Reviews

I am giggling and kicking my feet because of this one ^^

We continue this GL anthology with Nam, the hotel empire CEO and 110% workaholic, and Chonlada, daughter of the rival hotel chain who wants to prove herself in an environment of disapproval because sexism and misogyny.

What I loved:
— I probably also fell in love with Lada a little bit. I loved her character (most of the time) a lot. She had her morals and principles and stood by them. But then again Phat managed to break her over time. Unfortunate but understandable.
— Charlotte played Lada in a really charming way. Hats off.
— Wardrobe was 10/10 again. All those pant suits? Jealous. Lada also always dressed beautifully. Except for the wedding dress. There I thought it was below her average dress style. Also took some screenshots to find some of the decor.
— I loved the progression of their love and all the little things that happened. I was giggling and kicking my feet ^^
— The appearance of Lam and Fai and Din and Rose throughout the series and not just in one episode. Really ties the anthology together.
— Loved how we got more of a glimpse of Lam‘s character (the police cousin, „Air“). That she‘s a very flirtatious person makes me even more interested in her series.
— Loved that Lada chose to do the „Whose string is attached to the bridal bouquet?“ and not the toss. Curious to see whether we‘ll get a wedding in all four series and if so what method of „Who‘s next?“ they‘re gonna use. I already can‘t think of more but I trust they‘re gonna be creative with it. And here they talked about having children… will we see that in the other series?
— A little detail that I just really appreciated: That Nam is basically blind without glasses.
— The incorporation of water whenever possible… the ocean, rain, pools. I only realised it fully after I finished the series.
— I liked the ring Nam gave Lada. And that the pink tulip became a symbol for Lada and the sunflower the one for Nam. BUT would‘ve been even better if they had included those flowers at their wedding and in the bridal bouquet (but also only realised this just now. So, it‘s not a big deal)… and the sunflower came a little out of nowhere resulting in that symbol not being as strong/established as the tulip.

The open questions & critique:
— The last episode being 1h 39mins long… That is proof to me that they should‘ve gotten 1-2 episodes more for each of the element series.
— What happened to the person that started at Monarch together with Lada? Yes, we see her in kahoots with Phat at the end… but that still leaves us to assume she was the one who poisoned the food at the event. But we never see it. Was she fired afterwards? We haven‘t seen or heard from her since Lada got promoted to assistant to the assistant. I think, I don‘t remember. Need to look out for her on my rewatch. Otherwise I feel like one or two scenes got cut that could‘ve explained that.
— The plotline of the father and the brothers (& Wat’s wife). Hm.
Apparently Wat wasn‘t an active abuser of Lada but a silent bystander. The only good deed he does is at the end when he helped Lada and her mum with a safe spot. How generous. But before he never intervenes. Maybe also because of his wife that he most likely doesn‘t love. At times I thought the wife was a legitimate daughter and sister to Lada that I forgot about. With how she treated and talked to Lada and all that.
Phat… he was a manipulative asshole throughout. Well played by the actor. Very jobless behaviour to follow your sister around like that and make her paranoid. I was not a 100% satisfied with his ending. It makes sense that he tries to flee and leave everything behind and in ruins… but I hoped he‘d be found and sentenced to be the caretaker of his father or something like that.
The father. Meh. Sure it‘s not fun to have a condition like that and get paralysed by it. But… in the end who was left to take care of him? The women he despised most. I don‘t want to forgive him just because he‘s disabled now. This storyline is so painfully typical, it feels realistic but I wished for something else in this fictional world. And Wat? Where‘s he in this equation?
— Okay, next: Lada‘s character arc (+ Nam‘s as well). Loved her most of the time. She acted according to her principles and then slowly because she wants to protect her loved ones and the paranoia Phat evokes. But at the end (+- the last three episodes) I couldn‘t follow her thought process anymore. I feel like we lost her character a little bit. I thought she would at least think (in hindsight) of the possibility that Nam said all these things to Phat because of powerplay and not because she means them. They have known each other long enough for her to know. So when Nam tries to talk it out and she refuses so vehemently… grrrrr.
And Nam being this super clever woman… fair enough. I just remember her police cousin telling her about what she found out but we as audience don‘t get to see that. So we also don‘t know all the things Nam knows and why she‘s doing the things she‘s doing. That got a little frustrating towards the end.
— Also thought Lada would really agree to getting disinherited by the father and fully get cut off from the Wachara Group and family name and then make a name for herself and not take it over (good for her but barely anything pointed towards that outcome). And then for the father to crawl back once she had married Nam. But of course he wouldn‘t do that, not for a woman.
— that one piano background music was used way too many times. I need it to retire.

Since this is an anthology I have to compare it to „The Earth“ (and later on to Air and Fire).
The main thing: The characters in „The Water“ truly felt like characters.
I was happy every time one of the other cousins and Rose appeared on screen. I am very happy that they appeared in more than one episode and sometimes all together and sometimes just one or two of them. Shows how close they are and still manage to visit each other despite their busy work etc.
But it also showed again what still annoys me with „The Earth“… Rose was meant to be a wifey, which is fine, but there‘s nothing more to her character… and that since childhood. smh.

I would loooove to see these two in a mermaid (or something supernatural) GL series. I imagine a very ethereal and otherwordly vibe. mmmh.

And again: I will probably rewatch this and then add +new comments+ with new or changed opinions.
Thank you for reading until the end. <3

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Two extremely wounded (but totally badass) people who learn to become an indominable power couple.

This drama has a high production value, a strong script, and top-tier actors. It's full of strengths. So instead of just glazing those strengths, I want to address it's weaknesses. Because this isn't about why it deserves a high score... but rather what's standing between it and me giving it a 10. Because if it weren't for it's weaknesses, I would give it a 10.

As it stands, I don't think it quite reaches the top of the pile. But make no mistake that it's a quality show that deserves to be taken seriously. The pacing and scenery are luscious. Misty jade green forests, beautiful wood architecture and furnishings, thick silk brocades. The acting springs forth from the depths of sincerity for many of the actors including the ML and FL, who gave it their all, and it shows. The plot is thick, dense, meaty.

With that having been said, here's the main sticking points for me that I think a potential viewer might want to be advised about as far as what you're getting into when you watch this:

1) The romantic relationship between ML and FL is very different from the usual standard romantic fare. For some this will be a huge plus, and for others it will read as a minus. This is not a chemistry-based relationship, and there is no spice and kiss scenes are meager. That doesn't mean there's no fire! There is fire between them, but it is purely emotional fire, forged from deep traumas each of them carry into the relationship and try to navigate as a couple. There is affection. Lots of it. This is a genuine and deeply loving devoted couple. But I have to say, all the emotional power of the relationship comes from the screenwriting and dialogue. It is the STORY between them that pulls them closer all the time to one another. These two have really good acting chemistry together and they are excellent actors in their own right, and they play their characters excellently. But the SPICE-chemistry is not there between these two.

There's a very good reason for this.... both of them play characters that are so very very wounded by their pasts that their souls aren't light enough to contain a budding romantic attraction. No one goes on a spicy date right after something traumatic has happened to them. These are two very battered and battle-fatigued souls coming together to learn to love. Watching it feels A) earned and B) sweetly rewarding. But you'll get no spice here. The romance hardly bears any resemblance to a usual romance story. It's more like watching the formation and evolution of a strong and enviable marriage. The focus is not the attraction between them. It's the *dynamic* between them.

Normally I can't live without spice, monitor-combusting chemical attraction, some form of hotness. But here I found it nice, mainly because it suits the story, and suits the characters. But what I didn't like about it was that there was really precious little lovers-chemistry between the leads. For example if LYX had been the ML, you bet your ass there would have been chemistry all over the place. Speaking of which, Ryan Cheng did a REALLY great job, he was power-lifting his role.... but LYX would have been better cast, imo. Maybe he was busy idk. Or maybe they don't want Bai Lu and LYX paired up over and over all the time. But I digress.

2) The plot is REALLY intricate. Names, places, people, backstories, omg.... it was really good, but at times for me it was headache inducing. I think they could have made certain things more clearly laid out for the viewer. At least it's overdone and not underdone though, amirite?

3) Maybe this is nitpicky, but the AI special effects were a little jarring, considering the show itself is so rich and beautiful and immersive. Every time it comes up, it kind of rips you away from that immersion for a minute. Fortunately, it's fairly overlookable because they only use a smattering of it here and there.

4) A tradeoff of more depth for less excitement and thrills. The more thrilling emotions like imminent danger, attraction, sudden joy, rage, combat, surprise, angst, shock... are notably lacking in the overall tone of the show, and instead you get subtle and hidden dangers, shyness, reticence, long standing pain, small mundane happinesses, slow-stewing anger, guilt, confusion, mystery, intrigue, secrets, and repression.

5) The scriptwriting left something to be desired. It's solid. No doubt about that. But there are issues. Such as the "breakup episode" which wasn't necessary and kind of awkwardly written and devised. The occasional episode here or there that sometimes feels like half-filler and doesn't really move the plot forward very much. There's an episode that starts with FL crying, and I don't watch crying, so I skipped it. Well, it was 8 minutes. 8 minutes of just Bai Lu crying over a montage of her past memories. 2 or 3 minutes is cinema, 8 minutes is just filler for emotional masochists. The dead screentime where we watch someone doing something like walking down a street, doing dishes, looking through scrolls, papers and books, etc. It's not that it's bad. It's just that if I were going to give it a 10, I'd want the pacing just a little bit tightened up and the script a little bit fine-tuned.

It was unique, it had plenty of meat on the bones, it was a solid watch, it was high-caliber... but it was not perfect.

I'm a harsh nasty grader of dramas, so I gave it 8.5/10. It was very very decent with some flaws.

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Nostalgia, Noise, and Growth: Why The WONDERfools Rewards the Repeat Viewer.

Having watched The WONDERfools five times now, my relationship with the series has evolved drastically. On a first watch, the opening stretch feels like a chaotic hurdle. Director Yoo In-shik and the writing team deliver an initial tonal whiplash; the comedy is deafeningly loud, the pacing in the first two episodes drags, and Eun Chae-ni’s (Park Eun-bin) initial introduction leans dangerously close to an exhausting caricature. For casual viewers, this messy worldbuilding is a barrier.
​However, multiple viewings reveal the brilliant method behind this madness. Those overwhelming early episodes are deliberate, laying a heavy emotional foundation so that when the narrative gears click in Episode 3, the payoff hits like a freight train. The true magic of this drama lies in its structural progression and unmatched ensemble chemistry.
​The greatest triumph of the series is undoubtedly Cha Eun-woo. Playing the restrained, traumatized Lee Un-jeong, his deadpan, exasperated reactions act as the audience’s proxy during the early chaos. By Episodes 5 and 6, he shifts seamlessly into the show's emotional anchor, delivering a disciplined, breathtaking performance through micro-expressions and controlled vulnerability that completely shatters his past acting tropes. Combined with Park Eun-bin’s eventual heart-wrenching depth and Choi Dae-hoon’s masterful comedic timing (the giant onion sequence remains iconic), the misfit squad becomes deeply endearing.
​Visually, the 1999 millennium-dread aesthetic is beautifully woven into the script, using clean action and a vibrant, retro soundtrack to reinforce the characters’ internal isolation.
​The show isn't flawless—the veteran cast members are slightly underutilized, and the final villain arc wraps up far too neatly compared to its excellent buildup. Yet, The WONDERfools understands its identity perfectly. It is a warm, ridiculous, and poignant celebration of found family that gets richer with every single rewatch.

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Fun For Watch

Instead of depicting the Edo period in somber tones, this film presents a colorful portrayal of the Edo period, spiced up with a touch of comedy.

Instead of depicting the Edo period in somber tones, this film presents a colorful portrayal of the Edo period, spiced up with a touch of comedy.

Instead of depicting the Edo period in somber tones, this film presents a colorful portrayal of the Edo period, spiced up with a touch of comedy.

Instead of depicting the Edo period in somber tones, this film presents a colorful portrayal of the Edo period, spiced up with a touch of comedy.

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Style Over Substance: A Gorgeous, Gold-Foil Shell Wrapped Around a Frustratingly Hollow Story

I have to admit, I wasn’t planning to finish The Next Prince, let alone give it a second chance. When it first premiered, I dropped it after just two episodes because it felt dull, a little irritating, and not worth my time. It was incredibly frustrating because I’d been following the project long before it aired; the teasers and pilot promised an ambitious, massive-scale royal fantasy blending political intrigue, high-stakes action, and a slow-burn romance with a sharper edge. However, given the long production delays and multiple recastings, I deeply worried the show would just lean entirely on Zee and NuNew's chemistry and intimate scenes rather than telling a strong story. I probably never would have gone back if clips of Net and JJ hadn't kept hijacking my feed; their scenes looked interesting enough to make me wonder if I'd judged the series too quickly. Sadly, my initial skepticism was spot on, and this 14-episode journey turned out to be one of the longest, most dragging dramas I've ever sat through.

To be fair, the series deserves massive credit for its absolute heap of ambition. Domundi clearly spared no expense, putting the cast through intensive training in fencing, archery, horseback riding, piano, and royal etiquette. The production value is top-tier: the sets are lavish, the cinematography is gorgeous, the costumes are elaborate, the soundtrack is excellent, and the Kingdom of Emmaly feels fully realised. Even NuNew and JJ’s musical numbers showcase the massive effort poured into making this feel like a prestige production. Unfortunately, all that polished gold foil merely covers up a script that has zero clue what it wants to be. The pacing takes a massive downward turn into a slow, repetitive crawl from episodes three through seven, completely forgetting the stakes of its own central succession competition. When the plot finally remembers to pick up around episode eight, the tonal whiplash is incredibly jarring. One moment we're dealing with serious mining protests and social oppression, and the very next, Khanin is bursting into a highly theatrical Broadway-style musical number that completely drains the moment of any real seriousness.

The core issue lies in the fundamental writing of the main characters and their relationship. Khanin starts as a brilliant, independent, and witty lead who is passionate about fencing and overwhelmed by his heritage. Then, almost overnight, that personality vanishes. He loses his edge, his curiosity about his biological father, and his rebellious streak, transforming into an immature, overly needy damsel in distress who seems far more interested in wearing silly outfits, ordering people around, and batting eyes at Charan. The romance itself feels incredibly rushed and artificial, lacking the organic development needed to actually root for them. Charan isn't given much depth either; Zee certainly looks the part of a stoic bodyguard, but his character is frustratingly thin, with no real traits outside of his loyalty and a childhood trauma involving rain. Worse yet, heavy beauty filters often smooth out every trace of expression, distracting from the performance.

Ironically, the secondary couples are given far more emotionally raw and compelling storylines, yet they face a severe screen time problem. While most BL fans complain about side couples getting too much attention, here it's the exact opposite; Charan and Khanin dominate the screen while fascinating dynamics like Prince Ramil and Paytai's trauma-bonding are systematically starved for time, alongside underwritten characters like Ava, Calvin, and Jay. The veteran cast and the moving performances of Net and JJ genuinely salvage the scenes they are in, and NuNew delivers some touching moments of grief, but they are constantly fighting an unnatural script where emotional beats are unearned. The activism feels entirely performative and surface-level, serving up ubiquitous social justice quotes as if they are profound truths. Ultimately, everything feels overly staged and artificial, from the clubbing to the market scenes. This isn't a jab at the hard-working cast, and Zee-NuNew fans will likely still find plenty to enjoy, but for me, The Next Prince stands as one of the biggest missed opportunities in Thai BL history. I sadly cannot recommend it.

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A chaotic, emotional, and breathless ride through time

Extremely chaotic, stunning, and emotionally draining masterpiece that succeeds in blending comedy with gut-wrenching angst.

The concept behind this story is simply brilliant. The main heroine, Shen Jicai, along with her family, goes through time travel and finds herself in Yong’an.

It is an absolutely amazing show that skillfully combines large-scale politics and small-scale character interactions. The show is superbly made, there’s great chemistry, and the pacing is really great, smoothly changing from funny to literally life-threatening situations.



WHAT I LOVED❤️

The main couple’s chemistry: the couple in the show, Jicai and Lin Yan, have an outstanding chemistry. The romantic tension between them is perfect.



The actress (Wang Yin Lu) playing Jicai is simply an amazing actress. I mean, I loved her acting in “Twelve Letters,” and I’m not at all surprised but, dang, she impresses me every single time.



Iconic side characters: Princess Fuhui aggressively chasing Pei Fei was absolutely hilarious (even though it ended up not being so in the end). There’s my man, Liu Chang, as well. Lol. Loved him.



With that being said, I’ll have to add that the physical comedy in this drama is phenomenal!



Found Family: It is just so touching how the Shens take in the abused slave Deyuan and the secret spy Yu San with such genuine, wholesome intentions. As well as Lin Yan.



Character Redemption Arc of Gongcai: Even though he is a complete fool, it was endearing how dedicated he was to proving himself worthy to little Yangyang.



The Soundtrack





WHAT I DIDN’T 😤



The utterly brain-dead idiotic behaviour of the Shen men: I’m sorry, but Shen Jianshe and Shen Gongcai were driving me up the wall. They are, without a doubt, the two characters with the lowest IQs on the whole script. Arrrghhh! Their total inability to know when to shut up, and their mind-bogglingly dumb decisions had me literally facepalming. Not even Fengxia was an exception in this case. Jicai deserves all the credit for handling the insanity of the entire household.



That one ungrateful quick-to-judge moment with the Shens: When Lin Yan sealed the restaurant to show fairness during the poisoning setup, the whole family quickly judged him and acted entitled. Now, the man took you into his home, fed you, and because of that single thing, he was evil in your eyes? (Oh, well somebody else did that for years and was evil in the end.)



Fengxia’s exhausting bickering: Fengxia constantly putting down and picking fights with Jianshe seemed toxic and unnecessary to me.



The “not getting wet in the rain” trope: I had to add this. It was just one scene but I genuinely hate it when this happens. When someone is standing in the middle of a torrential downpour but somehow magically isn’t getting wet.



Prince Zhao and Lin Yan. Enough Said.




Anyway, despite the fierce irritation the male family members will cause you, this is truly an amazing drama. It handles dark political themes with incredible gravity, yet effortlessly bounces back to cosy, heartwarming moments.

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The Symphony of Silence and Concrete: Why Weak Hero Class 1 Is a Tragic Masterpiece.

Most high school dramas treat youth as a vibrant canvas of possibility, but Weak Hero Class 1 paints it as an oppressive, concrete cage. While casual viewers praise the series for its visceral action sequences, the show’s true brilliance lies in its quieter moments—the suffocating silences, the hollow gazes, and the devastating psychological warfare that exists long before a single punch is thrown.
​Structurally, the eight-episode format functions as a masterclass in tight, economic storytelling. It completely avoids the narrative bloat typical of the genre by focusing intensely on the micro-shifts within its central trio. The story doesn't rely on massive plot twists; instead, it uses meticulous foreshadowing and tragic narrative parallels. The writing treats violence not as cheap shock value, but as an inescapable language forced upon teenagers who have been utterly abandoned by the adult world.
​This thematic weight succeeds entirely because of the staggering nuance in the performances. As Yeon Shi-eun, Park Ji-hoon delivers a masterfully understated performance. In a role that could easily have become a one-note caricature of a cold genius, Park uses his remarkably expressive eyes to convey a volcanic reservoir of repressed trauma and quiet desperation. He is brilliantly balanced by Choi Hyun-wook, who injects a necessary, organic levity into the bleakness, and Hong Kyung, whose slow, agonizing descent into moral corruption is the most compelling character study of the year. Together, they expose the raw, fragile vulnerability of boyhood—capturing the desperate desire to belong that can easily twist into malice when met with isolation.
​Every technical element reinforces this emotional paralysis. The brilliant, moody cinematography favors cold, washed-out tones that make the classrooms feel like prison cells, while the exceptional soundtrack evokes a profound sense of teenage listlessness. The music doesn't just score the scenes; it captures the internal despair of characters drowning in a broken system.
​Ultimately, Weak Hero Class 1 is a rare, devastating triumph. It rejects clean moral compasses and easy closures, delivering instead an honest, haunting exploration of how violence inevitably begets violence. By prioritizing profound psychological depth over superficial action tropes, it doesn't just entertain—it leaves an indelible bruise on the viewer’s psyche.

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A Brilliant Build-Up, A Tiny Payoff

(The ending was so petty.)

This drama has the ability to hook you within just a few minutes because of how well it's written, structured, directed, and presented.

Throughout the series, you'll constantly question your own assumptions. Every time you think you've figured it out, the drama throws another twist in the complete opposite direction. It keeps you glued to the screen—not because it's packed with action or thrills, but because it's incredibly confusing in the best way. Your curiosity keeps growing with every episode.

But then comes the ending.

It gives you the most underwhelming explanation possible. Even the characters literally says, *"That's it?... That was it?... That's why you did it?"* And honestly, that was my exact reaction too.

What? Seriously?

The drama takes you on an emotional roller coaster and builds your expectations so high that, in the end, it gives you... almost nothing. I wasn't expecting some mind-blowing ending, but I was definitely expecting at least one final bump instead of such a smooth landing.

As for Heo Mun Ho, I can't justify how he treated his wife. Marrying someone while still being unable to move on from another person, then spending years disrespecting your wife, is simply wrong.

However, I also don't think Lee Kang was innocent. He recognized Heo Mun Ho's biggest weakness and manipulated it. He gaslighted him, fed his obsession, and pushed him further into jealousy and irrational behavior. If someone you once loved suddenly appeared to be in danger after all those years, most people would naturally feel something. Lee Kang knew exactly how to exploit those emotions.

Overall, I genuinely enjoyed this drama. The writing, directing, performances, and mystery were all excellent. I just wish the payoff had matched the incredible build-up. The journey was amazing, but the destination felt surprisingly small.
Solid 8.5/10.

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I've only got into k-dramas this couple of months so I'm new here. but let me tell you, this k-Drama is something else, the story is something else that i never thought id get from k-dramas. i mostly watch anime only, anime have such high level of masterpiece such as A Silent Voice, You're Name, Vinland Saga, Eighty-Six and other pieces those were my top ones but man We are all trying here... its up there.
A lot of reactions that I've heard and seen is they say that in the beginning they didn't quite like Hwang dong man because of how he acts but for me i was intrigued, i was like what an interesting character why is he like that?, its so distinct and as the story goes i was like wow he's such a complicated character and then i started relating to him .
I have never seen a character that resembles me so much as Hwang dong man, he's literally me but like a more expressive version of me. from like how he acts so goofy and playful, how he thinks psychologically and mentally, how he imagined scenarios as if he's actually inside of that scene. that's me ... the only difference is how he acts so carelessly and free in public though i do act like that when I'm alone, but still. i literally bought a leather jacket after watching the series inspired by his coat(lol)
And overall the story yeah as I've said i put it out there in my absolute masterpiece list. its a masterpiece that inspired me to start writing something like this. the funny thing is i have never written a story -_-

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Good And Bad Sides

The Plot vs. The Chemistry: When a script is a complete trainwreck full of incomprehensible plot holes, the entire production essentially rests on the shoulders of the main leads. If their physical chemistry—amplified by that top-tier, classic height difference—is off the charts, it creates a powerful distraction. You end up ignoring the nonsensical writing just to watch them share a frame.

The Solitary Sane Character: Having an entire cast of characters who have seemingly lost their minds, except for one lone sane person on the male lead's side, is a hilarious but common trope. That one character usually becomes the audience surrogate, looking around in absolute disbelief at the chaos surrounding them.

Talent Wasted on Chaos: It is both a blessing and a curse when the casting is phenomenal and the main leads deliver powerhouse acting. On one hand, their talent saves the show from being entirely unwatchable; on the other hand, you can't help but wish their incredible acting had been utilized in a masterpiece rather than a chaotic, messy plot.

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feelings

đầu tiên về nội dung, với những tập đầu thì mình nghĩ mình chưa thật sự có ấn tượng sâu sắc lắm, nhưng càng về sau thì phim ngày càng hay, nhất những tập từ tập 6 đổ đi phim hay điên, nội dung cũng khá mới lạ, nói về tarot, tarot không phải ai nhìn bài cũng có thể giải nghĩa đúng nhưng riêng bộ phim này nó giải nghĩa ở từng lá mình thấy khá chặt chẽ với kĩ.Còn về diễn viên, diễn cũng khá ucii, hoà được vào nội dung không bị sượng chân. Nói chung cá nhân mình nghĩ đây là một bộ phim bl đáng xem nè

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