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I was hooked from the first episode
I will never stop praising JuniorMark's acting. Everyone should watch and learn how a couple should look and treat each other. There's more to portraying a couple than holding hands, kissing, and calling it a day. Their performance made me truly feel their love for each other and took me through a lot of emotions in such a natural way. Mark didn't even need to speak to make me burst into tears. They did such good work they made me ignore the bad script, but whatever. I would say this has become the best work I've seen from them so far.And of course I don't want to leave OhmPoon out because they were just as important and protagonists in this series. I started watching this show because of JM but thanks to that I got to know them, their first time working together as a pair, and I was really surprised by how good their chemistry was. There were scenes where it was simply impossible not to laugh; they were like the spark of the series.
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wdym no more Duang with you ?
when I say these roles suited teetee and por to a tea I mean it. I was in love with there chemistry and was always looking forward to each new episodes with them. the way they really brought these roles to Iife made me so happy! and I wanna say por can sing like an angel omg! like his vocals are soo soo good like he is such an amazing singer and I’m glad this role was able to highlight that for him! the way teetee was able to make Duang just enough funny and cute to not make it cringy is truly a talent! and the way he was able to flip between Duang being all cute and funny to serious and flirty was just amazing. north and wave did really well portraying there charters as well. the friendship they showed was amazing and like I really love Duang and them as a friend group like those are the types of friends you would have fo life and I truly loved there dynamic. when Otto came on screen as Marvis he brung it. like omg he ate. like I might be a bit bias but I love Otto so much and like he is truly stunning. tbh I’m so sad we didn’t see more of north and Otto but from we got I loved it. I loved each and every one of the characters in this and they all did so well making there characters come to life on screen and I’m so proud of them. I truly can’t wait to see all of them in any and all future projects! I will miss waiting for new episodes on Saturday as that would be the highlight of my Saturdays. imma miss this show soo much🥲🥲🤍🤍Was this review helpful to you?
Burnout Syndrome is incredibly well-balanced and thoughtfully executed
I loved the story — it feels fresh and genuinely unique.The acting was superb. Every actor delivered a powerful performance, and you can really feel the intensity in each scene. It’s sexy, dangerous, and smart all at the same time.
You can tell the production knew exactly where to invest their budget, and it paid off. The direction especially stands out — everything feels intentional and well-crafted.
Standing ovation to the cast, the director, and everyone who made this possible.
So far, this is the best series I’ve seen this year.
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Love, lies, and everything in between
Such an entertaining watch, a mix of charm, tension, and emotional moments that kept me engaged throughout. I really liked how the story plays with trust and deception without losing its romantic core, constantly blurring the line between what’s real and what isn’t. The dynamic between the leads works really well, that push and pull kept me invested the whole time. And honestly, JuniorMark never disappoints, I loved them here. Junior’s acting especially stood out to me, he made everything feel more believable and pulled me into the story even more. It’s not perfect and some parts could have been explored more, but overall it’s a really enjoyable drama that knows how to keep you hooked.Was this review helpful to you?
Dare You to Death felt a bit too cliché for me.
Dare You to Death felt a bit too cliché for me. The story didn’t really bring anything new, and the action scenes often left me with a “that’s it?” feeling.It also seems like the budget may have affected the overall execution, especially in the action and production quality, which made the series feel underwhelming at times.
There were some cute and fun flirting moments that added a bit of charm, but they weren’t enough to carry the whole series.
Compared to Heart Killers, this one falls short in terms of impact and storytelling. Honestly, it felt more like a filler in the 2025–2026 lineup rather than a standout series.
The concept had potential, but it needed stronger execution to really deliver.
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From Hope to Boredom: 36 Episodes I Regret Watching
I rarely write reviews, but with this series I was incredibly bored. Around episode 25, I stopped watching, and in the end, after persuading myself, I managed to watch all 36 episodes. And I keep wondering—was it really necessary to stretch the story out like this? Not much was happening, and the story of the main characters could have easily been told in about 16 episodes. For me, it was a waste of time!Was this review helpful to you?
Mission Obvious
Mission Cross had a strong cast saddled with flatly drawn characters and action. It lacked what a sexy thriller that blatantly copied some Mr. and Mrs. Smith moments requires, at least a modicum of chemistry between the leads. I like both actors but it was hard to understand how they ever ended up--or stayed--married.Detective Kang Mi Seon, aka The Crocodile, is less than thrilled with her school bus driver and house husband, Park Gang Mu. They’ve been married for a few years and her kindest compliment is that she could have done worse. She leads a team tracking down drug dealers and a missing CEO, and stumbles upon a secret government cover-up. Park Gang Mu works hard to make Kang’s day easier any way he can in the new life he has chosen. He is contacted by an old spy friend whose husband has gone missing. Though Park had given up his undercover life he is willing to come out of retirement to help old friends. The spouses unknowingly begin working on the same investigation from different angles.
The first hour of the film dragged for me as Kang’s team thought that her “wifey” was having an affair. Park’s instincts had definitely rusted as he never realized he and Jang Hui Ju were being followed and photographed by the bumbling detectives. He also never questioned anything. I kept hoping he and another spy were playing a con on the Big Bad, but nope. They were the ones being played by a patently obvious fake out. Made me lose all respect for them. The writing was painfully bland with no surprises. At least Kang was a competent police officer which was a nice change of pace.
The film didn’t become more engaging until the last 30 minutes and even then, the fights were badly staged. The Big Bad overacted. The fire fights weren’t shot very well. The cinematography and direction lacked a professional, polished look to them. Basically, given the cast, I was disappointed. This paint by numbers script had no depth or originality, no spark. Hwang Jung Min and Yeom Jung Ah deserved better.
19 April 2026
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The Boy Next World: My Destiny Special Episodes
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This review may contain spoilers
Why bother?
This was exactly like the Thai special, except - well no except, it was exactly the same.A little cute, a lot cut out and extremely unnecessary.
Fuu is the one with a crush on Sara in this, and he's a creepy little stalker who is in love with an incredibly mean person. They go camping together because their respective friends believe they're perfect for each and that somehow works because they start dating? I think, it was pretty nonsensical.
Think I prefer the Thai version to this, atleast something happened there, this was an hour of nothing.
It's not really necessary to watch this special after the series (like I did), so save yourself some time and maybe make it a background watch.
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My ultimate comfort BL.
I’m still pretty new to BL dramas, and honestly, Duang With You is the reason I fell so deeply into this genre. I actually started watching BL last year, went through about 10 series, then suddenly lost interest. But somehow, Duang With You pulled me right back in… and this time, it didn’t just bring me back... it made me stay.There’s something about this series that just hits differently. It’s not just “good”… it’s the kind of show that lingers with you even after you finish an episode. The story feels heartfelt and genuine... not overly complicated, but still emotionally engaging in all the right ways. It balances softness, tension, and those cute moments that make your heart flutter.
Duang and Qin are definitely one of its strongest points. They feel real, flawed, and easy to connect with. Watching their growth felt natural, not rushed, and you can really see how their experiences shape them over time. Their chemistry? Insane. The kind that makes you pause, rewind, and just feel everything all over again.
Teetee and Por did such a great job bringing these characters to life. You can tell they truly understood their roles, and it shows in every small expression and interaction. Nothing felt forced... everything felt lived-in.
The OSTs deserve a special mention too! They’re the kind you keep replaying because they take you right back to specific scenes and emotions. Every track just fits perfectly.
What I love most is how this drama became a comfort show for me. It’s the one I think about randomly, the one I’d rewatch without hesitation. It even got me into shipping, which I never thought would happen… but here I am.
At this point, I can confidently say this is my number one Thai BL drama so far. It didn’t just entertain me... it changed how I experience this genre. And honestly, I don’t think I’ll ever forget the feeling it gave me.
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Layers of Lies and Twist of Fate
Its been a long time since my last time watch Hou Minghao's drama. And I have an urge to watch Lu Yuxiao so I'm give it a try. This is my first time watch Yuxiao and I'm not disapointedStory,
Such a nice story from the start till the end. We know that no xianxia go without misunderstanding, and this drama served perfectly how lies can create such a beautiful by layers of lies. The good thing is there are no disapointment that I got. All the conflict done as I expected in a satisfied way. But sometimes I feel this drama is a product of entertainment (and this is true tho) for some part.
Acting and Character,
I'm in love with both Ji Bozai and Ming Yi. Hou Minghao and Lu Yuxiao did such an amazing job bring them alive. It is hard to created character that feel alive and human. Thank you Hou Minghao and Lu Yuxiao for taking the job and act for our lovely Ming Yi and Ji Bozai.
This is my time to acknowledge your talent, Lu Yuxiao. Actually I watch this because I want to know you more before I watch your 'Nan Yi'. To be honest I don't really expect much from you but wow gurl you stole my heart! Now there is no way I doubt your talent.
Yu Chengen, this is my first time in your drama that I got slowly irritated when you appear. From adored to annoyed. This proved me you did perfect to potrayed the evolution of cute Situ Ling to ruthless Chao Yan.
I see familiar face like Quan Yilun (honestly I fall for you this time), Pan Junya, Zuo Ye, some kids actor and also some actor that I know from short and mini drama such as Zhang Hongming, Wu Tianhao, Yang Pengcheng, Deng Xiaoci, Zhu Lilan, Wu Yiqiao, etc. They all did a great job.
Music,
Hou Minghao's voice are hypnotizing. Such a warm-soft-comforting voice you are.
All of the song are so good and express each scenes properly. Thank you music director.
Rewatch and Overall Value,
First I want to praise the editing staff. Gosh the CGI is CGI-ing. Such a beautiful execution of every part of drama. From lighting or properties placement, graphic action, or event the comical visual are top-notch! I will remember this drama in my heart.
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Perfect. Perfect. Perfect
Teetee and por ate this one. 10/10 with definite rewatch value. Their chemistry on and off screen is absolutely amazing . It is indeed cringy with exaggerated reactions at times, but it has a one of a kind charm. it is done so perfectly that you’ll feel mushy all inside and feel their love overflowing out of your screen. That’s how much the cast has chemistry . The story is so well executed that everything comes back in a circle. YOU NEED TO WATCH THIS AT ALL COST!!! Honestly, top BL i have watched in recent years . I just love every single thing about it.Was this review helpful to you?
This review may contain spoilers
“More than expressing myself, I destroy—in my own way.”
Within the highly prolific period of the so-called Nikkatsu Action—particularly between 1960 and 1962—"Youth of the Beast" (1963) stands as one of the most significant turning points in the trajectory of Seijun Suzuki.Some critical readings—often shaped by a rather rigid, auteur-driven perspective—tend to interpret Suzuki’s cinema as inherently pessimistic rather than programmatic, drawing on the ideas of another “outsider,” only seemingly distant, such as Jacques Rivette, who believed that cinema should strip the viewer of clichés and project them into a destabilizing, even unsettling dimension.
A strong idea, one that aligns surprisingly well with Suzuki’s aesthetic: a cinema that does not build, but dismantles, that does not reassure, but exposes. And yet, it is interesting to observe how the so-called B-movies of the late 1950s—apparently indebted to American hard-boiled aesthetics—would, in retrospect, prove to be among the most transformative moments of his career.
From an initially and inevitably imitative model, a gradual stylistic and cultural hybridization emerges, allowing Suzuki to introduce increasingly bold formal shifts: jump cuts not far removed from the lessons of the Nouvelle Vague (particularly Jean-Luc Godard), often eccentric widescreen compositions, sudden visual allegories, and an expressive use of color—elements that break away from the linearity of contemporary productions, which were generally more aligned with international trends (unsurprisingly, these were also the years in which Japan entered the aesthetic orbit of the James Bond phenomenon).
Within this framework, "Youth of the Beast" emerges as a work in which the hard-boiled matrix is not merely referenced, but fully absorbed and reworked. From its very first scenes, Suzuki introduces a key element through the play of reflections inside the nightclub.
Mizuno acts in front of a mirror that is far more than a simple visual device: it becomes a threshold. On one side, the gesture, on the other, the gaze. On one side, the action, on the other, its observation—as if it were already cinema within cinema.
And while all this unfolds, elsewhere—just a few meters away—the cabaret continues as if nothing were happening: music, bodies, lightness. Two planes coexist without ever truly touching, as if the picture itself refused to reconcile them. It is precisely within this disjunction that the first sign of a gaze already out of alignment begins to emerge, ready to fracture what initially appears perfectly readable.
Much of the film’s impact also lies in the magnetic presence of Jō Shishido, whose performance shapes a protagonist that seems to step directly out of the world of Raymond Chandler or Dashiell Hammett—filtered, however, through a distinctly Japanese sensibility.
Mizuno is, in every sense, an outsider private eye: a former policeman expelled for unorthodox methods, who inserts himself between two rival gangs in a structure reminiscent of a “servant of two masters,” only to reveal a far more personal objective—uncovering the truth behind his mentor’s death, too hastily dismissed as suicide. It is here that the picture fully descends into the territory of the bleakest noir.
The truth, far from restoring order, ends up eroding everything: it exposes, contaminates, destroys. And when the full picture finally comes into focus, what emerges is not justice, but a form of awareness that is irreparably compromised.
Suzuki builds this trajectory through a mise-en-scène that is violent, stripped down, almost brutal, yet constantly interrupted by visual insertions that resist any single interpretation: elements that seem to drift out of context, such as the yellow dust that invades the assault scene (and then the wind, an indispensable feature in the director's cinematic language), the sudden fall of the addicted woman, or abrupt eruptions of violence and sadism that oscillate between realism and abstraction.
These are images that do not explain—they suggest, unsettle, remain open. In this sense, the work does not simply tell a story; rather, it fractures it, distorts it, placing it under constant tension between narrative surface and something more elusive beneath it.
What emerges is a deeply corrupted world, permeated by a violence that spares no one. Within this universe, the portrayal of female characters takes on extreme contours, often tied to dynamics of manipulation, exploitation, and betrayal.
Seen through a contemporary lens, this aspect may appear problematic—but it can also be repositioned within the grammar of hard-boiled noir, where female figures often function less as causes of degeneration than as reflections of a world already compromised.
In this context, the protagonist’s so-called 'misogyny' appears less as a moral stance and more as the byproduct of an environment in which every relationship is contaminated.
Mizuno himself is neither a traditional hero nor a straightforward anti-hero. He operates according to a personal code—seemingly more stable than that of the other characters, yet far from irreproachable. In a world where everything is tainted, his position inevitably begins to crack: he is not detached from the violence that surrounds him, nor from its most ruthless logic.
The ending, in this sense, is revealing. Mizuno does not simply expose the truth—he actively shapes its outcome, deliberately closing a cycle of violence that leaves no room for redemption.
It is precisely in this gesture—lucid, fully conscious—that the character’s ambiguity comes into focus: not a judge, not a savior, but someone who, while holding onto a personal moral line, ultimately shares in the same dark substance of the world he moves through.
What remains is a sense of emptiness, almost exhaustion—as if, once the mechanism has been revealed, there were nothing left to preserve.
In this regard, "Youth of the Beast" is not only a remarkably effective noir, but one of the most accomplished expressions of the internal tension that defines Suzuki’s cinema: an unstable balance between form and sabotage, between adherence to genre and its gradual dissolution.
An image that offers no foothold, seeks no redemption—and because of this, retains an extraordinary power even today.
9/10
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WE NEED THIS GENRE !!!!!!
Love This Story and Genre, Make me feel so Happy ! Not a Complicated Drama. Easy Going, But Meaningful. Full of Happines. Good Job for all the Team and Actors !!!!!!!!!!!!!!!!! 🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤩🤗🤩🤗🤩🤗🤩🤗🤩🤩🤩🤗🤩🤩🤩🤩🤩✨️✨️✨️✨️✨️✨️✨️✨️✨️✨️🤗🤩✨️🤗🤩✨️🤗🤩✨️🤗🤩✨️🤗🤩✨️✨️🤩✨️✨️✨️🤗🤩✨️🤗🤩✨️🤗🤩✨️🤗🤩✨️🤗🤩✨️🤗🤩✨️🤗🤩✨️🤗🤩✨️🤗🤩✨️🤗🤩🤩🤩Was this review helpful to you?
This review may contain spoilers
A charming series with a few problematic aspects
I started watching An Incurable Case of Love because of the actor playing the main role, after his performance in Glass Heart. I don’t think this will be the last series I watch with him, because he’s really great :D and I’ll definitely follow his future projects.As for the series itself… it’s a sweet and charming story about the innocent, initially platonic love of a young girl for a doctor who fascinates her. It’s really love mixed with fascination, maybe even a kind of idol-like admiration. Overall, the idea of being fascinated by an older, experienced doctor is understandable, but I do have a few issues with this series, and I think the age difference is actually the smallest problem here.
Maybe I’ll start with the fact that the main character’s behavior doesn’t match that of a 22-year-old, but rather a teenager, which, from what I’ve seen, other commenters have also pointed out. Some of her behaviors are very childish. The second issue is that three men fall in love with her at the same time. I get the whole rivalry thing and all, but without offending our heroine—how is that even possible? Two middle-aged men plus a millionaire all fall in love with a young, not particularly sharp nurse. Of course, she is sweet and charming, kind and empathetic, but she is also childish, not very perceptive, makes mistakes she shouldn’t be making as a trained nurse, and overall the whole millionaire subplot seems quite unnecessary to me. Similarly, I find it unconvincing that she was the one sent for overseas training—like, why exactly? What was the selection process? Maybe I missed something?
And finally, my biggest issue with this series, the cherry on top:
Who would want—or react with a smile—if their loved one called them a donkey? Even at the altar? Was this mistranslated? It’s constantly either “donkey” or “blockhead,” used at work, then thrown around as a joke, and in the end said to his future wife? What kind of relationship is that, where one person treats the other in such a patronizing way? Of course, I understand it’s a series and not real life, but what I value in series is a reflection of reality. If a 22-year-old falls in love with a 33-year-old doctor and, completely blinded by love, marries him, then after 10 years, when she matures, she’ll be a completely different woman… It’s strange that a grown man is attracted to a girl with such childish and immature behavior.
So, I rate it—perhaps a bit generously—an 8.
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