Reviews

Esta serie merece ser mas vista y con mas popularidad.

Primera vez en mi vida que veo un k-drama con este tipo de historias y la verdad ame y me encariñe con cada capitulo. esa sensación de que conectas con cada historia, del como cada pequeño detalle de esto nos haga entender situaciones que muchos nos pasan y la verdad simplemente la ame. ame cada momento que vi y amé cada parte del guion y como dice una parte… (Ojala pueda seguir viendote por el resto de mi vida, aunque nunca hagas algo grandioso contigo siempre es una comedia. Incluso si caminas directo al fuego es como comedia, historias oscuras, historias tristes, historias miserables, las tomas todas y las conviertes en comedia, podría verla siempre…) ✨

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one of the best romance kdramas i watched lately

Perfect Crown was honestly such a fun watch for me. The plot was interesting from the start and it never felt boring, which I really liked because some dramas drag a lot in the middle but this one kept me hooked. The pacing was pretty solid too, not too fast but also not dragging, so every episode still made me want to continue right away. I also really loved the set design and overall visuals, everything looked so pretty and royal and fit the story so well. Even the villains were annoying in the best way possible, like they really made me mad but that just means they did their job well lol.

And the romance?? omg I was fully invested. The chemistry between the leads was seriously so good, like every scene between them had that tension and softness that makes you want to keep staring at the screen. Their moments together were not just cute, they actually felt meaningful, and I was fangirling over every look, every small gesture, everything. The leads did such a good job too, especially with how they brought out the emotions so naturally. You can really feel their connection and it makes the whole love story hit harder.

Overall, I really enjoyed this drama a lot. The ending was satisfying for me and it left me feeling emotional in a good way, like sad it ended but also happy with how it wrapped up. Perfect Crown just has that kind of charm that makes it easy to get attached to, and for me it was one of those dramas that stays in your head even after finishing it. Definitely a really lovely watch and I would for sure recommend it to other romance lovers.

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What we are witnessing here is, above all, a perfectly calibrated marketing product aimed at a young audience drawn to idols and visually spectacular content. The series fully embraces this identity, which is perhaps paradoxically its most honest quality: it never truly attempts to be anything other than an immediately consumable object of visual entertainment.

Beneath its luxurious and seductive aesthetic, the narrative belongs to a form of highly sanitized “historical fiction,” where historical facts, royal etiquette, and traditions are handled only superficially, almost carelessly. For viewers unfamiliar with the historical or cultural references being evoked, the experience can feel satisfying precisely because it demands no intellectual engagement or contextual reflection. Ultimately, the series offers neither genuine political reading, nor sociological depth, nor any meaningful reflection on the systems it portrays; instead, it accumulates a succession of images designed to be instantly “Instagrammable.”

Luxury thus becomes a narrative language in itself: prestigious cars, yachts, designer brands, lavish interiors… As for the work of the elite, it is portrayed in an almost caricatural way, reduced to repeated images of elegantly dressed characters sitting in front of computers inside refined offices. This sanitized representation of power and wealth contributes to a highly codified contemporary fantasy of social success, where appearance matters far more than actual function.

The lead actor, undeniably very handsome, is himself filmed as an aesthetic object. The direction fully embraces this catwalk-like presentation: slowed walks, flattering camera angles, and carefully composed shots constantly emphasizing his image, as though he were perpetually walking on a fashion runway. Here, he once again embodies the archetypal role audiences have already seen in many contemporary dramas. As for the chemistry between the leads, it works — though with certain reservations. Their acting is neither truly poor nor particularly remarkable; it simply remains effective within the standards of youth-oriented idol dramas.

The writing itself feels largely generative, assembled from already popular references. The opening episodes seem vaguely inspired by the media image of Harry and Meghan, yet in a fully softened and romanticized version. The visual universe and overall concept also strongly recall The King: Eternal Monarch starring Lee Min-ho, to the point that viewers familiar with the genre are no longer genuinely impressed either by the beauty of the aesthetics or by the fantasy-monarchy concept itself. This is especially true considering that the latter drama largely surpassed this one in terms of production and, direction

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Realistic but frustrating

To be honest, I watched this drama a long time ago, but at the time I hadn’t discovered reviews or MDL yet! 🤣

The acting was really good, I have to say. Although I’m not usually a fan of Moon Ka Young based on the dramas I’ve watched so far, she played her role very well here. Yoo Yeon Seok was excellent as always, and Keum Sae Rok felt very realistic too.

The plot, however, was something I didn’t like. Okay, I understand that it’s a realistic drama and that every character had their own personal issues, but still… the indecisiveness made me furious at times. I couldn’t stand how much Ahn Soo Young focused on the hesitation she saw in Sang Su. If it was such a big deal for her — understandable. Move on. There was no need to play with both his feelings and Jong Hyeon’s feelings.

By “playing with his feelings,” I mean all the constant back-and-forth behavior: getting close, pulling away, returning again, and then abandoning him again. Why? It wasn’t healthy even for her.

Mi Gyeong was controlling and manipulative because she knew Sang Su had feelings for her “friend.” Another manipulative thing she did, at least in my opinion, was trying to become close friends with Soo Young. Although she knew Sang Su wasn’t in love with her, she still pursued him, and in the end she got hurt, even though she knew from the beginning that his heart wasn’t hers. A bit delulu? Yes. You love at your own responsibility!
For the other guy I have nothing to say because for me it was like a side character in the whole story!a guy there is just to fill soo Youngs gap!sorry for Jong byeon,but to me he was just the other guy existing!
This is the kind of drama where the characters’ issues keep repeating over and over again, and at some point nobody even considers therapy. Soo Young kept running away from situations until the very end, and the reunions after several years felt unrealistic.

Her relationship with Jong Hyeon never really stood a chance, just like Sang Su and Mi Gyeong’s relationship didn’t. But honestly, even the relationship between Sang Su and Soo Young never truly stood a chance either. It was toxic. There was lingering attraction and yearning between them, but that was all. I never felt there was actual love. Their personal problems and emotional complexes were stronger than their feelings for each other. 🥲

I also would have liked to see more character development because the situations kept repeating like a cycle without the characters truly improving. Even by the end, I never felt that Soo Young had really changed. It honestly felt like she could abandon him all over again. That’s why the ending didn’t feel satisfying or hopeful to me — it felt unresolved in an emotional sense, not just in a romantic sense.

Even the open ending was frustrating to me. In the past, I probably would have wanted them to end up together for the fairytale ending, but as an adult now, I understand that realistically they wouldn’t.

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“A shameless man with a wicked smile meets a tiger bodhisattva — and I may never recover.”

I don’t think words are enough for what To My Shore just did to me.
What started as curiosity turned into complete emotional destruction.
Fan Xiao — shameless, wicked, manipulative, devastatingly charming — is the kind of character you should hate, yet somehow end up smiling every time he walks onto the screen. That wicked grin? Illegal. The audacity? Unmatched.
And then there is You Shulang — composed, restrained, heartbreak wrapped in quiet strength. The emotional weight he carries hurts in ways I genuinely did not expect.
Their relationship is messy, dark, obsessive, painful, magnetic — and somehow heartbreakingly beautiful.
Yes, the chemistry is insane.
Yes, the tension burns.
Yes, the spicy scenes deliver.
But what truly stayed with me was the heartbreak. The longing.
The emotional ache of two people crashing into each other, hurting each other, yet somehow becoming each other’s shore.
By the end, I wasn’t just watching.
I was grieving. Healing. Smiling through tears.😭😁
And when that reunion happened?
God.
Some dramas entertain you. Some dramas leave scars.
To My Shore possessed me.
Watch it.
Then watch it again.
Then stare at the wall wondering how anything else is supposed to compare.

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PERFECT CLOWN- PERFECT NOIA!

*The Perfect Strunzata* sarebbe già un titolo più onesto, limpido e soprattutto meno truffaldino dell'originale. Perché qui non siamo davanti a un drama che inciampa: siamo davanti a un’opera che prende una bella confezione, si mette addosso il velluto, accende due luci calde, fa partire la musica al pianoforte e spera che nessuno, per caso, si accorga che sotto non c’è quasi niente. E invece ci si accorge, eccome se ci si accorge. Basta avere anche solo un minimo di pazienza — o di sopportazione masochista — per arrivare ai titoli di coda e capire che il vero miracolo non è la storia raccontata, ma il fatto che una parte del pubblico sia riuscita a chiamare tutto questo “capolavoro” con lo stesso entusiasmo con cui si approverebbe una viennetta al supermercato spacciandola per patisserie di Vissani.

Il voto medio di 8,4 , francamente, ha qualcosa di liturgico, è atto di fede delle casalinghe o delle bimbette in assetto da adorazione, del fandom che confonde l’algoritmo con il gusto, dell’occhio che vota con il cuoricino e non con il cervello. Una liturgia del “mi piace perché è bello”, che poi è il grande sport planetario della televisione patinata: prendere due facce fotogeniche, impacchettarle in una monarchia costituzionale da cartolina, spruzzarci sopra un po’ di dolore ereditario e far passare il tutto per narrativa adulta. È una bestemmia estetica venduta come SERIE TV! PER GIUNTA CON INESATTEZZE STORICHE (VEDI LA POLEMICA SUL FINALE).

La prima cosa che salta addosso, e che resta addosso è l’ossessione per l’immagine: questo drama vuole essere guardato, non vissuto. Vuole essere contemplato, non attraversato! È un lungo esercizio di fotografia che si guarda allo specchio, si trova molto elegante e decide che basta. Inquadrature lunghe, primi piani tirati fino allo sfinimento, pause che vorrebbero sembrare peso psicologico ma che spesso assomigliano solo a una versione particolarmente costosa dell’immobilità. Il problema non è la lentezza in sé: il problema è la lentezza senza densità. Quando una serie è lenta ma piena, la segui volentieri. Quando è lenta e vuota, inizi a sentire il rumore del tuo stesso disinteresse. E qui il disinteresse arriva presto, già dopo pochi episodi, come un ospite sgradito che si siede sul divano e non se ne va.
La struttura temporale è un altro piccolo attentato alla dignità dello spettatore. Non parliamo di un uso intelligente dei flashback, quelli che aggiungono qualcosa, chiariscono, danno strati, modificano il significato del presente. No. Qui c’è un abuso costante di ellissi, rimandi, ritorni indietro, tagli di scena nel momento esatto in cui una risposta potrebbe arrivare, per poi riproporla tre scene dopo come se il dramma avesse inventato l’acqua calda. Una domanda? Stop. Una confessione? Stop. Un confronto? Stop. Una scena che potrebbe respirare? Niente, taglio netto, cambio d’angolo, ritorno più tardi con la stessa informazione servita in versione dilazionata. È il classico trucco da sceneggiatura che non ha abbastanza sostanza per reggere il presente e allora lo svuota, lo interrompe, lo spezza, lo rimanda. Non suspense: stanchezza. Non tensione: rinvio artificiale. Non profondità: il gioco delle sedie temporali e questo lo fa col disperato tentativo di "farti sentire" qualcosa, ma io sentivo il suono dei miei sbadigli.

E poi ci sono i personaggi, o almeno quello che dovrebbe somigliarvi. Il principe, sulla carta, avrebbe dovuto avere carisma, aura, presenza, status, forza. In pratica, I-An, il Daegun, Byeon Wook Seok. sembra un uomo elegante generico uscito da un catalogo di modelli di brand di lusso, abiti satinati, lucidi, con colori improbabili, da piano bar o da matrimonio kitsch, con la differenza che un catalogo lo sfogli e basta. Il problema non è solo che reciti bene in alcune scene e peggio in altre: il problema è che non emana abbastanza AURA. Un principe, in un racconto del genere, deve avere peso visivo e simbolico. Deve entrare in scena e far capire perché tutti si girano. Qui invece spesso pare un modello ben pettinato, vestito con abiti che non costruiscono un’identità ma la smussano. Non ha mitologia addosso, cammina come se fosse in passerella. Ha il merchandising. E se il personaggio maschile principale non ha aura, il drama non è che perda un dettaglio: perde il suo perno. Il confronto con Lee Min-Ho e il suo Lee Gon di Eternal Monarch è impietoso.

La voce, poi, è un altro di quei punti che fanno la differenza tra un attore e un bel viso con il copione in mano. La modulazione emotiva qui spesso non c’è. Il volto prova a dire una cosa, la voce non dice quasi niente. È quella sensazione fastidiosa per cui tu dovresti sentire intensità, ma percepisci soltanto la posa dell’intensità. Gli occhi si fermano bene, la faccia si dispone bene, ma il peso interno resta piatto. E il risultato è tragicomico: il personaggio dovrebbe essere tormentato, ma sembra semplicemente ben illuminato. È il limite più crudele dei drama iper-fotografati: trasformano ogni debolezza in evidenza. Se l’attore è forte, la luce lo esalta. Se è debole, la luce lo inchioda. E qui il problema si vede parecchio.

IU va detto, tiene meglio MA non per questo salva la nave. È più continua, più stabile, più consapevole. Ha una presenza che regge la scena in modo meno intermittente. Però anche lei, a un certo punto, si piega alla logica generale della serie: quella di caricare il personaggio più del necessario, di spingere una caratterizzazione che diventa presto manierismo. Ci mette un po’ ad arrivare davvero, perché la scrittura la costringe a stare dentro un sistema che preferisce l’estetica alla respirazione. E infatti il rapporto tra i due non esplode mai del tutto, non per mancanza di bellezza, ma per mancanza di tensione autentica. Sono una coppia gradevole, esteticamente funzionante, persino piacevole in varie scene. Ma non ti danno i brividi. Non ti lasciano addosso quella micro-scarica che ti fa pensare “ok, forse si piacciono davvero” (cosa che ho pensato in My demon, dove la chimica ha salvato la serie dalla mediocrità). Restano una bella composizione. Una coppia da feed. Instagrammabile. Un’immagine che si lascia guardare più che un legame che si lascia sentire.

E questo è il punto che taglia più in profondità: la serie insiste sulla coppia come se bastasse l’accoppiata visiva a produrre emozione. Ma la chimica non è un filtro Instagram. Non è il fatto che lui sia bello e lei anche, e dunque il resto venga da sé come per magia. La chimica vera si misura sulla naturalezza, sulla presenza fisica, sui dialoghi che respirano, sulla tensione sotterranea, sulle pause piene di qualcosa. Qui invece i dialoghi spesso non restano dentro. Scivolano via. Sono poveri, talvolta persino troppo letterali, almeno dei sottotitoli poco revisionati, come se qualcuno avesse paura di far dire ai personaggi cose che non siano già esplicitamente comprensibili.

E i personaggi secondari? Utili, sì, ma spesso ridotti a funzione. La regina è uno di quei casi in cui il dramma pare innamorarsi della propria idea di follia aristocratica e finisce per produrre una figura caricaturale, più disturbante per eccesso di posa che per autentica minaccia. Il padre, invece, è un attore vero. Si vede. Si sente. Lo capisci dal fatto che fai fatica a riconoscerlo altrove: cambia pelle, non resta imprigionato nella stessa faccia (è lo scienziato genetico di Mouse). Peccato vederlo sprecato in un titolo che non gli offre possibilità. E poi c’è il bambino che interpreta il re, che è forse uno dei punti più fragili dell’intero impianto: non basta vestire un bambino da simbolo nazionale per trasformarlo in figura tragica. Se l’attore è debole, si vede. Se la direzione è povera, si vede due volte. E quando la serie pretende da un piccolo interprete una regalità psicologica che lui non riesce a sostenere, l’effetto è quello del “mini-adulto per contratto”, cioè una cosa innaturale e un po’ ridicola, che spezza la credibilità invece di consolidarla. Anche lì, l’idea c’è. La resa no.

Sul piano della scrittura politica, poi, il drama si impantana nelle sue stesse premesse. Il protagonista avrebbe l’agency per distruggere i nemici, per usare il testamento, per prendere posizione, per piegare il sistema. Ma la sceneggiatura gli costruisce intorno una giustificazione di convenienza, non una vera complessità. Non è un conflitto morale profondo: è il classico “non lo fa perché altrimenti la trama finirebbe”. Ed è qui che il personaggio smette di sembrare vivo e diventa una pedina al servizio della durata. È la morte del racconto intelligente: quando il comportamento non nasce da una necessità interna ma dalla paura degli autori di arrivare troppo presto alla verità.

La parte più comica, però, è il continuo tentativo di far sembrare tutto sofisticato tramite l’accumulo di dettagli visivi. Il product placement è quasi un personaggio a sé. Subway, catene di fast food, Mercedes, tutto infilato in scena con quella naturalezza da pubblicità travestita da fiction. E capisci che il problema non è la presenza del brand in sé: il problema è quando la serie appare più interessata a vendere il mondo che a raccontarlo. Così il palazzo, le auto, i locali, gli oggetti, tutto diventa superficie. Una superficie molto lucida, certo. Ma sempre superficie. Una patina di lusso che non basta a fare atmosfera, perché l’atmosfera, quella vera, nasce dal rapporto tra stile e necessità narrativa. Qui invece la necessità manca, e resta soltanto il lucido.

Il ritmo, di conseguenza, è un piccolo supplizio. Ci sono episodi in cui qualcosa regge, anche meglio di quanto ci si aspetterebbe. Ma poi la serie torna alla sua principale vocazione: diluire. Dal matrimonio in poi diventa una sequenza di complicazioni più o meno prevedibili che invece di alzare la posta la annacquano. E quando perfino un evento potenzialmente forte come l’incoronazione viene trattato come un dettaglio quasi laterale, capisci che il problema non è la mancanza di eventi, ma la mancanza di energia nel raccontarli. Tutto pare stare lì per comporre un tableau, non per far avanzare davvero una storia.

Eppure il finale, in modo quasi scandaloso rispetto al resto, funziona. Funziona perché si libera di molte delle pose inutili e finalmente concede alla coppia un respiro più quotidiano, più semplice, meno ossessionato dall’essere iconico. Ed è quasi ironico che proprio la parte più convincente arrivi quando la serie smette di voler essere “grande”. Niente cliché urlati, niente retorica monarchica, niente bisogno di inchiodare ogni emozione al primo piano con sottofondo di pianoforte triste. Solo la vita di ogni giorno. Ed è lì che si intravede, per pochi minuti, quello che il drama avrebbe potuto essere se avesse avuto il coraggio di fidarsi di più delle persone e meno del packaging.

Per questo, in fondo, il verdetto resta severo. Non perché sia un disastro totale in ogni singolo istante. Non lo è. Ma perché fallisce nel punto in cui voleva essere imponente: la costruzione di un mondo emotivo credibile. Vuole sembrare aristocratico, profondo, romantico, tragico, elegante, ma troppo spesso finisce per sembrare solo costoso, stirato, fotografato bene e scritto con la paura di restare davvero fermo su un’emozione. Il che, paradossalmente, lo rende ancora più frustrante. Perché il potenziale c’era. La confezione pure. Manca il resto.

Il mio voto complessivo resta quindi sotto il voto del pubblico adorante e benedetto dal culto del bel volto: un onesto 5,7/10, non portato a 6 perchè questo voto VA ABBASSATO, INSULTO A QUALSIASI COSA ABBIA QUEL VOTO E SIA UNA SPANNA SOPRA, 0,4 PUNTI INFERIORE A MR SUNSHINE, VERGOGNA! Una serie che vuole vendersi come regale ma vive di trucchi, che vuole essere intensa ma si nasconde dietro i primi piani, che vuole essere sofisticata ma insiste sui cliché, che vuole sembrare memorabile ma finisce per essere, soprattutto, una lunghissima, costosissima, impeccabilmente illuminata S T R UN ZA TA!

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UMA GRATA SURPRESA

A gente encontra ouro onde menos espera né? Eu fiquei muito tempo enrolando para ver essa obra e tive uma grata surpresa episódio após episódio.

Shiba Ryoma é um advogado frio e implacável, mas por trás disso ele é apenas um homem antissocial e atrapalhado que ama suas suculentas. O tom de comédia no personagem e na história em geral é muito forte (principalmente nos primeiros episódios) e por isso eu não esperava gostar tanto, já que normalmente eu sou resistente a esse tipo de humor, mas esse drama é a prova de que quando bem feito a comédia pastelão pode funcionar.

Já o Haruto é o típico vigarista, mas ele tem suas razões, e com o passar do tempo o vemos se apaixonar verdadeiramente, mostrando assim seu lado doce, gentil e vulnerável.

Vulnerabilidade é uma palavra que eu não esperava usar para definir essa série enquanto assistia aos primeiros episódios, mas conforme a história avança, mesmo o humor estando lá, ele abre um espaço maior para os protagonistas se conhecerem melhor, estreitarem laços, criar confiança e ter conversas realmente profundas e significativas. O amor deles é realmente muito bonito.

Beijos e cenas sexuais não são a prioridade aqui, mas eles compensam nos mostrando um outro tipo de intimidade em tela. O Haruto cozinhando, os abraços constantes e sinceros, seus momentos dormindo juntos e o companheirismo mental e físico são a verdadeira intimidade desse drama e é tudo muito bonito, então a gente acaba relevando a discrição do resto (mesmo que seja algo completamente normal e que poderia muito bem ter sido encaixado).

Resumindo, essa é uma trama realmente envolvente e que te surpreende de várias formas. Gostei bastante e acho que todo mundo deveria assistir.

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Funny Superheroes Done Right

Good drama. It has action, humor, great chemistry between the characters, and interesting personalities. I think it’s the perfect kind of project for a franchise (I’m almost sure there will be a season 2). The concept itself is also quite original. In short, it’s definitely the kind of drama you can watch as a couple to spend a pleasant evening together. The superheroes are genuinely very funny, and Eun Woo, as always, is charming and incredibly likable.

Of course, Park Eun Bin carries much of the project on her shoulders as a talented actress, thanks to her natural and energetic acting. And Eun Woo brings glamour and charm to the drama… The other characters also deserve recognition, although some of them are a bit too stereotypical, which is probably the only downside. On the other hand, the special effects are well done, and the cinematography is good too.

The director also did a solid job — he managed to make everything work convincingly and bring all these elements together successfully. The two other superheroes are incredibly cute and funny. In fact, the humor revolves around these three characters (3 Comic relief characters) , while the others remain serious, and it’s precisely this contrast in tone that makes the drama so entertaining.

As for the casting, the heroine has some similarities to the character type from "True Beauty". They clearly didn’t want to take risks and chose a formula that already works. Apparently, this kind of casting matches very well with Eun Woo

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Teenage girls can have real storyline in GL

After watching the 6 episodes of Shades and waiting for the rest… wow, what a series! I absolutely loved Shades and the stories about these teenage girls in this strict private school, especially the dynamics between the girls.

Amy, Sophie, Nano, Jane, Earn, and Belle all have really interesting backgrounds that make them different from one another, while still connecting them in some way.

I found the themes explored in the series really interesting: underage sex work, grooming, and the dynamics between teenage girls during adolescence, with all the emotional intensity, rivalry, power struggles, and complex relationships that come with that stage of life.

I honestly didn’t think the storyline involving Teacher Nalin would interest me that much, but now I really want to know what happens next, especially with Teacher Mink.

Even the intimate scenes are well done and feel believable, which makes the series even more immersive.

I’m really excited for the rest of the story: how will Sophie and Amy’s relationship develop, especially with Sophie’s mother involved and Amy’s own relationship situation? Will Earn and Belle finally take the next step and get together? And what about Jane and Nano—will they resolve their debt issues and maybe grow closer?

One thing I found disappointing, though, was the kiss between Jane and Nano happening while Nano was drunk, since in my opinion she wasn’t in a position to give proper consent.

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Honestly I watched Last Twilight first and I liked their Chemistry together. So I was searching for other series’s they’re together in. First I read the comments about this Serie. Some of the comments were so funny about the product placement that I get curious and decided to give this one a try to see how they would putting in all the product placement. I was laughing so much when they come up. But I kind of get distracted by the plot and the great acting they did. I even searched for the second season afterwards. Don’t let the comments discourage you from watching it. I would definitely recommend it.

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historical problems than romance

start - the plot everything was good, comedy characters I wanted to give it 10

middle - good same as the start

romance - was slow in start then suddenly fast, random,forced I can't believe people rating it 10 ? this kdrama felt same as cdrama, ml clearly started liking her ,but FML wasn't interested in him at all ? they didn't show anywhere how she started liking him too ? she's suddenly mutual? from slow it felt fast and rushed - I don't mind because everything was good, the slow burn part should've been a little longer? they get together too fast and early I think ?

last - worst part from 7-8 I think ,when I saw the contract I did felt it will leak , it really did ? here comes a loop of problems where the couple just got together and they divorce already? or story focus completely on historical problems , so for 2 whole eps they were doing everything to slove this problem, I lost interest ,the drama was already short why create problems 😭? i really liked it in start , I just decided to drop because even the romance wasn't completely satisfying for me, they did deceive but why no one find how it leaked? and the FML friend is actually supporting the villian ? the sister in-law father tried to posion ml and that friend hides it seriously?

the issue here is only with writing it was a 10 from me before 6 after 6 I it dropped

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Too hard to swallow

As the title says, it's a story of multiple personality. The beginning sees this jerk (ML) , that runs an amusement park, lay down different stupid rules to make us feel he's very petty. Then we flash to a scene with a gorilla that is running thru the park and people screaming. There is a woman that is running away from the gorilla but for some reason decides to stop at the jerk and hold on to him. He bites her and tosses her on the ground, with the gorilla prancing around her. Next enters the FL calls him and e comes running to her. She is the owner of the circle and the jerk tells her he's cancelling them from the park. She gives him the phone with a video of him biting the woman and tossing her on the ground and he then says he'll renew the contract, but wanted to keep looking at the video and she lets him keep the phone, with having a back-up of that video. After she leaves he has his flunkie erase the video and tear up the renew contract.
The ML has a multiple personality and he's going to see his doctor who thinks she's found a cure. The FL meets him as he's leaving, but he brushes her off, but she follow him to the university his father owns, and is stopped from entering the university grounds? As he
s walking to the doctors office he looks out the window and sees the FL zip lining across the two building and she just happens to wind up at the same office the jerk is going to, but the doctor is l=on the floor with a pool of blood by her head. She screams and runs out the door with the guy he attacked the doctor on her tail. The jerk sees this and he also starts running. He gets to the elevator, opens the door and he pushes her away from the closing door. The attacker the starts choking the FL and the next scene you see is the jerk gets out of the elevator and looks up and in another building 3 stories up the Fl is fighting the with attacker as he's trying to toss her off the building. The jerk runs up and tosses the attacker off her and she falls over the edge and he jumps after her!! As in every kdrama, modern or Joseon period when the lead falls off a high stop and is to live there's always WATER and not just any water, it has to be 100 feet deep so they can slowly fall deeper and deeper.
None of this makes any sense. How did she get up top, how did she put a zip line out, how did she happen to "zip" to his doctors office, how did the guy stop choking her from the elevator and carry her all the way up to a top floor, how did her get out of the elevator and get to the top floor before she was pushed off and why was the lake so deep right next to the building?
I just had to end this farce and wonder how old were the writers?
PS> I liked the actors

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when the remaining 50% are the most interesting.

this drama is a good natured absurd comedy, and i say that with all the affection in the world.
they took three of the most interesting actors in south korea, dropped them on a remote island with fake identities and bodies that no longer obey them like before, and said: “figure it out.” and it worked. completely.

the concept is already a joke in itself. a former elite n.i.s. agent who cooks in a chinese restaurant without being able to collect debts from customers. a former north korean operative considered a human weapon who lost his memory and has no idea who he really is or what he carries with him. a former crime syndicate boss who runs a small grocery store and spends his time packing lunchboxes to impress the policewoman he likes. if someone told me this as a premise, i’d think it was slapstick comedy. but no. it’s a spy thriller. with andropause. at the same time.

shin ha kyun carries the weight of being the serious man of the trio, with the expression of someone who waited ten years for a mission and the mission never shows up, but his wife does. oh jung se is pure chaos in a body that no longer remembers why it’s dangerous until it does, and then everyone around him is left speechless. and heo sung tae, happy with his quiet life: former number two of the hwasan gang, running a small grocery store while his only henchman, the loyal gong bok, eats fried pastries at ho-myeong’s restaurant pretending to be a normal customer.

what excites me for the rest of the series is exactly the balance that is still being built three forces converging toward the same point without knowing about each other’s existence, a villain with bigger ambitions than he lets on, and a prosecutor who pretends to step back but keeps moving forward. there are enough pieces on the board for this to be very good. the question is whether the series will have the courage to play them all well.

the main thematic bet the idea that at fifty years old there is still half a life left with potential is not subtle, but it is honest. and in a drama about men the world has already already considered obsolete, honesty matters more than subtlety.

it’s not perfect yet. but it’s exactly the kind of show you start on a friday night with no real expectations and find yourself at two in the morning trying to resist the next episode.

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Amazing chemistry and characters! Very satisfied w/ tempered expectations about the political plot.

Oh. My. God. I absolutely loved this story, but more specifically, I loved the characters. It's very much a character driven story to me, and the actors all do a great job of making you feel for them, whether they're a main lead, villain, or side character. Usually, C-dramas don't spend much time on the "village life" arc of the main leads. However, the time spent on the bond between the main leads and side characters is what made the rest of the story compelling, even when the climax was not as big as what the rest of the story built it up to be. It serves as the foundation for the FL's down-to-earth personality, the ML's humanization, and it makes you utterly invested in the world they and their friends live in. There were multiple scenes that I watched multiple times because the camera angles, the dialogue, and the actors pulled them off so well. So many surprise reveals pulled of *so* well. I can already tell I will be rewatching this drama for years to come. Only regret is that I won't get to experience it for the first time again.

I loved that the strong female lead archetype is refreshed with the element of being a butcher, and I love that ML largely lets her fix her own problems rather than using his strong, influential male lead magic to make things easier for her. She earns everything truly by her own merit. I love the comedy that comes from their differing social positions, and their chemistry is off the charts! Zhang Linghe does an amazing job balancing ML's two sides, one that is utterly devoted and a simp for his wife and the unrelenting, ruthless Marquise. It never feels forced or like whiplash. I saw Tian Xiwei in "New Life Begins," and I knew she would absolutely nail the part of FL. Every trope is served in a way that makes sense for the story and doesn't feel like it's stuffed into the story just because (except for the excessive FL tend to ML's wounds to create forced tension, especially at the beginning). I also must say I am a sucker for whenever the ML falls first and *hard* for FL.

This drama, as other people have pointed out, does suffer some discrepancies due to the 40 episode limit. There are scenes where you just know there was meant to be more. However, this drama never feels awfully disjointed. My expectations for the court life and political scheming was already tempered; I had heard from many people who had read the web novel that not nearly enough time was spent unraveling the very complex events of 17-years-ago. I have never read the web novel, but after watching the drama, I view it as a story much more devoted to our female lead's development and the main couple's devotion to each other. There's a large dose of political intrigue, and I feel given the restrictions, the ending was still relatively well-paced to me. I am very willing to make that exchange for the time we spent on their time in the village and on other battle fields. I think you'll be very satisfied going in knowing that the political plot is not as elaborate as the novel, but the story still does an amazing job of making us fall in love with its characters.

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