I am new to watching anything from Thailand mostly I've hung out with Korean, Japanese and Taiwanese dramas so it's kinda a mind flip on what your accustom to watching when it comes to dramas.
I am a fan to both Ken and Ann's acting and if you watch this what makes the story worth watching is the phenomenal acting and where these two are able to take this tragic script and make you care about the characters and want them to find happiness at the end. The only reason I would review this drama and stuck with it to the end is because of how well acted and talented the two leads are in this story to keep you going. Ken is able to make you feel sympathy where none should be thought to be given.
If you decide to hunt this lakorn down know you will find Kawee actions are beyond forgiveness but he's a child of abuse, extreme wealth and neglect and has no personal growth in his emotions and sympathy of others until he sees what his own actions have cost him and only then does he learn from what he has done and only it shows how only love can change him. You will hate him ten fold in what he does to Narin. You will find yourself disgusted by both his father and his new wife / Narin's sister's marriage and you will see how Leela and Kawee's fighting nearly destroys Narin.
This lakorn was on Viki but it no longer is available. The original translator of this drama had uploaded the episodes on Youtube but then canceled their account. Only 7 of the 12 episodes are available online with translation and its a blurry copy and the rest of the episodes are listed by another person there. If you want to hunt this down there is one seller on Ebay who has it available for around 12.50 with the english translation. It is a story worth watching but its not for the faint of heart and it has graphic subject material.
I give the acting on this a 10. By far the best acted lakorn period.
There is some slight comedy worked into it in from the coworkers at the floral shop but I would by no means call this a romantic comedy.
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The story is a complete and cohesive tale; beginning, middle and end. Which sadly is something Kdramaland tends to have trouble with. But the writers of this drama really got it right! I fell in love with the Boong Do and Hee Jin falling in love. And even better I loved the plot. Usually I have a lot of trouble with time travel genre. I think time travel is one of the harder kinds of plots to pull off and pin down. They can get convoluted and tend to lead to more questions then answers. But this drama kept things simple and fairly clean. It didn't try to over explain or get too complicated. I walked away feeling satisfied with a really great story and ending.
Queen In Hyun's man is so satisfying to watch. There is dramatic tension, bad guys to fear, funny characters to laugh at and romance to make me sigh. And the kisses! Such great kisses!
The acting was so wonderful. I was very impressed with Yo In Na. She really gave a memorable performance and is quickly becoming an actress I will happily follow from drama to movie and back to dramas again. She was so engaging and real with all her emotions. I never felt she was faking her performance and she didn't over act and fall all over herself crying. She was a delight. Ji Hyun Woo blew me away with his portrayal of Boong Do. I fell in love with him right along with Hee Jin. Every girl needs a Boong Do! The orbiting characters were portrayed just as well. I loved Hee Jin's friend Soo Kyung played by Ga Deuk Hi and her ex boyfriend, played by Lee Kwan Hoon. He was such a character. This cast was a great fit together.
The music was Daebak! I love the OST and one that I would like to own. The songs fit with the undercurrent of romance always present in this drama.
I would wholeheartedly and happily watch this drama again. It's a keeper. One I am glad exists so I can go back to on a rainy day and re-watch with delight.
Solid 10's overall for everything. There is not one bad thing I can say about this drama. I am so glad it appeared this spring/summer in a sea of some really mediocre romantic drama fare. Stellar acting, writing and great fun. Please don't miss this!
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First of all in both versions I don't understand why the title "rich man, poor woman"...isn't it kind of a thing in 97% of dramas?...could have been named "the ceo and the employee" or "cheerful and naive girl falls for her boss who have some sort of past trauma" at this point.
The female lead's motivations were so weak when she claimed she wanted to stay in the company or beside the ceo (first time that she rejected the vice-minster woman) and I really can't understand what kind of character she should be...how can someone that can memorize an entire book and do all that administrative work (when they founded dancing whale) is considered dumb? The world is divided only in magical geniuses and idiots? And why she let people call her that way? She showed a little of attitude only in the last episode but so drastically that she seem another person entirely...
And why all that shareholders/meeting whatever footage?
The male lead was sorta okay, but in comparison with the japanese one he lacks a bit of charisma. I personally not really into that type of character so I even found him annoying sometimes.
The romance between the girl best friend and the womanizer guy was more interesting that the leads one.
Second female lead was annoying, I liked the one in the japanese version because she was competing fairly without being bitchy with the fem lead.
Some scenes (crying scenes mostly) were a bit weird, they overacted a bit.
Overall it gave me a Steve Jobs biography vibe with a little of Zuckerberg (the mini file/big file project), probably the original writer was inspired by those.
I found it very boring, won't recommend if you're looking for cute romance or comedy.
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I'm ORV fan
Bruh wdym Lee Jihye holding gun, Yoo Joonghyuk not grabbing Kim Dokja by the neck, Kim Dokja hating on WOS, Kim Dokja is not a reader, Kim Dokja hating on Yoo Joonghyuk, Kim Dokja writing the epilogue himself, Jung Heewon is the main character, no Biyoo, Yoo SangAh is a healer, Lee SooKyung relying on Kim Dokja, Kim Dokja is ordinary, Bihyung is labubu or Doraemon, Kim Dokja saving Kim Namwoon, no deus ex machina, Kim Dokja killing a kid back when he was bullied, no Broken Faith but a core instead ❓ 这部电影像是狗做出的一样，人不会这么做。T sẽ ở dưới gầm giường ông nào sửa nát nguyên tác ~MỗI đÊm~ 🤡 hãy tận hưởng đc ải chỉa suốt đời nhé broWas this review helpful to you?
This review may contain spoilers
It was very challenging to rate and review Brewing Love. The tone and plot of the show varied wildly from one episode to another. There were episodes that I adored and gave five stars and others I could barely finish. What really worked in this drama was the main romance. Min-ju was a dream man. He was so gentle and caring but also very determined and flirtatious once he decided to pursue Yong-ju. He had several lines that made me burst into tears at how beautiful and compassionate they were. The episodes that revolved around the two of them really worked for me. What didn’t work was the majority of the rest of the plot, as well as the pacing. The beer storyline would have been okay if it had been minor but it took up so much time and was not interesting to watch. A lot of the character development and backstory felt like it was missing, even for the leads. Some of the side plots had potential and then felt like they either fell flat or were completely brushed past, like with Min-ju’s traumatic past and mental health, or the relationship with his dad. The second couple started off okay, although it was hard for me to get on board because the actor just looks so young, but their storyline felt very disappointing at the end. The way they addressed his backstory felt very clumsy, and their relationship felt very rushed and inauthentic. I really like Yong-ju’s grandma and wished the show had gone more into their relationship.
Brewing Love was very odd because the first few episodes were incredibly boring but then there were some great episodes in the middle. It felt like the show had maybe had a rough start and then hit its stride, but then I also felt that it got very boring again at the end. The show felt all over the place. It was disappointing because there were some episodes that were fantastic. The male lead was such a green flag and it was interesting how they flipped a lot of gender stereotypes with their relationship. There was a lot to like in the show, it was just very inconsistent.
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Great for those unfamiliar with broader mental health issues; otherwise nothing truly new.
I finished this drama thanks to Seo Ye Ji and Oh Jung Se. If this review possibly happens to make you question watching IONTBO, I would tell you to watch it for these two incredible actors. I've been a fan of Seo Ye Ji since her Moorim School days and her talent has only become more stunning as time has passed. Oh Jung Se is a legend in my books, period. I'd also say that, if you like artistry in storytelling, IONTBO is an interesting watch. There is beautiful incorporation of various art styles weaved throughout the show, and this is one aspect that I truly enjoyed about the show. The writing is alright; certainly better than your average drama, though it still succumbs to obvious fan service (which, to be honest, I can't completely fault the writer for because Seo Ye Ji and Kim Soo Hyun are her leads—she took expert advantage of that, haha).So, onto the not-so-great elements. As an individual with deeply personal experiences with mental health, as well as experiences with the mental health of loved ones, IONTBO ultimately is a slap in the face. It's not entirely the show's fault, truly. KdramaLand and, in general, Korean entertainment as well as entertainment internationally, are all guilty of requiring a beautifying lens on most interpretations and storytelling of the world.
Don't get me wrong, I also enjoy watching beautiful people playing roles in heart-wrenching storylines. But there is just something irreconcileable to me about the concept of beauty and mental health. I do not (at all) mean that beautiful people cannot have mental health issues or that mental health is a completely ugly thing. However, when we talk about de-stigmatizing mental and having diverse voices or representative storytelling—I could not help but think: how many people would be raving about IONTBO and its championing of mental health issues if the leads were not Seo Ye Ji and Kim Soo Hyun? If this was a representation (note: I don't mean copy or true story) of real life, how many people would truly care if this story was told? What would domestic and international reception look like if Kwon Yoon Hwa was cast, rather than Seo Ye Ji?
And so, as the show progressed a certain cliche refused to stop ringing in my head: "Nobody cares unless you're beautiful or dead". While I personally can't say that I believe this to be completely true—sadly, when it comes to most mainstream media, wherever you might be in the world, this saying often holds heavy truth.
As I did not expect Crazy Rich Asians to be the representation of all Asian stories and voices, I do not expect IONTBO to represent all voices, stories, and perspectives for mental health. That being said, if you've been around KdramaLand for a while now, you'll know that this is not the first "groundbreaking" attempt at telling stories about individuals and mental health.
Ultimately, IONTBO will be enjoyed by most, I reckon. So, all I can say is that IONTBO was nothing new for me in KdramaLand, and is certainly not groundbreaking in its explorations of mental health. Instead, it's a painful reminder of the endless habit of beautification in film and TV industries around the world.
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In spite of all the horror and struggle for survival, there is still room for the heart note
"All of Us Are Dead" isn't specific to South Korean culture, but it's not surprising that the story was born on South Korean soil... The story picks up on the sheer horror that South Korean youth are exposed to in the face of their brutal educational system. There, the enormous pressure to perform is higher than almost anywhere else in the world. For some, bullying is one way to reduce stress. The bullied, in turn, are doubly stressed. Other options include withdrawal, drugs, or suicide. South Korean society is largely blind and/or helpless in the face of this. The pressure to perform and, in this context, the psychological suffering of young people seems to be without alternative in view of the nationwide (and worldwide, economic) competition - a price that society has to pay in view of the greater good. And with that, the youngsters are left alone to somehow survive in this merciless world. However, this applies (perhaps not so blatantly) in a similar way to young people in many countries around the world.This is where "All of Us Are Dead" comes in its impressive and striking way.
The original title is something like "Currently at our school", so the focus is actually on the school and their students. In fact, the horror of everyday school life, which is more existential for some and less existential for others, mutates into a horror for everyone. A troubled father wants to create a way for his suicidal son to finally stand up to his bullies. The experiment goes astray. The vicious, zombie-like virus is sweeping the entire city and beyond. Disaster control, state of emergency, martial law - the whole program is needed to get the situation under control. And here, again, the young people are left alone in their existential need.
The story telling and expression of various group and relationship dynamics between the young people represent high-end KDrama quality - intense, powerful, sensitive, excellent. Almost everything is on the table. For me, this is the strength of this KDrama and the reason why worth watching.
Besides the problems, dynamics and approaches of trying to 'master' the threatening epidemic somehow sums up what we have had to go through worldwide in the past 2 years marked by Covid. When the rules are overridden, individuals (those who happen to have something to say) rule against the backdrop of their (helpless) personalities - arbitrary or scientifically based, rational or irrational, mostly driven by fear and from a safe distance and/or on the (argumentatively) safe side. Then real quick nobody takes side of individuals anymore, the big picture being more important...
Seen in this way, "All of Us Are Dead" is a qualitatively demanding KDrama in several respects. In spite of all the horror and struggle for survival, there is still room for the heart note.
However, I would like to emphasize that the virus is turning people into flesh-eating zombies. So the abundance of screaming, rattling, biting, blood-smeared zombie scenes, which simply lack any aesthetics for the eye and ear, is part of the story, too. In general this drama is brutal. This is obviously very popular in the international zeitgeist and thus (being published on the international netflix platform) stagily staged. I would say, brutal details and zombie-screentime could definitely have been less prevailing (in order to still tell the story).
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It was a bit weird because it seemed like each couple was like out of different genres of dramas.
I needed fluff right now so I still liked it. I watched it without much thought while it was in the background.
If you want something light and fluffy you can watch without much thought you will enjoy it. There are still better ones out there.
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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.—-
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.
—-
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.”
—-
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.
—
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.
—-
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.
—-
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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1This review may contain spoilers
More Like A Hundred Disappointments
80s story that could have had potential but ruined by hundred dumb routes. They have promising setting, two female bus conductors at first having their own family burdens, social expectations, and dreams. Their contrast personalities give balance for their character. But the show reduce them to “love rivals” rather than an individual characters who have goals. The writer want to create story about girl friendship complexity but failed, no build up, no progress, no motivation, no solid story message. They wasted it with story being defined and revolved around the male lead and lost the unique identity they supposedly had.Oh yes, I understand it is romance. But then they didn't show how they develop the relationship, how and why they catch the feelings bit by bit, what push them to change, how they got to be who they are. The story becomes a disconnected events rather than a cohesive journey for the main characters. All of their purposes are pulled into shadow by the romantic entanglement rather than resolved by their own growth. All these forced emotions are craps.
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A Hundred Triangles?
Alas, I find the male lead out of place from the female leads's dynamic. Whereas Yeongrye and Jonghui's opening come from down to earth household, economic hardship and gender expectation; Jaepil comes from the contrasting background. Prince on white horse? His cliche "privileged rich cold boy" introduction failed me to connect with his character in their 80s setting.
Yes, ML owns his emotional wounds, daddy issues, and bankrupt era. But the drama also seems to rely on him being the “object” that the two female leads orbit, rather than giving him enough depth to make the audience care deeply about him as more than just a romantic figure. Even his "aspiring boxer" narrative is scrapped by "heartbreak". He also got no much role for female leads's development. At least other male characters play a significant part in female leads's ambitions plot / Yeongrye asking the brother duos about law as she lacks education but she still revolve the problem on her own / Jonghui with his criminal brother side by side with Ko's siblings.
Once again, the main character's dreams, are scrapped throughout the drama, removed, forgotten, then pulled back in last seconds just for the sake of dumb plot. Titled hundred memories then give us a whole 7 years timeskip with a minimum flashback with majority of dramatic tension still weight heavily on the male lead, who, is not given enough complexity, growth, or... good acting to justify that weight. Romance drama? Well, it is also supposed to be a youth family drama but the series fall back into hundred romance tropes.
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Not Enough A Hundred Memories, But A Hundred Cliches.
Anyway, some parts are great especially when they show Yeongrye's family dynamics and 80s economic straits through the open door bus conflicts and.... well, there isn't much arc in the dorm lmao, what else I can mention? Wait, there is another love triangles plot in the dorm! Rather than showing the fellow conductor's struggles, they chose to add another male-centered side story! Even the side character cant escape from the love triangle, sick how the writer sidelined Jeongbun's struggle and made her story all about cheater character instead of addressing pregnant without marriage issue in 80s. The ending is such a joke too, I would accept the writer's intention to push "friendship" narrative in the last minutes if they focus resolving the main conflict, the stab incident trauma between the girls, but then they pulled this foggy dream light crap and made Yeongrye scream "Jaepiiiill" !!
But really, this drama has some genuine emotional moments, especially during first half in portraying female friendship and societal pressures of eldest daughter, female labor etc.. Though it went down hill, jumped to the cliff latter part, especially with the makjang nonsense.
Overall I am disappointed. I gave it lower rating because I had high expectations with my fave starring here. I have much more to complaint especially the late 80s hair salon background setting and styling post time skip. I expected much more from both Kim Dami and Shin Yeeun. Why the hell did they accept this script? I wished the story prioritized showing the dorm characters's inner lives, ambitions, 80's conflicts, and especially more evenly. It could have been a strong 80s story. If you are looking for that, turn around! Don't get scammed like me~
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1
1An Artistic Mess!
Burnout Syndrome tells the story of three characters: Jira, Koh and Pheem, who will eventually make you swoon, then ragebait you, and again will make you settle for less because of some "artistic" bullshit "heart wants what it wants."Storyline wise, it was something that GMMTV had not made anything like this before. It's artistic, cinematographycally chatchy, and aesthetically pleasing to the eyes. But when it comes to the characters, the brain, who does all the judging, tells me it's a waste of time.
Out of all the characters who stood out for me were Ing, Mawin and our "second_lead_syndrome" guy Pheem. Especially, Emi, as Ing, was just outstanding and brilliant. She felt like HOME! Her every word was true to the core and had weight to it. Also, AJ, as Mawin, did a great job. He proved that he's more than just one comedy guy. He gave us something to look forward to his career in the future.
Now coming to the sad boi, Pheem; at first he was arrogant and thought he could win anything in life until he met Jira. He shattered him and left him like a broken tape recorder. He gave more than he received. Dew as Pheem was enchanting! The casting crew knew what they were doing. If it wasn't for the fixed ship, I would have been sold for DewGun.
As an actor, Off and Gun was as good as always. But Koh and Jira's character had no development whatsoever. Koh was as shitty as before without being sorry for whatever he did to him and Jira let him trample his art, soul and body. Jira let Koh EMOTIONALLY OWN HIM. AI part was left behind as it was nothing. Koh saw Jira with a capitalistic mindset and he continued to do so. Did he promise he'll not do it again? No. Then what made Jira trust him again with his art? Idk.
If you look at their characters, they were simply so chaotic and unruly that watching them makes this whole thing so overwhelming that you're left with a void inside. Why? Because they made every character so pathetic that it mentally caused me to think, "This is fictional, I shouldn't be THIS mad." But at the end of the day, because of fixed OffGun ship we, the audience had to sacrifice a good story to something like this. This storyline gives you problems, shows you the solutions but doesn't give you the liberty to enjoy it because, at the end, it doesn't make sense.
Cinematography, colouring, styling and colour combination of the series were beautiful. When there were were paired with soulful background music it became alluring. The art pieces were mesmerizing. Shoutout to the artist who's behind this. They created a very artistic vibe to the whole series regardless of how chaotic it was.
Overall, I had great expectations from P'Nuchy. I'm utterly disappointed with whatever it concluded to. It truly proved itself an artistic mess after all. I wouldn't mind if it wasn't a "happy ending". It felt forced.
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This review may contain spoilers
The Moon truly does rise where the River is
Acting and Characters: Kim So Hyun was absolutely perfect as Pyeonggang. Na In Woo took on the difficult job of filling in On Dal after Ji Soo got dropped and exceeded all expectations. Lee Ji Hoon was the swoony SML that we grew to love and hate. Choi Yu Hwa did an amazing job portraying a cunning yet kind-hearted Silla spy. The side characters were all so lovable. Pung Gae and Jin were so cute. The Queen and Go Won Pyo were extremely well portrayed. Won (or King Yeongyang) was lovable as a teen and despised as an adult. King Pyeongwon was a character that we grew to love over the course of the show.Plot: The plot was iffy at times but it was bearable. It didn't help that they rush a couple of episodes and write a whole new set of episodes due to the allegations around Ji Soo. Overall I think they did a really good job of sticking to the history and folktale while giving us the viewers some fanservice with that ending. They did Geon and Won (or King Yeongyang) dirty in the latter half of the show, but at least we got their true character back by the end. The "death" of On Dal was kind of unnecessary but I get why they did it. They needed to stay somewhat true to the ending of the folktale.
OST and Cinematography: OST was amazing. The soundtracks used for the battle scenes so perfectly. The main OST was lovely. The cinematography was absolutely stunning at times. One of the better cinematographies I've seen. The setting for the scenes was absolutely beautiful. The camerawork was pretty good. Overall a very well-produced show given the circumstances.
Final Score: 9/10
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The drama itself was a pretty good drama, not one of the best I've seen but I did enjoy watching it. Its one of those dramas you have to keep watching to like.
I really enjoyed the acting, characters were really unique and entertaining to watch. I mean you get to see both No Min Woo and Park Ki Woong play completely different roles from what we are used to and on top on that they sing >< .....I just loved the music. The songs were really fun and catchy.
Any who definitely recommend if you are in the mood of watching a light romantic/comedy.
P.S NO this drama does not have anything to do with the first Full House but the name.
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This review may contain spoilers
Typical Contemporary Romance Cdrama
Modern romance drama that revolves around the love story between Chu Li, an aspiring editor, and Zhou Chuan, a highly successful debut author. This was a drama that I had looked forward to ever since they announced the lead pair. I had enjoyed watching Ding Yuxi's "Romance of Tiger and Rose" and really liked Esther Yu in "Find Yourself".However, what started as a solid 9/10 drama, slowly devolved to 6/10 for me. Mainly because of how absurd the ML's behaviour was. I tolerated his antics in the beginning because I thought he would change for the better as the drama progressed. But, 30 episodes in, he still behaves like a child instead of the 27-year-old adult he's supposed to be. At the beginning of the drama, he treats the FL as his own personal assistant, even his housemaid at times, and no one seems to even point out how wrong this is to the person himself although certain characters do remark upon it. Later, after the leads get together, he continues to demand the FL's attention knowing fully well that she's busy at her job and not ignoring him on purpose. I get that in dramaland this behaviour can pass off as cute but imagine if this happened in real life?
Other than that, my only complaint is that nothing really happens in the drama. This would have been a much better-paced drama if it had been 24 episodes. Instead, we have to wait for more than half the drama, around 18 episodes just for the leads to get together. The drama had nothing new to offer, except for maybe the glimpse into behind the scenes workings of the publishing industry.
Nevertheless, I liked our FL and almost all of the female characters. Their story arcs were much better written, believable and relatable. Chu Li was determined and stood her ground despite how harsh her workplace was to her. Even though I wish we could see Esther Yu in a more serious and not-so-typical role, she played the bubbly and unintentionally funny FL to a tee.
I may be overreacting here, but I'm just really tired of the unreasonable MLs. If you like slow-paced, slice-of-life-ish romances or if you are relatively new to modern cdrama rom-coms then this drama might be for you.
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There were a lot of things that I liked about this drama and a lot of things that I didn't.
The acting was one of the best thing of the drama. Each actor and actress did a great job portraying his or her character and they complemented each other perfectly as a family. Sometimes they fought, sometimes they cried and sometimes they were plain hilarious, but each time they did it as a family. Seeing them like that kind of made me wish I had such a huge family like them!
The music was a lot better than I expected, I even learned the lyrics for the songs! There was one that was specially catchy, the one with the ?vis a vis face to face? chorus.
Now to the main part: the story. This is a really long drama,so the story is like several stories put together. The first chapters were really frustrating for me to watch because every character is really annoying and dumb. They made me just want to smack them really hard.
But then, as the story continues you learn to love these characters even with their flaws, and feel what they're feeling. Maybe, you will even learn to relate to them.
In my opinion it was a wonderful story, because it wasn't the kind of story that made you want to dramathon through the drama, but it grew on you slowly and made you want to keep watching what happened to this crazy family, and how each character grew (they really needed to grow, ALL of them).
The downside of this drama for me was that it was extended. I think the drama would've been a lot better if they had finished it in episode 39-40. The last 5 episodes were a torture for me to watch, because I felt like I had already witnessed the end of the story, and that the last few episodes were a really LONG epilogue, and no one wants long epilogues.
Overall this a really funny, light and heart warming drama. It is constantly entertaining and you will never get bored watching it, there's always a crazy scene waiting in the next 5 minutes. If you're in the mood for something like that, this drama is just for you :)
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