Reviews

Feels like being wrapped in a blanket & handed hot chocolate.

How do you review My Love Mix-Up! when the entire plot was essentially built on one eraser and a series of catastrophically adorable misunderstandings?

This show really looked at the romantic comedy genre and said, "What if nobody communicated properly, but somehow it worked out perfectly anyway?"

Aoki saw Hashimoto's eraser with Ida's name on it and somehow accidentally speedran his way into an identity crisis, a fake crush, a real crush, and one of the cutest romances in recent memory.

And Ida?

The human equivalent of a golden retriever who somehow managed to be both clueless and incredibly thoughtful at the exact same time.

Watching Aoki's internal monologue spiral out of control every episode while Ida tried his absolute best to understand feelings he had never really thought about before was comedy gold.

Shunsuke Michieda brought so much energy, charm, and chaos to Aoki that you couldn't help but root for him from the very beginning.

And Ren Meguro's Ida?

The king of quiet affection.

The emperor of awkward sincerity.

The CEO of accidentally being incredibly romantic without even realizing it.

Their relationship wasn't built on dramatic confessions or grand gestures.

It was built on kindness.

On understanding.

On learning that love doesn't always arrive in the way we expect it to.

Hashimoto and Aida absolutely deserve their flowers too. Instead of becoming obstacles, they became some of the biggest supporters of the story, and their friendships added so much warmth to the series.

And can we appreciate the people behind the scenes for a moment?

Director Horai Tadaaki understood exactly what this story needed: heart.

The comedy never overshadowed the emotions, and the emotions never overshadowed the comedy.

Every awkward silence, every misunderstanding, and every tiny step forward felt genuine and earned.

The production team resisted the urge to overcomplicate things and trusted the simplicity of the story.

And honestly?

That was the right decision.

The cinematography felt warm and comforting, while the soundtrack quietly turned every cute moment into something even more memorable.

My Love Mix-Up! wasn't trying to reinvent romance.

It was reminding us why we fell in love with romantic comedies in the first place.

This wasn't emotional devastation.

This wasn't trauma.

This wasn't mafia politics or overthrowing the government.

This was fluff.

Premium-grade fluff.

The kind of fluff that makes you grin at your screen like an idiot for ten straight episodes.

10/10.

Would absolutely watch Aoki panic over absolutely everything while Ida slowly and adorably figured out his feelings all over again.

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Repression, Rebellion, Capitalism, Trauma, Queerness, & FirstKhao chemistry

How do you review The Eclipse when your main memories are academic oppression, emotional repression, and First Kanaphan staring directly into your soul?

This series really looked at the school romance genre and said, "What if we added authoritarian systems, generational trauma, institutional control, social conformity, and enough sexual tension to alter the Earth's orbit?"

Akk spent his entire life believing rules existed for a reason.

Ayan arrived and immediately made breaking them his favorite hobby.

The result?

Chaos.

Beautiful, emotionally devastating chaos.

Watching Akk slowly unravel under the weight of expectations, responsibility, and fear while Ayan patiently challenged everything he believed was one of the most satisfying character journeys in recent BL history.

And First and Khaotung?

That wasn't acting.

That was emotional terrorism.

Every glance, every smirk, every argument, every moment of vulnerability felt so painfully real that sometimes it genuinely felt intrusive to watch.

Akk and Ayan weren't simply falling in love.

They were teaching each other how to be honest.

How to question authority.

How to stop carrying the weight of the world alone.

Then we have Khan and Thua, who quietly came in and stole everyone's hearts with their softer, gentler story of friendship, understanding, and first love.

The entire cast understood the assignment.

From the prefects trying to maintain order to the students pushing back against it, every character felt like part of a larger conversation about power, fear, and conformity.

And can we talk about the people behind the camera?

Director Thanawat Panyarin understood exactly how to make silence feel loud.

The use of shadows, light, reflections, and framing turned the school itself into a character — cold, rigid, and suffocating until the people inside it finally began to change.

The eclipse symbolism wasn't subtle, and thank God for that.

Darkness and light.
Truth and fear.
Who society expects us to be versus who we really are.

Every visual choice felt intentional.

The writers somehow balanced mystery, romance, social commentary, and character development without losing sight of the emotional core of the story.

And the soundtrack?

Absolutely guilty of aiding and abetting emotional destruction.

The Eclipse wasn't a BL.

It was a conversation.

About authority.
About fear.
About identity.
About the courage it takes to become yourself in a world that desperately wants you to stay the same.

This wasn't just enemies-to-lovers.

This was rule follower × human embodiment of "have you considered causing problems on purpose?"

10/10.

Would absolutely let Ayan destroy my carefully constructed worldview and watch Akk fall in love while having a full existential crisis all over again.

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"What if we replaced communication with suffering?"

How do you review We Best Love: Fighting Mr. 2nd when your main memories are screaming "JUST TALK TO EACH OTHER" at your screen and emotionally recovering for weeks afterward?

Season 1 gave us rivals-to-lovers.

Season 2 gave us heartbreak, miscommunication, longing, unresolved feelings, and enough emotional tension to power an entire city.

Five years apart and somehow Gao Shi De and Zhou Shu Yi were still each other's biggest weakness.

Some things really do never change.

Watching Shu Yi carry years of hurt, abandonment, and unanswered questions while trying desperately not to let Shi De back into his heart was painful in the best possible way.

And Shi De?

That man spent an entire season looking like he hadn't known peace since 2016.

Sam Lin and Yu somehow managed to make every argument feel heartbreaking and every reconciliation feel earned. Their chemistry wasn't loud or flashy — it lived in the silences, the hesitation, the frustration, and the moments where words failed them completely.

The office setting brought a more mature layer to their relationship. This wasn't two university students figuring out first love anymore.

This was two adults learning that love alone isn't enough if you don't communicate.

The supporting cast absolutely understood the assignment.

Pei Shou Yi and Yu Zhen Xuan somehow managed to steal scenes while simultaneously becoming one of the most unexpectedly beloved couples in Taiwanese BL.

And can we talk about the people behind the scenes?

Director Chiung Chi Chang knew exactly how to weaponize eye contact and silence.

Every lingering glance felt loaded with history.

Every argument carried years of unresolved feelings.

Every quiet moment somehow hurt more than the shouting ever could.

The production team understood that emotional tension doesn't need grand drama to work. Sometimes all you need is two people standing in the same room pretending they don't still love each other.

The cinematography remained intimate and understated, allowing the performances to carry the story.

And the soundtrack?

Absolutely complicit in emotional crimes.

Every song arrived exactly when your heart was beginning to heal just enough to be hurt again.

Fighting Mr. 2nd wasn't about falling in love.

It was about finding your way back to the person who still feels like home, even after years apart.

This wasn't romantic fluff.

This was yearning.

Professional-grade yearning.

Olympic-level pining.

10/10.

Would absolutely watch Gao Shi De spend an entire season apologizing with his eyes while Zhou Shu Yi attempted to stay angry and failed spectacularly all over again.

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They really be da best

How do you review We Best Love: No. 1 For You when your main memories are competitive energy, unresolved tension, and Sam Yu existing?

This series really looked at the enemies-to-lovers trope and said, "What if we made it gayer, softer, and infinitely more painful?"

Zhou Shu Yi spent years believing he was destined to be number one at everything until Gao Shi De casually appeared and made "ruining Shu Yi's peace" his full-time job.

The problem?

Shi De wasn't trying to take Shu Yi's spot.

He was trying to get Shu Yi to notice him.

And somehow that made everything infinitely worse and infinitely better at the same time.

Sam Lin and Yu delivered one of the most natural and effortless chemistries in Taiwanese BL. Every teasing remark, every argument, every jealous glance, and every vulnerable moment felt genuine.

Shu Yi's frustration was hilarious because honestly? The man was fighting for his life trying not to fall in love while Shi De had apparently been in love with him since the invention of electricity.

The beauty of No. 1 For You is that it understood something important:

Sometimes love isn't loud.

Sometimes it's years of quietly showing up for someone.

Sometimes it's remembering the little things.

Sometimes it's letting them win even when you could easily come first.

The supporting cast deserves their flowers too. Pei Shou Yi and Yu Zhen Xuan brought warmth and humor, while the friendships and group dynamics made the university setting feel alive and believable.

And can we appreciate the people behind the camera for a moment?

Director Chiung Chi Chang understood exactly how to make silence feel louder than dialogue. The lingering looks, the pauses, the tiny moments of affection hidden beneath competition and banter — every scene felt intentional.

The production team knew exactly when to lean into comedy and exactly when to let the emotions hit. The pacing was tight, the storytelling was simple but effective, and the soundtrack somehow managed to make every emotional moment hurt just a little more.

This wasn't a series built on dramatic twists or grand gestures.

It was built on longing.

On timing.

On years of feelings waiting to be seen.

We Best Love: No. 1 For You wasn't just a university romance.

It was the story of one man realizing that his biggest rival had quietly been his biggest supporter all along.

10/10.

Would absolutely watch Gao Shi De spend years hopelessly in love while Zhou Shu Yi remained gloriously oblivious all over again.

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ATOTS

How do you review A Tale of Thousand Stars when your main memories are crying, staring at mountains, and screaming "JUST KISS ALREADY" at your screen?

This show really said, "What if we took a rich city boy, gave him an existential crisis, dropped him in the mountains, introduced him to the hottest forest ranger alive, and let emotional devastation do the rest?"

Tian arrived in Pha Pun Dao with absolutely no survival skills and somehow left with an entire village adopting him as their emotional support teacher.

And Phupha?

Captain Phupha.

The king of yearning.
The emperor of staring lovingly from a distance.
The CEO of saying absolutely nothing while somehow saying everything.

Earth and Mix didn't have chemistry. They had atmospheric pressure changes every time they looked at each other.

Their love story wasn't built on grand confessions or dramatic gestures.

It was built on:
sharing meals,
teasing each other,
teaching children,
fixing things together,
and making eye contact so intense it should probably have required supervision.

The villagers stole my heart, the children owned my soul, and Longtae deserved hazard pay for dealing with everyone else's nonsense.

And can we talk about Director Aof for a second? Because that man didn't direct a series.

He orchestrated emotional warfare.

The cinematography turned northern Thailand into the most beautiful place on earth. Every mountain, every sunrise, every lantern, every field looked like it belonged in a painting.

The soundtrack? Illegal.

Every song arrived precisely when it needed to emotionally destroy you.

A Tale of Thousand Stars wasn't a BL.

It was therapy.
It was a spiritual experience.
It was a travel advertisement.
It was emotional support television.

10/10.

Would absolutely move to Pha Pun Dao, teach at the village school, and watch these two idiots fall in love all over again.

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Enemies-to-lovers

How do you review Semantic Error when it single-handedly convinced an entire generation that academic rivalry is actually a valid love language?

This show took one rigid rule-following computer science student, one chaotic human embodiment of a red flag in a leather jacket, smashed them together, and somehow created one of the most satisfying enemies-to-lovers stories in BL history.

Chu Sang Woo and Jang Jae Young shouldn't have worked.

Which is exactly why they worked so perfectly.

Park Jae Chan delivered Sang Woo's logical, structured, emotionally unavailable personality so well that watching his world slowly fall apart because of one annoyingly attractive senior became the highlight of my week.

And Park Seo Ham as Jae Young?

The man saw one socially awkward programmer ruin his graduation plans and decided the only reasonable response was psychological warfare, relentless flirting, and becoming his personal software bug.

Watching Jae Young slowly move from wanting revenge to genuinely caring for Sang Woo was incredibly satisfying, while Sang Woo learning that not everything in life can be solved with logic gave us one of the best character journeys in recent BL history.

Their chemistry wasn't loud or overly dramatic.

It was in the teasing.
The stolen glances.
The quiet moments.
The way Jae Young learned Sang Woo's world instead of forcing him to change it.

And somehow that made every tiny step forward feel monumental.

The production team deserves their flowers too.

Director Kim Soo Jung understood exactly what made this story special and never overcomplicated it. The pacing stayed tight, the humor landed perfectly, and every episode left you desperately waiting for the next one. (Wikipedia)

The use of color throughout the series was brilliant. Sang Woo's world of blacks, whites, and order slowly colliding with Jae Young's bright reds and chaos wasn't subtle — and it wasn't supposed to be. Watching those worlds blend together visually as their relationship evolved was one of the smartest details in the series.

The soundtrack had absolutely no business being that addictive either.

And can we acknowledge the cultural impact for a second?

Semantic Error wasn't just successful.

It became an event.

It helped push Korean BL further into the mainstream and reminded everyone just how powerful a well-written, tightly produced story can be.

This series wasn't trying to reinvent the genre.

It just executed one of its most beloved tropes almost perfectly.

10/10.

Would absolutely watch Jae Young annoy Sang Woo into falling in love all over again.

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H.O.T

How do I even review KinnPorsche when my brain is still just elevator music and gunshots?

This show really looked at the concept of a mafia BL and said, "What if we gave them trauma, daddy issues, family wars, emotional damage, incredible suits, and enough chemistry to power an entire city?"

Kinn and Porsche had me giggling, kicking my feet, screaming into pillows, and then questioning my emotional stability ten minutes later. Mile and Apo's chemistry wasn't chemistry — it was witchcraft.

Vegas and Pete arrived and collectively decided that therapy was optional and suffering was mandatory. Their storyline altered my brain chemistry permanently.

Kim and Chay had me believing in soft love, stolen glances, and guitar songs until the universe remembered happiness isn't allowed in this family.

Tankhun? The absolute king. The icon. The legend. The emotional support cousin we all needed. Every scene he appeared in instantly became better.

Big deserved better. Arm and Pol were criminally underrated. Macau was just trying to survive whatever the hell was happening around him. Porchay deserved the entire world and a lifetime supply of happiness.

And can we talk about the production? The cinematography? The soundtrack? The fight scenes? The outfits? The budget was budgeting.

One minute you're laughing at Porsche's chaos, the next you're crying over family trauma, and five minutes later you're staring at the ceiling wondering how a mafia drama managed to emotionally destroy you this badly.

KinnPorsche wasn't a show.

It was an event.
A lifestyle.
A collective mental illness.

10/10.
Would absolutely let this cast ruin my life all over again.

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Cuties

Sky in Your Heart feels like the deep breath you take after surviving the chaos of city life.

After the energy and messiness of Star in My Mind, this series arrived with mountains, sunsets, village life, and enough healing energy to fix at least three of my unresolved issues.

Khuafah and Prince were the definition of "I can't stand you" slowly turning into "I would literally move mountains for you."

Mek Jirakit brought so much warmth and vulnerability to Fah. Beneath the teasing and confidence was someone trying to figure out who he wanted to become away from expectations and privilege.

And Mark as Prince? The man had patience levels that deserve scientific study. Watching his walls slowly come down and seeing him allow himself to be cared for was genuinely beautiful.

Their relationship wasn't built on grand gestures or dramatic plot twists. It was built through shared moments, quiet conversations, helping a community, and learning to understand each other. Somehow that made every little moment feel even bigger.

The village itself became a character in the story. The children, the volunteers, the community — they made the world feel warm, lived in, and real.

Mesa and JJ deserve honorary awards for surviving Fah's nonsense.

And can we appreciate the people behind the camera for a moment?

Director Siwaj Sawatmaneekul understood exactly what this story needed: space to breathe. The slower pacing, lingering shots of the mountains, and quiet moments between characters allowed the emotions to settle naturally instead of rushing toward the next plot point.

The teams at GMMTV and Studio Wabi Sabi gave the series a cozy, almost healing atmosphere that perfectly matched its story. The cinematography turned northern Thailand into a love letter to nature, while the soundtrack quietly wrapped itself around every emotional moment.

This wasn't a series trying to be loud.

It didn't need to be.

Its strength was always in the quiet moments:
the shared smiles,
the teasing,
the sunsets,
the conversations under the stars,
and the realization that sometimes love doesn't arrive like a storm.

Sometimes it arrives gently.

Sky in Your Heart wasn't trying to break your heart.

It was trying to heal it.

8.5/10.

Would absolutely move to the mountains, help out at the village, become emotionally attached to everyone, and watch Fah and Prince fall in love all over again.

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DAYUM

How do you even review Not Me The Series when it fundamentally altered your brain chemistry and then handed you a Molotov cocktail?

This show really looked at the BL genre and said, "What if we added political corruption, class inequality, police brutality, social activism, identity crises, found family, motorcycles, and enough emotional damage to last a lifetime?"

Gun Atthaphan walked in, played twins, and casually reminded everyone why he's one of the best actors in Thailand. Black and White were two completely different people, and somehow my brain forgot they were played by the same person every single episode.

And Sean? Angry, stubborn, emotionally constipated Sean? Watching him slowly fall for White while simultaneously trying to overthrow the system was an experience I was not prepared for.

SeanWhite wasn't just romance. It was trust, healing, understanding, and two people learning that they didn't have to carry the weight of the world alone.

Then Dan and Yok showed up and collectively decided that happiness was overrated and emotional devastation was the superior option. First and Gawin delivered a storyline so beautiful and heartbreaking that I still haven't financially recovered.

Gram, Eugene, Namo, Tod, Black, and the entire gang felt real in a way that very few shows manage to achieve. They argued, they failed, they made mistakes, they fought for what they believed in, and somehow they made us want to fight alongside them.

And can we talk about Director Anucha Boonyawatana for a second? Because she didn't just direct a BL series — she created art.

The graffiti.
The symbolism.
The colors.
The camera angles.
The mirrors.
The lighting.
The use of space.
The way every frame looked like it had something important to say.

This wasn't just storytelling. This was filmmaking.

The writers somehow balanced political commentary, social criticism, action, suspense, friendship, and romance without losing the heart of the story for even a second.

The production team absolutely refused to play it safe, and thank God they didn't.

And the soundtrack? Criminally underrated. Every song arrived precisely when it needed to either make you feel invincible or emotionally destroy you.

One minute you're screaming over SeanWhite.
The next you're crying over DanYok.
Five minutes later you're googling activism movements and questioning capitalism.

Not Me wasn't a BL.

It was a protest.
A love letter to activism.
A middle finger to injustice.
A cinematic masterpiece disguised as a television series.

10/10.

Would absolutely hop on the back of Sean's motorcycle, spray paint a wall, overthrow systemic inequality, and get emotionally attached to this chaotic found family all over again.

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That kid was dumb as fuggg

Conceptually, this movie should have been an easy win for me. A disaster movie mixed with science fiction, a mysterious mission, and the future of humanity at stake? That is exactly the kind of movie I would normally enjoy. The idea was definitely there, and the opening disaster sequences were intense enough to keep me interested. Unfortunately, the execution became so complicated and messy that I started questioning why I had chosen to watch it in the first place.

The movie begins like a straightforward survival thriller, but then suddenly turns into a much more confusing and philosophical sci-fi story. I appreciate that it tried to explore bigger ideas about artificial intelligence, emotions, motherhood, and the bond between a parent and child. However, it felt like the movie was trying to fit too many concepts into one story without giving them enough time to develop properly. Some scenes were genuinely interesting, especially toward the ending, but other parts felt repetitive, rushed, and unnecessarily difficult to follow.

And I am sorry, but why was that kid so unbelievably stupid? Seriously, he might be one of the dumbest children I have ever seen in a sci-fi movie. I understand that children can panic and make irrational decisions during dangerous situations, but some of his choices were so frustrating that I wanted to enter the screen and drag him to safety myself. Overall, the movie had an ambitious concept, strong visuals, and an interesting twist, but the confusing storytelling and that extremely annoying child made it much harder for me to enjoy.

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Man that was sadly underwhelming

This series really did not stick with me emotionally. The whole time I was really wondering if Tanrak was even religious at all. Let me just list all the things I did not like.

> I actually did not like Barth's character. His character felt more like a devil sent to tempt tanrak and not an innocent love portrayed between two people that happen to love each other. He was not very understanding of Tan's hesitation in abandoning the church and just felt overall like a really selfish character. When they are arguing and he tells him God has never done anything for him so why does he even spend time praying... That scene really pisses me off and it seems Bart makes no attempts to understand Tan and his faith. He just keeps trying to get Tanrak to abandon his faith for him like wtffff. I HATED that.

>No one is homophobic like huh... This was very weird, everyone is like "love is love my sweet child and God will love you no matter what." What kind of fantasy world are we living in lmaooo. Even the best friend being like "I am just upset you guys didn't tell me"... Oh okay so yeah homophobia is obviously not a problem in this world I guess. They show a bit of the father being homophobic and some of the classmates but other than that it felt like a very non issue. Even in the big 26 i meet deranged religious people telling me homosexuality is a sin in a fucking Wendy's on a tuesday afternoon like can we be fr.

>Tanrak spent most of his life in the church. His whole life was the church. He lived in the church LITERALLY and was working on being ordained and it seemed so easy for him to just drop that for Barth. Tankrak should have literally been CRUSHED mentally, emotionally and spiritually for his whole life plan to change over night like that. He left behind everything he ever knew. He left behind his dream of meeting his parents in heaven. He left behind God. He left behind his entire life for Barth and it was not treated with any emotion whatsoever. Tanrak should be screaming, crying, throwing up telling Barth "If I choose to love you there is nothing left for me" or something like that. He just is not as devastated as he should have been, I have felt more emotion when picking which monster flavor I am gonna get for the day.

Overall it was a decent drama I still recommend everyone to watch it but sadly it just did not hit as well as something with this type of story should have hit and I won't lie I was pretty disappointed.

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Inappropriate casting of FL

I am very disappointed with the casting choice of the 17 year old female lead in this drama. The drama has a good storyline, the male lead is a fantastic actor and the cinematography is good. However, pairing a 17 year old with a 28 year old male lead and a 30 year old 2nd male lead is just morally repugnant. I cringe each time the male leads have to look at the young girl with loving desire. Since when is it okay to normalise a 28 year old man desiring a 17 year old girl? Aimi is a good child actor and should have been given the time to grow into adult roles. I cringe when I see the posters of the male lead holding her close or face up close. If he had done it in real life to flirt with a 17 year old, I think many people would be voicing strong opinions. Please do not normalise the entertainment industry's lack of boundaries. I hope that they are able to edit out their "romantic" scenes or better still, to CGI out Aimi's face. I am sorry for Aimi as I think she has potential, but this was a wrong casting choice. The fact that they put so much deep red lipstick on her to make her look more adult makes it even more repugnant.

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It's just bad

I genuinely can't believe anyone actually liked this movie.

It somehow manages to be bad at both the drama and the romance. The only genuinely good thing about it is Yamashita, who looks absolutely gorgeous with those smiles of someone who knows exactly how ridiculously handsome he is.

I could say I'm just too old for this kind of movie, but that's not even the issue. There's simply nothing good enough here to make the experience enjoyable. Maybe the cinematography deserves some credit, but that's about it.

The characters have no charisma, the romance is completely underdeveloped, and neither his nor her feelings are explored in any meaningful way. The female lead is the stereotypical stiff manga heroine who might work on the page, but completely falls apart in live action. She doesn't feel natural for a second. Her shyness goes so far beyond believable that it ends up feeling painfully forced.

Yamashita does bring some charisma to his role, but the story is so empty and his character is so shallow that it ends up wasting all of his potential.

And honestly, if this were just a silly, mindless movie, I could probably still have fun with it. The problem is that it has no foundation whatsoever. The dialogue is dull, the characters have no personality (or they're defined by a single ridiculously exaggerated trait), and every single aspect of the story lacks proper development.

In the end, it's just bad.

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Insel und Großstadt, Meerblick und Drama – manchmal darf es einfach sein

Hinweis: Folgende Zeilen stellen meine persönliche, subjektive Einschätzung der Serie dar.
Die Serie erzählt keine besonders komplexe Geschichte. Stattdessen konzentriert sie sich auf eine Liebesgeschichte vor einer wunderschönen Kulisse aus Insel, Meer und später auch Großstadt. Gerade dieser Kontrast zwischen dem ruhigen Inselleben und dem hektischeren Leben in der Stadt hat mir gefallen. Ja, die Geschichte ist seicht. Ja, manche Konflikte werden recht unkompliziert gelöst. Aber warum sollte das automatisch etwas Schlechtes sein?
Die Dynamik der Hauptfiguren hat für mich gut funktioniert. Der wohlhabende, teilweise überhebliche Tongrak trifft auf Mahasamut, der zwar deutlich weniger besitzt, dafür aber von Anfang an eine absolute Green Flag ist. Diese Gegensätze sorgen für viel Drama, viele Missverständnisse und natürlich auch für die Romantik, die man von einer solchen Geschichte erwartet. Und natürlich helfen Fort und Peat dabei enorm. Ihre Chemie trägt einen großen Teil der Serie, selbst in Momenten, in denen die Handlung eher einfach gehalten ist.
Besonders positiv hervorheben möchte ich die 13-jährige Nichte. Häufig dienen Kinderfiguren nur dazu, süß zu sein, hier hatte ich aber das Gefühl, dass sie wirklich eine Bereicherung für die Geschichte ist. Sie wurde toll gespielt, hat Charme und gehört für mich zu den stärkeren Nebencharakteren der Serie.
Auch die Antagonisten haben für mich funktioniert. Dass die Probleme vor allem aus dem familiären Umfeld kommen, passt für mich gut zu einer eher klassischen Liebesgeschichte. Nicht jede Serie braucht einen komplizierten Bösewicht oder eine weltbewegende Bedrohung.
Weniger überzeugt hat mich dagegen die Assistentin. Das Overacting war für meinen Geschmack einfach zu viel. Sie arbeitet für einen erfolgreichen Schriftsteller, da hätte ich mir einen souveräneren Charakter gewünscht. Sie hätte gegenüber ihrem Love Interest trotzdem schüchtern oder unsicher sein können, ohne dabei dauerhaft so überdreht zu wirken. Ähnlich ging es mir mit der GL-Storyline. Sie hat grundsätzlich in die Serie gepasst, aber ich hatte das Gefühl, dass man daraus deutlich mehr hätte machen können. Einige Nebencharaktere tauchen außerdem auf, erfüllen ihren Zweck für die Handlung und verschwinden dann wieder. Auch hier hätte ich mir teilweise etwas mehr Entwicklung gewünscht.
Love Sea wird wahrscheinlich niemanden mit einer besonders tiefgründigen oder innovativen Handlung überraschen. Aber die Serie muss das auch gar nicht. Sie lebt von ihrer Atmosphäre, ihrer Romantik, dem Insel-Setting und vor allem von der Chemie ihrer Hauptdarsteller. Manchmal braucht es keine komplexen Erzählungen, keine tiefen psychologischen Charakterstudien und keine großen Wendungen. Manchmal reicht ein Blick aufs Meer oder in die Sterne aus – mit jemandem an der Seite, den man mag.

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