music was slow, how they moved and walked was slow. I was honestly getting sleepy and tired after watching. The fact that, by an accident, I was able to watch 2 parts of an episode set on 1.5x speed and did not notice says a lot about the directing.

The violin soundtrack started to drive me nuts at some point. It made it seem like every scene was so profound and important and had deeper meaning… most of them did not. The overuse of it made it not an asset, but an annoyance in my eyes (ears?).

WRITING/STORY
I feel like the planning just failed. With the minimum of Team and Win scenes, they should just cut them out completely and make a sequel showing their relationship from the beginning. Focus only on Dean and Pharm and the past story of In and Korn. Show us in more detail how they slowly connected all the dots and accepted their past and current selves.

What’s most important, introduce a conflict AND NOT IN A LAST EPISODE. With the reincarnation trope, there are so many ways to go about it. Giving me Pharm questioning his love for Dean, not being sure if it's real or it's just reminiscence of the relationship In had with Korn, it’s awesome. What’s the point of shoving it in our faces in the last episode? It could have been gradually introduced. The more Pharm knew about the past, the more he would start questioning his feelings for Dean. This way you would have two driving forces for their relationship clashing in an interesting way - them being drawn to each other by the past connection, but also driven away by the fear it’s not real. I guess this isn’t the drama’s fault, since it is based on the novel, but it does not change the fact that there weren’t really any stakes presented. They tried to introduce some struggle by the end, but since the set up was not strong enough, it failed to move me and make me care.

The mental breakdown Pharm had at the end was so ridiculous too. He knew the story, he had flashbacks showing exactly what happened. It’s not like finding the box in the previous episode gave him some new information. He knew it all… And sure, we can argue that the reality of it hit him the moment he saw the photos and the gun, but it still makes no sense pacing wise. Make it happen at least two or three episodes earlier so we can actually feel the pain of then splitting/taking a break. Give me that emotional journey not some cheap emotional thirty second roller coaster with some bullshit “three months later”.

Overall, I guess I was simply not convinced by Fluke and Ohm’s acting so the scenes that might have been sweet, emotional, sad… were, for me, boring. I was not connecting to their feelings so I could not bring myself to care. The moment I started to care, the pace slowed down so painfully, I was getting distracted by the fact nothing was happening. Sad conclusion to the drama I was so excited to watch.

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A recipe with too many ingredients

It’s a story packed with too many ideas, but the poor execution left me disappointed. Don’t get me wrong, there were definitely good elements, and it was entertaining in the beginning, at least until about halfway through. After that, it went downhill fast. It honestly felt like two different writers worked on the script. The first half was brilliant, while the second half was painfully bad. If I didn’t know the production spent 300 million on this project, I’d have thought it was a low-budget drama. The cinematography was average. The wardrobe was average too (some side characters literally wore one costume for the entire show). They would change XQS's hair in one scene and change again on the next without reason. The editing was sloppy. The saving grace of the show was the fight scenes and fight choreography.

There are many more points I could bring up, but I’d have to rewatch episodes to fact-check, and I honestly have no interest in doing that, so I’ll leave those out. Here are the main thoughts that stuck with me:

First, I didn’t like how some of XQS’s greatest achievements, despite him being smart and quick-witted, ended up coming down to sheer luck: swallowing a 60-year power pill, being bitten by a mysterious white snake, receiving power from eight heroes, and so on.

Towards the end, I couldn’t understand why Chief Li knowingly drank the poisoned wine, then went back to the palace again fully aware he’d have to face the same poison and might not survive. He’s supposed to be one of the most powerful figures, yet he came across as utterly defeated. On top of that, the Emperor who gave him the poisoned wine acted surprised and even saddened when he learned of Chief Li’s death. It really makes me question the credibility of the writers.

A lot of questionable choices were made. Characters with strong martial arts skills and big entrances were introduced, only to be taken out by trivial things... Crazy Yan, Chief Li, Rong-er, etc. And just before the final fight between XQS and his second brother, why bother with the sand timer on General Wu instead of just killing him off directly?

The show also hinted at a love triangle between Tang Gege (LSF), Tang Fang, and Red Phoenix, then abandoned it, only to patch it up in the final episodes as if it were an afterthought. Honestly, I started losing interest once the story shifted direction and introduced a new villain, while suddenly making the old villains into “misunderstood good guys.” Their past crimes against the heroes were brushed aside and forgotten. For example, if it weren’t for the Power Gang, the Xiaos wouldn’t have been trapped in the safe house without water and would still be alive. But all was forgiven just because they preserved the bodies (of people they helped kill) as evidence and helped track down the killer. If I were XQS, I’d have held them accountable, maybe made them clean the graves every day for ten years or something.

LSF’s hatred of the Xiao family was so extreme that destroying them consumed his every thought. Yet he never truly got revenge on the person behind the massacre, nor did he apologize to the people he wrongly blamed, especially the Xiaos. He caused a lot of damage, but there was no “I’m sorry.” They just swept it under the rug. And with that, LSF’s purpose was lost. The feud between XQS and LSF disappeared without closure, and LSF ended up as a useless character. I’m sure I wasn’t the only one looking forward to their big showdown.

Another disappointing aspect was the lack of a strong sense of brotherhood. It was there, yes, and their friendship was solid, but within the trio, XQS shone brightly while the other two felt like dim little fireflies, simply existing in the background.

By the time the new villain came around, I had lost focus completely. He felt like just another bad guy I couldn’t care about, and I only kept watching to finish the story. There were still good moments here and there, but overall, the mishandling of the storytelling left me unsatisfied.

And a small rant: whoever invented that drinking cup/saucer design clearly intended half the drink to spill on the ground as an offering to ancestors, because otherwise it’s just a terrible design. The tea cups were perfectly fine. 😅 Okay, don’t come for me on that one, it was a joke.

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Everything about this drama is remarkable!!!

This drama got me hooked since day one, and there are various reasons for it:
1) Amazing plot - The plot is completely new,at least for me. The story has developed very well and at also the right pace. It is one of the kinds where you'll probably die out of curiosity trying to imagine what the next episode would be like. I laud the person/people who came with such a story.
2) Remarkable actors - Son Ye Jin was the reason why I started this. But now Hyun Bin has me wrapped around his finger. Seo Ji Hye and Kim Jung Hyun are also brilliant. Everyone's acting is so good, that it feels the roles were written for them.
3) The chemistry between the characters - This is also one of the reasons why I waited for the drama so patiently every week. The chemistry is so good and it makes me ship them way too much.
4) Supporting Cast - The supporting cast has done a splendid job, in fact the entire cast. The scenes involving them have been written really well, you don't wanna skip any scene. Kudos y'all!!!
5) OSTs -I love each and every one of them and I can't help but listen to them all the time. They're all very good!!

All I have to say is, if you're looking a unique story with amazing actors wrapped up together with soothing OSTs, you should most definitely give this a try. :)

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They'll Make You Wish You're in This Kind of Relationship

All the actors and actresses did a good job in acting and chemistry. Story comes with good pacing and relatable situations. Personally for me, the relationship between the female lead with her father, reminds me of my own.

But it's not all sad, don't worry. It has tons of comedy too. I guess besides the script, we have to thank the editing for that. Oh my, I laughed so hard, especially at the bar scene in episode 1.

And of course it has romance. Tbh I'm not really into romance as they tend to be cheesy. But here the romance is not boring, it's cute and sweet (that you wish you had this kind of relationship).

Ost are all very good, the lyrics are really sweet, I love them all. Cinematography is well done too. Tbh first I felt weird about the close up shot of the leads from front, because they almost or actually look at the camera, but later I think it gives different nuance, like you can see their face, their eyes clearly and it suddenly feels like you're the one falling in love haha

Must watch, really.

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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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