Reviews

Robin Hood and Silk Shoes

A beautifully executed Saeguk tale with a commanding heroine and hero. I went into this for Ji-Hyun and Sang-Min is winsome, too. The story was well laid out, with a nice tense political arc and personal relationship dynamics. The pacing was perfect, I was engaged every week and crucially it started off with a bang.
What usually makes it for me where romance is involved is the chemistry and these two had a solid connection that built up as the story developed and some incredibly beautiful cinematography and costumes. It was the most intricate plot but I liked that for this drama, it just worked well, it didn't over complicating plotlines. The side characters were all fantastic and added to the overall story. Surprisingly the second female lead was adorable.

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ALMOST GOT ME

Firs of all I loved them so so so so so much and I could've watched their activities,fights and giggles all day, along with silly football friends, but the plot was so exhausting and I feel they've been robbed for a chance for SUCH A BETTER kdrama!!!!???
FL and ML are amazing actors, both fit each other so well and their personality was unmatched mixed together :3
Regardless...there was a period between episode 4 and maybe 8 where I truly started to love this kdrama, beginning was weird but fun, and ending was absolute nightmare😭. It started as a funny rich girl rich guy type of show that really got me giggling and hoping for something that didn't come. In the middle we got to know the characters better and their chemistry expanded and reached the full potential, and then director got bored of his own show i guess LOOOL????
I didn't care for the ending and if I wasn't a person who has to finish drama till the end, I probably wouldn't finish this one.
Villains were the worst part of this drama, they were just... there? The point of villain is to be scary and all that, these were embarrassingly bad. Other characters too had zero to none personality.
Overall, all my stars went to their chemistry, and nothing else 🫤

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Over promising

I started this drama uneducated about its manhwa version but with hopes and excitement without fearing or caring for the fans’ complaints about the cast.
The synopsis was looking fun and engaging, the kind of light story full laughters. I was happy with the cast as I have seen many dramas with both of them. They always delivers solid quality acting but never really bad or extraordinary neither.

The first episode was somehow ok, not strong enough to start a serial but we all know that Kdramas don’t work with the pilot model where the first episode is craft to the perfection by going through rounds of approval, testings, viewers’s reviews, reshooting, recasting….
But after finishing painfully the drama in 3 gos. First one I watched the 4 first episodes and then a few weeks later the next 4 and I came back went the drama was over to watch the last 2. Unfortunately the first episode was the best.
Most scenes take place in the office where they are focused on making beer…which for me it’s such poor taste mixed with a pregnancy story. But God knows how much money those beers brands can pull of. Very fast the show lost the promise and went to a boring office romance with an evil character. The kind of story we have already seen too often. They also threw a love triangle, a cliche trauma and a pathetic evil sister in law. The story ends well but leaves you under whelmed as there isn’t one memorable moment worth watching.
All characters are under-developed, the story felt empty and bland.

So if you want a nice drama with mature love this isn’t the right pick as they just behave like 20 something.
If you want a story about unplanned pregnancy it isn’t the right pick either as after episode 3 that pregnancy is basically a very far subplot.
If you craving for an epic love story it ain’t the right one there isn’t any depth or amazing chemistry.
This drama has nothing special it was delivered without any care or ambition to say something about anything.

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Are Koreans allergic to happy endings?

I swear this is like the third Korean movie I’ve chosen to watch and all of them ended either tragically or with death 🤣

I would’ve been sad and crying over the ending of this movie but it was just all too predictable and I knew one of them was going to die-

Is it genuinely impossible for Koreans to make a happy ending movie lol?

Besides that, I think the movie was absolutely beautifully shot and the premise was good too. Nothing too extraordinary but it had good humor and I liked the relationship between all characters.
Loved seeing the the FL accept her grievance and no over the top crying scenes where its all hootin and hollerin, above all, I love how Yohan survived his attempt and made his journey into something beautiful to commemorate his best friends.
Out of all tragic death trope endings I’ve been seeing lately, this one was refreshing and didn’t feel heavy at all to the point where it just ruins your day lol. Lovely movie! Sad that it had to end that way though.

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There's no way everyone watched this with a straight face...

SPOILERS AHEAD FOR LAST EP SORRY..

First of all, the effects and editing were so bad. When they started to shoot down their little hideout, the effects of the shooting were FRYING ME. Was the hideout made of metal? How did it not go through? Another thing that pissed me off was just how, when people got shot, it didn't look realistic at all. The effects were sloppy, and the fake blood was, too.

The whole family thing with Pheem was fine i guess. The whole plot of the show was who was going to get the hospital, which kinda made NO SENSE. Did the whole family just want power over each other?? Evil villians I guess. Pheem's backstory is kinda sad. I mean, his mom did die, but how come he didn't die in the car crash? Unrealistic, like I said. The whole rivalry with his brother felt repetitive. His brother and his bodyguard had the potential to become a thing, but we didn't get anything. I was actually rooting for them. Pheem's sister, I feel, they wanted female representation to run too, but knew in the end, Pheem would end up on top? The whole family just pissed me off.

Pheem's character. In the beginning, we see him and feel bad for him, right? Pheem had a downfall as soon as he got control of the hospital, making him become a villain. He became obsessed with control and power; he seemed to forget how he was bullied by the power? To the point where you shoot your own lover..okay cause I was wondering..?

The romance acpect of it. The idea of Than just becoming his bodyguard randomly when they were lowkey enemies does not go over my brain. Yeah, Than saved him and shit, but cmon now. I bet he didn't even get paid. Then literally did so much for Pheem, to the point where he got shot like a thousand times, and didn't die? Same with Pheem..The whole lovey-dovey period was one episode long and ended as soon as Than found out Pheem was evil. AND THEN PHEEM SHOT HIM??? WHAT. Pheem acted like he did nothing and then PROCEEDED TO SHOW UP AT THE HOSPITAL AND BRING ORAGE JUIICE AND FLOWERS?! HE PROCEEDED TO CRY AND ACT LIKE HE WAS THE VICTIM. Than did not deserve his ass, but then it was so easy, and he forgave him in the end? I liked how he dropped him and left him. Period, as he should..BUT THEN OF COURSE HAD TO COME BACK BECAUSE PHEEM WAS IN TROUBLE. Also, the idea of them meeting as kids just didn't stick with me. How convenient they met. I guess it was cute for Than to protect Pheem when they were kids and called him "Thunderman" or whatever it was. Unnecessary, I'd like to say, but it was a fun idea.

The final episode. I will not try to spoil it, but let's just say I had to 2x speed that because it was so bad. Everyone was thinking Pheem died, and then he didn't? Unrealistic again. The whole family dying, and then Than and Pheem just living happily ever after? Sounds like they got tired and lazy at the end. What happened to the hospital? Did the police just say, oh they shot eachtoher lets pack it up. Did Than become a police officer after this? WHY DID HE FORGIVE PHEEM IN THE END? Holy pmo.

The first eps were the only good ones of the whole show. I don't recommend it, but I love the actors and the acting was okay, so?

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boycott ~ why is he still allowed to work

after that pathetic press conference with his fake tears and bullshit, ksh is still allowed to work in this industry. it’s vile and disgusting that he still gets awarded with opportunities after everything he’s done to ruin a woman’s life and career. many actors and actresses have been ostracized from the industry for LESS than he’s been accused of, have some fucking shame. anything he’s involved with will get a boycott from me, idgaf who’s in the movie with him, they all deserve whatever criticism they get for releasing this and supporting his employment.

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Fascinating. Crazy. Chemistry. Unpredictable.

I don't have words to describe this drama. The plot is so crazy and unpredictable. The chemistry between the leads is off the charts. And the acting is peak-especially considering some of the scenarios they have to go with!
If you want an exciting, unpredictable sci-fi ride like nothing you've seen before, mixed with a whirlwind epic love story, this could be for you.
I initially watched this after watching Embrace in the Dark Night-which was AMAZING and had the same actress. If you watched that and are chasing great chemistry, this could be your follow up show.

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Free me now so I can see, the taste of wind and be like me (So Tonight That I Might See)

Oh Soo (Jo In-sung), abandoned at birth under a tree and raised in an orphanage, as an adult slips into gambling and fraud. A huge debt to a gangster gives him 100 days: either he pays up or he dies. With his back against the wall, an unexpected opportunity presents itself: to exploit his namesake, his deceased friend — disowned by his father — who was the brother of Oh Young (Song Hye-kyo), heiress to the PL Group. Upon her father's death, Oh Young becomes the sole heir to a business empire. Oh Soo then decides to stage the perfect scam: pretending to be her “lost” brother to get the money he needs to save himself. But deceiving Oh Young will not be easy: she may be blind, but she is anything but naive.

In the history of Dramaverse, 'That Winter, the Wind Blows' occupies a pivotal position. There was a time when Korean melodrama spoke the language of the seasons: impossible loves, hidden identities, illness, sacrifice, destiny. Then, before the full globalization of platforms, writing became more layered, more hybrid. This series is not a simple return to the past, but a bridge capable of integrating classic melodrama into a more complex structure, contaminated by noir, supported by a strong visual dimension and a highly evocative soundtrack.

Here, lie is not only a narrative tool: it is a choice that comes at a price. Winter is not simply an aesthetic backdrop but an existential condition. The characters survive rather than live; they choose deception as a temporary refuge from a world that has already asked too much of them.
The disturbing element is not the deception itself, but its ethical nature. Oh Soo does not simply pretend to be someone else: he takes on a name that implies a moral function. While the con man carries within him an origin marked by abandonment, the dead brother was defined by protection. The homonymy becomes the mechanism that slowly tightens the grip of destiny. By accepting that identity out of necessity, Oh Soo also inherits the symbolic weight of the name. Noir imposes the mask; melodrama empties it and fills it with responsibility.

Oh Young's blindness is not a Hollywood-style thriller device, but rather the distance that separates and defines the character. It amplifies her isolation and vulnerability in a world where every gesture can be betrayal. Protected by a wealth that is both a shield and a prison, she lives in a system of ambiguous relationships, where care and control are blurred.

Deception creates a grey area where rules are broken. By pretending, Oh Soo inhabits a role he does not fully master; by relying on his “brother”, Oh Young exposes his fragility to inevitable risk. The series makes a paradoxical move: it makes fraud a necessary step towards trust. The lie becomes the threshold between guilt and redemption, survival and authenticity. Not only is it a morally questionable act, but it is also a crack through which the truth enters.

Oh Soo's identity begins as a performance: he studies habits, controls reactions, moves like an actor. But here, the acting does not remain external. While in theatre the performer returns to being himself, in this story the role changes the player.
The stage is the mansion: a place of apparent protection, but also of control and secrets. Oh Soo carries out a sort of emotional domestic invasion, entering rooms that hold suspended identities. A space where noir sets the stage for deception and melodrama transforms it.

In noir genre conventions, the hidden room promises fatal revelations. When Oh Young sneaks in, the series seems to promise a dark twist. Instead, there is a reversal: inside there is no crime, but memories. Videotapes, maternal objects, fragments of a bright childhood. The structure is that of an identity thriller, but the heart is bittersweet melancholy.

By crossing that threshold, Oh Soo does not just invade a space: he enters a past that does not belong to him. He studies those memories strategically, transforming them into an appropriate performance: a phrase at the right moment, a tone that evokes shared pain. The room becomes the place where the character is created. But melodrama sabotages noir: internalized memory does not remain neutral.

The rootless con man appropriates for the first-time a past that continues to hold sway. Watching those VHS and looking at those photographs means coming into contact with a lost happiness he has never known. The house ceases to be merely a place of deception and becomes a space of transformation: the paradoxical beginning of a moral conscience.

From the middle of the tale, the noir atmosphere does not disappear, but the story takes an emotional leap: it becomes internalized, subtle, transforming debt and threat into matters of the heart and body. Time, previously marked by the economic deadline, splits in two: on the one hand, the countdown of the debt and the danger imposed by the gangster Mo Chul, on the other, the slow and uncertain rhythm of Oh Young's illness, the return of the tumor and the refusal of the operation.

The truth emerges: he is not her long-lost brother, but an orphan who grew up surrounded by debt, gambling and dangerous streets. This recognition, both expected and feared, does not break their bond; it transforms it. Oh Young, though surprised and hurt, clearly perceives the depth of the feelings that unite them: love is not born from a glance, but from proximity: from the sound of a bell, the taste of candy floss, the shared breath in a hospital room, no longer brotherly, but a love suspended between caution and ardor, between protection and desire. At the beginning, the series had established a code, a symbolic barrier, but here the dam breaks.

The shared pill — an animal euthanasia drug that becomes a symbol of extreme choice — marks the boundary between power and powerlessness, between calculation and affection, guilt and the desire of protection. When Oh Young asks Oh Soo, ‘Why didn't you kill me when you could?’, the series makes its most radical move: noir and melodrama meet, measuring the distance between morality and the heart. She offers him justification, but he does not carry out the act. Not because he cannot, not because he has been discovered, but because he no longer wants to. It is no more a question of succeeding in deception. It is a question of responsibility.

In the final chapters, Oh Soo faces his destiny almost like a hero in a Jean Pierre Melville movie: he renounces his possessions, leaves money to pay off his debt, moves towards moral and emotional catharsis, ready to risk everything to save Oh Young. He is preparing for closure; he is the heroic figure who accepts the end. At the beginning, everything revolved around a monetary debt. Now the debt has become moral. He entered the mansion for money; he leaves it renouncing it.

The extreme gesture she makes is the point at which the melodrama reaches its absolute limit. But what makes the scene powerful is not the gesture itself — it is what happens afterwards. Oh Soo's rescue is not only physical. It is the definitive revelation of feelings. The moment when Oh Young “hears” the video confession in the secret room is perfectly consistent with the whole discourse on blindness as an alternative perceptual device. She does not see the confession. She perceives it, and therefore her lucid and painful analysis is devastating precisely because it is not hysterical. She is aware; here it feels like being inside one of Douglas Sirk's flamboyant melodramas; the truth does not immediately liberate, the truth hurts, but it is the only ground on which authentic love can grow.

In the minutes leading up to the epilogue, the show seems to want to return to its original rhythm: the time of debt and the time of illness overlap once again. On one side, the operating theatre, suspended between light and darkness; on the other, the green table, the final theatre of destiny. It is here that noir regains its breath: the crucial game, the tense silence, the man who plays not only to save himself but to free himself. gamble does not win out: it is choice. The financial debt is paid; the moral debt remains.

And just when it seems to be heading towards possible redemption, the story takes an almost Shakespearean twists. Betrayed friendship, a knife in the back, sacrifice imposed by blackmail: fate strikes with the dry cruelty of a Melville movie. For a moment, we truly believe that winter will never end. That everything must end there. The great melodramas of the early days taught us this: love is destined to be consumed by loss.

The ending chooses a brighter path, but not an easy one. There is an almost metaphysical passage: spring melting away the rigidity of winter. The atmosphere becomes airy, suspended, and we no longer know whether what we see is reality or desire. A ringing sound crosses the space — an echo of that sound that had replaced the gaze, an invisible thread between two solitudes. The pain encountered is not erased, but traversed. Not a reward but an achievement; if at the beginning everything arose from a stolen name, in the end what remains is an earned identity.

The work of the fantastic Song Hye-kyo is, first and foremost, physical. Keeping her pupils suspended in limbo for almost the entire series, her head slightly turned to listen, her posture composed, almost crystallized, is not a simple technical exercise: it is a dramaturgical choice. The fixed gaze in all those extraordinary close-ups becomes the opposite of emotional immobility. The more controlled the body is, the more the interior expands. Her Oh Young is rational, analytical, ruthless with herself. The tapes recorded in the secret room are not just memories: they are self-criticism. She is the first to judge herself. This detail avoids any drift into pity.
She is not the “fragile girl”. She is a clear-minded person who is suffering. The pivotal moment when she enters Oh Soo's room alone and lies down on the bed crying is devastating precisely because it is not dramatized. There is no hysteria. There is a silent collapse. It is not a lack of wisdom: it is an excess of analysis compared to the heart. Oh Young is a woman who understands everything — too much — and that is precisely why she hurts herself.

In contrast, Jo In-sung's work is pure movement. If Song Hye-kyo is subtractive and fixed, Jo In-sung is continuous muscular tension. A shifting gaze. A clenched jaw. Sudden outbursts. A body always ready to flee or sprint. He is an actor who works on the edge of implosion. In his other works, that tension was almost self-destructive. Here, it is more layered. The moment when he asks himself, “Why didn't I just cheat her? Why did I make her fall in love with me?” is the cruelest summary of the series. He doesn't cry because he's been found out.
He cries because he has crossed the point of no return. He has turned a plan into a feeling. And making a male protagonist cry without making him seem pathetic is a very rare balancing act. The writing supports it, but it is the acting that makes it credible: the emotion comes across as a breaking of armour, not as a request for empathy.

When MyDramaList talks about “chemistry”, it often means attraction or romantic intensity. Here, it's something more structural. She works by subtraction. He works by accumulation. She is control. He is nerve. She internalises. He externalises. Their complementarity is not only emotional: it is rhythmic. On stage, their breathing patterns do not coincide — and it is precisely this asynchrony that generates tension. When they reach the confession, the scene does not explode: it settles. There is no detonation. There is balance.

This is chemistry in the highest sense: two forces that collide and change shape. And that is why the series avoids tear-jerking melodrama. Both actors protect the dignity of their characters. They do not ask the viewer to cry: they remove any excuse for not doing so. She does not beg for compassion. He does not seek absolution. When they finally admit their love, it is not euphoria. It is lucidity. It is not liberation. It is responsibility. They are not celebrating a feeling. They are choosing to pay the price for it. Absolutely outstanding.

Perhaps winter is not a season, but a condition: one in which one lives when wearing a name that is not one's own. In the beginning, everything stems from a stolen identity, from survival built on deception. In the end, what remains is not melted snow, but the nakedness of a choice. It is not fate that changes characters: it is responsibility.

“That Winter, the Wind Blows” does not simply tell the story of an impossible love that becomes possible. It describes the moment when a man stops pretending to be someone else and finally becomes himself. And if spring arrives, it is not a miracle: it is the price paid for getting through that winter without hiding anymore.
9/10

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You can't rate this less than 8 even if you don't like it

Things I loved

1 How real it felt. How poignant it was. How frustrating it was. How sad it made me feel. Because it made me feel things it deserves at least an 8. It's so rare that it's worth mentioning it. I love romantic comedies and I'm almost never these days in the mood for drama, but the actress is one I learned to love and I wanted to check her other works. So I gave it a try and I agree with many comments that we forgot how to appreciate good art. This one wasn't perfect, but it was real and raw enough to make you think. To make you evaluate your life. To ask questions and dare to receive responses.

2 The acting of the main leads. I thought both were good and sometimes great.

3 The ending. It wasn't what I wanted but I get why the writers chose this ending. It was fitting. It left me with the feeling that they reunited so I cried but didn't despair.

Things I hated

1 The ending. I know it's contradicting, but I love clear endings and although I get why it was an open ending, I still hate it.

2 The 2FL. I didn't like the actress and I never liked her character either. To be honest, I think she was an idiot.

3 The 2FL. I know she has reasons to be mad and seeking revenge but I despise people who seek revenge using their means to do so. I was happy to know they weren't together in the end.

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Not Ji Sung’s Best | Started Strong, Ended Flat

I usually write long reviews, but this one will be short — because honestly, it was disappointing and did not live up to my expectations, which were quite high because of "Ji Sung" and the genre of this drama. The kinds of projects he usually picks tend to excel in every aspect — writing, acting, music, and overall execution. He generally shines in crime and investigation thrillers, so I naturally expected something gripping and intense. While the drama started off well, it quickly turned bland for me.

Around episodes 10–11, the adrenaline rush and suspense — which are essential for a drama of this genre — completely fizzled out. The villains weren’t nearly menacing enough, and the cat-and-mouse dynamic between good and evil felt hollow. The pursuit of justice lacked that fist-pump, edge-of-your-seat energy such dramas usually deliver.

"Ji Sung", as always, delivered a solid performance — that’s never the issue. He carries his roles with presence and conviction. But the storyline was weak, and the ending felt rushed and underwhelming. The supporting characters and even the antagonist had potential in their own right, but when the story itself is convoluted and poorly structured, it leaves little impact — both during the watch and after it ends.

I started this drama solely for Ji Sung, but unfortunately, this wasn’t one of his stronger works. I’d honestly recommend skipping this one and instead watching his better dramas in similar genres like "Defendant", "Doctor John", or "The Devil Judge" — the last one especially stands out for its seductive tone, music, and performances. And if you want something completely different, go for "Kill Me, Heal Me" — still my forever favorite. It was the first drama of his that I watched, and the one that made me a fan

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Beautiful, evolving love story

Beautiful, evolving love story.
OST is wonderful.
Cinematography is at its best.
And such chemistry between Song Hye Kyo and Park Bo Gum💞 I wasn’t familiar with FL and she is lovely, and of course 박보검 just lights up a room
Fantastic, supportive cast.
My suggestion—Skip episodes 14 and 15.
I don’t think these two episodes were written or produced by the same team.
ML and FL acting out of character, dramatically different vibe, and way too long to cover a short, unrealistic break up.
Rewatch value on this one is off the charts.

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Psychopath

At first, I really thought I was going to like this show. It felt like there was something deeper going on, especially when he started acting different. I figured he was faking from the beginning, but for a moment he actually seemed genuine. Then he went right back to being horrible.
I understand it’s a drama and exaggerated for entertainment, but the way he treated her was hard to overlook. The show almost makes it feel acceptable, and it’s not. No one should be treated like that in a workplace. When she tried to get revenge, I honestly felt like he deserved it. Even then, it wasn’t close to equal to how badly he treated her. Instead of leveling things out, he somehow managed to turn it around and become even worse.
Yes, it has funny moments, but the overall storyline feels more sad than romantic or comedic. The imbalance between them makes it difficult to fully enjoy the humor.
As for the performances, some of the acting was really strong. Others felt a bit overdone. It was strange how she would cry over small things but then show almost no emotion when he was around. The constant screaming also became annoying after a while — it felt unnecessary and distracting.
Visually, the show looked good. The aesthetics were clean and polished, nothing over-the-top but still appealing.
Overall, I wanted to love it, but the tone and character dynamics made it hard to fully enjoy.

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?

I know I see many people really like this show so I tried watching and yeah

I dropped halfway so below might not be accurate🙃

Overall, I think this is quite a great show. I quite liked the story cause it's interesting and also kinda heartbreaking💔💔💔. But it's a little confusing how and why she likes him too though it may be on my part caused I dropped it after they got together😭😭😭. I swear I'm not hating but that part didn't really sit right with me idk how to explain but yeah.

CAN I JUST SAY, THE ACTING IS SO DAMN GOOD😫. Especially 2nd lead like the way his eyes are turns red when he cries.

SIDE NOTE, the ml's mom and the senior's bf(can't rmb if it was the senior, but its the girl she opened the wrokshop with) made me want to jump💀💀💀. (not a hate to the actress and actors) BUT UGHHH THE MOM IS KINDA A BIT ANNOYING, RESPECTFULLY😞

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