Reviews

Almost didn’t write this

I almost didn’t write this review because my opinion seems to differ so much from the majority on this platform that I genuinely started questioning my own viewing experience. When everyone is calling something amazing and you’re sitting there thinking “...did we watch the same show?”, it’s a strange place to be.

But here we are.

Let me preface this by saying: I was really looking forward to Love Design. I wanted a smart, well-written, well-acted Thai GL. I loved Jane in The Gifted and Kao in Hormones, so my expectations were naturally high. And all of that wrapped in architecture and design aesthetics? Chef’s kiss. It felt like it had everything going for it.

The Good

First — the production.

The show is beautiful. Truly.
Great sets, gorgeous framing, thoughtful composition. Every scene looks curated. The design world felt immersive and polished. If visuals alone carried a series, this would be near the top.

I also appreciated that (aside from Tee) there were no real villains. No heavy homophobia. The stakes were generally low. It was refreshing to see a GL that didn’t rely on trauma or external hatred to move the plot forward.

The red string arc was also handled fairly well. It unfolded naturally and had emotional logic. That storyline, at least, felt cohesive and intentional.

The Not-So-Great

This is where my experience diverges from most reviews.

I was genuinely surprised by how off the acting felt at times.

Jane tends to overact whenever scenes become intimate — the performance suddenly feels heightened in a way that pulls you out instead of drawing you in. Kao, on the other hand, has this “deer caught in headlights with flared nostrils” expression whenever things turn dramatic or tense. It becomes repetitive. And unfortunately, both of them were easily upstaged by Yam (playing Mind), who brought a level of naturalism and control that the others didn’t consistently match.

Which leads to chemistry.

I was told repeatedly that JaneKao’s chemistry was one of the show’s biggest selling points. I kept waiting for it. Looking for it. Trying to feel it. What I found — at best — was friendship.

Meanwhile, Mind and Aokbab actually had strong chemistry. And honestly, that was mostly due to Yam’s performance anchoring those scenes. There were moments where I genuinely thought they were going to be endgame.

Part of the issue may stem from how underdeveloped Rin is as a character. She starts as an annoying brat with very few redeeming qualities (aside from potential talent) and ends… as an annoying brat who happens to love Aokbab. The growth felt minimal. So when Aokbab tells Rin she loves her for the first time, my honest internal reaction was: “Really? When did this happen?” I never felt that progression emotionally.

The side couple unfortunately left almost no impression. To the point that I’ll probably forget they existed in a month.

And the on-screen animations/graphics? Distracting. They didn’t enhance the humor or deepen the story.

By the final episode, I found myself forcing my way through it. That’s never a good sign. I wasn’t angry. I wasn’t even frustrated. I was just… not invested.

Final Thoughts

It’s a shame, because the potential was enormous. The aesthetic foundation was there. The premise was strong. The casting looked promising on paper.

Maybe this just wasn’t for me. But I genuinely hope we get stronger, sharper, better-written Thai GL romcoms in the future.

I really wanted to love this.

I just didn’t.

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Great Setup, Gradual Decline

This is another drama that started off great but became incompatible for me around the middle. I loved the beginning—the character growth and the buildup to the conflicts were strong—but some of those conflicts didn’t follow through enough for me. The storyline gradually diluted the female lead’s strength, shifting focus to family dynamics and romance. I started skipping through it around episode +23 and finished it through highlights. The ending makes a nice recovery with an interesting twist, but I personally struggled to stay engaged long enough to get there without skipping. That said, I really did enjoy the supporting cast.

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Story is good, music is better!

It took awhile for this series to pull me in, but eventually it happened. Somewhere around episode 4 you start to see and feel the depth of the characters come to life. It gives you a better understanding of who they are in the present and what happened to them in the past.
The four actors playing the main protagonists are all great to watch, Jun Shison is always a favorite, so his character was the best to follow. They all blended well together and gave a very good feel on this band's chemistry coming together before our eyes. At times, the main role of Naoki is really lost in his obsession with music, and Takeru Satoh really brings that feel to life.
The major plus in this drama is the music! It's really what holds the story together. That is a constant from the very first episode right through to the end. The final episode is really the most enjoyable, and it gives a great ending to a well written and well acted series.

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reluctant hero takes center stage

This drama has topped my list as one of my favorite stories that have come out in recent years. With relatable comedy, quick witted dialogue, and likeable characters this show carries itself through with laughter at its core and life lessons genuinely expressed. A fun and silly take on the reluctant hero that is out to make money for himself but ends up creating a village around himself that gives back sincerity. In a world of bosses only looking for profit Pei Qian becomes the boss that cares for his employees and forms a formidable team of misfits to rival the biggest companies; all by accident.

Pei Qian is the type of main character that is easy to watch and root for. He is funny and relatable in the way that makes him feel realistic. The people around him are often the most ridiculous characters but every one of them grow on you as the watcher really quickly. This is the type of show that brings you joy by watching and leaves a lasting impression on occasion with its unexpected life lessons. In an effort to do the opposite of what is 'profitable' Pei Qian often ends up creating an innovative way to give others exactly what they didn't know they needed. From a game that tests your sanity but makes you ponder where you spend your time to a gym that instead of forcing body image and insecurity creates a place for rest and recharge. His wacky ideas become innovation and often have the opposite effect he was wanting but for his employees he becomes this revered and approachable person that is their protector and safe haven.

This silly show is fun and heartwarming and I highly recommend it. My only complaints are in the latter episodes that slow down the pace but it is necessary for the growth of Pei Qian's character. That and the FORCED romantic story line that is completely unnecessary.

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Be Your Kiss (2025) is a very nice heartwarming romance miniseries with Huai Wen( as Fu Zheng Ting) and Liu Jia Xi (as Zhao Xiao Ya) in the leading couple’s role. The cast did a good job bringing their characters to life and the leading characters, even though their intimacy was not shown, they had a beautiful sensual way to go about the romance that really showed how they felt for each other. The leading couple has great communication and their interactions are loving, mature, and supportive. Overall, if the viewer is looking for a wonderful relationship, this is the drama to watch!
In the meantime, this drama can be found in YouTube under the caption: “
I married a rich older man, but it turns out he's my fiancé's biological father” (https://www.youtube.com/watch?v=Pdt0YURU89s)

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Thunder, Rain, And A Love Caught In The Storm

This series really was something. I understand why many viewers say it lacks consistency. In my opinion, it feels like a slightly organized mess. There are strong elements, but they do not always work together smoothly. So let’s break it down.

{Pros}

First, the acting was genuinely good. The emotions felt real and were expressed well. The yearning, the begging, the desperation, all of it felt raw rather than forced. The actors carried the emotional weight of the story in a convincing way.
The cinematography was another strong point. The countryside scenes were warm, soft, and visually stunning. In contrast, the scenes set in Seoul felt darker and more suffocating, which matched the tone of the story. Both settings were beautiful in their own ways and helped reinforce the emotional atmosphere.
The chemistry between the leads was also solid. The tension was well done, and the kiss scenes were strong and believable. Visually, the series was very pleasing overall.
Some parts of the story were decent and had interesting ideas, but they could have been developed more carefully.
And that is mostly where the positives end.

{Cons}

This story had so much potential. Unfortunately, I began losing hope as early as episodes 1 and 2. That is always disappointing, especially for a BL with a premise that could have delivered something powerful.
The biggest missed opportunity, in my opinion, was the pacing of the relationship. The series had the potential for a strong enemies-to-lovers arc, possibly stretching the tension until at least episodes 5 to 7. Instead, the emotional and physical connection happened very quickly. The kiss and the mutual feelings felt rushed, especially considering the standards and hostility set in the first episode. Because of that, the yearning and slow emotional buildup, which are essential for this trope, were weakened.
The storytelling also feels inconsistent. In the first episode, we are given background information about the characters and their history, but later the narrative does not fully commit to that foundation. It leaves several confusing questions, how close were Seo Jeong Han and Lee Il Jo before everything happened? Were they on good terms? Did Seo Jeong Han have hidden feelings before everything began? What was their real dynamic in the past? The lack of clarity makes it difficult to fully understand their emotional connection.
Another issue is the surgery subplot. In the first 2 episodes, Lee Il Jo’s surgery seems serious and significant, but after a brief mention, it is almost forgotten. Considering it appeared to be a major procedure that would require recovery, the lack of follow-through feels unrealistic.

Overall, the series maintains a very depressing tone. There are barely any light or genuinely happy moments. The family dynamics are already toxic, driven by money and status instead of love, and this negativity carries into the central relationship. While darker stories can be powerful and meaningful, they need balance to avoid becoming repetitive. Unfortunately, this series becomes emotionally exhausting rather than engaging.
Seo Jeong Han spends much of the series chasing Lee Il Jo. I did appreciate that he was not emotionally detached or trying to be nonchalant, he begged, he embarrassed himself, and he showed vulnerability. That felt real. However, Lee Il Jo’s constant attempts to leave, combined with his emotionally distant behavior, became frustrating. At times, it genuinely felt like he did not care, even though it was clear he was also hurting. Eventually, it became tiring to watch the same cycle repeat.
The series mainly consists of sadness, chasing, and family drama. There is nothing wrong with that kind of plot, but it needs stronger execution and better pacing to remain compelling.
And I'm still wondering why they didn't just let the same actors play as their younger selves, I kept wondering who those 2 kids were, I thought it was some random side couple with no information (which at that point I wouldn't have been surprised if they did that)

{Final Thoughts}

I truly grieve the potential this story had. A slower burn and a stronger enemies-to-lovers development could have made a huge difference. Instead, the relationship progression felt rushed and uneven.
I would not strongly recommend it, but I would not call it terrible either. It has good acting, strong visuals, and emotional intensity, but it lacks consistency and narrative depth.

Overall rating: 7/10

And I am still waiting for the perfect enemies-to-lovers BL that checks all my boxes.

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The power struggle between women, revenge-driven SFL vs cunning FL

I watched this today and i liked it despite there is many scene felt too jumpy due bad editing. Actually i liked the premises

The plot tells about FL transmigrates into a drama and engages in a power struggle with the reborn original FL while also straightening out her spoiled children. FL's confrontations with the villains are incredibly satisfying, and her approach to educating the children is gradual. Moreover, it not only features a domestic power struggle but also a court intrigue storyline—the first time I've seen a princess enter the palace to seize power. The villain was also reborn to take revenge to FL so it basically transmigrated FL vs reborn SFL.

The entire drama is logically sound, morally upright, and the ML silently protects her. Basically ML in this drama was practically useless and there is no romance plot in this drama. It has a happy ending with the whole family reunited. The makeup and styling are also excellent and Huang Yunyun uses her real voice as dubbing.

Still worth to watch.

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Decent drama about cliche plot

I watched this long time ago and it was considered decent from the year the drama was released. Zhao Zhendong plays as amnesia CEO who become father of FL's children. The drama contains generic plot like one-night stand, amnesia, and even verbal sparring between FL and her family. I quite like Zhang Jinyi portrayal of FL, she is not love brain FL and not too damsel in distress when she was bullied by her stepsister and step mother.

For the chemistry, I have no doubt about Zhao Zhendong and Zhang Jinyi even almost no romance scene between them, it feels warm to see them interact with the kids especially Zhao Zhendong. So I understand why his earlier works was become dad. The comedy was there but it feels quite weak and the romance development was quite slow.

The cons was Zhang Jinyi voice was being dubbed.

Still worth to watch.

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Sad People in Love

From the jump, Pavane feels like it exists in a slightly warped reality where everyone is lonely, underemployed, and quietly disappointed in themselves, which already makes it more honest than most romantic films. The story centres on three people working in the same department store, which is basically a factory for emotional suppression. Gyeong-rok parks cars while chasing dance like it’s a personality trait, Mi-jeong works in the basement like society physically pushed her underground, and Yo-han floats around as the charming, slightly strange friend who seems socially successful but radiates the kind of loneliness that comes from being liked without being known.

The romance between Gyeong-rok and Mi-jeong does not arrive with fireworks or dramatic confessions because this film understands that people who feel undesirable don’t flirt like normal humans. Their connection grows through small glances, long pauses, and the shared exhaustion of knowing they do not fit society’s idea of a perfect couple, which somehow makes their relationship feel more intimate than any cinematic grand gesture ever could. It is not fantasy love, it is survival love, the kind that says, “You also feel out of place? Great, let’s be uncomfortable together.”

Mi-jeong sits at the emotional centre of the film, and instead of giving her a makeover or a glow-up montage, the story does something far more radical by letting her remain exactly as she is and demanding that the audience take her seriously anyway. She is repeatedly criticised for her appearance, as if her face itself is a social failure, and the film never pretends this cruelty does not wound her. But it also refuses to turn beauty into her redemption arc. Her worth comes from endurance, from continuing to exist in a world that keeps suggesting she should not. Go Ah-sung plays her with a quiet vulnerability that feels like someone constantly holding their breath, revealing trauma, fear, and the aching desire to be seen without ever turning Mi-jeong into a lesson or a slogan.

Gyeong-rok is gentle in a way that feels painfully realistic because he is clearly in love and yet emotionally illiterate, like a man who downloaded feelings without reading the instructions. He hesitates, misreads situations, and can be frustratingly dense, but that clumsiness makes him feel human rather than engineered. Their relationship never feels manufactured; it feels like something that grew by accident because neither of them expected to be chosen.

Yo-han is the most ambiguous figure, hovering between friend, observer, and emotional disruptor, adding a slightly surreal layer to the story as if he understands the characters better than they understand themselves. Sometimes this perspective deepens the film’s exploration of loneliness, showing how charisma can coexist with isolation, but at other times it pulls attention away from the central romance just as it begins to settle into rhythm, which raises the uncomfortable question of whether this imbalance is intentional or simply a flaw in the writing.

Visually, the film leans into muted colours and a faintly vintage atmosphere, turning the underground parking lot into an obvious but effective metaphor for lives lived outside society’s spotlight. The cinematography is restrained and elegant, and the use of classical music lifts certain scenes into something almost dreamlike. Yet the pacing in the second half weakens the overall impact, as transitions between emotional moments feel awkward and uneven, creating a pattern where the film draws you in deeply and then abruptly lets you go before the feeling can fully land.

Still, despite these structural issues, the film leaves behind genuine emotional weight because its sincerity about love, insecurity, friendship, and longing cuts through its imperfections. It is less about happiness than about the way even brief love can permanently reshape how people see themselves. These are characters who believe they do not deserve affection and slowly realise that being chosen once might be enough to sustain them for years.

Pavane is not a spectacle and does not trade in fantasy or transformation. It offers hushed pain, awkward tenderness, and the quietly devastating idea that someone might love you exactly where you are: in the basement, in the parking lot, in the version of yourself you assumed no one would ever pick. And somehow, that restrained hope feels more radical than any dramatic romance ever could.

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They are so adorable.

Literally at first I thought when p'fah will know that poon likes him he won't be able to accept but lately I understood that somehow fah also likes him episode 5 was too good I really like the way he accepted phoon's love , and started loving phoon also I liked the way he teased phoon after knowing he was the person in letter . Fah was so understanding even after phoon lied to him , he knew everything but he waited for phoon to say it I loved the way phoon was so dedicated towards loving fah as a person in letters or he himself even if they stopped talking to each other fah remembered phoon was afraid of dark and thunder he came and hug him helped him overcome his fear .. I have to say fah did a lot for phoon ( finding his mom , getting rid of his father , giving him encouragement , getting rid of his trauma and more ) , phoon thought fah will be disappointed in him but instead fah was the most supportive part of this story ....

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Blends fun and fighting as only Lau Kar-Leung could

A clash between old-world discipline and new-world confidence that blends fun and fighting as only Lau Kar-Leung could, The Lady Is the Boss is loud, chaotic and hilariously abrasive, fully embracing its oddball identity. Spending its early acts indulging in absurdist gags, it does begin to lose focus around the midway point, throwing caution to the wind with its spotty scripting; however, the film really comes alive during its many inventive and highly entertaining fight sequences, adorably adapting Lau's choreography style for practical purposes, exchanging bloody fisticuffs for dance fights and shimmering blades for BMX bikes and gymnastic equipment. It even includes a few tongue-in-cheek pastiches of some of Lau's more famous works, all set to some super funky synth beats, while the film's commitment to absurdity gives it a truly infectious energy. A lot of the comedy had me giggling uncontrollably, thanks largely to its cast and how much fun they are clearly having with their roles, especially Gordon Liu and the adorable Kara Wai Ying-Hung delivering tenfold as the titular lady. Comedy certainly takes precedence over elegance and means that while The Lady Is the Boss is not as refined as some of Lau's other works, it's lively, assertive and hard not to enjoy on its own rambunctious terms.

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A drag for no good reason.

Without being to curt,the drama is really dragging its audience along for no good reason.The many flashbacks aren't really necessary because from episode one its established they became good friends through their love of photography.Certain flashbacks mid-series do not add anything to the plot because we already see they have their own bubble even their own friends recognized,the flashback of Wataru on a date being dumped showed us the audience they had other people but in the end it was just the two of them.But its an 11 episode drama and we are at episode 6,and so far we've got Wataru insisting from the first episode 'they are just friends' while they clearly are not,yet Minato has been steadfast about his feelings toward him and even confessed.Despite seemingly little progress being end at the end of episode 6, preview of episode 7 hints to us viewers there is regression in the relationship.Honestly at this point Wataru is a problem for me,him being stuck in the past and and being angry towards Minato chosing a profession not related to photography and dismissing Minato's romantic feelings and being insistent on him leaving... Understandably, he might be afraid they might not work out as a couple and loose their friendship entirely but seriously he should COMMUNICATE to Minato because he seems he would anything and everything for their friendship/relationship.

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Don't!

I can't help but wonder if they had replaced Cho Myeong Gyun with Jeong Ri U how much more entertaining this would have been even with rookie Hyun Woo. We know what these scripts are like at 7 min but this ......

The guy is terrible. His low voltage drops an already limiting script to comatose level. It's either he's working for free so they use him or he's related to the producer. One would think with more exposure he would get better, sadly no. Another irritating character, the bartender (Lee Jae Sung). My skin actually crawled. Not worth the effort. My 4.5 is for the rookie. Better but marginally.

Concensus: a resounding NO!

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Well detailed mini-work

Story 8
Acting and Casting 8.5
Music and Production 7.5
Rewatch value 6

I like this story. My first thought goes to how genuinely the relationship between the two starts and grows during the show. Everything seems so natural and spontaneous, like finding your own person. Slowly, knowing each other for real. Then the spark, the confession, the strength. This plot is also well managed and structured. No waste of time with irrelevant things (the side couple is cute and has, in my opinion, the right quantity of screentime). Maybe because of the short amount of time available. This is a journey we take with the main characters. Honestly, I would have preferred to see just few more scenes with them together as a couple.
I only have one question: what’s Gu Jae Yeon’s job? He’s a stuntman but also an executive director? Because he knows about fighting? I believe so.

The performances are good. I particularly appreciate the fighting training and shooting scenes: I find them professionally portraited, realistic. My favourite scene is, undoubtedly, the ‘lockers scene’ in episode five. Everything is perfect, from the acting to the filming. The light is stunning, marvellous, idyllic. Everyone does a good job, in general. Furthermore, I like the casting choices: Oh Jin Seok and Lee Tae Hyung look so good together.

As far as I can tell, there isn’t an ost song. I don’t know how I feel about that cause is my first time, but maybe I would have preferred to hear one. However, the sound is good as well as the direction and the screenplay. I like the dialogues, they’re not silly or useless. I believe everything is carefully chosen and there is attention to details.

I recommend this series because I founf it so enjoyable. Also, it’s pleasant and easy to watch it all in one evening.
Thank you for reading,
Kisses <3

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