Reviews

From Coldness to Warm Love

I love the story. The ML and the FL are both wonderful couple. She is so beautiful and he is so dashingly handsome as a general. I hate the tortures but glad that the FL became a very tough, very intelligent lady which can stand on her own even in the absence of the general husband. Even though there are moments that the husband saved her but mostly she survived the dangerous politics of the manor due to her wit and sharp mind.
The lead actor and actress did a good job in their roles and I love their chemistry together. I love the way the costume were done and how the plot thickened to the blossoming of love between the ML and the FL.
I just don't like the ending part because the FL became emotional and didn't pursue justice on the murderer and she also didn't tell the murderer their real relation. Because of that the murderer was able to kill and harm more innocent people. Confronted by murders the FL must be like the ML who is willing to pursue truth and justice regardless of blood relationship or family affiliation.

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A Dark Fantasy Journey with Flawed Ending

From the first episode, Veil of Shadows draws you into a world that is both beautiful and unsettling. It carries Edward Guo’s familiar directing style, similar to My Journey to You and Fangs of Fortune, with no real departure from his established approach. The series is visually rich and atmospheric—one of those dramas where you pause just to admire the scenery, even as the story pushes you to keep watching.

The story follows Lu Wuyi, a young nine-tailed fox tasked with hunting a rogue demon, in a realm of hidden identities, mystical powers, and intertwined destinies. Instead of focusing on a single romance, the narrative splits across two main couples, each with their own secrets, conflicts, and emotional weight. This dual-pair structure keeps the story dynamic and unpredictable.

A recurring feature in Edward Guo’s productions is the presence of two leading ladies, seen before in My Journey to You (Lu Yuxiao and Yu Shuxin) and Fangs of Fortune (Chen Duling and Cheng Xiao). Veil of Shadows continues this pattern, reinforcing his preference for multiple female leads with distinct narrative importance.

The drama’s tone is dark and melancholic, which is one of its strongest elements. Emotional intensity is present in almost every episode—characters grieve, struggle, and confront inner conflicts in a way that often feels raw. At times, however, it can feel excessive, as if the production leans too heavily on tears even when the situation does not fully warrant it. The music, lighting, and cinematography enhance this mood, making even quiet moments feel heavy and lingering.

One stylistic point that stands out again is the vocal and emotional portrayal of the female leads. As in My Journey to You, where Lu Yuxiao’s subdued tone felt unusually restrained, Veil of Shadows features similar stylised speech patterns, particularly in Ju Jingyi’s character. The effect is intentional but may come across as unnatural or overly delicate, as if the characters are designed to appear distant, refined, and slightly detached from realism.

Character dynamics are a major highlight. Lu Wuyi and Ji Ling’s relationship evolves through tension and gradual trust, while Wu Shiguang and Wu Wangyan bring a mix of rivalry, mystery, and emotional complexity. With four central leads, the series avoids becoming a simple romance and instead builds multiple intersecting emotional arcs.

The cast—Ju Jingyi, Joseph Zeng, Chen Duling, and Tian Jiarui—deliver visually polished performances. Their styling, costumes, and on-screen presence are carefully crafted, strengthening the immersion in this fantasy world. The girls are so beautiful that they are a joy to watch.

The plot itself is layered, combining mythology, inner turmoils and personal vendettas. While engaging, it can become dense, with shifting alliances and hidden motives that demand attention. This complexity is part of its appeal, though it occasionally risks confusion. Later in the series, particularly after the “star stone” arc, the narrative becomes more chaotic. The introduction of time travel—resetting events by a few days—changes the stakes significantly. It resembles Edge of Tomorrow, but with repeated resets that allow deaths to be undone. This reduces the emotional permanence of loss, making tragic moments feel less final and therefore less impactful.

Visually, Veil of Shadows is consistently impressive. Costumes, sets, and lighting are meticulously designed, reinforcing the dark fantasy tone. Even dialogue-heavy scenes remain engaging due to strong visual composition.

Overall, Veil of Shadows is an emotionally charged fantasy drama with strong world-building, layered relationships, and striking visuals. It is best suited for viewers who enjoy complex narratives and darker emotional storytelling. While the plot can become complicated and occasionally uneven, the series remains immersive and memorable.

The ending, however, feels somewhat disconnected from the trajectory built over the first 28 episodes. It shifts into a resolution that seems almost too convenient, especially with the introduction of time-travel mechanics that effectively allow events to be reset. This “easy fix” approach undermines much of the emotional and narrative weight that had been carefully established earlier, as consequences no longer feel permanent.

It reminds me of the comical exchange in Avengers: Endgame, where Rhodey jokingly suggests the simplest solution—just go back in time and eliminate Thanos as a baby. That same kind of overly straightforward fix is what Veil of Shadows ultimately leans into, to my disappointment. By allowing deaths and major outcomes to be undone through temporal resets, the story weakens its own stakes, making earlier sacrifices feel less definitive than they were meant to be.

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NOT THE BEST BUT STILL GOOD!!

I feel like the drama emphasize its title strongly—“Not the Best but Still Good”—because that phrase actually captures the heart of the story perfectly. It’s about two people with completely opposite strengths and flaws who somehow balance each other beautifully.

Duang = a golden retriever character—over-the-top, cheerful, and always ready to give everything to the person he loves. But underneath that positivity, he struggles with insecurity and tends to overthink.

Qin, on the other hand, has that reserved “black cat” energy. He comes across as cold or even arrogant because he prefers to be alone and avoids dealing with people. But deep down, he has a soft side—especially for those he truly cares about. His guarded personality comes from past trauma.

What makes their relationship compelling is how different their upbringings are. Duang grew up surrounded by love and wants to share that warmth with Qin. Meanwhile, Qin is a lonely soul who craves love but hides behind his walls. Duang’s persistence and consistency slowly break those walls down, brick by brick.

What I Loved

1. Chemistry
The chemistry is absolutely sizzling. This is my first DMD drama, so I wasn’t familiar with the actors before, but TeeteePor’s chemistry is insane. The way they handle skinship feels incredibly natural—not forced or awkward. Compared to other BL dramas I’ve watched, this one stands out in how realistically it portrays a queer relationship. It feels genuine and lived-in.

2. Acting
It’s hard to believe this is TeeteePor’s first lead role—they feel like seasoned actors.

Teetee, especially, did an amazing job as Duang. That character could easily come off as cringey, but he made Duang lovable and charming. His emotional range is impressive—when he shifts from playful to serious, the contrast is striking. I’m really excited to see him take on more intense roles in the future.

Por also did a great job as Qin. That kind of character is tricky—if not done well, Qin could easily seem selfish or unlikable. But Por made sure we could see Qin’s vulnerability beneath the surface. His use of micro-expressions was especially strong—you can understand Qin’s emotions even when he says nothing. That’s not easy to pull off, but he handled it well.

There’s always room for improvement, but honestly, I don’t have major complaints about their performances.

3. Music / OST
DMD really went all out with the OST—14 songs and covers is wild. And the best part? They’re actually good. I’ve been replaying them constantly. The music really adds to the emotional impact of the series.

What I Didn’t Like

1. JammieMarvis
Their relationship feels underdeveloped. It comes across more like filler than a meaningful subplot. There’s little to no progression, and even by the end, their dynamic is unclear. The chemistry is inconsistent—sometimes it works, sometimes it feels awkward. I don’t think it’s the actors’ fault; it seems more like an issue with direction and writing.

2. TongPae & JammiePae
I understand why TongPae got attention—it had potential if the production had leaned into it more. But it seems like they didn’t anticipate how much fans would like that pairing, so it ended up with an open-ended, platonic conclusion.
Interestingly, I felt more chemistry between JammiePae than JammieMarvis. Even though it’s clearly meant to stay platonic, their dynamic felt more natural and engaging.

After being away from the BL fandom for so long, I didn’t expect to get pulled back in—but this series did exactly that. Duang With You and TeeteePor really brought me back.

You can tell the production team put a lot of heart into this project, and it shows. The story resonates, the emotions feel genuine, and the ending feels complete—even without a special episode.

That said, if we do get one, I definitely won’t complain.

Rating: 11/10
This drama left me with such a warm, wholesome feeling—it’s easily one of my favorite BL series now.

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los primeros capítulos fueron bastante buenos PERO

los primeros capítulos fueron bastante buenos.

me interesó ver este kdrama por la trama. el protagonista es un “justiciero”, se encarga de hacer justicia por mano propia con aquellos criminales que recibieron condenas muy cortas o fueron liberados sin pagar por un crimen, estos criminales no se arrepienten ni sienten remordimiento por lo que hicieron.

para mi son mejores los primeros capítulos debido a que se puede ver más de los casos, como las victimas viven y como actúan los criminales despues de ser llevados a juicios y no recibir una condena justa. estos tiempos en escena me hacen conectar más con las victimas, logrando sentir el coraje del protagonista, haciendo que esto lo lleve a hacer pagar a los criminales (no se, de alguna manera puedo comprender lo que lo lleva a actuar de esa manera)
lo cual a la mitad de la serie se enfocaron en un solo caso hasta finalizar la serie, ya el caso era más de poder y corrupcion, se miraron más involucrados personas adineradas, poderosas, tipo de servidores públicos, ajá lo cual no es que me desagradara por completo pero me gustaba ver que se tratara de casos cotidianos y no se involucrara tanto de gente poderosa (que obviamente es una realidad qhe haya demasiado poder y corrupciones con los funcionarios pero la serie me llamó la atención que se tratara de personas sin ese tipo de poder)


pienso que habia personajes interesantes pero no estában bien desarrollados o senti que no aportaron algo a la serie, estába ahí pero su participación no fue tan importante o memorable.
-con la reportera no encaje del todo, no me logro convencer, se me hacia muy forzada su personalidad, no se, no me gustó tanto (su cabello si me gustó demasiado:3) o sea, si era bien decidida, no le importaba hablar con la verdad pero me estás diciendo que intentaron darla de baja de la vida como dos veces y mágicamente no lograban hacerle nada y tampoco a ella le daba miedo o algo parecido, ay no se, ya dije que no me gustó.
-el wey musculoso creo q cho o jo, lo introdujeron como un tipo fuerte y no solo físicamente sino que tambien de valores y que sigue la ley, se notaba que no era muy fácil quebrantar sus ideales, decidido a lograr sus objetivos y que intimidaba a todos PERO conforme avanza la historia siento que todo eso se desmorona, siento que no actuaba como tal, al final no logra atrapar al vigilante, sus deducciones sobre quien era el vigilante no están fundamentadas con pruebas, cuando supo quien era el vigilante y lo CONFRONTÓ ni siquiera lo arrestó o algo por el estilo, se puso a tratar de convencerlo que dejara de hacer eso, lo madreo y lo dejó que siguiera haciéndolo, solo le daba advertencias pero nunca lo detuvo o hizo algo pra que el vigilante se planteara dejar de hacer justicia. el wey solo tira putazos y es casi inmortal. se me hizo bien insípido, serio y como que al final no termino haciendo nada. en pocas palabras, entró un wey musculoso, medio mamon pero al final nomas se hizo wey y ya ??? (no lo niego, estába bien fuertote, bíceps ufff 🫦)
-el protagonista lo hizo bien, me gustó su actuación, las escenas de golpe y eso. su personalidad creo que pudo demostrar más, su forma de pensar, esa faceta tipo psicopata me hubiera gustado verla. que fuera más desarrollado en cuestión psicológica y como le afectó el haber vivido ese trauma, ese tipo de cosas.
nada malo que decir de ese hombre, esta buenisimo, su sonrisa, su mirada, LO ALTOTE QUE ESTÁ, mi tipo totalmente u,u


nunca comprendí como es que los que sospecharon de el protagonista decidieron que fue el, o sea los que investigaban llegaron a la conclusión que podría ser el solo por verlo, habiendo miles de personas en corea sospechaban de un wey policía qsi por que si ??? realmente nunca senti que hubo algo para que sospecharan de él, no investigaban bien, no la daban para investigar alch


me gustaron las escenas de peleas, las actuaciones del protagonista, la de los criminales y las victimas, de eso todo bien, aprobado por mi :p

el segundo vigilante me GUSTÓ MUCHo, al principio dudaba de él pero conforme aparecía su personalidad divertida me hacía reír y me gustaba, sabía pelear, esta guapo y tiene dinero, la relación con el vigilante original tmb me pareció divertida y linda, creo que fue el unico personaje que me gustó además del prota.

el final fue realista, era obvio que nada iba a cambiar mágicamente, así que me gustó que ciertos involucrados no recibieran castigo o algo por el estilo, dando a entender que el protagonista seguramente continuaría tomando justicia por propia mano.

es un kdrama corto, esta decente así que lo podría recomendar pero no es el mejor.

-19 abril 2026

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Different as always, just a little too different this time

GJM's work has always been interesting and different. But this time it's a little too extra, too different and too weird. I always give his work a try even though I may not like some of the cast because I trust he will bring the best out of the actor/actress.
Story is weird, but that is ok, everything kinda make sense after episode 20 or so (if you have the patience to go this far). But from here onwards the story also goes downhill.
If you are TJR and/or JJY's fan, then this drama is for you because basically they are the main and centre couple. I don't want to say anything bad about them because whatever I said will automatically become a hater.
and the other couple (wuwu couple), is just .... sigh....disappointing.
The reason I dropped at episode 22 is because I realise the wuwu couple has been reduced to side characters and it's not fun to watch anymore.

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In my opinion, this is an excellent drama! One of its biggest strengths is the atmosphere it delivers. After thinking it over, I feel like it makes up for the fact that, for most of the time, nothing particularly major happens — the focus is mainly on the relationship of the main couple, which flows smoothly and pleasantly for the most part, without major obstacles (with one exception) — but while watching, you don’t feel that at all. I never had a moment where I was bored or where an episode felt dragged out. It also makes up, to a large extent, for the fact that many plot points are introduced and then never developed, often simply forgotten. I also have to admit that I love the “bad boy” trope — someone who is tough on the outside but deeply loyal and caring toward those closest to him, especially that one person — and we definitely get that here.

I really enjoyed the pairing of the main couple — Jin Zhao and Jiang Mu — who were complete opposites. He was confident, mysterious, cold, and reserved, while she was chaotic, open, and a bit silly. On top of that, they had amazing chemistry and tension that was insanely palpable through the screen. I also loved his provocative personality, which she gradually started to adopt as well. Around each other, they became better versions of themselves, always wanting to be the best for one another, often putting the other person’s happiness and well-being above their own. Of course, they had their flaws too — for example, Jin Zhao sometimes made decisions for her, assuming he knew what was best.

I also loved many of the side characters and think that some of their stories could have been developed much more. The whole group of guys completely stole my heart — especially San Lai. He was a wonderful character. I loved him on his own, I loved him paired with Jin Zhao, and I loved him paired with Jiang Mu, so I’m really disappointed we didn’t get more of his story. The subplot with his father was introduced as something important and then just… left unfinished. A small personal downside for me is also that we didn’t get his relationship with Na Na, which I was hoping for. And there’s one thing about him that doesn’t sit right with his otherwise amazing character — why did he suggest to Jiang Mu that he could replace Jin Zhao someday if she wanted? Bro? I really hope he didn’t have feelings for her and that it was just a dumb comment — that’s how I choose to interpret it. Don’t ruin my friendship dynamic with lines like that. Another character I loved was Lin Sui — “Drunk.” I’m not even entirely sure why. He had a very specific personality and vibe that I really liked. I also enjoyed his interactions with Jin Zhao and that scene where he was the fifth wheel during their reunion after years.

On top of that, the whole racing storyline and everything related to cars was handled really well. Similarly — although obviously in a more condensed way — his journey back to full physical fitness after the accident was also portrayed well, especially the emotions tied to that process.

That said, there are also a few plotlines (aside from San Lai’s father) that I have some issues with — bigger, smaller, and minor ones.
Major issues:
→ Liang Yan Feng’s character. Out of nowhere, it suddenly turned out that he was “good” and part of the alliance. There was no prior setup for that, and it was never revisited later. On top of that, almost immediately everyone completely forgot that he spiked Jiang Mu’s drink — and he even ended up getting invited to their wedding.
→ Wan Qing — “Snakey” — and her father’s business. I don’t have an issue with her being at the wedding, since from early on she was shown not to be a bad person. My issue is that, first of all, I don’t understand why the subplot where she kidnapped his father even existed, since it was later completely ignored. Second, we never saw how she processed the situation involving her father or what she thought about it. Third, we never really found out what consequences her father and his employees faced — we only know they were arrested.
→ He Zhang. He was also forgotten, and we never found out what consequences he faced or what happened to him afterward. I’m especially disappointed because I was hoping for some development in his hinted relationship with Wan Qing.
→ We never got a deeper explanation of that darker period in Jin Zhao’s life, when he was apparently called “Brandy,” and I think that could have been really interesting.
Minor issues (things I missed, but that didn’t affect the story much):
→ The fighting subplot involving Jin Zhao. In reality, we only got one fight, even though it was implied that he fought regularly — at least that’s how I understood it. So first, I would have liked to see more fights (my “bad side” speaking :D), and second, a better explanation of why he fought and why he suddenly stopped (unless it was explained through the alliance and I just missed it — I had some long breaks while watching).
→ It also occurred to me that Jin Zhao and Jiang Mu told her mom about their relationship, but we never got a scene where they told her dad XD. The poor guy is still living in the dark while they’re off riding a motorcycle to get married.
→ We never learned Jin Zhao’s birthday :( — it was initially presented as a mystery they wanted to uncover, but I guess they just… stopped caring.

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I'm still relatively new to exploring Thai history. Most figures in this series were just names I knew from childhood before I pursued a history degree and graduated in 2018. Interestingly, this is my first Thai historical series presented in a summarized format, making it a unique experience for me. The story focuses on the famous Elephant Duel, a legendary event in Thai history.

While watching, I often researched the characters to better understand the stakes, and the series does a great job of bringing that historical context to life. It effectively conveys the significance of the conflict and the strategic importance of these military battles.

The performances are the highlight of the series. Nine Naphat delivers a perfect portrayal of Mingyi Swa, adding a tragic depth—someone who was essentially made an enemy by circumstances beyond control. Tre Porapat is equally compelling as Naresuan. His performance helped me see why Naresuan is often described as "madaling magalit" (easily angered), especially regarding war and strategy.

The visual immersion is enhanced by highly detailed costumes that fit the actors perfectly, adding authenticity to every scene. The cinematic soundtrack is excellent, capturing the right emotional tones and heightening the tension during the duels without distraction. If you want a well-paced, summarized take on the complex brotherhood-turned-rivalry between Naresuan and Mingyi Swa, I highly recommend this series. It offers a captivating perspective on how history and personal bonds clash on the battlefield.

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HUMOR WAS SO ON POINT.

Honestly, LOVED the ENTIRE cast. I literally do not think any other character could be more perfectly fit for each role.

I have actually never seen the Chairman's daughter, but man she was SO perfect for the ditzy but innocent and cutesy gal!!

Honestly, the humor was what really got to me each episode; you just KNOW there will be a funny moment - even during the serious sections.

And I think one thing that people forget is how when introducing a large group of characters, you really couldn't tell WHO was for WHO and LOVED the growth of the group of women and the WHOLE team!!!
Like EVERY character seriously GREW on me LOL. Even the enemies, I'm like yes, they are so doing their part - respect.

I think this was a great "light" comedy + I loved the plot overall.

I know it DID get a little slow during the mid part - but honestly, I think they were trying to really build some character development AND RELATIONAL development; really goes to show why and how some of these characters decided on certain decisions and how each circumstance / person and or relationship with someone made them feel.

Another thing was that in the end, everything makes sense and some parts really did drag / go everywhere (personally think a 12 episode drama would have been perfect) but I GENUINELY enjoyed the ENTIRE drama!!!

I definitely would recommend this watch for its humor, mystery, and honestly, just love dramas with good revenge / growth!!! No drama is perfect and I reviewed this drama for what it was, truly a light comedy, some adorable romance, growth, brains, and heart-felt friendship!!

To each their own judgement / review, but please give it a try ^-^

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A CUTE INTROVERTED LOVE STORY

I’ve honestly not watched Yumi’s Cells 1 & 2, but Yumi’s Cells 3 hit me differently, it really ended up clicking with me.

Yumi’s Cells 3 is essentially a love story between two introverted individuals. Yumi, who is now a successful writer, seems to live her life in a very dull and monotonous way. There’s nothing in her life that creates enough emotional ripples to truly shake her, until she meets Shin Sun Rok PD. He disrupts her life in ways she hasn’t experienced in years.

Ever since her success as a writer and her breakup with her previous boyfriend, both her love life and her overall life have become stagnant. This stagnation has made her very calm and rational, to the point where her Writer Cell has taken over, while her emotional cells , especially her Love Cell have gone dormant.

However, her encounter with Shin PD changes everything. Interestingly, he is even more calm and rational than she is. He struggles with social cues and ends up unintentionally riling Yumi up in ways he doesn’t even realize.

Their first meeting is incredibly awkward. He mostly responds with “yes” or “no,” and during their bus ride together, he puts on earphones, which Yumi perceives as disrespectful. Ironically, she had wanted to do the same earlier due to the awkwardness but held herself back out of courtesy. When he goes ahead and does it, she feels annoyed—for the first time in years.

This annoyance continues in small but significant moments. For example, when he buys all the bungeoppang (fish-shaped bread filled with sweet paste) from a shop Yumi regularly visits, especially her favorite flavor it frustrates her even more. Another instance is when he questions the intelligence of Maltese dogs. This deeply irritates Yumi because she has grown attached to a Maltese dog named Coco, her friend’s pet that she’s been taking care of. Hearing such criticism from Shin PD pushes her irritation to another level.

Through these interactions, we see her dormant emotions begin to awaken, her hate cells and other emotional cells start coming out of dormancy. Up until Episode 2, it genuinely feels like she dislikes Shin PD intensely. However, things begin to shift during their work trip to Busan, where she starts seeing him in a different light.

What stood out to me the most is how this drama gave strong “Inside Out” vibes. The concept of different “cells” representing Yumi’s emotions, decisions, and thoughts is beautifully executed. I especially love this first-person perspective approach, it allows us to see the depth of the characters rather than just surface-level events, which is often the case in many dramas.

What made me appreciate it even more is that we don’t just see Yumi’s perspective, we also get Shin PD’s point of view. We get to understand what he’s thinking, why he behaves the way he does, and how his intentions can be very different from how his actions are perceived. This dual perspective feels incredibly human. After all, aren’t we all like this? We think and act with certain intentions, but they may come across entirely differently to others.

That’s the beauty of this drama, it’s not just a narrative from the female lead, male lead, or writer’s perspective. Instead, it presents a deeply personalized approach, giving us insight into both sides of the story.

For example, when we see Shin PD’s perspective, we learn that he is an extreme introvert with a very low social battery. He relies heavily on his rational and calm side to navigate his daily life, and it’s only at night, when he returns home, that he truly relaxes and recharges. Many of the moments where he offends Yumi are not intentional, they stem from his limited social energy and difficulty expressing himself.

Overall, I’m really looking forward to how the story unfolds in the upcoming episodes and how their relationship develops further. 🤗

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Glorifies Objectification, Violence, and Mistreatment of Women

Episode 1:
There are many problematic things about this show. A mess of a family with 4 kids, mother recently passed away, a dad who can barely function, where the oldest sister who tries being the surrogate mom and does her best to take care of everything. Then comes Mita the housekeeper from nowhere. She is an amazing housekeeper and is somehow emotionless through all the BS this family puts her through. She cleans the house to perfection and cooks amazing meals, but when the older sister told her to burn all of their late mother’s memorabilia, the older brother got angry and started punching Mita, a grown woman. A few minutes later, the family changes their mood and settles down to a happy birthday together and demanding things of her - while no one apologized to her for that physical abuse- that oldest son treated her like a punching bag that he could just beat up whenever he wanted, and when their mood was happy again in a few minutes, they ask her to do everything like a genie- cook for us, get birthday candles, a card, the cake- but they beat her up right before that. A a stunning condoning of the abuse and objectification of women. A wife is seen as nothing but a glorified housekeeper, so much so that a professional housekeeper like Mita is abused like a punching bag and then taken advantage of while she has a bloodied lip from being punched by a man! And yet she is emotionless and continues doing all their chores. What a horrible message this show sends- that women are worthless and can be treated in such a way. At the end of the first episode, the husband reveals that the mother committed suicide. As a psychological study, I can almost guarantee that the way this family treats Mita is the same way they treated the late mother/wife. Simply exploited, taken for granted, and used up for getting things done for their selfish needs, and then thrown away like a dirty dish rag. Only after the mother died, the family keeps talking about her because they can’t function without her. But while she was alive, the husband was having an affair, and Kii the annoying little girl told her mother that she should die just for asking her eat tomatoes.

Episode 2:
Despite all that Mita did for them - cooks, cleans, etc, all the family can do is complain about her behind her back saying “isn’t she strange? She never smiles etc.” while eating the breakfast she prepared. A thankless, entitled family. It’s revealed that the dad/husband was having an affair- despite all that the mother would have done for the 4 kids and as a wife, submissive housekeeper, cook, bangmaid, etc, dude had an office affair and had handed his late wife divorce papers, driving her to suicide. Even after her death, he continues to hit on the office mistress. Urara, the late mother’s younger sister is portrayed as an incompetent single bimbo, the woman at the office is a mistress, the wife/mother is invisible and driven to suicide, and Mita is seen as genie/robot/punching bag. The director seems to be seriously misogynistic and views women as 2d cartoon characters. Then the father decides to fire her for his own selfish motives. Mita says a wise thing: “humans are weak creatures. If they see someone weak the will bully then, and if they see someone strong, they run.” Then the younger son who asked Mita to beat up a bully, then tells her to “take responsibility for what she’s done,” instead of taking responsibility for what he asked her to do, and then tells her to do something even worse, to kill the bully. Then the late mother’s dad decides everything is Mita’s fault and said “Why do you keep such a woman as your housekeeper? Fire her immediately!” After all she’s done. Ah what a tired bunch of chauvinists. Last scene of episode 2, the dad asks Mita to burn the revealing letter from his late wife that says “if you leave me I will kill myself” because he’s a coward and doesn’t want his kids to know the truth. Mita deserves better.

Episode 3:
Yui the oldest daughter finds out about the dad’s affair and how he was the cause of their mother’s suicide and death. When she confronts him about it, the dad actually tries to slap her because women are only meant to be hit according to the director. Then as the father is found out by the kids and they leave the house, he explains to Mita, “I never wanted to get married, but their mother got pregnant with Yui..” as if it has nothing to do with him. For some reason Urara acts like she couldn’t care less about her sister’s death, even after her brother-in-law tells her the truth- she just acts like a giddy schoolgirl with a crush. How inhuman. The family projects their own failings onto Mita, including the dad saying she doesn’t have a heart when he is the one who screwed up his family. Even after the kids leave and the truth is in the open, the dad guy tries to hit on the affair lady at the office because he needs an escape. Women especially Mita are treated as sacrificial objects to use and drain for selfish purposes.

Episode 5-6:
The older brother treats Mita like a blowup doll by asking her to have sex with him. Then he asked her to destroy the neighbor’s house. Then the oldest daughter Yui decides she wants to die because her high school fling is a player, and tells Mita to kill her. When Mita obliges, she acts like she’s so shocked and as if she is a victim of Mita. This ridiculous family can’t even take responsibility for their actions when they give Mita explicit orders- Yui tells Mita to kill her and not to stop even if she says “stop”.. Just so she can blame her? Then she acts as if Mita is evil and it’s a horror movie with Yui trying to get away from her, when she’s the one who gave the orders. Nonsense! Then Yui points the knife at Mita trying to kill her. What do Mita ever do that this selfish, sinful family tries to exploit her in every way possible and then kill her? Poor Mita.

Episode 7:
Mita makes adress for Kii, the youngest kid. When she’s done the kid grabs it and says “Sugoi!” No one ever thanks Mita for her work or apologizes for their vile behavior towards her. Then Kii invites her dad to her school play where she’s playing Dorothy in the Wizard of Oz.. and the dad’s like “I don’t know, I’ve never been to any of the kids’ school events… but how do I prove to the kids that I love them? Is saying the words I love you enough?” I don’t know genius, maybe show it through action by attending the school play and spending time with them? Then the dad gets in a fight with a coworker and starts punching him for dumping his ex-mistress and then gets himself fired. Then he goes to Mita and asks her, “You can do anything right? Can you put me back in my company? Can you rewind time?” Do they really think she’s a genie that came out of a lamp? Then in typical selfish dad fashion, he asked Mita to somehow get the play recital cancelled for his own selfish reasons since he didn’t want to go or face his kids. However there was a touching moment in this episode where the kids out on the Wizard of Oz play in front of their dad at home (because Kii was kicked out of the play at school since their dad tried to get it cancelled by telling Mita and she made a bomb threat to the kindergarten lol), and the dad was so moved by the performance that he starts pouring out his feelings of regret about their mother and how much she loved him and how loving she was and how he wants to love them. Well he never said he loved her back but he is filled with regret and apologizes to his kids to let him back into the family. Then he goes up to his ex-mistress to say I still love you, please married me and and take over as my wife/bang-maid but you must take care of my 4 kids! Ha what a sly man. She leaves.

Episode 8:
Nagiko’s dad is in the hospital because he got punched telling off some kids. He sees Mita (who is ordered by Yui to impersonate her late mother and talk to him and persuade him to forgive the dad). When he sees Mita’s face, without hesitation the grown old man punches Mita in the face. Even after getting punched, Mita calmly explains to him that he’s living in fear and can’t express his thoughts properly and that’s why he resorts to violence (just like the director). Then he yells at her “Shut up! What could a housekeeper know?” He’s basically a caveman looking for an outlet for violence. But somehow the show tries to convince the audience that his violence is an expression of his love. Weeks later he manages to croak out an apology to Mita- Because Mita is still like a clear, calm lake, everyone projects all sorts of nonsense onto her. First the oldest son Kakeru punches her in the fist episode, then asks her to strip and “do it” with him, then he convinces the other kids that she is a reincarnation of their late mother. They all believe it. And Mita’s like “I’m not your mother.” And they’re all so nosy about her personal life that it gets annoying. Like leave her alone. One day the family invites her to sit down and eat with them and gives her this moon cake thing to eat. She had refused it in the past but this time she takes it and eats a bite. One bite of the moon cake has the effect of 10 alcoholic drinks because Mita spills her life story. Dad died, mom and step brother are narcissists, husband and son died in a fire at the hands of the brother and she was convinced by her mother that her smile made people unhappy- how upside down and weird. It’s interesting because this same actress plays Sakurako in Yamato Nadeshiko, a “perfect woman” flight attendant character who always wears a plastic smile on her face.

Episode 9
Mita quits after tell her story, and Urara shows up everyday to take her place. Again the director shows his misogyny by Urara’s extreme characterization as a single woman who is a disaster of a human being. She basically can’t do anything right and everything she touches turns into a disaster. While it might seem like harmless fun or comedy, mocking or attacking a single woman as basically good for nothing is not cute. She inserts herself into their house to help with cooking and ruins their kitchen with her incompetence, and leaves without cleaning up. Then Mita starts working for the next door neighbor who is a petty, evil woman with a husband and son. When she finds out about the affair she orders Mita to kill her husband, herself, and her son on her son’s birthday. Then she blames it on Mita, calls her crazy and dangerous, and tells Mita to kill herself. Poor Mita who is barely hanging on by a thread starts pouring gasoline on herself. The cowardly family runs away after ordering Mita to kill them and then turning it on herself. Then the kids from next door burst through the door somehow and hold the lit candle that Mita is about to light on her gaslit self. They’re all holding the candle and fighting but none of the kids have the sense to just blow it out. Instead Kakeru, Yui, and Mita are all holding this candle light fighting over it and someone could just blow it out and the fight would be over. But brains are not part of this scene. Then the other two kids come and hold the candle too, and Kii the little girl tries to be cute and sings a song at the most inappropriate time. It’s not cute but annoying. Then the family calls the police on Mita and tries to get her arrested. Then the dad from the original family says “I’m angry at you Mita you put my kids in danger! If you’re sorry then take responsibility and work for our family!” Uh what? Those kids barged into the neighbors’ house on their own and put themselves in danger and refuse to take responsibility for themselves and instead the dad pushed the blame and responsibility all onto Mita and orders her to be a slave for their family as if she owes them something since they cannot function without her housekeeping. What selfish people. So anyway Mita comes back to the original family and it confirms my suspicions about the mother/wife role in the family- Mita has essentially filled the late mother’s role in the family by cooking, cleaning, taking care of the kids’ needs and errands, but remains emotionally detached. It tells me that a mother/wife is nothing but a glorified bangmaid. And since Mita has lost her husband and son, she has convinced herself that she must never smile and become a robot housekeeper obeying the ridiculous orders of others but never having a will of her own- again a very chauvinistic misogynistic view of women. Then Urara randomly admits that she likes her brother in law- she never once showed sadness over her sister’s death nor anger over the fact that the husband had an affair that led to her sister’s suicide. Instead she only selfishly cares about her little crush on her brother in law.

Episode 10:
The family starts putting motherly demands on Mita- Yui the oldest girl asks Mita to teach her how to cook, Kakeru the oldest son gets sick and needs her to be a nurse, the next brother needs help with his homework, and Kii needs Mita to clean her ears. They all make demands of Mita, making it a “work order” so she has no choice or will of her own. They take advantage of her to tend to their needs but it’s disturbing that Mita has no will or needs or desires of her own. It’s as if to say, if you’re a woman and you don’t have a husband or kid (or lost them) then you’re basically as good as dead. Mita doesn’t smile and walks around like the walking dead. This is the fate of any woman that doesn’t have her identity defined through motherhood and being a wife. The dad tells Mita how he wants to start living for the present and the future and not get stuck in the past. The third kid gives a nice speech about how he should have appreciated his mother mother and thanked her. In a sense the lesson is even if one isn’t there or you didn’t get affection from someone, you can always pass it on to someone else who needs it. Then Kii asks to help Mita in the kitchen and in her usual annoying fashion she knocks over a burning pot and ruins all the food and gets herself burned and Mita has to deal with that along with the ruined food. It’s a thankless job that only a sacrificial lamb with a death wish would take. Then the crazy lady next door says that her husband who cheated on her kicked her out because she had ordered Mita to burn down their house, and tries to frame it as “it was just a joke and you always make people unhappy! Go away!” Must be the same voice of Mita’s narcissistic mother. Then Urara comes out and tells her brother in law that’s she’s in love with him. Does it get any weirder than this? Yes! Meanwhile the 4 kids ask Mita to be their mother and Kii finds a stone to represent Mita to put in her family stone box. So basically good housekeeper can be “upgraded” to a mother because essentially that’s what a mother is right? A glorified housekeeper/bangmaid.

The music? Mita’s “theme” is creepy horror music as if she’s some character from the Adam’s Family. She’s just a women who’s and mourning the loss of her family- but she’s framed as a scary or dangerous.

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Regret not watching it earlier

Had this series on my list for a long time, and I mean like, ever since it released. I wanted to watch something new and remembered this was still on my list. Now I regret not watching it earlierrrrr

KIT IS SO ADORABLE UGHHH THE FIRST TIME I SAW HIM I WAS GOING CRAZZYY. Like all of the characters/actors look so unique with their own style and I love the concept of them being able to wear their own clothes, since that normally isn't accepted in Thai schools. The outfits helloooo?? Im jealous I need those fits!! ESPECIALLY PER AND TAR'S. LIKE IM THINKING ABOUT SCREENSHOTTING SOME OF THE BEST FITS AND RECREATE THEM BROOO. Typical cute gmmtv doodles in the intro and outro I LOVE IT

The teachers were so adorable, I loved their dynamic and I loved how they were like the comfort teachers of the school. They were so healthy aswell it was so cute!!

Using ai for animation mayor.... even if some of the work wasn't it, I don't like the idea. I'm on an art school and I know it takes a lot of time to make something. Would've been nice if they asked their creation team to make something like those doodles?

A lot of reassuring talking, romantic interactions but barely any kisses or a NC scene but it doesn't feel off, I prefer it. I like how it actually feels like teenagers having a fun time of their lives and romance being a big part in it. I normally don't mind NC but I think their choice not to add it makes it better.

This felt like I was part of the friend group, it was sooo heartwarming. Just found family. I like how the multiple couple plot didn't get like, mixed and it was actually a veryyy good story line. Small note: Tar and Per moments were cute but I would've liked more interaction between them.

I rarely give a 10/10 these days but this series REALLY deserved it.

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Does what it says and delivers what's promised

It's a lighthearted romantic comedy from start to finish and it does just that—lightens up the mood and makes you believe in fairy-tales for a couple of hours.

You obviously don't watch it for a deep plot or a hidden meaning. Compared to many similar rom coms, it was fully executed: the conflict, the humour, the chemistry, the closure—everything's there.

For me personally, JuMark is one of ~3 pairings in BL industry, who can satisfy a viewer even without a NC scene (and I'm a big fan of good NC scenes). If it were others, I would've felt robbed, but with these guys I'm down for the cute bubbly vibe.

And again, I appreciate GMM Thee V for making another series that includes mature love without the student tropes 😌👍

Kudos to OhmPoon—a pairing we didn't know we needed, but we were seated for it during the whole show.

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