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The first half shines, the second ... struggles.
From the very first episodes, it felt like the drama had all the ingredients needed to become memorable historical dramas of the year. A heroine reborn with revenge in her heart, political conspiracies, shifting alliances, family betrayals, and a cast capable of carrying emotionally complex characters. On paper, it sounded like something I would absolutely adore. And for a while, I did.The first half of the drama is genuinely engaging. Chu Zhao's journey is compelling, and there is a real sense of purpose behind her actions. Every move feels calculated, every victory earned, and every political maneuver carries weight.
Unfortunately, somewhere around the middle of the drama, things start to unravel.
It's not that the story suddenly becomes bad. Rather, it feels as though the drama loses confidence in itself.
The aesthetic of the drama is one of its strongest assets and gives the series a distinctive identity. The deep crimson palace interiors, the elegant costumes, and some of the visual compositions are genuinely stunning.
Let's talk about battles .... Several battle scenes feel surprisingly lifeless, especially considering how important warfare is to the overall narrative. There are moments that should feel epic and emotionally charged but instead come across as strangely empty. Some of Fu Jiu's action sequences are genuinely exciting and demonstrate how effective the series can be when everything comes together. Unfortunately, those moments become increasingly rare as the story progresses. After the midpoint, Fu Jiu begins to fade into the background. Despite being the male lead, he receives surprisingly little focus during crucial stages of the story. Considering the ongoing military conflicts and his importance to the narrative, it feels like a missed opportunity. More battlefield scenes, more strategic moments, and more development for his personal journey could have added much-needed energy to the second half.
The first half promises something exceptional. It hints at a story capable of balancing revenge, romance, political intrigue, and character growth in a meaningful way. Instead, the second half settles for something merely good when it had the potential to be great.
It remains an enjoyable watch, particularly for fans of historical revenge dramas. But it is also a drama that left me wondering what might have been if the same level of care present in the opening episodes had been maintained until the very end.
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Flawed but iconic
The original 1971 Kamen Rider has been dear to me for some time, but I only finished it completely as of today.The series arcs all have different flavor, and different strengths. It feels like several different pilot projects put together, while they got their footing. A lot of the imagery we know as gospel today does not appear til later. The original Hongo arc has a horror vibe to it, while the Ichimonji arc is more properly a super hero show. Before that we have iconic moments like "Hitlers Treasure" and the first two part training episode, which paved the way for future training arcs to come in other anime and toku. Ichimonji was charming, but the show settled into a repetitive rhythm that was only broken up once Hongo briefly returned, sporting his Sakurajima outfit, real ones know.
Many companions appear and disappear as the series goes on, featuring many sword wielding vixens and surprisingly helpful children, but no temporary companion was more endearing than the trio of Emi, Mika, and Goro, who routinely showed bravery and character throughout the series. Replacing them later on with Yoko and Chokko fell extremely flat, but it is true that the iconic Kamen Rider Shounen Club was introduced a long with them, so I give them some credit for helping with that.
Each general had their own iconic way of dealing with Kamen Rider. Colonel Zol was nothing too special, perhaps using the most repetitive monster of the week strategies, but Dr. Shinigami had a few surprises. Things kick into high gear with Jigoku Taishi, who seemed to have a thing for harming children which made him particularly terrifying.
Gel Shockers introduction to the show is extremely exciting, and many of the series most iconic elements actually come from this era, despite their combatmen and name not surviving the test of time in our memories. The double riders, shocker riders, and aforementioned kids club all appear in this section of the series, where it begins to know what it is has, know what works, and doesn't fumble the pacing. Black Shogun's fused monsters, featuring the abilities of two animals combined, were also notable.
I do think the ending had good and bad moments. It was exciting with an incredibly unique fight location all the way until the actual unmasking of Shockers Leader. I feel like he kind of just collapses after being roughed up a tiny bit, and I feel like there is no sense of dramatic pacing going from him firing psychic explosions at them and nearly killing the riders one moment and them being fine the next. I feel like V3 somewhat legitimizes this by having Shocker continue in a new form as Destron. Maybe because the leader knew it was his time, with what I assume was a fake body, he tried to blow up himself and his base in one hail mary. But on its own, it doesnt work and feels somewhat weak after 98 episodes and no guarantee at the time of a sequel. But Kamen Riders success was undeniable, and the series was followed up immediately with V3. All I'm saying is, is that how you would have wrapped it up if you didnt know you were continuing again right away with a new rider? The series ends on Taki going home, leading to the last time the characters we ended off on would be seen together for this particular series. The narrator, who normally has a harrowing explanation of the Riders continuous fight against evil, is finally able to tell us that the world is at peace, which I find satisfying. That peace would only seemingly last a week however, as the Kamen Riders would continuously fight every single week until a brief break in the 90s, only to resume indefinitely in the year 2000. Fight on, Kamen Rider, protect the peace of the world.
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Química e historia
principalmente la historia fue buena, siento que convinaron muy bien la parte de actual y de la época sin embargo el último capítulo fue muy rápido y super repentino, aunque me allá gustado mucho que abolidieran la monarquía pues así tienen una vida relativamente normal pero el k drama se trato prácticamente de la época y sobre que el personaje principal se convirtiera rey asi que fue inconcluso.la pareja principal tuvo demasiada quimica fueron muy tiernos y me hicieron emocionarme cosa que ya muy poco se ven en los k dramas actuales. como también la pareja secundaria me hubiera gustado ver un poco mas de ellos.
en conclusión el k drama es super recomendable tuvo sus algunos desniveles pero en general la quimica entre los personajes vale totalmente la pena.
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Guys Day Out
The premise of the movie is quite exciting and, as promised in the trailer, it delivers exactly that: an ex-husband and a current husband working together to rescue their wife and daughter after a kidnapping. In fact, it offers even more than expected, with a third husband joining the mix and a surprisingly entertaining villain, making for a fun ensemble of personalities.The best part of the movie is the acting. Both the lead and supporting cast fully commit to their roles and clearly seem to be having a great time.
The execution has its ups and downs. The film actually does a good job of giving most of its characters meaningful backstories, to the point where you may even find yourself rooting for the villain at times. However, it is surprisingly selective about which relationships it chooses to show rather than tell.
The ex-husband gets a moment that establishes his bond with the daughter, allowing the audience to become invested in their relationship. Other characters are also given scenes that help flesh them out. Oddly, the current husband despite being one of the film's central characters is largely defined through dialogue and exposition. We hear about his role within the family, but rarely get to see it for ourselves. As a result, one of the movie's most important relationships feels less developed than it could have been.
That criticism aside, the film is well acted, genuinely funny, and packed with entertaining action sequences. The plot is fairly predictable and perhaps a little too ambitious for what it ultimately delivers, but it remains an enjoyable watch.
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I started watching this drama ongoing because I found it funny. And I laughed a lot while watching it. At the beginning of the drama, the story was simple and funny. Comedy parts were the drama's main strong point.
The casting was really great. I just got crush on Jeon Jae Yeol (Kim Jae Uck) at the first glance. He just had a strong main character aura. Not just him, Park A Jeong also made me doubt how important her character might be. The chemistry between Jeon Jae Yeol and Park A Jeong was really intense. While watching their acting, sometimes I felt that the main couple is the second leads and only there for comedy. Of course, they didn't actually disappoint as main character at all. Shin Hae Sun is such a great actress! She never disappoints me through her acting. Even if the story is a trash, I still could watch her acting. And Gong Myoung is such a cutie pie. The couple looked so cute and soothing.
The drama had such a good writing in the comedy parts. But for some reason I felt that it lacked a strong plot. There wasn't much of character development. The drama showed some of the rash decisions and actions of the characters and realizing it later. But I didn't feel that they actually portrayed the characters' emotion flows properly. I mean I could get why they acted that way but could not empathize them properly. So, in last few episode something felt off to me. I mean even office politics could do better.
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Why I Stayed
Honestly, it wasn't epic but it flowed, trickled at times but ultimately I wanted to see what would trigger the switch at the end. Who knew like all fairytales, it would take falling in love and the kiss. Specifically at twilight for those who want to try.Yes, it was humorous especially, their attempt with the hairdryer. Desperate times, desperate measures. I enjoyed the flat dead pan delivery and harsh responses of Yun . Cha's wide eyed responses were so innocent, he was no match for Yun's mother. What sealed it for me was when the switches in personalities being instantaneous and they both felt comfortable to deliver in each role. The push ups were hilarious.
It lacked a little something, possibility the sweet moments we normally associate with a light bl like this but it was nice enough. Perfect ending. Homestay appears to have some magical matchmaking capabilities.
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this Is a fucking masterpiece.
The way the actors act, the way the story is executed and its development, the editing, the music, the chemistry—everything, absolutely everything, about this drama is perfect and executed to perfection. I loved the fact that their relationship was initially purely physical, and then over time, through that physical contact, the two began to feel real emotions, which were once uncertain. I've seen every single Japanese BL ever made, so I can confirm that this is one of the many masterpieces Japan has created. I could watch it a billion times and never get bored. Another thing I loved was that we got to see the protagonists as a couple (in many Japanese BLs, the protagonists become a couple in the final minutes of the last episode). Anyone who didn't like this drama has bad taste; there's NOTHING in this drama you wouldn't like.Esta resenha foi útil para você?
10/10 My absolute favorite show - highly recommended from the heart
10/10 My absolute favorite show - highly recommended from the heartI usually don't write reviews, but this show really did something to me. It has officially become my absolute favorite series. From the first episode, it managed to draw me in completely without feeling forced. The story is beautifully written and hits exactly the right emotional notes. What stood out to me the most was the chemistry between the main characters - their bond feels incredibly authentic and natural. The acting is solid across the entire cast, and you can tell how much care went into production, right down to the soundtrack that perfectly fits every mood.
It's rare to find a show where you start to care about the characters this much. It made me smile, it kept me hooked, and it's a series I will definitely return to again and again.! recommend this show to everyone from the bottom of my heart.
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10/10 The perfect high school BL series
10/10 The perfect high school BL seriesThis is what a good high school BL series should be like - it shows in a very sensitive and loving way the coming of age and coming out of 4 young men, with all the smaller and bigger disasters people at that age have to face. Directed by the same director as "Make Our Days Count",
", it avoids most
of the annoying tropes of the genre, and all the four leads (Shen Jyun as Xu Qi Zhang, Li Zhen as Ye Guang, Andy Huang as Jian, and my very extra special Hsu Shuo as Ray Ray, who looks great as a crossdresser) are talented actors and super cute. The OST is the best of any BL series of
2022. I have watched this series 4 times already, and I'll watch it again.
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9/10 who did 'Thana' operate on in the trailer?
9/10 who did 'Thana' operate on in the trailer?"A woman's heart is an ocean of secrets" has been reiterated on a bold grey canvas by SNAP 25 in this project.
Presence of each character, their interactions, personality sketch and it's contribution towards propelling the script were presented in a calculated fashion. At least all of them were convincing. I would suggest watching it when ever you crave a good suspense. I loved the tone of entire film and contrasting imitation accessories on the ladies, Styling team must be rewarded for which. Sound track and the MV are so evil (praise) HIDE is one of P'Amp's pieces neatly conceptualized.
No regret for the blood-shed yet complimentarily, the narrative is cunningly artsy. 'Picha' in the heels of a villainess efficiently captivated viewers. Piploy and Ploypach had outstanding performances. Gawin seemed to have been exploited the most in role. Chimon has returned to acting while sadly, this was Luke's last under GMM. He and Jan make a sizzling pair undoubtedly but they were never offered scripts like 'Mr. And Mrs. Smith. Could i ever get to watch such a intense drama from this agency? (sad sigh) Once upon a time there was a ghost ship called Luke-Win.
Even after Bright left, Win hasn't been assigned a partner.
Maybe it is an exclusive privilege for the share holders.
Since this story concluded with a revelation that Jan and Jingjing weren't blood related, hereby the gates to Gl universe open (sparkles, confetti, flower petals, gongs, foil party blowers)
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Where Wounds Become Strength and Two Hearts Learn to Beat as One
I’ve been waiting for this drama for so long. From the moment I read the synopsis—a fictional dynasty, a disgraced prince in a wheelchair, a brilliant scholar trapped on a mountain, a political marriage that reeks of punishment—I knew this was my cup of tea. Now that I’m 25 episodes in, with 15 still to come, I can say without hesitation that it has not disappointed me. It’s not just another historical romance. It’s a slow-burning, intricately woven story about two clever, wounded people learning to trust each other while dismantling a corrupt system piece by piece. Watching it feels like reading a novel where every chapter ends on a note that makes you desperate for the next.NARRATIVE AND PLOT STRUCTURE
What first struck me is how well the drama strings events together. Each episode ends with a hook that flows directly into the next, and the editing creates a rhythm that never lets the tension fully dissipate. The show balances multiple storylines without losing focus: there’s the weapon smuggling case in Huaixi, the murder of the loyal official Yuan Fang, the mystery of the stolen posthumous edict, the slow unraveling of the Ye family’s crimes, and the constant political chess match between the Emperor, the Empress Dowager, and Marquis Muyang. None of these feel like filler. They all feed into the central question of justice and survival. The pacing might feel slow to some, but I eat up this kind of “slow-boil” storytelling. The plot unfolds at a comfortable pace, neither rushed nor dragged, and every scene has a purpose. I never find myself checking how much time is left in an episode.
CHARACTER DEPTH AND MY OBSESSION WITH THE LEADS
Mo Xiuyao, played by Cheng Lei, is the kind of character I find impossible to look away from. He starts the story as a man entombed in a wheelchair, bitter and self-loathing, still bleeding from the wrongful execution of his brother and the massacre of the Black Cloud Cavalry. His early interactions with Ye Li are cold, even cruel. He offers her a divorce after a year, as if preemptively rejecting her before she can reject him. But Cheng Lei makes his transformation so achingly real. When facing Ye Li, Mo Xiuyao becomes more and more alive—smiling, jealous, a little petty. I especially love the moment after his legs heal. His possessiveness starts leaking out. He invites her to accompany him to work, and when she refuses, he pouts and says, “It’s not like I asked you to come.” He’s a sulking husband pretending to be indifferent, and the contrast with the broken man in the wheelchair is so delicious. Cheng Lei’s performance in the wheelchair is all in the eyes. A lesser actor would have been completely blank, but his gaze carries a whole world of pain and restraint.
Then there’s Ye Li, played by Bai Lu, who has been a revelation. I’ve always liked Bai Lu’s presence, but here she carries an entire hidden history in her eyes—there’s light, there are stories, there’s a sharp intelligence that flickers beneath her composed surface. Ye Li is not a passive victim. She’s a strategist who spent eight years trapped on Lishan Mountain, studying medicine, astronomy, and politics while waiting for her chance to descend and reclaim everything stolen from her mother. She’s also deeply traumatized, and I find her dissociative episodes—where she conjures a companion named Qingshuang and, in moments of extreme danger, transforms into the swordmaster “Master Zhu”—incredibly compelling. It’s not a cheap plot twist; it’s a psychological survival mechanism born from years of isolation and loss. This layered portrayal makes her feel like a real person, not a flawless heroine.
THE CENTRAL ROMANCE: A MARRIAGE OF EQUALS
I’ve seen many “first marriage, then love” stories, but this one breathes differently. Mo Xiuyao and Ye Li are both scheming minds who recognize a kindred spirit. Their initial interactions are a dance of suspicion and testing. I love how the drama doesn’t rush them into love. Trust builds slowly, over shared meals, the application of medicine, quiet conversations in the dark. When Mo Xiuyao finally says to Ye Li, “No matter what happens in the future, I will never abandon you,” his voice is low and heavy. It doesn’t sound like a romantic line; it sounds like a vow carved into stone. That one promise carries more weight than a thousand “I love yous” because the show has earned it.
After his legs recover, Mo Xiuyao’s hidden possessiveness starts to surface, and I can’t get enough of it. He’s the definition of a sullen, secretly clingy husband, and the contrast with his earlier coldness makes the dynamic even more addictive. I watch their scenes together and feel my heart squeeze. Their eyes do so much of the acting—those micro-expressions, the fleeting glances, the way a tiny smile tugs at the corner of a mouth. I don’t know how they do it, but their eyes are so full of emotion that they make me feel the exact same feelings. It’s a romance built not on grand gestures but on the quiet accumulation of trust, and that feels more authentic than any love-at-first-sight fairy tale.
SOCIAL COMMENTARY: A FEMINIST AWAKENING
The more I watch, the more I realize this isn’t just a historical idol drama. It’s an epic of female tragedy and awakening. Ye Li is fighting not only for herself but for her mother, Xu Wanzhou, and for countless silenced women like her. Xu Wanzhou’s story haunts the entire narrative. She was a brilliant woman who brought wealth and status to the Ye family, only to be stripped of her dowry, imprisoned in a derelict courtyard, smothered by her mother-in-law, and erased from memory. Ye Li’s return to the capital is a reckoning. She systematically exposes the family’s hypocrisy, reclaims her mother’s stolen property, and demands justice for the murdered maid Yanlu, whose bones lay at the bottom of a pond for eight years. When I see Ye Li stand before those family elders, calm and unyielding, I feel like I’m watching her demand justice on behalf of every woman whose suffering was buried under a family’s ambition.
The show extends this critique to the political sphere, where women like Empress Dowager Guo Jin and Dowager Consort Qin Zheng wield power but are still trapped by the structures they manipulate. Princess Lingyun, a female ruler from Cangbei, presents another facet of this theme—she is strong and clever, yet must navigate a world that resents her authority. The drama never simplifies these women into saints or monsters. It shows them as products of a system that both empowers and devours them.
PHILOSOPHICAL AND THOUGHT-PROVOKING LAYERS
Underneath the political intrigue, the drama asks hard questions. What is justice when the law is a weapon of the powerful? Mo Xiuyao’s brother, Mo Xiuwen, died precisely because he trusted in legal procedures, handing over the imperial edict that could have proven his innocence. That betrayal taught Mo Xiuyao that survival sometimes requires secrecy and masks. The entire court is a stage where everyone performs. Mo Xiuyao pretends to be a crippled, broken man. Mo Jingli plays the drunken degenerate. Ye Li feigns naivety while engineering assassinations. The tragedy is that those who drop their masks, like Yuan Fang, are killed. Yet the show doesn’t endorse cynicism. Ye Li’s mission is to recover that stolen decree, a tangible piece of truth that can exonerate the dead. The message I take away is that masks may be necessary, but the pursuit of truth must continue, no matter how long it takes. That moral complexity gives the story a weight that transcends typical romance plots.
ACTING AND THE POWER OF MICRO-EXPRESSIONS
I need to talk about the acting because it’s what elevates this drama from good to unforgettable. Cheng Lei’s transformation from a frozen, self-destroying man to a teasing, smitten husband is a masterclass in subtlety. When he crawls out of the wheelchair, every tremble in his arms communicates agony, but the way he calls out “Come help me” also carries a fragile, almost childlike plea. That vulnerability is devastating.
Bai Lu is equally mesmerizing. Her Ye Li is calm, but never blank. She can say the most innocuous line while her eyes flash with a dozen schemes. I’ve noticed her line delivery has improved significantly—her soft-spoken moments don’t feel thin, and her urgent moments don’t turn shrill. She sounds natural, grounded. Together, the two leads have a chemistry that’s built on glances and shared silences. It’s the kind of acting that makes me forget I’m watching a screen.
WRITING AND DIALOGUE
The script respects my intelligence. Conversations are dense with subtext. Ye Li’s retort at the banquet, when she dismisses a scholar’s insult by suggesting he only speaks wildly to get the princess’s attention, is a perfect example of wit as a political weapon. The writers know when to let silence do the work. Long stretches pass without dialogue, yet they’re heavy with meaning. I also appreciate that even supporting characters feel fully realized. Mo Jingli is not a simple villain; he’s a tragic figure who betrayed his saviors out of fear and now drowns in guilt and ambition. Ye Ying is petty and jealous, but the show lets us glimpse her genuine pain. Everyone has motivations that make sense.
CINEMATOGRAPHY AND VISUAL IMPRESSIONS
I’ll be honest: some of the studio backgrounds and sets feel slightly artificial, and I have a few doubts about the overall visual polish. But the drama makes up for it with thoughtful composition and a lack of excessive filters. I’m so tired of dramas that drown actors in AI-smooth skin and hazy lighting. Here, faces retain texture, expressions remain clear, and the cinematography uses imagery symbolically. The burning of an official in broad daylight, the moonlit pond where bones are found, the falling ginkgo tree—these images stick with me. Costume design is elegant and appropriate to each character’s status, never veering into gaudy over-decoration.
CONCLUSION: WHY I’M STILL WATCHING
I’ve only seen 25 episodes of a 40-episode drama, so this is an ongoing journey. But already I feel deeply invested. This is not a show that shouts. It’s a show that whispers, slowly drawing you into its world until you realize you’ve been holding your breath. The leads are complex, clever, and profoundly human. The romance is earned, not gifted. The social commentary gives it weight. The philosophical questions keep my mind turning long after the episode ends. I came for the premise and stayed for the details: a spoon used as an iron, a paper doll to curse a villain, a shared bowl of sugar in the dark. This drama is my cup of tea—rich, warm, and deeply satisfying. I cannot wait to see how Ye Li and Mo Xiuyao continue to stand together and face whatever comes next.
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6/10 Improper execution of a good script
6/10 Improper execution of a good scriptPeople are not dumb. This is not the first time a story where
'brothers turn rivals' is being made. Thus it was not essential to emphasize the affection between siblings for that matter even with Film's character. Script seemed lacking depth and research on criminal perspective of the society. Apparently there are plot holes in the continuity of the script, accredited to those inordinate writers, ironically.
Ohm is a martial arts practitioner who could be exploited a little more than shown. Foei and Toei have played their part so well that i cried for them. A certain scenes failed to relay the essence of existing in the plot line. Film still needs to hone her skills at acting. I wouldn't call it a good performance because her body language did not emit the aura of vengeance correctly. Narrative could have been more intriguing. I actually expected 'Li' to shoot herself in grief of losing her beloved being pregnant with his child without marriage, but then the character was written to remain coward all along.
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I don’t understand the hoopla over this show, so far
I may be the loan voice here on this, but here’s my take 3/4 of the way through Episode 6.This show is popular, but for me - who LOVES a time-travel romance - it is not connecting very strongly.
Perhaps that’s because I’m watching it after having seen Perfect Crown, which clicked with me on every level.
Why:
MRN is spending more time on the conflict and the typical tropes that have the leads dance around their relationship and not admit their feelings than a relationship moving forward between them, and is also putting more emphasis on all of the secondary characters who are adversaries of the ML than creating a building relationship between the two leads. 
I felt the same way about Queen of Tears - which was highly anticipated and hyped, and came out before virtually unknown Lovely Runner 2 years ago. I didn’t get the hype for QoT when it missed on so many cylinders that LR completely knocked out of the ball park (Time and Forbes agreed with me on this).
My issue with QoT was that more emphasis was on the villains than on the leads’ relationship, and near the end of episode 6 of MRN, I feel the same misbalance in the story is being made.
Additionally, all of the standard tropes have come out in force in MRN, bogging down the developing of their relationship, so at episode 6, I’m still not invested in the show, whereas I was invested in Perfect Crown from the get-go, and completely hooked by episode 2.
In PC, the entire show dealt with building the relationship between the two leads (with some villains, but they weren’t the emphasis in the story), and once they had chosen each other in the first 3 episodes, spent the rest of the episodes showing their choices to be there for each other and back each other, regardless of the hurdles that came their way, which led to the building of a real romance and strong marriage that endured the dissolution of the monarchy and their original reason to join forces, so the show put emphasis on the relationship and that relationship endured everything.
I will continue and update at the end, but I have to say I don’t understand the hoopla over this show, so far.
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I started watch this drama while searching for Kim Jae Uck's work. I really enjoyed watching this drama.The story had its own strength. The story was not over complicated, and the characters were simple and very much real.
The character development, healing past traumas were its strong points. I am glad that they did not leave any character with unfinished story. Each character solved their life's problem and became happy at the end which made me happy too.
I especially liked the character Lee Seon Ju. Her support and role made me yearn for a lifetime friend like her too. Even her story of getting hurt from her husband was so reasonable.
I love happy ending, so I really liked their ending where they actually focused on both their career and love life. there are dramas where at the last episode the couple gets separated for a few years for their career which makes me doubt why they could not find a way to be together, why long-distance relationship. That's why I really liked when the couple did not choose to stay long distanced.
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