Review
I’ve watched dozens of Chinese fantasy dramas, and this is easily one of the most disappointing. Not only does it rely on those tired and boring memory-loss clichés, but it also features the typical over-the-top protagonist who decides that "protecting" his wife means treating her like trash and humiliating her. I just don't get it. There are at least ten episodes that could have been cut entirely. Add to that a lead couple with zero chemistry, and you have the perfect recipe for a flop. I’m not a "stan" of anyone; I just watch shows and either believe the performance or I don't. I've seen this lead actor in three different series now, and he hasn't impressed me in any of them—his expression is exactly the same in every scene, and he lacks any real depth or emotion. On the other hand, I absolutely love the second lead; his performance in Kill Me Love Me was also brilliant. In short, if you have nothing better to do and feel like giving yourself a headache with a nonsensical plot, this is the show for you. Personally, I would have appreciated a sincere warning so I could have skipped it.Was this review helpful to you?
This review may contain spoilers
Pretty good so far
With a cast like Charmaine Sheh you can’t go wrong really. And you have the return of some old school TVB actors like Patrick Tam and Annie Man, so you know this will be something special. The only problem is that it draws huge parallels to the Netflix k-drama Juvenile Justice, but with a few changes here and there so that it doesn’t fully copy the story and plot like-for-like. Charmaine is a judge and was going to be a permanent judge in the High Court after judging a case involving Alice Chan’s underaged son. After acquitting him of murder, it turned out he really committed murder but there was no evidence to prove it, resulting in Charmaine giving up her position out of guilt and becoming a Juvenile Court Judge. This has the repercussions of her getting divorced and her daughter hating her.Now, whoever it is that played Alice Chan’s son did an amazing job being this creepy kid who just exudes a psycho aura whenever we see him onscreen. The smirks he throws were great especially in the scenes where he secretly revels in getting away with murder. I want him to get caught but at the same time love how psychopathic he is. Alice Chan can feel something is off but as a mother she can only protect him, and this makes for great drama.
Kalok Chow also shows up as a Juvenile Court Judge who works with Charmaine, and it is so weird seeing him in this sort of role. He is well spoken and speaks calmly and yet in this monotone voice that is so strange to hear. After getting used to his comedy antics in his other roles, I found it extremely difficult to take him seriously in this role and I always laugh a little after he says a serious line, expecting his next line to be a follow up punchline to his last sentence.
So far I am 5 episodes in and this is shaping up to be a great drama. Could this make Charmaine get another best female actor award? Who knows but for now it is looking good.
Update up to episode 15: so far the cases have been great. Charmaine is unapologetically stern yet fair, even when her own step-daughter was called into a bullying case as a possible bully, she trusted her daughter was coerced into doing something she was not aware of and it turned out okay. Many were worried that they may mix her role up with the character from The Queen of News series, but this character is completely different in feel and unique in its own way. There are similarities, but here she is strictly within the bounds of the law with no grey areas allowed. However, in typical TVB fashion, they had to add some medical problems into the mix, and sure enough Charmaine suddenly has tinnitus and having hearing and balance issues. You bet your bottom dollar this is going to become a plot point very soon.
Seeing the late Benz Hui acting is bittersweet because this was his final role before his untimely passing, but what a role he played. His subplot was relatable as a father who doubted his son’s credibility and kept on scolding his son for things he did not do. The scenes where he was emotionally distraught were very powerful, but seeing the scene when he made up with his son was very touching and felt like a great conclusion to the father son finally making up.
Alice Chan is still being this overprotective mother and is constantly butting heads with Charmaine. Her son had once again committed murder, but this time Alice took the initiative to send him abroad after giving him a fake alibi, forced onto her by her son sure, but she still played along. I know her son will face justice before the drama ends for sure because his/her smirk as they flew away on the plane while watching how they murdered someone else again made me feel sick.
And I actually got used to Kalok Chow’s new mellow and calm demeanour. I mean, it took a while for sure, but I got used to it and I find it actually quite endearing because he is trying to fit into high society despite having a background of poverty and suffering from terrible parents.
Speaking of Kalok Chow, he started dating Joey Thye, a lawyer and also grand daughter of a powerful judge in the drama, but this came out of nowhere. One minute they were colleagues and then suddenly, out of the blue, boom they are now dating. There was no build up to it so it was just BOOM oh you guys are dating now? Okay la! I hated this as there was no visible chemistry between them so it needed scenes for them to get romantic. And the dumbest part in the drama was at the end of episode 15 when Joey suspected Kalok knew she was the grand daughter of a powerful judge and was only using her as a stepping stone, so she literally says this to him -
Joey: My grand father asked me if I was dating anyone
Kalok: So what did you say to him?
Joey: Aren’t you going to ask who he is? *pause* So you knew who he was then?
From that she worked out Kalok already knew her background and who her grandfather was. I call BS on that because who on earth would say “who is your grandfather?” To a question like that? Imagine if someone said to you “My dad asked me if I was dating” who would reply “who is your dad?” That is not how a conversation would go, so that made the scene immediately turn to crap. Most of the dialogue in the drama is okay but the writing staff must have been sick on that day and so they asked some intern to write that part for them.
Finally, my goodness the theme song. I am getting so annoyed at hearing it because it sounds like a wailing ghost who cannot find its way home, just screaming AHHHHHH!!!! Whenever I hear the end credits start and the singer screaming “LAAAAAATE!!!!” I immediately cringe. Awful song.
Besides from the 3 complaints above, it is so far a great drama. Let’s see how things go from here.
Completed: well the drama is finished and sadly it was quite underwhelming. Alice Chan’s son Adam returns and yes, he/she does murder again but his mistake this time was using Charmaine’s daughter as a scapegoat. This ultimately backfires as Charmaine, in classic main character form, gets her daughter acquitted and then presents evidence to pin it back on Adam. The ending could have been a lot more satisfying, but what really ruined it was how the bad guy was taken out by their own hubris. While held during his trial, he asks Alice to go to his locker to get some evidence to prove he was innocent AND to destroy all other items in the locker, so Alice goes and retrieves the contents of the locker and find a USB key. She checks it out and finds all the evidence to implication him as he kept clips as mementos of his murders. Instead of destroying it, she submits it to court as evidence as she realised what a piece of s*** her son was and he ultimately gets life in prison. This would have been so much more satisfying if Charmaine and her team had discovered it and used it to destroy that brat, so it was kinda anti-climatic.
And you know, I’m getting kind of tired seeing Alice Chan in these strong woman roles. There have been three dramas from her back-to-back on TVB where she is a strong-willed angry woman who would at the end go soft. I hope she does not get typecasted into this role as it is getting samey.
The drama is still very good, worthy of a rewatch but man we deserved a better conclusion.
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High School? or a Fanfic?
Honestly speaking when I had first seen the trailer I was shocked. As an avid reader and follower of K-Dramas I was looking forward to it and was definitely not disappointed. The cast and the storyline were well built. I would certainly recommend other people to also try it because this is one of those dramas that can make different people have different viewpoints.Kudos to Park Jihoon and Choi Hyunwook!!
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Sengoku Gunto Den Dai Ichibu: Toraokami
3 people found this review helpful
"Promise to not get angry"
Legend of the Vagabonds, Part 1: Tiger and Wolf began in a rather lighthearted manner. But as so often happens, as the story went on, the shadows descended.Toki Taro Tarao chastises his young brother Jiro when Jiro’s men devastated the suffering peasants in order to gather a larger tribute to the Hojo clan. Taro accompanies the small fortune only to be besieged by bandits. Taro is injured and saved by a small farm family. Kahi Rokuro, a new member of the band of thieves, made off with the money, much to the chagrin of his gang. Rokuro becomes distressed when wanted posters for Taro appear as he knows Taro to be the best of men and not deserving of such derision.
The most compelling character in this film was not the upright and uptight Taro, it was the flamboyant and strangely ethical Rokuro. Once Rokuro realized who he had stolen from, he did whatever he could to make things right for his old childhood friend, Taro. Taro, on the other hand, had to learn the hard way that his family and villainous retainer were willing to sacrifice him for their own evil ambition.
Part One ends with Taro making a fateful decision that will change his life and the lives of the bandits. This was an entertaining film with several limited fights. Nakamura Kanemon III’s rousing performance as Rokuro lifted the story when rigid Taro’s presence often let it down. The vile Hyoe and immoral Jiro may have caused problems for the virtuous Taro in this film but they had more in store in Part 2.
20 March 2026
Housekeeping note: The only available version of this film I could find had Parts 1 and 2 combined. It appeared that Part 1 was shortened by 14 minutes and Part 2 was shortened by over 20 minutes which would have included credits as well.
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Disappointed
This drama is so repetitive, and the acting is really cringey—especially from Meena and the main actress. Meena’s acting is also so overly dramatic, which makes it even harder to watch. It’s so annoying how Niraon keeps acting slow and overly soft toward the middle and end. At this point, it feels like all the characters are just acting stupid. I also hate how the whole storyline feels like an old Channel 7–style plot from back in the day. On top of that, I can’t stand how Saran keeps falling for Meena and acts so foolish—he’s even willing to let his own sister get married just to pay off Meena’s debt and takes the blame for everything. What kind of brother does that? Overall, this drama feels like a complete waste of time.Was this review helpful to you?
I AM SPEECHLESS RN!!!
This is so goooodddddd!!!😭😭And so different!!!
And the fact that the two leads weren't the usual A-lists actors we are found of. And for them to dish out this masterpiece??? 🥺
At some point, I thought it would end with a tragedy, my bed was already soaked wet with tears.
But all in all, Mu Qingyan deserved more. I mean, he suffered all his life but he still lost his inner power and handed over his sect to his two right hand men. I am definitely not satisfied! I wished he ruled even the whole sect, for a change.
And as for the osts used in this drama, I hummed all along 😹😹. Especially the "intoxicated" song that plays at the end of each episode.
And to all haters home and abroad, PISS OFF!!
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Good start but bad oh so bad
It stared out all fun and interesting, a nice little window int japan meets Korea, food, insecurity, starting over there was so much potential to both the couple and the theme but then it took a turn that made the female lead copleatly toxic in a way that did not even have entertainment value. What made it even worse was that both the male lead and secound male lead kept buying in to her delusional world making me yet again role my eyes so many times that I wished I had dropped it or even better never started.That said the chef and one of the side characters is pretty ice and the cooking was inspiring. .
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LOVE EVERY PART OF IT
I have such high standards when it comes to drama, especially the chemistry, plot, visuals, dynamic, and cinematography. This show exceeded my expectation. I am not familiar with any of the cast except for Tian Xiwei nor am I a historical cdrama watcher but the production really did their BIG ONE on this show. Everyone is so talented even the kids have a bright future in the industry.I like how the show started at a great foundation of getting to know Fan Changyu/ her life in Lin'an then we get to see more of the Marquis/Xie Zheng/Yan Zheng going more into his life. The show basically highlight how both characters are merely living different lives yet their paths cross like it's destiny. Apart from romance, we see such a strong female lead, character development of the side characters, and the great balance of worry/relief about the future ahead. Overall, I can watch the main cast all day and their overflowing chemistry :)
Acting was great, It doesn't feel flat or cringe at all. The dialogues can be cheesy but this is what happens when it is based on the books so best to say their feelings out loud. These dialogue really is genuine and the actors/actresses really know their characters. Again, people can have their own opinions on this but I've watched far too many shows.
Casting 100% the best, I don't want to be too critical with the princess' acting but she is fairly new and could improve in her future works. The main villains (Sui brothers) their aura is crazy.
In terms of the story behind Changyu's parents, I feel like it wouldn't add much to the story as we are more focused on the main characters getting together and living a simple happily married couple soooo that's just my 2 cents. I can definitely rewatch the show without getting bored.
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BL Action-Romance starring First & Khaotung and Joong & Dunk
PLOT: Kant, a tattoo artist and informant, has a one-night stand with Bison, a romantic hitman/fast-food owner (along with his brother, Fadel). Kant is tasked by the police to gathering information on the hitman duo and tries to seduce Bison. But Fadel is suspicious. Kant asks his slightly unhinged friend, Style, to seduce Fadel to give him the upper hand. Style eventually wins Fadel over, but things go wrong during a botched mission. The two couples will have to face: 1/ the police 2/ their "mother" and her organization... and perhaps other dangers.+++ Two couples with incredible chemistry. First and Khaotung are cute, but Joong and Dunk steal the show.
+++ Excellent OSTs
+++ Effective direction (even if the action scenes are a bit weak).
### The story is completely focused on romance. Don't take anything seriously, especially the "hitmen" aspect—so careless, so unprofessional, so naive... it's laughable.
### The sound quality is awful in some episodes (☆_@)
### The arc with Khun Mae in the finale is laughable and completely unnecessary.
=> Enjoy it without overthinking it, just for the pleasure of watching the two sweet couples.
*******************************************************
BL Rom-Action avec First & Khaotung et Joong & Dunk
PLOT: Kant, tatoueur et indic, a 1 one-night-stand avec Bison, romantique tueur à gages / tenancier (avec son frère, Fadel) d'1 fast-food. Kant est chargé par la police de collecter des infos sur le duo de tueurs et drague Bison. Mais Fadel est méfiant. Kant demande à son pote un peu cinglé, Style, de draguer Fadel pr lui donner le champ libre. Style finit par conquérir Fadel, mais les choses se gâtent lors d'1 mission ratée. Les 2 couples devront faire face à : 1/ la police 2/ leur "mère" et son organis° ... et peut-être d'autres dangers.
+++ 2 couples avec une alchimie d'enfer. First et Khao sont cutes, mais Joong et Dunk déchirent l'écran.
+++ Excellentes OSTs
+++ Réalis° efficace (mm si les scènes d'act° sont un peu légères).
### Story complètement focus sur la romance. Il ne faut pas prendre quoi que ce soit au sérieux, en particulier, le côté "tueurs à gages" si négligents, si peu professionnels, si naïfs, ... est risible.
### Qualité du son dégueulasse dans certains épisodes (☆_@)
### La scène avec Khun Mae ds le final est risible et parfaitement inutile.
=> A savourer sans se prendre la tête pr le plaisir de regarder les 2 sweet couples.
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FINALLY PERTHSANTA!!!
I am absolutely loving this series so far! PerthSanta are one of my favorite couples, and they are perfect for these characters. The story feels intense but also has those soft, fun moments that I adore in BLs. It feels like such a fresh, new story, and I’m already loving the plot—I can totally see this becoming a very soft and "comfort" series for all of us even though we’ll definitely all be crying later, but that’s part of the journey. I’m so impressed because even the first episode was engaging, which is rare!! I’m also so happy for them. Honestly, I’ve never seen Perth look as happy as he is with Santa, and the same goes for Santa. They are the cutest together and they don’t deserve any of the hate they’ve received in the past.I truly hope that with this series, they finally get the success and recognition they deserve. Please, never separate Perth and his Tata! I’ll always support them and every project they do because, honestly, this is peak television. In fact, I think that even if they were to act in a boring series, I would still watch it and never get bored simply because they are in it together. I can't wait for the next episodes! 🖤🤍
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The story follows Easter, who moves to a university in northern Thailand to escape the memories of a past relationship. Of course, fate has other plans, and he ends up reuniting with Hill, his ex. This sets up a relationship full of confusion, unresolved feelings, and twists that, honestly, feel a bit messy at times.
I have to be honest here: the main couple didn’t really work for me. Ter’s childish behavior was something I just couldn’t stand. That kind of immaturity in a university setting feels out of place . Hill, on the other hand… wow he has such an intense, captivating gaze. But their storyline is all over the place, first it’s uncertainty, then misunderstandings, then hints about past feelings… it just feels unnecessarily complicated.
Now, the real highlight of the show is Johan and North.
They completely stole the spotlight for me . Their dynamic is fun, engaging, and full of chemistry. The whole “accidental debtor meets a flirty, spoiled creditor” trope works so well here. It’s entertaining, charming, and honestly the reason I kept watching.
The group dynamic is also a strong point. The friends from the art club and the medical students bring warmth and humor to the story, balancing out the romantic drama nicely. Those moments of friendship feel genuine and add a lot to the overall vibe.
In the end, Fourever You isn’t perfect. Some storylines work better than others, but it still has something special. And thanks to couples like Johan and North, it becomes a memorable watch.
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spooky, comedy, and bromance
If you want a mix of spooky, comedy, and bromance this drama is for you.I like how it blends horror and humor without being too scary or too silly. The makeup, sound effects, and acting are really good and make it easy to keep watching episode after episode.
The last few episodes feel rushed and a bit random, which makes the story lose direction. The ghosts’ shadows also make them feel more human than scary at times, which slightly broke the immersion.
Still, the cast chemistry is amazing and makes the drama very enjoyable overall.
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In Between (Sa Pagitan ng Kamusta at Paalam)
0 people found this review helpful
This review may contain spoilers
A gem of a series
This series is something else for me compared to the other series i have watched. It is beautiful for me in every way. The characters in this series were all beautiful. The boom harrot friend group is something i related to. It was like living the with them. Tautep and pangs couple both were cute. Some of the dialogue's are also hard hitting for example " we are allowed to love who we went to love" is like something we all want to hear. The story is simple but powerful. It has no unnecessary drama in it. The acting of the actors were perfect. The music was beautiful. This series is really a gem. It shows us that the hello or goodbye is not everything, it is the in between.This series is worth watching. I will definitely rewatching this series in the future
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This review may contain spoilers
Our Life Is Not a Movie or Maybe
Compared to the substantial number of dramas that remain etched in the collective memory — constantly referenced, celebrated and reimagined — there are others that, almost inexplicably, slip into obscurity, swallowed up by time, the industry’s relentless turnover and an audience ever hungry for something new. "That Summer Typhoon" belongs precisely to this second category: a work that seems to have dissolved into the background noise of the Dramaverse, yet on closer inspection reveals an ambitious narrative structure, a surprising emotional depth and a thematic clarity that remains disarmingly relevant even today.It is, without a doubt, a drama of its time — but precisely for that reason it manages to foreshadow, with unsettling prescience, many of the dynamics we now take almost for granted: the invasive nature of the press, the artificial construction of celebrity, the increasingly blurred line between truth and public narrative, and the often-exorbitant price of success.
And yet, beneath this surface of glitz, spotlights and scandal, there beats a deeply melodramatic heart, built on fractured family ties, denied identities and truths deferred for far too long.
A sweeping, multi-layered narrative that can at times feel redundant across its thirty episodes, "Typhoon" constantly walks a fine line between excess and restraint, yet manages — and this is perhaps its greatest strength — never to lose its balance entirely. It is precisely in its insistence, in its returns and repetitions, that it finds a form of expression consistent with its very nature: a past that refuses to stay buried, a truth that demands space, an emotional storm — at times dangerously ambiguous — destined sooner or later to sweep everything away.
To revisit it today is to read it with a more discerning eye, one capable of recognising not only the limitations of a work inevitably tied to its era, but above all the strength of a narrative framework which, beneath the veneer of classic melodrama, conceals a surprisingly modern reflection on identity, image and responsibility.
On the surface, "That Summer Typhoon" presents itself as a classic early-2000s melodrama: the rise and fall of an actress, family secrets ready to resurface, impossible loves and artistic rivalries. Yet beneath this familiar structure, it builds something far more complex: a lucid reflection on identity, guilt and, above all, that fragile — and often insurmountable — boundary between private truth and public image.
In a world dominated by agencies, gossip and carefully constructed narratives, individuals move like pawns within a system that turns every event — even the most intimate — into spectacle. Success becomes a double-edged sword; fame, a mechanism that exposes, distorts and ultimately consumes.
From a narrative standpoint, That Summer Typhoon proves to be remarkably layered. It does not merely function as a family melodrama, but interweaves at least three distinct dimensions: the drama of the entertainment industry, the private tragedy of familial relationships, and a more subtle moral layer in which each revelation does not bring relief, but further complicates the characters’ lives.
Its structure unfolds through accumulation and reiteration: truths emerge, are questioned, then replaced by new versions, in a constant slippage that prevents any real stability. This is a familiar device in Korean melodrama of the period, yet here it is employed with unusual awareness, almost suggesting that no definitive truth exists — or that, when it does, it arrives too late to truly matter.
In this sense, the series moves fluidly between registers: moments of intense public exposure — press conferences, scandals, media intrusion — are set against intimate, often silent spaces where the emotional weight of events is felt without the need for explanation, further enhanced by a deeply effective musical score. It is precisely this oscillation between the external and the internal that gives the narrative its rhythm, despite the inevitable repetitions brought on by its length.
Even in its most repetitive passages, however, the series maintains a surprising equilibrium: each element contributes to a coherent whole, with individual threads ultimately converging into a single, overarching emotional “storm”.
"Typhoon" is, above all, a melodrama about truth and its consequences — a truth suppressed, concealed, manipulated and ultimately destined to resurface, sweeping everything and everyone away like the storm evoked in its title. Yet this is not merely a family secret, but a layered system of lies that encompasses individuals, relationships and an entire social ecosystem, where appearance outweighs substance and public image becomes a form of currency.
The drama thus constructs a dual narrative: on one level, the intimate, almost suffocating story of a family fractured by past choices and unresolved responsibility; on another, a broader reflection on the entertainment industry, the artificial construction of success and the intrusiveness of a media system eager to devour truth and reshape it into spectacle.
It is when this structure takes shape through the faces, gestures and silences of its characters that Typhoon makes its decisive leap, transforming from a potentially schematic narrative into a genuinely affecting experience.
Within this framework, even the most controversial element — the relationship between Soo-min and James — sheds any sensationalist dimension to take on the contours of a moral tragedy. The revelation is not deployed for shock value, but forces an irreversible reckoning, in which the characters must renounce not only a feeling, but an entire possible life.
It is, however, in its final stretch that "That Summer Typhoon" makes its most compelling shift, turning its melodramatic framework into a reflection on storytelling itself. The ‘film-within-a-film’ device — which reworks the characters’ lived experiences (with an ingenious reversal of roles!) — becomes a key interpretative lens: the pain is not resolved, but staged, transformed into a representation.
In this fragile balance between construction and authenticity, performance becomes the true emotional core of the narrative.
Jung Da-bin brings Soo-min to life with a disarming naturalness. There is never a sense of performance in the conventional sense: each gesture feels so spontaneous that acting and being seem to converge. Her arc unfolds through restraint, navigating increasingly complex emotional terrain without ever tipping into excess, preserving a clarity of gaze that becomes, paradoxically, her most radical form of resistance.
In hindsight, it is difficult not to perceive in this performance a glimpse of what might have been: a deeply human alternative to a frequently constructed and polished image of femininity. What remains is a subtle, painful trace that further deepens the emotional resonance of her work.
Alongside this quiet naturalism, Han Ye-seul adopts a more layered yet equally controlled approach. Her Eun-bi exists in a constant tension between public image and private fragility, shaped through nuance, silence and fleeting emotional fractures. It is a performance that avoids both caricature and victimhood, offering instead a complex, measured portrayal.
Viewed in retrospect, this characterisation acquires an almost meta-textual dimension: Eun-bi seems to echo the very public discourse that has often prioritised appearance over talent, embodying a figure who struggles — not always successfully — to assert a deeper, more authentic truth.
The result is a rare equilibrium: two performances that never compete for dominance, but instead build a relationship grounded in mutual recognition and quiet solidarity.
While Jung Chan, as director Kim Han-hee, operates within more conventional boundaries, Lee Jae-hwang finds greater depth in the tormented figure of James. Meanwhile, Lee Hyo-chun stands out in the role of Kang Jung-ok, delivering a particularly effective transformation: from a dishevelled figure trapped in the past to a gradually reconstituted presence, in a quiet yet powerful arc of personal rebirth.
Not without its flaws, "That Summer Typhoon" does at times suffer from redundancy and narrative overextension, with certain dynamics repeating to the point of perceptual fatigue. Yet in its closing movement, it takes a less predictable path: rather than culminating in rupture, it leans towards a fragile but genuine reconciliation, grounded not in forgetting, but in acceptance.
It is within this balance — between pain and awareness, loss and continuity — that the series finds its most complete expression.
Perhaps it is here that its most enduring value resides: in its ability to leave behind a trace that is less immediate, but more persistent — one that resurfaces over time and reveals itself fully only to a more attentive gaze. A subtle imprint in which constructed and lived identities overlap, at times even blur, amplifying — without ever stating it outright — a shared sense of fragility that extends beyond the characters to those who bring them to life.
And it is precisely for this reason that it deserves to be rediscovered.
-------------------------------------
To Jung Da-bin (1980-2007),
who, with her gentle radiance, has managed to transcend time and distance, reaching — silently — even here.
Wherever she may be, what remains is the imprint of a genuine emotion, and the memory of those who, even from afar, have never stopped watching over her.
8/10
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This review may contain spoilers
Can Korean elite society and schools really be this bad？
it keeps you engaged with the fascination of evil。 but designer labels do not substitute for good acting。the big flaw here was the final episode： a whole drama is based on an evil gang of malignant narcissist teen bullies (all the worse for being student age) and then trying to give them a human face in the final episode、 with the worst offenders Woo Jin benefiting from a cover up、 the sinister Ri An transformed into a romantic prince and the truly obnoxious He Ra rescued from a family bankruptcy and suffering the well deserved humiliations of poverty、 while the adults responsible for their birth continue on their sociopathic paths。 meanwhile Jae-I is too good to be true、 finally being transformed into a madonna-like figure of self abnegation and altruism。the only decent character、actor and story line was Kang Ha。I admit I don't get the final scene： who was killed and why? maybe revenge on Park Tae Ho (principal's son?) with this and the new principal it seems things are left open for a sequel maybe？I go with the general rating with a generous 7/10Was this review helpful to you?
