Reviews

Inconstant, Inconsistent, and Doing Burnouts on the Corners

I’ll start with the pacing. There is none. The tone, plot, and genre switched, braked, and hit top speed to the point of giving me whiplash. My neck aches.

From romantic comedy, through melodrama, with an attempt to stop over in Thriller city for a meal, this is the kind of drama that makes me remember those mix and match books, with legs, body, and heads on separate strips of card, so you could put a ballerina’s legs under the body of a firefighter, and top it off with an old granny’s head. The changes in vibe were jarring, and turned me off the very sweet main love story, which should have been front and centre, but which ended up being an afterthought. Don’t even get me started on the second couple, who got truncated into a will they/won’t they brain fart.

The locations were great, they cast were solid, aside from the odd ham, and the photography was very pretty, but they were so badly served by the writing, that I feel like there should be grudges over this series.

The good news is that it was short. Eight episodes is a blessing, when a story is as incoherent and zig-zagging as this one. In all honesty, I don’t recommend it, but I will be keeping an eye out for future roles from the cast, especially the main couples, and the villain (senior). He was brilliantly despicable. I may check out his past roles too.

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There is something incredibly refreshing about a story that refuses to underestimate its audience, and Double Helix does exactly that. It never relies on easy resolutions or convenient morality. Instead, it asks us to sit with discomfort, to question our own judgments, and to accept that people can be both deeply loving and deeply flawed at the same time.

What kept me invested wasn't the romance alone. It was the way the narrative unfolded like a chain reaction. Every decision had consequences, and those consequences didn't disappear once the story moved on. They lingered, influencing future choices, reshaping relationships, and changing the way the characters understood themselves. The drama constantly reminded me that people don't simply recover from emotional wounds because time has passed. They carry those wounds into every new chapter of their lives.

The writing excels because it treats its characters as products of their experiences rather than servants of the plot. Lu Feng and Cheng Yichen don't make frustrating decisions because the story needs another dramatic twist. They make them because those decisions are consistent with who they are at that point in their emotional journey. I didn't always agree with them, but I never doubted them. That psychological consistency made the entire narrative feel remarkably authentic.

Another strength is how the story gradually reshapes the audience's perspective. Early impressions are repeatedly challenged as more of the characters' histories come to light. Instead of revealing shocking secrets simply for dramatic effect, the series uses those revelations to deepen our understanding of motivations that were already present. The result is a narrative that becomes richer the further it progresses, rewarding viewers who pay attention to emotional nuance.

If I had one criticism, it would be that the series occasionally becomes too committed to illustrating suffering. There are stretches where similar emotional conflicts recur without substantially expanding the themes or the characters. The writing is strong enough that it doesn't always need another confrontation to convince us of the pain these characters carry. Sometimes a moment of quiet reflection would have been even more powerful.

I also found myself wishing the ending had embraced the same patience as the rest of the story. The emotional collapse is explored with extraordinary detail, yet the process of rebuilding trust feels comparatively brief. Considering how central healing is to the drama's themes, a more gradual exploration of that journey would have made the conclusion even more satisfying.

Despite these flaws, Double Helix achieves something that many dramas aspire to but few accomplish. It doesn't just tell a story about love. It examines how love is shaped, distorted, challenged, and ultimately transformed by the lives people have lived before they ever find each other. It respects the intelligence of its audience, refuses simplistic answers, and never sacrifices character for convenience.

For me, that's what makes this drama special. It isn't compelling because it's heartbreaking. It's compelling because every heartbreak feels earned. Every choice, every consequence, and every emotional fracture grows naturally from the people at the center of the story. While a tighter pace and a more expansive final act would have elevated it even further, its emotional honesty and sophisticated character writing make it a drama I'll remember for a long time. A very solid 9/10.

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BL of the decade – that is, "Biggest Let down"!!!

I had been looking forward to Ticket to Heaven for 18 MONTHS (November 2024) before it aired. The couple, the topic, the DIRECTOR? Everything about the setup SCREAMED that TtH was gonna be the BL of the decade – and I guess it still was, if "BL" stands for "Biggest Let down". Not even GemFot's INCREDIBLE chemistry could save this show from being a complete disaster.

The way TtH portrays Tanrak's struggle between his love for Barth and his love for God DOES NOT MAKE SENSE. Stick with me as I give you three examples: the transitions between episodes 2-3, 3-4, and 5-6.

SPOILERS BELOW!

At the end of episode 2, we see Tanrak tempted by Barth's eating of the rati, and eventually giving into that temptation by relieving himself in the bathroom. There's nothing wrong with that, but given Tanrak's upbringing, his character DOES think it's wrong. Logically, Tanrak would have HATED HIMSELF for giving into that desire, and he would have expressed that feeling of disgust by REPRESSING HIS FEELINGS and PUSHING BARTH AWAY. So then why does Episode 3 start with Tanrak and Barth joking around by playing Tic-Tac-Toe on Tanrak's leg, and then flirting with each other after the soccer game? TANRAK SHOULD STILL BE GOING THROUGH HIS GAY PANIC AT THIS POINT BY PUSHING BARTH AWAY. Where is the inner conflict?

At the end of episode 3, we see Tanrak explicitly confirming to Barth that he's gay by saying "I'm not God's favorite son, either" (best scene in the show, btw). But again, this is Tanrak giving into his LUST. This is not Tanrak making an EXPLICIT decision to be with Barth instead of God (because at this point, he still thinks it's a binary choice). Logically, after giving into that lust, Tanrak would have THROWN HIMSELF EVEN DEEPER INTO HIS FAITH to try to wash away the sin of kissing Barth. SO THEN WHY DOES EPISODE 4 START WITH TANRAK AND BARTH ESSENTIALLY BEING A COUPLE? THAT MAKES ZERO SENSE. Tanrak should be going through an even BIGGER gay panic at this point, and instead, he's not-so-subtly flirting with a guy! HUH? Why did the breakdown only happen when KONGDECH caught onto the situation? Given Tanrak's upbringing, he should have had that breakdown IMMEDIATELY AFTER THE KISS IN EPISODE 3! You know why? BECAUSE GOD WAS WATCHING, and Tanrak has been CONDITIONED to think that those feelings are sinful. He literally says to Father Arnon during the confession scene in Episode 5 that "I'm angry at myself for not being able to control it", referring to his love for Barth. IT MAKES NO SENSE HE WOULD HAPPILY FLIRT WITH BARTH AFTER THEY KISSED IF HE WAS MAD AT HIMSELF FOR LOSING CONTROL!

If that wasn't enough. IF THAT WASN'T ENOUGH. At the end of episode 5, Tanrak CONFESSES his love for Barth to Father Arnon, who basically tells Tanrak that "love isn't wrong, but your love is not leading you toward God, so actually yeah, your love is wrong" (obviously paraphrasing, but that's the takeaway). Then how, in the very next scene, can Tanrak so easily reject God when Barth proposes running away together? THE FATHER HAD LITERALLY JUST TOLD TANRAK THAT CONTINUING TO LOVE BARTH WOULD BE REJECTING GOD. Tanrak's WHOLE LIFE has revolved around God. There's NO WAY that Tanrak would agree with Barth (that is, to reject God) so easily IMMEDIATELY AFTER THE CONFESSION SCENE. THAT MAKES NO SENSE!

And don't get me started about the finale. Really, P'Aof? Everyone and their mother knows the golden rule of storytelling: "show, not tell". Then why, P'Aof, WHY were there minutes of monologues about how you can "love yourself and love God" at the same time, from a trans character who was thrown into the plot at the last minute? Why were there minutes of recaps from Barth about their relationship after high school, when we should have SEEN those scenes instead? Why did Tanrak have to say out loud that "I used to think after meeting you, I had to choose. But actually, I never had to choose at all"? It was like P'Aof knew that the previous 5 episodes failed to convey the moral of the story properly, and instead of scrapping the script and writing a better one, he just decided to dump all of the morals into the dialogue of Episode 6. Like come on.

Some dishonorable mentions of why this show was an incredible let down:
• THE TERRIBLE AGE-UP MAKEUP IN EPISODE 1 AND EPISODE 6
• The lack of a clear timeline between high school and the present day (why did Kongdech take 30 years to get ordained?)
• Side characters who seemed important but ultimately weren't (Master Phak? Joe? Ryu?)
• Massive time skips in the first two episodes when we were still establishing Tanrak/Barth
• Tanrak's sudden change of character when he was hating on Kongdech
• The suddent jump from Barth's rejection of God to his acceptance (I understand it was because of his visit with his mom in jail, but it was still way too quick of a change for our second protagonist).
• Vague and conflicting messages from Father Arnon
• WHY TANRAK WAS STILL CONFESSING IN 2025 WHEN HE WAS MARRIED? LIKE WHAT?

Anyway. I could go on, but you get the point. Ticket to Heaven was the Biggest Let down of the DECADE, and don't let these overwhelmingly positive reviews fool you otherwise.

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What sets Double Helix apart from so many romance dramas is that it never asks the audience to consume emotions passively. It constantly challenges us to question our first impressions, our moral judgments, and even our understanding of love itself. By the time the story reaches its conclusion, I realized I had spent less time deciding who was right and more time trying to understand why everyone had become the person they were.

The story's greatest strength is its extraordinary patience. It doesn't reveal its characters through dramatic monologues or convenient flashbacks alone. Instead, it lets them reveal themselves through patterns. The way they react to conflict, the things they refuse to say, the mistakes they keep repeating, and the fears they never fully acknowledge all become part of the narrative. The result is a cast of characters that feel psychologically lived-in rather than simply written.

I also admired how carefully the series constructs emotional cause and effect. Every major turning point feels like the natural consequence of everything that came before it. The drama never relies on arbitrary twists to generate tension because the characters themselves are the source of that tension. Their greatest obstacles are not external enemies but the emotional habits they developed long before they met each other. That makes every setback feel tragic rather than contrived.

Perhaps the most impressive aspect of the writing is its refusal to offer moral certainty. Lu Feng and Cheng Yichen are never presented as opposites occupying the roles of hero and villain. Instead, they exist on the same moral spectrum, each carrying different wounds and responding to them in different ways. The series doesn't excuse the harm they cause, but neither does it deny the humanity behind it. That balance between compassion and accountability is what gives the narrative so much depth.

If I were to criticize anything, it would be the pacing of the latter half. Once the emotional dynamics are firmly established, the story occasionally revisits the same patterns without substantially developing them. While these moments reinforce the cyclical nature of trauma, they also slow the narrative's progression. A slightly more restrained approach would have made the emotional peaks even more effective.

I also felt the drama's conclusion could have devoted more attention to emotional reconstruction. After investing so much time in exploring broken trust, fractured identities, and damaged relationships, I wanted to witness the difficult work of rebuilding with the same level of detail. The ending is satisfying, but it leaves the impression that healing deserved just a little more narrative space.

Even with these reservations, Double Helix remained completely absorbing because it trusted its audience to engage with complexity instead of certainty. It understands that compelling stories don't emerge from perfect characters making perfect decisions. They emerge from flawed people whose choices are so emotionally coherent that, even when they make devastating mistakes, you can still understand how they arrived there.

That, to me, is what elevates Double Helix. It's not simply a romance or a tragedy. It's a thoughtful examination of how love is shaped by memory, fear, family, and the emotional patterns we inherit long before we ever choose who to love. It isn't flawless, but its psychological richness, layered storytelling, and willingness to embrace uncomfortable truths make it one of the most rewarding BL dramas I've seen. 9/10.

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The bestest series ever

No matter how many BLs you watch, Ticket to Heaven will always stay with you

Ticket to Heaven isn’t just a series you watch, it’s something you feel in your chest long after it ends.

What makes this story unforgettable is the quiet war between faith and love. Not loud, not dramatic in a typical way, but deeply personal and suffocating. You can see it in their eyes, the hesitation, the fear, the guilt. Loving someone shouldn’t feel like a sin, yet here it becomes something they’re constantly running from and longing for at the same time.

The emotion in this series feels raw and real. It’s not just about romance, it’s about identity, belief, and the painful question of “What if being true to myself means losing everything I was taught to believe in?”

Every moment carries this heavy tension like something beautiful is about to break. And when it does, it doesn’t shatter loudly… it just quietly ruins you.

Ticket to Heaven is not an easy watch. It’s the kind of story that makes you sit in silence after, thinking about love, faith, and how sometimes the two don’t coexist as easily as they should.

And that’s what makes it so powerful.

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Some dramas are remembered for their chemistry. Others for their plot twists. Double Helix will stay with me because of its writing.

What immediately stood out was how meticulously the story connects every emotional beat. Nothing exists in a vacuum. A decision made in one episode quietly echoes several episodes later, and seemingly insignificant moments eventually become the emotional foundation for much larger conflicts. The narrative rewards attention because it is constantly building upon itself instead of relying on isolated dramatic moments.

The story also understands that human behaviour is rarely contradictory. It is contextual. Lu Feng and Cheng Yichen often make choices that are difficult to watch, but those choices never feel disconnected from who they are. Every action grows out of accumulated experiences, unresolved trauma, family expectations, and deeply ingrained fears. Rather than asking the audience to excuse them, the drama asks us to examine the emotional logic behind their behaviour. That distinction makes the characters feel remarkably authentic.

Another aspect I admired was the story's restraint. It doesn't rush to define its characters or provide immediate explanations. Instead, it slowly reveals them through conversations, silences, reactions, and consequences. As new pieces fall into place, earlier scenes naturally gain new meaning. The drama doesn't manipulate the audience by changing its characters. It deepens our understanding of them.

What makes Double Helix particularly compelling is that every conflict is internal before it becomes external. The central obstacles aren't simply other people. They are fear of abandonment, emotional repression, guilt, pride, and the inability to communicate honestly. Those invisible conflicts are far more difficult to resolve than any external antagonist, which is why the story maintains its emotional tension without feeling artificially prolonged.

If I had one criticism, it would be that the drama occasionally lingers on emotional conflict after the audience has already grasped its purpose. A handful of scenes revisit familiar dynamics instead of allowing the characters to process and evolve from them. The repetition reinforces the cyclical nature of trauma, but it also slows the narrative in places where greater restraint might have had a stronger emotional impact.

I also think the ending could have devoted more attention to transformation rather than resolution. The series invests extraordinary care in showing how relationships fracture under the weight of fear and misunderstanding. Watching the characters consciously rebuild healthier patterns would have been just as compelling as watching them fall apart.

Even so, these are relatively minor criticisms of an otherwise exceptional story. Double Helix succeeds because it never reduces its characters to heroes, villains, victims, or saviours. They are simply people trying to love with emotional tools that were never adequate for the lives they were asked to live. Sometimes they succeed. More often, they fail. And it is within those failures that the story finds its greatest emotional truth.

For me, Double Helix is a reminder that the most compelling stories aren't those with the biggest twists or the loudest emotions. They're the ones where every choice feels inevitable once you understand the people making it. That's exactly what this drama achieves, and despite a few pacing issues, its layered storytelling and psychological depth make it a well-deserved 9/10.

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Lost to You (2026) 9/10

Lost to You (2026) เป็นซีรีส์แนว BL โรแมนติก–ดราม่า ที่บอกเล่าเรื่องราวของ Zhan Wang และ Xu Yuan โดย Zhan Wang เป็นชายหนุ่มที่ป่วยด้วยโรคมะเร็งสมองระยะสุดท้าย จึงตัดสินใจเดินทางกลับบ้านเกิด และได้พบกับ Xu Yuan ชายผู้ถูกผู้คนตราหน้าว่าเป็น "ตัวซวย" การพบกันของทั้งสองจึงกลายเป็นจุดเริ่มต้นของเรื่องราว ความสัมพันธ์ และบททดสอบมากมาย สามารถรับชมย้อนหลังได้ทาง Viu และ GagaOOLala

โดยรวมแล้ว ผมมองว่าซีรีส์เรื่องนี้เป็นอีกหนึ่งผลงานที่น่าประทับใจ ด้วยเนื้อเรื่องที่เข้มข้นแต่ดำเนินไปอย่างค่อยเป็นค่อยไป ทำให้ผู้ชมได้ซึมซับอารมณ์และเข้าใจตัวละครอย่างเต็มที่ ซีรีส์สามารถผสมผสานทั้งความดราม่า ความโรแมนติก และปมปัญหาต่าง ๆ ได้อย่างลงตัว พร้อมทั้งสร้างความน่าติดตามและชวนลุ้นตลอดการรับชม

จุดที่ผมชื่นชอบเป็นพิเศษคือการเล่าเรื่องที่ไม่เร่งรีบจนเกินไป ทำให้ผู้ชมสามารถเข้าถึงอารมณ์ เข้าใจบริบท และความรู้สึกของตัวละครได้อย่างเป็นธรรมชาติ นักแสดงทุกคนต่างมีเสน่ห์และเอกลักษณ์เฉพาะตัว ถ่ายทอดบทบาทได้อย่างน่าเชื่อถือ และมีเคมีที่ดีต่อกัน

ในด้านโปรดักชัน ถือว่าทำออกมาได้ยอดเยี่ยม ทั้งการเลือกมุมกล้อง งานภาพที่สวยงาม การใช้แสง สี และเสียง ล้วนช่วยเสริมบรรยากาศของเรื่องได้อย่างลงตัว ทำให้ผู้ชมอินไปกับทุกฉากและทุกอารมณ์ของตัวละคร

สุดท้ายนี้ ผมให้คะแนน 9/10 แม้ว่าส่วนตัวจะคาดหวังตอนจบที่แตกต่างออกไปมากกว่านี้ แต่ไม่ได้หมายความว่าซีรีส์เรื่องนี้ไม่ดี เพียงแค่ไม่เป็นไปตามที่ผมคาดหวังเท่านั้น ส่วนองค์ประกอบด้านอื่น ๆ ไม่ว่าจะเป็นเนื้อเรื่อง การแสดง และงานสร้าง ถือว่าทำออกมาได้อย่างยอดเยี่ยม จึงเป็นอีกหนึ่งซีรีส์ที่ผมอยากแนะนำให้ทุกคนได้ลองรับชมครับ

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Wu (2026) 10/10

ซีรีส์เรื่อง “Wu” เป็นซีรีส์แนวมิตรภาพที่ผสมผสานความลึกลับเหนือธรรมชาติ โดยเล่าเรื่องของ “พีท” ชายหนุ่มผู้มีโชคชะตาพิเศษ เพราะภายในร่างกายของเขามีเศษวิญญาณปีศาจสถิตอยู่ ทำให้สามารถสัมผัสพลังงานเหนือธรรมชาติได้ วันหนึ่งเขาได้พบกับ “นิรันดร์” ผู้ที่พาเขาเข้าสู่โลกของ “อู” และนั่นก็กลายเป็นจุดเริ่มต้นของเรื่องราวทั้งหมด สามารถรับชมย้อนหลังได้ทาง Viu

โดยรวมแล้ว ซีรีส์เรื่องนี้มีความน่าสนใจตั้งแต่การปูพื้นหลังของเรื่อง ความเป็นมาของเหตุการณ์ รวมถึงปรากฏการณ์ต่าง ๆ ที่ค่อย ๆ ถูกเปิดเผยอย่างเป็นลำดับ ด้วยจำนวนเพียง 9 ตอน ทำให้ทุกตอนมีความเข้มข้น กระชับ และชวนติดตามอยู่ตลอดเวลา

สำหรับผม หากซีรีส์หรือภาพยนตร์เรื่องไหนสามารถทำให้หัวใจเต้นแรง ลุ้นไปกับเนื้อเรื่องได้ ก็ถือว่าเป็นเรื่องที่ตรงกับรสนิยมของผม และ “Wu” ก็เป็นหนึ่งในนั้น

ในด้านการแสดง ด้วยความที่เป็นผลงานจาก GMMTV จึงค่อนข้างมั่นใจในคุณภาพของนักแสดง ทุกคนถ่ายทอดบทบาทได้อย่างเป็นธรรมชาติและน่าเชื่อถือ โดยเฉพาะฉากที่มีการ สวดบทสวดภาษาจีน ซึ่งเป็นฉากที่ผมชื่นชอบมาก เพราะถ่ายทอดออกมาได้ทรงพลัง ทำให้ผู้ชมสัมผัสถึงอารมณ์และบรรยากาศของเรื่องได้อย่างชัดเจน

อีกหนึ่งจุดที่ผมประทับใจที่สุดคือ งานโปรดักชัน ภาพที่ถ่ายทอดออกมามีความเป็นศิลปะ (Art) สวยงาม การใช้ CG การออกแบบภาพ รวมถึง Sound Effects ช่วยเสริมให้เรื่องราวมีมิติ น่าติดตาม และสร้างความตื่นเต้นได้ตลอดการรับชม ถือเป็นองค์ประกอบที่ทำออกมาได้อย่างยอดเยี่ยม

สุดท้ายนี้ สำหรับซีรีส์ “Wu” ผมให้คะแนน 10/10 เพราะองค์ประกอบโดยรวมมีความสมบูรณ์ ทั้งเนื้อเรื่อง การแสดง และงานสร้าง จึงเป็นอีกหนึ่งซีรีส์ที่ผมอยากแนะนำให้ทุกคนได้ลองรับชมครับ

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janjingjing OP pls don't nerf

i just love them so much 😩

it's hard to sum up my feelings when they've been spread out over 2+ months, but wow what a ride. it's not what i expected, but it is what i wanted.

this can't be called enemies to lovers or even rivals to lovers. they're not enemies in any meaningful sense past the first episode. they just appear to be thanks to wine's cold and uncompromising work persona. it's really secret friends (with a *lot* of benefits) to lovers. or maybe even more accurately, secret situationship to real relationship.

these two crazy kids started catching feelings from the jump, it just took them ages to realise it. wine because of ~trauma~ and lal because she doesn't have the first idea how fwb is supposed to work. she knows the words and the basic theory ('it's just sex, no feelings!'), but the practice? not a clue. and like, girl same. the funny thing about feelings is they just happen. you don't get a lot of say in the matter. the best you can do is avoid actions and situations which are likely to stir up feelings, like snuggling, holding hands, sharing secrets, staring deeply into each other's eyes, having incredibly passionate sex...

...but that's all the good stuff! the kind of benefits package you'd struggle to turn down even if you wanted to. thankfully, the premise of the show means we get a good selection of these benefits in every episode, in addition to the series-long will-they-won't-they, which got much more tumultuous than i expected. janjingjing are not only cute as fuck, they bring some serious dramatic firepower too. ep 8's pyjama scene is up there with namtanfilm breakdowns (except with much better narrative justification).

and once again i have to shout out the supporting cast. kapookciize finally getting the spotlight and a happy ending (with a couple extras along the way 👀) warms my heart, even if they didn't get loads of screen time (give them their own series gmmtv!!!). tae as korn does a great job being an evil snake i want lal to beat the shit out of. pompam as lal's flight attendant friend is a delight every time he's on screen. and the mvps are easily ployphach and JJ as lal's sales team. they play off each other so well, with bas' cutting remarks and numnim's devastated facial expressions. I'd love to see this comedy duo again.

finally, the OST is wall-to-wall bangers. they spam them every episode and i don't care because I'm bopping to them every time.

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This cdrama would make you hooked

I'm really enjoying this drama. The balance between comedy, angst, character growth, mystery, and all the puzzles is just right, making it so easy to stay invested in every episode.

I also love the bond between Lin Wanxing, Wangfa, and their students. The story doesn't just focus on the romance or the mystery surrounding the main leads' past. It also gives plenty of attention to the students' personal struggles and backstories, which makes the story feel much richer.

That's exactly why I've been so hooked. The drama keeps me emotionally invested in every character, not just the main couple. And that just make me love all of them ❤️

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WORST SHOW EVER

This show was the worst. I cannot believe this is even hyped up at all. It hut every cliche in the book. What is more insane is how they managed to make every character so utterly unlikeable.
The Jaemin guy made a deal despite having basically nothing to lose, and after he "got rid" of the competition he still had plenty of time to make a move. AND when the mc made a move he rejected him... so what was the point?
The other "CEO" guy. He's a maniac who left the guy he cares ab despite having a chance. Instead if confessing like a normal person, he comes back, acts abusive and then acts surprised when the ml doesn't want him... like duh?
The dumb ml. How many times does someone have to reject you before you give up? Like he called you someone elses name, left you, left yoh again, left you again when you begged, left you again when you begged... and then shows up in front of you with a hickey. Bye.
MC is the most spineless character ive ever seen. So instead of just explaining to the ml, you choose to go with the crazy guy. AND JUST EXPLAIN THE HICKEY! I mean... the guy was responsible for your sister being in the hospital and yet you're all "omg woe is me. I am so sorry things turned out this way." Stand up. He needs to go to therapy before he can get with anyone. Everyone therapy today. And yall need better taste in shows... yikes this was a forest fire if ive ever seen one.

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PUT THEM IN A BL PLEASE

Sky and Nani. Yall kill me. The agony of watching yall together but not not actually BEING together kills me. Someone give them their own BL series PLEASE!!!!!!

This show was so good. the comedy and the action and the bROMANCE 😩😩😩 LOVED IT!! The chemistry between SkyNani is electric and heartbreaking and heartwarming all at the same time. Just makeout already 😂 This series was so good and the acting was great as well! seeing them all speaking different languages as well was a testament to all their skills as actors. The Phuwin cameo was 😘🤌🏼 **chefs kiss**

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.

karakter haixia memang tragis. menurutku lebih baik dia meninggal dan ga hidup lagi,dari pada dihidupin buat mati lagi,nah udah mati lagi pun masih ada beberapa org yg berharap buat hidup lagi.
kalo aku jadi haixia,aku bisa ngerti kenapa dia bilang dia capek di akhir. pun kalo aku gila nge bunuh banyak warga sipil juga lebih baik aku mati sendiri ditangan saudaraku,dari pada saudaraku mati ditanganku karena tubuhnya sudah sangat sulit untuk dikendalikan, apapun bisa terjadi kedepannya. kasusnya kan memang sudah beres, haixia ga bisa mati ditangan musuh. trs kalo aku hidup lagi pun aku pasti kebayang" perasaan bersalah seumur hidup gara" pembunuhan masal, meskipun tidak bisa mencegahnya tapi tetap sadar melihatnya & mereka jelas mati ditanganmu. ini adalah siksaan yg nyata seumur hidup

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