Reviews

Better than I thought

TLDR: This is good :).

Has been looking for a good rom com for a long time and found this gem. Actually saw the trailer a while back and during that time I've watched How Dare You and really liked Wang Churan so wanted to give this a try. But at that time it wasn't released yet and tbh the trailer didn't really captivate me. Plus the ML and the cast is quite foreign to me so i eventually forgot about this.

Recently started to look for a good rom com again and finally decided to give this a try. And i am glad i did! It turned out to be the kind of rom com i like with a bit of fluffy-ness.

Story/plot: Probably nothing new and has probably been done many times. It's your typical ML and FL had misunderstandings from the beginning and somehow dislikes each other. But yet are forced to deal with each other daily and eventually become friends, and eventually falls in love.

I will say the bread and butter in this drama is the interactions and scenes between the ML and FL. But surrounding that is also a lot of plots, etc related to their work. Like the investments, etc. I've seen some people dislike it, but i personally didn't mind it.

Cast: It's my first time watching Tian Jian Ci. I usually have a hard time with unfamiliar faces in dramas. But i grew to really like him as i watched the drama. I see some people comment that he carried the drama with his acting, etc and i kind of agree. His acting was really good and a pleasure to watch. I really hope to see him in more dramas and roles like this.

For the supporting casts, tbh some of them was a bit annoying and hard to watch at the beginning, so i mostly skipped them. Especially scenes with Jun Cheng and Dang Yu. He was just a very annoying character in the beginning. But eventually he grew up and it was later quite pleasant to watch them.

Otherwise in general the other supporting casts are good and quite liked watching them. For example Yao Jing Jing and Lu Ze. And even Fang Yun and Liao Shi Yu.

Won't mention the FL since i liked her before i watched the show.

Rating: I will give this a solid 7.5. I will say i am giving this a bit of a lower score, not because it's not good, but because of different factors like story/plots, etc I don't think this deserves an 8+. But I will say this was a very pleasant watch and I would rather watch this than a lot of dramas rated 8+.

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Gender swap ML and FL

It's not new for me to watch the female protagonist in time-traveling plot, but it is very new and very interesting that the male protagonist is the one who pretended to be someone else. I like it. It's gender swapping, compared to other shows I used to watch. Those shows, consist of the female protagonists who pretended to be someone to achieve her goal, and with which, these female characters had to lie a lot for whole story. I do not like the idea that the authors try to link women with lying. It's different from women in real world. And media should not reinforce this link to their audiences. Women should not be viewed as the liar. This is the reason that I like this show. The male protagonist took the role instead of the female one.

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The Prosecutor is intense

They successfully delivered both justice through its storyline and intimacy through its romance. With its mystery-crime BL concept, the drama carries a heavy and intense atmosphere, and the performances of the main characters elevated that feeling even more.

Ju Tae Seon started as a bully, but as the story progressed, he revealed himself to be a genuinely caring partner. Kim Yoon Sik completely captivated me with this role because it’s the complete opposite of his personality in real life.

On the other hand, Lee Chae Ha was unfortunately the victim of constant bullying from his peers. As an adult, I honestly don’t understand why people continue to bully others as if they never grew out of a childish mindset. Workplace bullying is especially frustrating to watch.

What made the story even more interesting was how the couple’s lives were connected through their fathers. One was killed, and the other became the prime suspect. It was such a messy situation, but it also became one of the strongest and most compelling parts of the drama.

The sexual tension between them was incredible, and they really took the intimate scene to another level. Especially the bathroom scene that completely shocked and gagged me.

I have to admit that crime and mystery stories aren’t really my cup of tea, so I wasn’t always fully focused on every case. Still, I had already guessed that the cute and bubbly Song Ha Neul would end up being the villain. He’s still handsome and adorable in real life, though, so he still wins in my book. I liked how the ending tied all of the crimes together and finally brought everything to a satisfying conclusion. The only aspect I wasn’t a fan of was the use of AI.

Overall, the chemistry was definitely giving, and the dynamic between the sassy prosecutor and his obedient inspector made them incredibly fun to watch. Combined with mystery and emotional backstory, made this a memorable BL drama despite a few elements that weren’t entirely my taste.

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Chemistry Above the Clouds

Count me among the people who genuinely enjoyed this drama. I completely understand the hype surrounding this drama and can honestly see why so many people love it. From the very beginning, Lu Yu Xiao steals the spotlight with a character that's effortlessly charming, playful, and flirtatious (arguably one of the roles that suits her best). Her bright, mischievous personality makes the character incredibly lovable and impossible not to root for.

As someone who rarely enjoys xianxia, I was surprised by how much I loved this drama. The romance takes center stage, making the fantasy elements easy to follow. If you're here for romance, you won't be disappointed. Hao Ming Hao and Lu Yu Xiao share sizzling chemistry that elevates the classic fake marriage-to-lovers trope, making every flirtatious exchange and emotional moment a joy to watch. What I enjoyed most wasn't just the romance, but the dynamic between the two leads. Their banter is witty, their chemistry is sizzling, and watching their relationship gradually evolve made every episode engaging. I also loved Ming Xian's adorable bond with her pet, along with the constant tension created by her hidden identities. Since the main leads are originally equally powerful, their enemies-to-lovers dynamic feels refreshing, with neither one constantly needing to be saved by the other.

The overarching plot—centered around the competition for the title of champion and the pursuit of the Golden Millet Dream—is admittedly simple and occasionally borders on being childish. But somehow, none of that really matters when the romance is this entertaining. You don't have to be a xianxia fan to enjoy Love in the Clouds. If you're looking for a romance with lovable leads and fantastic chemistry, this drama is an easy recommendation.

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A MASTERPIECE! LOVE MR. VACUUM CLEANER AND HIS BABE

Yet another masterpiece that i am happy i decided to watch after planning on skipping it. When I saw the intro song using AI I was like well... having 2nd thoughts but then I like how the whole drama wasn't AI but it was used just like a tool for backgrounds and special effects only for specific scenes.

The story was just amazing. I like how they balanced both the cases and the romance while keeping the cases interesting and the romance intense.

The cast was just perfect🤭 makes me wish they were an official cp cz i wanna see more of them. But then it's fine cz they're humans n in korea so yeah. I think they were pretty in par with CBLs and JBLs when it comes to story, toxicity n stuff and on par with Thai BLs when it comes to NCs which was unexpected from korea.

Overall watch it please DO WATCH IT!!!

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Let's Stop by Lishan Mountain for a While

The way trauma and chronic illnesses are used here is great - even if I am sure health care professionals could point out flaws. Mo Li remains an idol drama but pushes at the boundaries of what these dramas can be in a heartfelt way. I'd recommend this to anyone who enjoyed The Double and/or Pursuit of Jade.

The Couples
I'm not overly invested in romances, except when a couple really gives that wow effect. That was missing a bit for me here, but I incredibly enjoyed that the leads had the same goal while going at it in incredibly different ways. They slowly come to understand each other, and they are allowed to make mistakes along the way that are so deeply personal it is gut wrenching.

I thought it was neat that the drama pointed out how much the FL pushed the ML into fixing his legs against his will. That felt very real and is a neat way to show how much the FL wants things to go her way. She is compelled to make the world fit into her expectations in more than one way.

On the ML’s side the “divorce arc” falls under that character growth. This "arc" as people have been labeling it, is barely an arc. It lasts maybe two episodes. I really love how it keeps the leads entangled in the social norms of their time. Everyone else is suffering under archaic social rules and so do they. Treating the lead differently is something that became quite off-putting to me in early-2026 Bai Lu Drama "Unwind: Jadewind".

Just as ML's leg, just as Ye Li’s delusions, the couple had to be broken before they could be mended. The two are, after all, deeply hurt characters. It's not only one lead carrying out their eight years of revenge in the making. A lot of characters share resentments.

Their first kisses were so awkward and not in the cute way, lol. Their romance began to hit for me in the late episodes, when they grow comfortable with each other. That said, I am a fan of the multiple tragic love stories overall. As the OST says: love isn't only romance.

Family Dynamics
Li has the best uncle. Her mother is great. Her half-brother too. It's nice to see that not the whole Ye family sucks. I also loved the relationships with her maids (dead or alive) and her senior/secret guard.

The family dynamics are refreshing overall. Her sister is mean to her and there is another half-brothers pair in the drama who doesn't get along, but they stay within a selfishness and jealousy that feels very normal. They feel the need to get one over their sibling and only know violence as a tool, but that does not mean they truly want them dead. It's an interesting conflict.

The Last Episodes
I didn't have as much of a knee-jerk reaction to the ending as others, but I kind of felt the East Palace story wasn't well paced. Our leads have known Jingli escaped for months and Ye Li is so sure from the start that he won't sit quiet and yet they do nothing about it. I just don't think this drama needed a war story. There doesn't seem to have been budget left for it anyway. Jingli trying to storm the palace with a small army from the start seems like it would have been a good way to complete his arc.

Here, it almost felt as if 2026 costume dramas have been mandated to end with war (Pursuit of Jade, A Splendid Match, How Dare You, Love Beyond the Grave,...).

Nevertheless, I actually thought the last episode was incredibly beautiful. It wraps the stories up in a very heartfelt way. The same way Ye Li has to let go of her Lishan mountain past, the viewer must say goodbye to this story.

OST
Normally I don't notice the soundtrack that much or only one stand-out song, but here the music truly underlined the mystery and tragedy. I love the haunting melodies of the drama.

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Eros + Thanatos = taxidermy

The enigmatic and alluring Black Lizard, a highly wanted criminal and thief who collects jewels, orders the kidnapping of Sanaye, the daughter of the jeweler who owns the precious diamond called “Star of Egypt”; Private investigator Kogorō Akechi sets out on her trail, engaging in a thrilling duel full of twists and turns with the cunning and brilliant collector, who, in addition to her passion for jewelry, also reveals an unusual penchant for human taxidermy…

In 1968, in addition to directing avant-garde films for Toei, director Kinji Fukasaku accepted an offer from Shochiku to adapt—with great success—one of Edogawa Ranpo’s most famous novels, “Black Lizard”. The film was, however, based on the theatrical adaptation staged by Yukio Mishima. Isao Kimura was cast in the lead role as Detective Akechi, while the famous drag queen Akihiro Maruyama (Akihiro Miwa) was chosen to play the female lead.

Nearly 60 years after its release, “Black Lizard” continues to be regarded as a film that defies categorization, one that eludes any single definition. At first glance, it might be dismissed as an elegant crime thriller set against a “cops and robbers” backdrop, but it immediately becomes clear that the film is, in reality, a decidedly elusive cinematic work: decadent melodrama, psychological noir, pop spectacle, filmed theater, and a spy story coexist in a balance as improbable as it is fascinating.

It is likely that its hybrid nature is the reason it has been difficult to place this film within Fukasaku’s filmography; he is best remembered for his revolutionary yakuza eiga films of the 1970s, which are often cited by Hollywood masters of genre cinema—Martin Scorsese above all.

And yet, rather than a mere, perhaps impromptu episode, “Black Lizard” now stands as a cult classic capable of engaging with an international cultural landscape in the midst of transformation: within it, we can find the spectacular elegance of James Bond films, the colourful explosion of Pop Art, camp aesthetics, Japanese theatre, a certain colour palette typical of European cinema, literary decadence and even hints of classic Gothic horror; everything seems to merge into a visual universe where every costume, every set and every gesture combine to transform the narrative into an experience that is, above all, aesthetic.

Fukasaku’s – successful – challenge lies in going beyond the police investigation, instead staging a sort of war of aesthetics, in which every character, every setting and every object seems to be asking the same question: namely, whether beauty can survive the passage of time by transforming itself into an image, a simulacrum or a work of art.

At the heart of this aesthetic universe is, inevitably, its leading lady. Rather than simply portraying Black Lizard, Akihiro Miwa transforms her into a true pop icon ahead of her time, making her own body the film’s primary narrative tool. Each new appearance coincides with a metamorphosis: wigs, flamboyant outfits, jewellery, hairstyles and theatrical poses do not merely serve a decorative purpose, but continually redefine the character’s identity.

She does not merely wear the costumes; rather, she seems almost to inhabit them, transforming every entrance onto the stage into a performance in its own right. In this sense, Miwa’s acting transcends the very concept of performance, merging with the profoundly artificial nature of the film, where the boundary between human being, work of art and spectacle becomes increasingly blurred.

It is indeed this centrality of the image that makes “Black Lizard” much more than a sophisticated crime thriller. The protagonist’s obsession with jewellery and absolute beauty does not merely conform to the conventions of the crime story, but introduces a theme that runs through the entire work: the desire to shield what is perfect from the passage of time. In this universe dominated by artifice, every body, every object and every set seem to aspire to a form of eternity, transforming the film into a surprisingly complex reflection on the relationship between aesthetics, possession and death.

The more one looks at it, the less “Black Lizard” appears to be a mere 1968 pop thriller. Fukasaku crafts a work that traverses the detective novel, decadent melodrama, theatre, Gothic horror, camp aesthetics and pop art, without definitively belonging to any of these genres. Through the magnetic figure of Akihiro Miwa, the film draws on the legacy of Poe, reinvents it through Ranpo, elevates it with Mishima, and imbues it with the morbid elegance of Wilde and Beardsley. The result is a work in which beauty is not to be regarded as a prize to be won, but rather as a curse to be preserved.

For the Black Lizard, love does not consist in possessing a living human being, but rather in snatching them from the grip of time, transforming them into an eternal simulacrum. It is in this tension between eros and death, between desire and artifice, that the film finds its core identity, its deepest essence, establishing itself not only as one of the most eccentric cult classics of 1960s Japanese cinema, but also as one of its most surprising points of convergence with the great Western decadent imagination.

Thanks to this inspired insight, the film definitively transcends the boundaries of a mere adaptation of Edogawa Ranpo’s work. A dense web of cultural references spanning East and West takes shape around the obsession with the Black Lizard. The Japanese writer’s ero-guro imagery engages in a dialogue with the decadence of Oscar Wilde (thanks to the trait d’union provided by Mishima), with the sinuous elegance of Aubrey Beardsley’s revealing illustrations, and with the long shadow of Edgar Allan Poe, an author to whom Ranpo himself paid homage through his very pseudonym.

Even certain echoes of classical Gothic cinema – from Michael Curtiz’s “Mystery of the Wax Museum” to Edgar G. Ulmer’s “The Black Cat” – seem to resurface in the Black Lizard’s lair, where beauty is wrested from life to be transformed into an object of contemplation. More than just a crime thriller, “Black Lizard” thus becomes a surprising crossroads of different artistic traditions, capable of blending Western decadent melodrama with Japanese psychological noir into a work of extraordinary iconographic richness.

Seen in this light, the Black Lizard transcends the role of a mere thief or collector, or that of the classic femme fatale, to take on the almost priestess-like role of an aesthetic guardian. Every gem she steals, every body she preserves, every work of art gathered in her home is driven by the same obsession: to halt the passage of time, to rescue beauty from its inevitable decay and transform it into an eternal image. Her collection is not made up of objects, but of crystallised moments, of lives suspended at the moment of their absolute perfection.

It is only in his encounter with Detective Kogorō Akechi that this value system reveals its fragility. What unfolds between the two is not merely a detective duel, but a subtle game of seduction, intelligence and mutual recognition, in which the boundary between hunter and prey gradually dissolves. Akechi represents the only form of beauty that the Black Lizard cannot transform into an object of contemplation, because he continues to elude her through his indomitable vitality. For this reason, the protagonist’s final act does not feel like a surrender, but rather an extreme affirmation of her own worldview: in a universe where love is synonymous with the absolute possession of the desired object, to survive would mean accepting the failure of her own obsession.

If “Black Lizard” continues to exert a unique fascination even today, it is largely because it defies any definitive classification. Its most enduring strength seems to lie just in its ability to transform popular cinema into a spectacle of the image, where literature and theatre, East and West, eros and death come together in a celebration of beauty that is as refined as it is unsettling.

It is no coincidence that the film’s journey gradually leads the viewer away from everyday reality: from the bright lights and streets of Japan’s major cities to the confined spaces of the train, from the sea to the isolated refuge of the Black Lizard, a dwelling suspended outside of time where the protagonist keeps her collection of bodies and dreams. The geographical journey thus becomes an inner journey, a gradual entry into the mental universe of a woman who refuses to accept the transience of existence.

Fukasaku seems to suggest that beauty, the very moment it attempts to become eternal, inevitably risks ceasing to belong to life. In the Black Lizard’s lair, time seems to have stood still: everything that is perfect is preserved, but nothing truly continues to live. This is the ultimate price of the illusion of eternity, the paradox of an aesthetic which, in its attempt to defeat death, ends up embracing it.

8 ½
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Dedicated to Akihiro (Miwa) Maruyama: 15 May 1935 – 20 June 2026

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The Monster We Create

I went into Monster completely blind. I did not read the synopsis, watch the trailer, or know what to expect. Looking back, I genuinely believe that was the best way to experience it. If you are planning to watch this film, I highly recommend doing the same. The less you know, the more it has to give.

Set in a quiet lakeside town, what begins as an ordinary schoolyard incident sends ripples through the lives of everyone involved, like a stone thrown into still water. A devoted mother, a conscientious teacher, and a young boy each offer their own version of the same events, turning certainty into a moving target and allowing the truth to slip through the cracks of perception. Just when you think you understand what happened, the story gently asks you to look again. As public scrutiny grows and the media adds fuel to the fire, a simple misunderstanding evolves into something much larger. Then, on a stormy morning, two children disappear, leaving behind one haunting question: who, if anyone, was the real monster?

Monster adopts a Rashomon-style narrative, telling the same events through three different perspectives. It constantly challenges your assumptions, forcing you to question not only what is happening, but also why you are so quick to believe one version over another. It explores themes of perception, prejudice, identity, and the quiet pressure of societal expectations. It is remarkable how easily our opinions shift depending on who is telling the story. Every new perspective changes the picture, reminding us that truth is often less about what we see and more about what we fail to notice.

Some stories ask you to watch. This one asks you to look again.

That, to me, is Monster's greatest strength. Its brilliance does not come from shocking twists or dramatic reveals, but from understanding. The storytelling is quietly devastating, meticulously layered, and deeply humane. Every revelation feels earned instead of manufactured. Every emotional beat lands with purpose. It is one of the finest examples of storytelling I have seen in a long time, proving that the loudest stories are not always the most powerful. Sometimes the quietest ones leave the deepest scars.

One recurring phrase throughout the film is "pig's brain." Without going into specific details, it becomes one of the film's most heartbreaking ideas. It is used as a cruel label for behavior that society considers abnormal or "sick," planting seeds of shame in children who simply do not fit neatly into expected norms. What begins as a careless insult slowly transforms into something much more damaging as it is internalized by those around it. The phrase becomes a symbol of societal rejection, abusive labeling, and the painful belief that being different somehow makes someone broken or even monstrous. It is a chilling reminder that children often inherit the fears and prejudices of the adults around them.

The performances deserve just as much praise as the writing, especially from Kurokawa Soya and Hiiragi Hinata as Mugino Minato and Hoshikawa Yori. Both young actors deliver performances that feel incredibly natural, raw, and emotionally convincing. They perfectly capture the confusion, vulnerability, innocence, and complicated emotions their characters carry throughout the film. Considering the sensitive subjects Monster explores, I cannot help but admire both the cast and the production team for handling everything with such care and sincerity.

Beyond its writing and performances, Monster is also a beautiful film to look at. The cinematography, color grading, and visual presentation create a youthful summer dream atmosphere that gently contrasts the emotional weight of the story. There is a quiet warmth to its visuals, making moments of joy feel brighter while making moments of heartbreak linger even longer. It is the kind of film where every frame seems carefully considered without ever calling attention to itself.

[SPOILERS: TWO PARAGRAPHS AHEAD]

By the end, I realized that the "monster" was never meant to be a single person. Early on, everyone seems convinced that someone else must be the villain. The teacher, the principal, the children, or the parents all become easy targets depending on whose perspective we are following. But as each layer unfolds, it becomes clear that the real monster is born from misunderstanding, prejudice, fear, and the assumptions people project onto others. It is the invisible force created when society demands conformity while refusing to truly understand those who are different. The adults are not monsters because they are evil. They become monstrous because they allow fear, pride, and prejudice to cloud empathy, creating an environment where two innocent boys feel they must hide who they are.

The ending is beautifully open to interpretation. Whether the boys survived or not is left unanswered. Part of me wants to believe in the fairy tale where they made it through together. Another part of me sees the open gate as something more symbolic, a passage toward freedom, where they are finally released from the labels, fears, and expectations that imprisoned them. I think both interpretations are equally beautiful, and perhaps that is exactly the point.

[SPOILERS END]

By the time the credits rolled, I found myself thinking about the title one last time. Maybe we spend so much time searching for monsters because it is easier than confronting the uncomfortable truths within ourselves. Monster is not interested in giving easy answers. Instead, it gently asks us to question our own perceptions and reminds us that what we choose to believe can shape someone else's reality.

In the end, I was incredibly glad that I stumbled upon this film. It quietly became one of the most memorable movies I have watched in recent years. If there is one thing I would repeat, it is this: go in blind. Trust the story, let it unfold on its own, and allow it to challenge the way you see people. After all, perhaps we are all monsters in someone else's story.

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Light, fun and surprisingly addictive

I was going through my plan-to-watch list when I came across this drama. I made a deal with myself—just one episode to decide whether to keep it or drop it for good.

To my surprise, I was completely captivated.The show follows Baek Su-jeong (Moon Ga-young), a sharp department store team leader known as the "Director Killer" for getting her superiors fired, and Ban Ju-yeon (Choi Hyun-wook), a third-generation chaebol heir who becomes her new boss . What Su-jeong doesn't realize is that Ju-yeon is her former online gaming partner from 16 years ago—the same boy who once confessed his feelings to her, only to be harshly rejected . Their enemies-to-lovers dynamic is the heart of the show, and watching how they slowly come to care for each other was genuinely enjoyable .

Of course, it's light, fun, and completely unserious—exactly the kind of no-brainer watch you need when you want something easy and stress-free . I found myself genuinely excited to hit "next episode," which is always a good sign.

That said, I really didn't like the grandmother character, and I didn't find her storyline or the resolution with her satisfying at all. It felt like a weak point in an otherwise enjoyable drama.

Overall, it's a great watch if you're in the mood for something light—but don't expect to be blown away. It's predictable, familiar, and doesn't break any new ground , but sometimes that's exactly what you need.

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definitely must watch even if you don't watch bl

definitely one of the best k-drams i've watched in the past years, the plot was plotting, the chemistry, the acting was top notch, but ngl it felt rushed in the last ep, they could've added one more ep to make it more filling and it would've been the series of the century, it's rare that i find series this good, in all aspects.
if you are looking for a thriller that you can binge watch and be invested in it then you must watch it. it also shows the ugly truth about reality and how rich peoples wrongdoings get easily hidden, and how important it is to have people like these 3 in the judicial system.
of the topic but after i got to know that Mr. vacuum cleaner was friends with lee know i want to see him reaction to this series. (and of course he will watch it with han 😉).

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