Reviews

Stunning to Look At, Harder to Believe

Initially, this show felt like a solid 9/10 for me, gorgeous cinematography, an array of very attractive leads, and that signature artistic style I’ve come to expect from this director. Visually, it absolutely delivers. But by the time the final episodes rolled around, my rating had slipped to an 8… honestly, closer to a 7.

The problem is that the storytelling just doesn’t hold up under all that beauty. I knew the director’s aesthetic and thematic style going in, and those elements didn’t disappoint. But the narrative itself felt thin, especially in the second half. The female lead, who starts off as a strong, capable, independent woman, slowly drifts into Mary Sue territory and not because she’s powerful, but because the writing stops challenging her in meaningful ways.

And don’t even get me started on the villains’ “deaths.” Plot armour so thick it might as well be bulletproof steel. You cannot convince me that being shot in the chest and falling off a city wall somehow results in… survival? I get that they may be trying to stay faithful to the source material, but at least make it believable.

Overall, it is stunning to look at and has moments of brilliance, but the uneven writing and unbelievable character outcomes hold it back from being truly great.

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Entre o que o mundo espera e o que o coração escolhe

Temas
amor, amadurecimento, diferença de idade, pressão social, carreira, autoestima, família, escolhas, recomeço, autoconhecimento

Encontre-se/ Find Yourself, foi aquele combo delicioso de leveza com verdade. Parece só uma comédia romântica moderna… mas quando você vê, já está pensando na vida.

A história gira em torno de relacionamentos, mas não daquele jeito idealizado. Aqui entra tudo, diferença de idade, pressão da sociedade, cobrança da família, insegurança, carreira… o pacote completo da vida adulta real.

E eu gostei muito disso. Porque não é só sobre se apaixonar. É sobre sustentar escolhas.

A protagonista me pegou justamente por isso. Ela não é perfeita, ela oscila, duvida, tenta acertar e às vezes complica o simples, como a gente. E isso deixa tudo mais próximo, mais possível.

Tem um charme leve no drama, momentos divertidos, situações que dão aquele sorrisinho de canto de boca, mas ao mesmo tempo ele vai cutucando questões importantes, tipo, até onde a gente vive o que quer… e até onde a gente vive o que esperam da gente?

E relacionamento aqui não é só romance. Tem amizade, tem família, tem trabalho, tudo se cruzando, mostrando que a vida não separa as coisas em caixinhas organizadas.

Eu terminei com aquela sensação boa de evolução. Não só dos personagens, mas quase como se a gente também fosse lembrado de algo importante.

Que encontrar alguém é ótimo…
mas se encontrar primeiro faz toda a diferença.

Impressão final, um drama leve, atual e cheio de reflexões sobre amor e vida adulta, daqueles que começam como romance e terminam como espelho.

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Não é sobre encontrar o jade, é sobre quem você se torna na busca

Ambição, identidade, poder, destino, resiliência, lealdade, escolhas, pertencimento, segredos, ruptura, amor, obsessão, dualidade.
Assistir Busca de Jade/ Por Você, para mim, foi uma experiência daquelas que começam como história… e terminam como reflexão.

Visual lindo, trilha que envolve, emoção bem construída, nada jogado. O drama não fica no raso, ele vai cavando, com calma, deixando tudo fazer sentido ao longo do caminho.

E aí entra o ponto que mais me pegou, o tal do “jade”. Porque não é só sobre o objeto. O jade ali é símbolo. De valor, de essência, de algo que precisa ser merecido, não apenas encontrado. E quando eu entendi isso, tudo ficou mais interessante, a busca deixou de ser externa e virou interna.

Todo mundo ali está atrás de alguma coisa. Poder, amor, reconhecimento, pertencimento. Mas no fundo, cada um está tentando encontrar quem é, ou quem quer ser.

E é aí que entram as duas camadas da história que eu adorei.

De um lado, o marquês e a açougueira, construção, escolha, crescimento, humanidade.
Do outro, o “vilão” e sua amada, intensidade, desvio, obsessão, um amor que atravessa limites.

Não é uma história ou outra. É um espelho.

Começam em pontos parecidos, mas mostram caminhos diferentes. E isso pra mim é o coração do drama, não é o destino, são as decisões no meio do caminho.

E quando chega o final… eu sei que dividiu muita gente. Mas pra mim fez sentido.

Porque o drama já tinha entregado tudo antes. O final não vem explicar, vem provocar. Não fecha mastigado, fecha coerente com tudo que foi construído.

Quase como se dissesse, eu já te mostrei tudo, agora sente e entende.
E eu gosto disso. Gosto quando a história respeita quem está assistindo.
Saí com uma sensação forte, não é sobre quem encontrou o jade.
É sobre quem se tornou digno dele.

Impressão final: um drama intenso, bonito e cheio de camadas, que usa a busca como metáfora da própria vida, porque no fim, o verdadeiro tesouro nunca foi o objeto, sempre foi a transformação no caminho. E se...

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i have the feeling that i ended up having a déjà vu

i have the feeling that i ended up having a déjà vu 🤔. ah, i know: i watched exactly a k-drama last year with the same plot and the same premise. but i remember that, there, the guy worked almost for free for the ghosts and still managed to make some money 💰 it’s inevitable we work to earn money.
but here, i don’t get it: why isn’t the main character making any money? not even a little? not a single coin? 🤔

on the other hand, that would be bizarre. a ghost doesn’t have a credit card or money saved. unless they left some amount while alive, but then that would basically be theft. the bank would call the police immediately! a stranger withdrawing money from someone else’s account? that would be simply absurd.

i don’t know anything about law or advocacy, because i’ve never needed it, but it’s normal for you to have some money. the guy, from the beginning, was completely broke. he lives with his mother, then “borrows” (without her knowing) her money and, overnight, already has a place to practice his vocation. so far, so good.

now i ask myself:

how is he going to make money?

who is going to pay the bills?

the ghosts, maybe? 🤔

the guy wrote a script and didn’t research a damn thing. “oh, but it’s fiction.” so what? there are limits to fiction. you don’t write something without knowing at least a little bit about how things work.
not to mention the exaggerated and kind of embarrassing acting. yes, embarrassing. i felt sick i laughed. i thought i was laughing at something he did, but in the end i was laughing at the acting.
ah, and not to forget the synchronicity with which the two lawyers take cases. are they working telepathically? 🤔 or are the ghosts bringing the cases to both of them?

because, honestly, it feels like something written by someone who doesn’t even know what they wrote.

i dropped it. and i felt free when i did that. it was a true liberation. i had more things to say, but i’m not having my best day.

even so, i recommend it… for those who don’t mind some weirdness or like something completely outside logic.

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Sunglasses After Dark

Whilst “Branded to Kill” can be seen as the most obvious breaking point in the relationship between Seijun Suzuki and the Nikkatsu production system, “Trapped in Lust” appears to sit within an even deeper, almost subterranean continuum, where that same rift resurfaces in other forms, adapting to a production context that has since changed.

It is no coincidence, after all, that behind the project we once again find Atsushi Yamatoya, who was already one of the writers of “Branded to Kill”, and who here - as well as playing the role of Takagawa- is involved in a reworking that feels more like a detour than a real remake.

In his compelling analysis, ‘Il Fiore e Il Serpente’ (2022), Beniamino Biondi devotes a section to Yamatoya, also mentioning three different screenplays that formed the basis for “Branded to Kill”, although, curiously, he merely touches upon “Trapped in Lust”.

We are in the midst of the pinku eiga and roman porno season – that cinematic realm where the body becomes the central element, both an exposed surface and a narrative device. Yet precisely where one might expect greater freedom of expression, the film immediately introduces a more ambiguous tension.
Sex, in fact, is never truly liberating. It is obviously ever-present, pervasive, almost obsessive — yet progressively stripped of meaning, as if, by inertia, it continued to exist even after having lost its purpose.

Hoshi, the main character played to perfection by Genjiro Arata, navigates this system as a figure already broken. A rising killer, driven by a desire for recognition that coincides with his climb to the top of the organisation, he soon finds himself caught up in a decidedly complex dynamic that ultimately overwhelms him.

The character of Mayuko (the voluptuous and alluring Moeko Ezawa) — an apparently faithful wife, but in reality a pawn of the organisation — introduces an element of structural ambiguity right from the start: there is no relationship that is not, to some extent, constructed, manipulated or prearranged.
His (apparent) elimination, however, does not result in what might be seen as a strengthening of the protagonist, but rather marks a rupture. It is as though, just at the moment when the body should (and could) re-establish itself as the centre of the action, something ends up breaking irrevocably.

The resulting impotence — made all the more evident in his encounter with Yumeko (Nozomi Yasuda), the young prostitute at the hotel — is not merely a narrative element, but a genuine deviation from the system: desire, stripped of his ‘object’ and, at the same time, of its mystery, is transformed into an automatic gesture, a function incapable of producing any meaning whatsoever.

It is no coincidence that Hoshi spends almost the entire film behind a pair of sunglasses, worn regardless of whether he is indoors or outdoors, or whether it is day or night: it is as though his gaze, filtered and obscured, ends up conveying an inevitably distorted view, a reflection of a cinema in which reality is no longer simply shown, but is constantly obscured, distorted and re-enacted.

As was already the case in "Branded to Kill", a recognisable structure is present here too: there is always an organisation, rules are followed, and a hierarchy is in place. But it is precisely in the relationship with these rules that the film finds one of its most significant turning points.

Hoshi’s fault lies not so much in the mistake itself, but in the return. In returning to the scene of the crime, in reopening what ought to remain closed. It is an act that disrupts the system’s internal balance — and lays it bare. From that moment on, the climb is no longer merely ambition, but a form of attraction towards the point where the mechanism seizes up, becomes visible, and turns inevitable.

It is in this context that some of the film’s most unsettling characters emerge.
The ruthless and sadistic killers Mario and Saigo form a dual, almost unreal, certainly hallucinatory presence: a seemingly fragile female doll juxtaposed with a rigid, armed, silent body. Only later does the apparatus reveal itself for what it is: a simulated identity and mechanical bodily artificiality, a sort of Cronenberg-esque hybridisation.

Even once revealed, the effect does not fade. A sense of unsettling continuity remains, as if the body could now be broken down, reassembled and manipulated without any stable point of reference. It is precisely through these figures that violence takes on a further dimension: no longer a source of tension, as is typical of noir, but a repeated, almost abstract function.

The deaths follow a pattern that borders on the grotesque — bodies frozen in baffling, ambiguous poses, even the act of defecation abruptly interrupted (a pure homage to Suzuki, worthy of the finest Abel Ferrara) — whilst the narrative seems to constantly veer away from a linear progression. Curious musical and choreographic interludes, featuring Crazy Horse-style dancers who are stripped down and seemingly out of context, do not interrupt the narrative, but rather throw it off balance.

In Hoshi’s journey, this gradual loss of coherence results in an ambiguous transformation. Having eliminated his opponents, though physically scarred — blind in one eye — the protagonist seems to regain a form of ‘vigor’, but this recovery does not amount to a genuine restoration. Rather, it is the final stage of a process: the body returning to function just as everything else has ceased to make sense.

The final confrontation takes place in a stunning, almost Stanley Kubrick-esque setting that is both a fortress and a stage: a concrete building, isolated and surrounded by vegetation, which gradually reveals itself for what it is.: A theatre. The boss offers no resistance. He sits, observes, waits. The gesture that concludes the confrontation is simple, direct, inevitable. And immediately afterwards, something cracks.

Hoshi bows. Not to anyone in particular — perhaps, hypothetically, to an invisible audience; is this, ideally, a breaking of the fourth wall!?

It is at this point that the film ends with a meta-cinematic short circuit: power reduced to the role of spectator, the killer to that of performer, violence to mere representation. There is no victory left. Here too, there is no conclusion, but only the realisation that what we have witnessed was nothing more than a visionary performance taken to the extreme.

Whilst “Branded to Kill” depicted a system that had ceased to function, “Trapped in Lust” portrays what happens when, in place of rules, only the body remains. And even that, inevitably, ends up breaking down.

8/10

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Boyfriend on Demand is one of those K-dramas that doesn’t try to reinvent the genre, but instead focuses on delivering an entertaining and easy-to-watch experience. With a modern premise centered around digital relationships, the series hooks you from the start with its concept: an app that lets you have your “ideal boyfriend.”

And I have to say it… the virtual boyfriend app is really cool . The design, the interface, and the way this digital world is portrayed are quite well done. On top of that, the settings are absolutely beautiful, with a carefully crafted aesthetic that makes every scene visually pleasing.

The story also touches on interesting themes like loneliness and the idealization of love, although it doesn’t go too deep into them. That said, the drama is full of clichés from beginning to end, predictable situations and twists you can see coming… but somehow, they don’t feel too annoying if you go in expecting something light.

The performances do their job well, and the chemistry between the leads works nicely. But to be completely honest… I mainly watched this drama because of my beloved Seo In-guk, and I don’t regret it . His presence always adds something special and makes the experience even more enjoyable.

As for the pacing, it’s quite smooth and perfect for unwinding. It’s not a life-changing drama, but it’s definitely one that keeps you company and gives you some sweet moments.

Overall, Boyfriend on Demand is a light, visually appealing K-drama full of clichés, ideal for relaxing… especially if, like me, you have a soft spot for Seo In-guk .

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Too sweet, REWATCHED

The most sweetest couple ever 😍😍😍 the couple so sweet and so cute, I have moments where my heart can't handle this much sweetness, rare drama where both leads are equally best, the only cdrama which gives real true love feeling, other author should learn from this? they go on so many dates and so many romantic interaction, (while other cdrama they will go only on 1 date that's it and romance disappears in later)and the main screen time is main couple, even the 2nd couple is really slow burn unlike other drama where they start as slow burn but suddenly pregnant or marriage? cdrama lacks romance and sweetness like this ,this is what 90% kdrama look like and feel like, whereas cdrama historical, fantasy, etc all focus on everything except from romance, this is how a romance genre should be
there's enough
romance
comedy
friendship
no unnecessary drama
no dragging
no annoying 2nd couple,the only rare drama where I like 2nd couple too



i had given up on chinese drama 10 years ago when I started kdrama,most kdrama are 10 on 10 but for me chinese is still on level 7 or 8 only this is 10 on 10 for me ,I thought Chinese drama have improved but no still the same only few are good rest the same as 10yrs ago ,this is the best CDRAMA I have watched
She has one of the best high school drama all of them are good I liked it from start till end everything
her every drama is 10 on 10 and y'all rating them 8 seriously? and ratings others drama which are not good at all as 9 ?
this drama is so good and you still have problem with this ? who is giving this less rating ?🙄

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I feel the ML had no significance here, it's all about the FL trying her best to land a job and backfire the conspiracies happening to her.

It's not that I'm complaining, the show was entertaining specially when the FL is strong and has a solution for every trick they play on her but the romance however, is just too plain.

I would have liked it better if it's about achieving your dreams and you know working hard and so... But romance is completely weak here, and the ML appears in less than half of the scenes.

Overall nice, if you skip the forced romance here. I just didn't like the end, i don't know if the version I watched was choppy or is that actually how it ended, but it has a happy end in the novel, but nothing about what happened IRL, which is kinda weird end IMO.

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No romance at all, liars in review section

Starting is good, chinese drama author only know to start well but don't know how to keep it going well,it becomes bad, boring from half of the eps ? i watched till 15 eps and the story isn't focused on romance at all but historical, ml are not bad but not good nothing different, they literally behave life close friends from start till 15 and how are they suddenly going to fall in love now ? when there's no romantic scenes interaction at all ? i thought after being 10yrs in kdrama and avoiding chinese because they're really bad at writing stories ,now I thought they have improved? now feels like they're still the same I hardly rate any drama 10 , these drama completely lack romance ,I read review and started are those fake reviews or what where is comedy in this ? where ? and where is romance? only historical that's it
There's no romance in this ,the romance that didn't exist for 15-20 eps they're probably forced into it later or at end ,it isn't slow burn , they're like friends all the time , comedy is for starting few episodes only ,this one isn't even slight category

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“Great Performances, but Respect Matters More Than the Story”

“𝐈𝐟 𝐲𝐨𝐮 𝐜𝐚𝐧’𝐭 𝐭𝐚𝐤𝐞 𝐜𝐚𝐫𝐞 𝐨𝐟 𝐲𝐨𝐮𝐫 𝐨𝐰𝐧 𝐡𝐞𝐚𝐫𝐭, 𝐡𝐨𝐰 𝐜𝐚𝐧 𝐲𝐨𝐮 𝐥𝐨𝐨𝐤 𝐚𝐟𝐭𝐞𝐫 𝐚𝐧𝐨𝐭𝐡𝐞𝐫?”
- 𝐒𝐞𝐤𝐬𝐚𝐧 (𝐊𝐞𝐫𝐝 𝐏𝐞𝐧 𝐇𝐨𝐧𝐠, 𝟐𝟎𝟏𝟐)

This line from Seksan (2ML) to the Thiew (ML) stayed with me while watching, and It perfectly captures the heart of this drama: love, loyalty, and the moral choices characters face.

What made me start Kerd Pen Hong was P’Kwan, and going in, I expected something within the usual debt, revenge, and misunderstanding genre and it did follow that path. The story revolves around Thew trying to question the will that handed over his father’s assets to Thep, which sets off a chain of conflicts, revenge, and emotional tension between the characters.

There are definitely things I appreciated here. The casting was strong, especially Thep as the villain. Honestly, he stood out even more than the main lead for me. The acting overall was convincing, and the OSTs added a nice emotional layer to the scenes. My favorite character was Thiraphon (2ML), the doctor whose calm, grounded, and someone who brought a sense of balance to the story.

I also liked how the villain’s three wives eventually came together and allowed justice to take its course. Their shift from rivalry to understanding was something I didn’t expect but really appreciated. Seeing Khun Kaew in a good mother role was refreshing too. The female lead’s stubbornness and dignity made her character strong, and while the male lead wasn’t the best initially, I’m glad he showed growth. The drama also did well in showing karma, people eventually faced the consequences of their actions, which I always value.

However, there was something that deeply affected my experience, something I couldn’t simply overlook. Certain scenes in the drama used sacred religious elements, like a Buddha statue in ways that felt jarring and out of place. In our culture, these symbols represent peace, reverence, and calm, so seeing them included in intense or dramatic moments pulled me out of the story. As someone who values my faith deeply, this wasn’t something I could just overlook as “just a scene.” Even if the intention wasn’t harmful, it still crossed a line for me . I truly respect the actors and the story, but for me, honoring these boundaries mattered more than anything, so for me; the production failed in a certain way

That’s why this became the first Thai drama I’ve rated 5.0/10. I genuinely appreciate the effort of the actors and the strength of certain parts of the story, that’s why I didn’t go lower. But at the same time, my respect for my beliefs is something I can’t compromise on, even for a drama I otherwise might have enjoyed more !

Overall, this is a drama with good performances, familiar themes, and some meaningful character moments but also one that didn’t sit right with me on a personal level.

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A Visually Engaging Drama Let Down by a Shallow Plot

After quite a long break from watching dramas, I was looking for something engaging to dive back into. I happened to stumble upon reviews of this one and decided to give it a shot. While I wouldn’t say I was disappointed overall, my experience was definitely mixed.

To begin with, the drama is undeniably enjoyable in parts. It has its moments...scenes that pull you in, emotionally or visually, and keep you invested. The cast deserves special praise here. Their performances were consistently strong, expressive, and compelling. And of course, good-looking actors who can actually act are always a bonus...definitely a treat to watch.

However, where the drama falters is in its storytelling. Chinese dramas are often known for being long and somewhat dragged out, which I usually don’t mind if the narrative has enough depth to justify it. Unfortunately, that wasn’t the case here. The story felt quite shallow, and the central conflict, especially the 17-year-old grudge, didn’t land with the weight or logic it needed to feel convincing.

Character development was another weak point. Some characters felt underdeveloped, while others were introduced too late despite being tied closely to the core revenge plot. This made certain emotional beats feel rushed or unearned. There were also moments where the direction hinted at something visually powerful, but the lack of depth in the script held those scenes back from reaching their full potential.

In the end, this drama is still worth watching if you’re looking for something light and entertaining. It offers solid performances and a few memorable moments, but don’t expect a deeply layered story. With a bit more attention to writing and character arcs, it could have been something truly remarkable.

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...ZVUK KVETOV...
-Ani som nevedela, koľko emócií sa dokáž skryť za také jednoduché slovné spojenie. Dámy a páni, toto je typ drámy, ktorú musíte sledovať hlavne srdcom a ktorá stojí na dialógoch, či monológoch jednotlivých postáv. Tu ide o slová a posolstvo, ktoré v sebe skrývajú. Čiže titulky musíte čítať naozaj pozorne a hlavne rozmýšľať nad tým, čo bolo povedané, pretože jednotlivé slová sú ako dieliky puzzle skladačky, ktorá vo výsledku ponúkne dokonalý obraz. Neviem, či je niekde táto dráma aj s dabingom, ale ak náhodou áno, tak sa mu isto vyhnite. My Dearest musíte pozerať v pôvodnom jazyku, s pôvodnými hlasmi hercov. Namkoong Min má tak nádherný, zamatový hlas, pri ktorom vám doslova nabiehajú zimomriavky.

-Ak čakáte akciou nabité scény, nepozerajte. Ak čakáte rýchlu romantiku, nepozerajte. Ak čakáte jednoduchý príbeh, nepozerajte. Ak čakáte ľahko stráviteľnú, oddychovú drámu, nepozerajte. Ak čakáte zábavu, nepozerajte. Ak máte zlé, depresívne obdobie, nepozerajte.

-My Dearest je dosť ťažký oriešok na sledovanie. Veľa krát budete skľúčení a pohltení úzkosťou a beznádejou, zviazaní spoločenskými dogmami danej doby a veľa krát vám bude z niektorých situácií doslova nevoľno. No na druhej strane vám ponúkne množstvo zmysluplných rozhovorov, nádherných myšlienok, krásnych momentov a v neposlednom rade aj záblesk nádeje v absolútnej temnote. Neviem, ako inak by som to opísala. Niečo takéto som ešte nevidela, a dovolím si povedať, že My Dearest je klenot kórejskej tvorby. No nie je to pre každého diváka.

-Mňa na rozdiel od väčšiny viac bavila druhá polovica. V prvej polovici sa dej točí hlavne okolo vojny. Vidíme skľučujúce momenty, kde sú ľudia zabíjaní, mrzačení, mučení, rodiny sú rozdelené...Vidíme devastačné následky vojny na krajine, obyvateľoch, ekonomike. V týchto časoch sa ukazuje pravý charakter ľudí. Pretože ako sa vraví, pravá podstata človeka sa ukáže v čase krízy. Takže aj postavy, ktoré vám zo začiatku pripadali ploché alebo povrchné, sa tu zmenia... Niektoré k lepšiemu, iné k horšiemu. Ja som to prežívala o to viac, že história je môj koníček, takže čo to o tomto období viem a som si vedomá skutočnosti aké boli vojny s barbarmi kruté... Nie nadarmo sa aj u nás používa prirovnanie si ako barbar, keď chcete označiť nejakú osobu ako krutú alebo necivilizovanú. Takže keď si pri sledovaní uvedomíte, že toto sa naozaj dialo, a diali sa aj omnoho horšie veci, tak na vás príde neskutočná úzkosť a priznám sa, že som si musela robiť prestávky medzi jednotlivými epizódami. To sa mi nestáva, keď mám čas pozriem aj 5-6 epizód drámy naraz, no tu sa to proste nedalo... Musela som si robiť pauzy na spracovanie emócií.

-Druhá časť drámy je už viac o politike, intrigách a z väčšej časti sa odohráva  na území barbarov. Ukazuje utrpenie vojnových zajatcov, ktorí skončili ako otroci. Ukazuje nám, že aj v čase najväčšej krízy a aj keď sú si sami nie istí vlastným prežitím, tak sa nájde pár jednotlivcov, ktorí sú ochotní obetovať svoj život, aby pomohli iným. Na druhej strane je tu ,,Jeho Výsosť,, za ktorého všetci bojovali a ten uprednostňuje seba pred obeťami vojny. To je také stručné zhrnutie, viac rozpisovať nejdem.

-Poďme teraz k naším hlavným hrdinom. Úplne na začiatok musím napísať, že herecké výkony ktoré podali Namkoong Min a Ahn Eun Jin sú absolútne fenomenálne. No z týchto dvoch ešte jeden vyniká nad druhým a tým, kto bol pre mňa dušou aj telom celej drámy je Namkoong Min, ako Lee Jang Hyeon. Nielen herec, ale aj samotná postava ktorú hral sú stelesnením absolútnej dokonalosti v mojich očiach. On, ako herec je proste úžasný. S neskutočnou charizmou, krásnym hlasom, perfektným telom a dokonalou tvárou. To množstvo emócií, ktoré nám dokáže sprostredkovať len prostredníctvom očí je ohromujúce. Myslím, že keby som mala svojho Namkoonga doma, tak by som sa mu do očí dokázala pozerať od rána do večera a nemuseli by sme sa ani rozprávať :) Vlastne museli, aby som počula ten nádherný, zamatový hlas. Postava Lee Jang Hyeona je asi najlepšie napísaný hlavný hrdina vôbec. Navonok chladný, sarkastický, namyslený, ale vo vnútri je to tá najcitlivejšia a najoddanejšia osoba, akú si môžete v živote priať. K tomu všetkému bol ešte aj neskutočne inteligentný a zručný v boji. Dámy existuje niečo dokonalejšie? Prosím aj ja chcem mať doma Namkoonga, vymením ho za svojho Miša. No jo, snívaj ďalej, ako sa hovorí... Ahn Eun Jin nie je zrovna moja obľúbená herečka a trvalo mi pár epizód, kým som si n ňu zvykla, ale tu ma odrovnala. Myslím, že toto bola jej životná rola. Trošku mi ale vadila jej postava. Aj napriek tomu, že Yoo Gil Hae je postava, u ktorej vidíme najväčší vývoj počas celej drámy. Z rozmaznaného, namysleného dievčaťa až po skromnú, obetavú dámu. No má tu miesta, kde bola proste neznesiteľná. Jej konanie a rozhodnutia, najradšej by som jej dala facku, nech sa spamätá. Jej neustále popieranie faktu, že niekoho miluje, aj napriek tomu, že už dávno vedela, že to tak proste je... Prečo? Toľko utrpenia a krívd, ktoré mu spôsobila sú proste neodpustiteľné. A on popri tom celý čas v tichosti robil všetko pre to, aby sa mala dobre, aj na úkor svojho vlastného šťastia. Toto ma trošku frustrovalo. Ale keď sa už veci ustálili, ich chémia bola nádherná. Jemná, ale popri tom v tej jemnosti bola skrytá vášeň. Všetky krivdy ktoré si navzájom spôsobili dokázali negovať jedným objatím, slovom alebo len pohľadom. Toto bol ten čarovný aspekt drámy. Dokázala napraviť krivdy prostredníctvom malého gesta. Klobúk dole. Ich spoločný príbeh bol krásny, čistý, jemný, ale zároveň neuveriteľne tragický, s mnohými pádmi a nespravodlivosťami. Plakala som, a plakala som často, pretože toto vás proste nenechá chladnými a pokiaľ áno, tak sa vo vás isto ukrýva kus sociopata, alebo psychopata.

......................SPOILER..............
-Najtragickejšími postavami celého príbehu pre mňa ale boli korunný princ s korunnou princeznou. Pokiaľ existujú levely plaču, tak tu boli prekonané. Musela som si dať pauzu a ísť sa prevetrať na cigu. Tak nespravodlivý, krutý osud pre tieto dve asi najčistejšie postavy, aké sme tu mali... Ja to ešte teraz ťažko predychávam. Scéna kde zomiera korunná princezná a jej už mŕtvy manžel si po ňu príde, je tak tragicky krásna, že som sa rozplakala ešte aj teraz, keď o tom píšem. Dobrí ľudia väčšinou skončia najhoršie.
-Ryang Eum je tiež dosť tragická postava. Mne ho bolo tak úprimne ľúto. Nemala som ani jeden moment, kedy by som odsudzovala jeho rozhodnutia, ani vtedy, keď oklamal Gil Chae, že Jang Hyeon je mŕtvy. Robil to všetko z čistej lásky a pre jeho dobro. Lebo tá láska z jeho strany bola naozaj čistá a nesebecká. Vzdal sa vlastného šťastia, kvôli tomu aby mohol byť Jang Hyeon šťastný. Ten výraz v tvári, keď vieš, že nemôžeš byť s tým koho miluješ, ale prijmeš tento fakt a potlačíš svoje city, len aby si mohol byť aspoň v jeho blízkosti. Zas slzy v očiach.
-Úplne najzbytočnejšia, plochá, neznesiteľná, otravná postava bol Nam Yeon Jun. OMG ako som ho ja neznášala. Prosím zabite ho niekto hneď na začiatku, nech mám  menej stresu počas sledovania. To že sa k nemu Eun Ae nakoniec vrátila a odpustila mu jeho spoločenskú stigmatizáciu je pre mňa úplne nepochopiteľné a neodpustiteľné. Mal ostať sám v polorozpadnutom dome, zabudnutý spoločnosťou aj svojimi najbližšími, to by bol preňho adekvátny koniec.
............KONIEC SPOILEROV.................

Chcete vedieť moju TOP scénu? Ona sa tu objaví dva krát. V prvej a poslednej epizóde. Zakrvavený Jang Hyeon kľačiaci na pláži pri západe slnka, v pozadí hrá úplne čarovné OST a on povie ,,POČUJEŠ TEN ZVUK? ZVUK KVETOV,,. Vtedy som ešte nemala tušenie o čo ide, ale už mi po tvári tiekli slzy. Tá jedna scéna a jedna veta v sebe nesú toľko pocitov, ktoré niektoré drámy nedokážu vtesnať ani do všetkých epizód. Tú scénu si zapamätajte, pretože je nosným pilierom celého My Dearest. Skláňam sa pred Namkoong Minom, dávam čelo na studenú zem, a uznávam jeho dokonalosť.

....................SPOILER.......................
-Nakoniec sa dočkáme horko sladkého konca. Len v konečnom dôsledku mi prišlo, že by si táto časť drámy zaslúžila väčšiu pozornosť. Je to dosť uponáhľané. Ešte aspoň 5 minút, kde by sme nahliadli do ich spoločnej budúcnosti. Radšej ubrať z množstva flashbackov, ktoré sme v posledných epizódach mali a ktoré trošku spomaľovali tempo a pridať epickejší záver. Takisto by som chcela vedieť, čo sa stalo s Ryang Eumom po tom, čo ho Gil Chae požiadala aby ostal bývať s ňou. A on proste zmizol... Nebol mi jasný ani fakt, koľko asi ubehlo rokov od toho, čo Jang Hyeon zmizol po dobu, keď sa opäť stretli. Všetci len vravia, že sú to už roky....Ale mali tomu prispôsobiť aspoň vzhľad hlavnej hrdinky, lebo ona stále vyzerala na dvadsať aj napriek tomu, že Ryang Eum mal už biele vlasy. Aj keď je možné, že ošedivel zo smútku. Takže toto by ma vážne zaujímalo, aké bolo časové obdobie medzi týmito dvoma udalosťami.
-Jediná vec, ktorú si naozaj mohli odpustiť boli dve amnézie hlavného hrdinu, počas záverečných epizód. Už jedna je cez čiaru, a tu máme hneď dve...Toto klišé naozaj nemám rada

.......................ZÁVEREČNÉ ZHRNUTIE.....................
Asi najkrajšia a najdojímavejšia historická dráma akú som videla. Dráma o vzostupoch a pádoch, láske, priateľstve, vojne, lojalite a spojenectvách... Dráma kde sú dôležité slová a pohľady.... Dráma ktorá vás uvrhne do stavu úplnej beznádeje, len aby vás o niečo neskôr zasypala pocitmi nekonečného blaha...Dráma, ktorá vás zasiahne na to najcitlivejšie miesto, a donúti vás zamyslieť sa nad vlastným životom... Dráma o nekonečnej, osudovej láske, ktorá je schopná prekonať akékoľvek prekážky... Dráma s dokonalým vizuálom, excelentnou kamerou a strihom, božským OST.... Ale ako som už písala, po väčšinu času je to náročné sledovanie z emocionálnej stránky, takže nič pre moc citlivé povahy.

...................NAJKRAJŠIE MYŠLIENKY..............
1. ,,Tá žena je moje rodné mesto. Chcem ísť do rodného mesta a v kľude odpočívať,,
2. ,,Vášnivé city lásky budú žiť aj keď budeme rozdelení. Ak to znamená, že budete v bezpečí, moje srdce bude šťastné, aj keď budete ďaleko,,
3. Veci bez ktorých nemôžeme žiť? Nič také neexistuje. Život pokračuje tak ako tak,,

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