Reviews

Um quebra-cabeça psicológico de tirar o fôlego!

Notas da Última Fila é um verdadeiro drama psicológico de arrepiar, sustentado por um elenco incrível!

​Logo no início, a trama pode parecer um pouco morna e sem grandes emoções, mas quem insiste e fica até o final descobre que o desenrolar da obra constrói um enredo impressionante. A história brinca com o espectador como se estivéssemos montando um quebra-cabeça: tudo o que achávamos que sabíamos cai por terra à medida que novas pistas surgem. É aí que caímos na armadilha ilusória da trama.

​O roteiro nos faz acreditar piamente em uma versão dos fatos para, no final, nos deixar de boca aberta com um plot twist avassalador. É justamente essa jogada de cintura que sustenta o drama do início ao fim, tornando a experiência de acompanhar e devorar os episódios algo fascinante.

​Apesar de ter poucos episódios e carregar uma vibe mais introspectiva — o que pode soar lento ou entediante para alguns —, a obra fecha sua narrativa com chave de ouro.

Vale muito a pena dar o play! Se você ama enredos bem amarrados, que desafiam a mente e brincam com a sua percepção, esse K-drama é a escolha perfeita.

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Zwischen Geistern, Ritualen und Kriminalfall – Liebe als Teil der Geschichte

Hinweis: Folgende Zeilen stellen meine persönliche, subjektive Einschätzung der Serie dar.
Goddess Bless You From Death war für mich ehrlich gesagt keine einfache Serie. Ich mag Horror normalerweise überhaupt nicht und stellenweise war das Ganze schon ziemlich gruselig. Geister, Rituale, verstörende Bilder und eine düstere Atmosphäre sind hier keine Dekoration, sondern ein wichtiger Teil der Geschichte. Wahrscheinlich habe ich vor allem deshalb durchgehalten, weil ich Pooh, Pavel und generell viele Schauspieler aus dem Pit Babe-Cast sehr gerne mag.
Goddess Bless You From Death ist keine typische BL-Serie mit ein bisschen Mystery und Krimi, sondern eine Horror- und Kriminalgeschichte mit übernatürlichen Elementen, in der sich nebenbei eine Liebesgeschichte entwickelt. Im Mittelpunkt steht eine mythische Geschichte mit Geistern, Ritualen und einem Kriminalfall, den man nach und nach aufdecken muss. Es geht nicht um alltägliche Ermittlungsarbeit, sondern um etwas, das mit normaler Logik allein nicht erklärt werden kann. Irgendwo auf diesem Weg verliebt sich dann auch jemand oder war vielleicht schon längst verliebt. Das sorgt dafür, dass die Serie sich von vielen anderen Vertretern des Genres unterscheidet.
Besonders gefallen hat mir, dass die übernatürlichen Elemente nicht einfach nur als Schockeffekte dienen. Mehrere Charaktere haben ihren eigenen Bezug zur Geisterwelt und ihre persönlichen Geschichten werden erzählt. Dadurch wirken die Figuren nicht nur wie Werkzeuge für die Handlung, sondern wie Menschen mit eigener Vergangenheit, eigenen Ängsten und eigenen Beweggründen.
Viele Figuren entwickeln sich im Laufe der Geschichte weiter und man versteht nach und nach besser, warum sie handeln, wie sie handeln. Gleichzeitig werden Themen wie Glaube, Verlust, Schuld und Verantwortung angesprochen sowie die Frage, was Menschen bereit sind zu tun, wenn sie verzweifelt sind. Die Liebesgeschichte hat für mich funktioniert, auch wenn sie nicht der Kern der Handlung ist. Gerade weil so viel anderes passiert, wirkt die Beziehung manchmal fast wie ein Anker inmitten des Chaos. Und ja, typische BL-Dynamiken gibt es auch in dieser Geschichte.
Gegen Ende hatte ich das Gefühl, dass manches etwas zu schnell auserzählt wurde.
Wer Geister, Rituale und eine düstere Atmosphäre mag, wird hier wahrscheinlich deutlich mehr Spaß haben als ich. Trotzdem habe selbst ich, die sich sehr schnell gruselt, bis zum Schluss durchgehalten. Nicht nur wegen des Casts, sondern auch wegen der gelungenen spannenden Story, bei der man wissen will, wie sich alles auflöst.

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Japan Does It Again, A Weird, Funny, and Steamy Butt ? BL That Actually Works

Sometimes a short series can be far more entertaining than a typical 45-minute drama, and Are the Sexy Buttocks Not Good? proves exactly that. At just 13 minutes for its first episode, it wastes no time pulling you into its hilarious, romantic, and unexpectedly steamy story.

Ainosuke only wanted to experience one very specific fantasy 🍑, but he definitely wasn't expecting it to come with a CEO. After a chance encounter turns into a passionate night, he discovers at his job interview that his future boss is the same man. 😂

One detail I really appreciated is how well the casting reflects the story. Sho Sakai is 25 in real life, while Kimisawa Yuki is 41, creating a 16-year age difference that closely matches the characters' relationship. It makes the age-gap dynamic feel much more believable. Kimisawa Yuki is incredibly handsome as the tall, muscular, mature businessman, while Sho Sakai perfectly captures Ainosuke's youthful charm and innocence.

Their chemistry was instant. They meet on the train, cross paths again at a café, and things escalate quickly. The intimate scenes were passionate, realistic, and filled with convincing kisses that made their attraction feel natural rather than forced.

The biggest laugh came the next morning when Ainosuke rushed to his job interview, only to discover that the man he had just spent the night with was not only his future boss but also the company's president.

Overall, this was a fantastic opening episode. The acting is solid, the chemistry is excellent, and the blend of workplace romance, comedy, and steamy moments makes it incredibly entertaining.

Japan always manages to surprise me with their weird and unconventional BL stories, and I'm completely here for it. I can't wait to see how this heartfelt CEO-and-university-student romance develops.

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The older I get, the more I appreciate stories that trust their audience. Double Helix is one of those rare dramas that never feels the need to overexplain itself. It doesn't tell you what to think about its characters, nor does it conveniently separate them into heroes and villains. Instead, it presents deeply imperfect people and quietly asks you to observe them, understand them, and decide for yourself.

What impressed me most was the drama's emotional restraint. It understands that the most devastating moments aren't always the loudest ones. Some of the most powerful scenes are built around hesitation, silence, and everything the characters fail to say. The writing recognizes that people often communicate through avoidance as much as through confession, and that subtlety gives the relationships an authenticity that many romances struggle to achieve.

The narrative is equally impressive in the way it treats consequences. Every emotional wound continues to exist long after the scene in which it was created. The characters don't simply move on because the plot requires them to. They carry regret into future conversations, allow fear to influence future decisions, and unintentionally recreate the very patterns they're trying to escape. Watching those cycles unfold felt less like watching fiction and more like observing real human behaviour.

I also admired how the series never mistakes complexity for chaos. Every difficult decision has a clear emotional foundation. Even when I disagreed with a character, I could trace their reasoning back through everything the story had already shown me. That's a sign of disciplined writing. The drama never sacrifices psychological consistency for dramatic impact, and because of that, every major turning point feels earned.

Perhaps my favourite aspect of Double Helix is that it doesn't present love as the destination. Love exists from the very beginning. The real journey is whether these characters can become emotionally capable of sustaining it. That subtle shift transforms the series from a conventional romance into a thoughtful exploration of emotional growth, accountability, and the lasting influence of the past.

By the final episode, I wasn't left thinking about who was right or wrong. I was thinking about how easily fear disguises itself as protection, how silence can become its own form of harm, and how genuine love demands not only devotion but also self-awareness. Very few dramas leave me reflecting on their ideas instead of just remembering their scenes.

For me, Double Helix is proof that compelling storytelling doesn't require constant twists or exaggerated melodrama. It requires characters who feel real enough that their choices linger in your mind long after the story ends. This is a drama that respects both its characters and its audience, and that's why it stands out as one of the finest BLs I've watched. A wholehearted 10/10.

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It started well, but at a certain point it turned into one person’s “drama.” All the other stories were forgotten. They even painted someone as the villain to feed this narrative. The editing is terrible. I wish everyone had equal screen time, or at least something a bit more proportional. I’m not even talking about “ships,” but I’d like to see the other girls and not just the same person and her harem (no hate towards her, it’s just what the situation makes it look like). PS: The edit does everything it can to make people fall for its narrative, and it’s incredible how they end up hating someone because of that, without having an opinion of their own.

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Double Helix succeeds because it understands one simple truth: the most compelling stories are never about what happens, but about why people make the choices they do.

On paper, the plot isn't particularly revolutionary. Love is tested by loss, misunderstandings, family expectations, and personal demons. What makes this drama exceptional is the execution. Instead of chasing plot twists, it dissects the psychology behind every decision with remarkable patience. Every conflict feels less like a scripted event and more like the inevitable collision of personalities shaped by years of emotional baggage.

What I admired most was how carefully the series builds its characters. Nobody exists as a narrative device. Every person carries their own fears, motivations, and contradictions, making even secondary characters feel like they have lives beyond the protagonists' story. The result is a world that feels inhabited rather than constructed.

Lu Feng and Cheng Yichen are written with an honesty that is surprisingly rare. Neither is idealized, and neither is condemned. They are allowed to make terrible decisions without becoming terrible people. One struggles with the fear of abandonment, the other with the burden of responsibility, and the tragedy of the story lies in how those fears constantly push them further apart even when their feelings remain unchanged.

What elevates the writing is its refusal to simplify emotional pain. Trauma isn't treated as a dramatic reveal or a convenient explanation. Instead, it's woven into the fabric of everyday interactions. It appears in the conversations that never happen, the apologies that arrive too late, the moments of hesitation, and the inability to believe that happiness can last. Those quieter details make the emotional journey feel profoundly authentic.

The storytelling also rewards patience. The further the narrative progresses, the more earlier scenes gain new meaning. Moments that seemed ordinary at first become emotionally devastating when viewed with the knowledge acquired later. It's the kind of writing that makes a rewatch feel almost like experiencing a different story, because your understanding of the characters has fundamentally changed.

Perhaps what moved me most was that Double Helix never asks whether love is strong enough to overcome everything. Instead, it asks whether people are willing to confront the parts of themselves that make love so difficult in the first place. That is a far more interesting question, and the drama explores it with honesty rather than easy optimism.

By the end, I wasn't impressed simply because the story made me cry. I was impressed because it made me think. It challenged my assumptions, changed my perspective on its characters more than once, and trusted me to live with ambiguity instead of offering simple answers.

For me, that's the mark of exceptional storytelling. A great drama entertains you while you're watching it. A truly outstanding one changes the way you understand its characters every time you reflect on it. Double Helix accomplished exactly that, making it one of the most emotionally intelligent and thoughtfully written BLs I've had the pleasure of watching. An unquestionable 10/10.

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I finished it but at what cost (spoilers ahead but I feel like you might want to know this one...)

I feel like a vampire.
I'm not gonna explain that...
So this is...a show. Very disturbing show. Tseng Jing Hua is such a good actor and he always picks interesting projects and unfortunately, he doesn't have many lead roles so when I found out this show was coming, I was vibrating with joy! Now, I am vibrating with a mix of rage and sadness. It's really hard reviewing this show because there are two completely different things going on here.
On one hand, this is a show that follows two documentary creators as they get a once-in-a-lifetime chance to interview a serial killer on the death row. Things go south very fast as one of these people starts to have weird visions of this serial killer in a past she has never been a part of. And then we get transferred to the past and see what drove this cold-blooded killer.

The show is well-acted, the plot is doing its job for the most part though there is a level of confusion that never really gets resolved, you just sort of forget about it as the trauma and ruin piles up. It's partially very square and clear. It's a story that shows class divide, failing systems, and the bittersweetness of first love. It's only once you add the future parts that things get complicated because...what is happening? Is this a haunting? Is this a transmigration story? Is it a murder story? Are we solving some puzzle, here?
But the show really just drops the ball on that front as the second, or the last third really, of the show rolls in, bulldozes over the plot and stabs you 57 times in the stomach before dropping into a very slow-mo ending.
And that's the thing.
So on one hand, this is a drama, on the other, this is a horrifyingly realistic depiction of a violent group rape and the fallout after it and the absolute failure of the corrupted justice system that bamboozles the victim and the viewers.
How am I supposed to talk about this like it's a regular drama?! Because it wasn't. I'm just filled with blood-thirst now! Who even cares, I'm gonna be the rainstorm killer! We should ALL be the rainstorm killer! Who wouldn't be after what happened?!
And that's my point.
Certain elements once introduced into a story, completely hijack any conversation about that story. This is not a show anymore; this is a SA story. It's only about that.
If I was to review the rest of this show, I would say: it's painful and frustrating to watch at times but there is hope somewhere in it and it was a nice watch. But then if I consider Episodes 8-10, then that was a traumatizing and way too detailed display of SA and I don't think anyone should watch that. Also if the creators thought it was okay to show the violence of that part, then I want a gorey stabbing scene! Give me the part where the rapist pissed his pants. Show me his organs falling out of his stomach as he screams his last breaths, I don't care! Is that too much? Well, why is it that showing the worst nightmare of all women in gorey details is okay but we draw the line at a monster getting slain?!
Now, I think part two might give my inner Vampire some peace but as it stands, part one has both upset me greatly and angered me to the point of dying from anger (But this is not Wuxia, so I'll live. You know who won't? Those villains! We know because Rainstorm killer is gonna get them!!!)
So yeah. First part of the show: great. Well-made. Well-acted. A bit confusing. A solid watch.
Second half: Drop. Not worth the trauma. Still well-acted and unfortunately, well-written, possibly better written than the first part. Like, this is the point they were getting at this whole time. This is the climax of the story. But I felt sick. Could it have been worse? Maybe. Definitely if it was a US show. (They just have no sense of stopping before it's too much.) But it was enough to be traumatizing.
Anyways, it's a good show but the ending just runs you over like a train and honestly, all I wanna do is scream curses at something or someone, now. I'm really not coherent anymore.
And you know what makes it worse? I am finishing this show, right after I watched a report of an almost-identical crime having been committed in UK, now in 2026. This isn't fiction. This is just documented reality with fictional names. It's happened now in UK, it happened 20 years ago in SK, and the years between, before and beyond, it has been happening all over the world. And all those monsters are getting away in the exact same way.
So that's why I'm a vampire. Well. I guess I explained myself after all.

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GL with great chemistry and many intimate scenes

I waited for this GL drama for months after seeing a YouTube short and it was worth it. It delivers enemies to lovers, office romance and a secret relationship, all done in a way I enjoy. The early enemy phase feels real and they never switch into that usual act where couples pretend to hate each other in front of coworkers. When colleagues think they are still hostile it is usually because they are in the middle of a lovers quarrel.

The early episodes are great, but the later ones lose direction. The final villain makes the story repeat itself and the couple breaks up and reunites too often, mostly because one person acts without talking. Communication issues are a classic drama flaw and it shows here.

The chemistry is strong, the supporting cast works well and there are plenty of intimate scenes. Despite the weaker parts it is a very enjoyable watch.

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I had high hopes for this series, but unfortunately it never lived up to them.

The premise felt familiar yet promising, with the exploration of mental health setting it apart from other costume dramas. Bai Lu's character was introduced as mysterious, ambitious, and morally grey—exactly the kind of heroine I enjoy. However, I found her performance surprisingly underwhelming. While the larger emotional moments were somewhat handled adequately, the subtle micro-expressions and quieter emotional beats often felt absent, making it difficult for me to fully connect with her character.

Cheng Lei made a strong first impression as a ruthless, emotionally detached male lead. For the first couple of episodes, he embodied that persona convincingly. But the transition from cold strategist to soft romantic happened so abruptly that it felt unearned. Instead of watching his walls gradually come down, it seemed as though his personality simply changed overnight.

Another disappointment was the lack of action. The teasers hinted at larger conflicts and capable fighters, yet there were very few memorable fight sequences. More importantly, the chemistry between the two leads never convinced me. Their romance felt more like something the script insisted upon than a relationship that developed naturally on screen.

The mental health storyline, which initially seemed like the show's defining feature, gradually faded into the background. Considering the complexity and persistence of such struggles, its treatment felt overly convenient rather than authentic.

Ironically, I found myself far more invested in the supporting cast. The villain's relationship carried far more emotional weight than the central romance. Li Fei Bai, Han Ming Xei, the Cangbei princess, the Emperor, and the Dowager Empress all had stronger screen presence and were simply more engaging to watch.

Given that Bai Lu and Cheng Lei are both highly sought-after actors known for their performances, I expected much more. Instead, The First Jasmine ended up being one of the biggest disappointments I've watched this year.

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Top notch performances from the leads

8 episodes and I am totally reeled in. It was hard watching the youngsters surviving on their own amidst scraps and recycling, but the acting was top notched. The vulnerability, giving all to protect despite having so little, was heart tugging. My fav drama from SWL so far and ZJY nailed the young Miao Jing. She is fast cementing her place as one of my fav female actresses, one that speaks so much with her eyes.

Not your sweet, lovey romance drama (although the chemistry is palpable). I fear there's more angst from external factors to come but I imagine life is hard for many out there.

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2 MOONS - REVIEW

Story: The story primarily revolves around the slow-burn romance between Phana and Wayo, but I found it too one-dimensional to remain engaging throughout the series. While their relationship was sweet, it wasn't compelling enough to carry the entire narrative on its own. What disappointed me the most was how underutilized the other couples were. Ming and Kit had noticeably stronger chemistry and a more intriguing dynamic, yet their relationship received very limited development. Even more frustrating was Forth and Beam, whose storyline was practically nonexistent despite showing enough potential to become one of the series' highlights. Overall, the series had promising supporting characters and couples, but its heavy focus on Phana and Wayo prevented the story from reaching its full potential.

By the time the series ended, it felt less like a complete story and more like an introduction to the characters. Several relationships were only beginning to develop, important character arcs remained unresolved, and the supporting couples were left without satisfying progression. Instead of delivering a fulfilling conclusion, the ending gave the impression that the real story was only about to begin. While this may have been intended to pave the way for a continuation, it left the first season feeling incomplete on its own. Overall, 2 Moons had enough charm and potential to be enjoyable, but its narrow focus on the main couple and its failure to fully develop the rest of the cast prevented the story from reaching the emotional payoff it was building toward. Rather than feeling like a self-contained season, it ultimately felt like a prologue that ended just as things were becoming interesting.

Acting/Cast: The casting was a mixed bag. As the main couple, God Itthipat and Bas Suradet carried the majority of the series, but their on-screen chemistry never fully convinced me. Many of their romantic moments felt more rehearsed than natural, making it difficult to become emotionally invested in Phana and Wayo's relationship. There were even scenes—particularly some of their kisses—that lacked the emotional tension and authenticity needed to make them engaging, to the point where I found myself skipping them during my rewatch.

In contrast, Kimmon Warodom and Copter Panuwat completely stole the spotlight as Ming and Kit. Despite having significantly less screen time, they delivered the strongest chemistry in the series. Their interactions felt effortless, playful, and believable, making every scene they shared memorable. They brought personality and charm to their characters, leaving a much stronger impression than the lead couple and making me wish the series had devoted more time to developing their relationship.

Looking back, my overall impression of the lead pairing was also affected by the events following the series, particularly comments made by God Itthipat about the BL genre. While those remarks don't change his performance on screen, they did lessen my appreciation of the pairing in retrospect. Overall, the supporting cast—especially Kimmon and Copter—was the strongest aspect of the series and ultimately elevated the acting more than the main leads did.

Music: The soundtrack did its job of complementing the romantic atmosphere of the series, but it wasn't particularly memorable overall. Most of the background music blended into the scenes without leaving a lasting impression, making it difficult to recall any specific tracks after finishing the drama.

The one musical moment that truly stood out was Bas Suradet's performance during the Moon Competition. His vocals were heartfelt, soothing, and emotionally fitting for the scene, making it one of the most memorable highlights of the series. Another moment that benefited from its musical accompaniment was the scene where Ming and Kit were bickering outside after Ming's awkward and unsuccessful attempt to flirt with his "KitKat." The combination of their playful chemistry and the background score made the scene charming and enjoyable to watch.

Aside from those moments, however, the soundtrack remained fairly subdued and lacked standout themes that could instantly remind me of the series. While the music never distracted from the story, it also didn't elevate many of the emotional or romantic scenes. Overall, the soundtrack was pleasant and serviceable, but it lacked the distinctiveness needed to leave a lasting impact.

Rewatch Value: The rewatch value is surprisingly high for me, but not because of the series as a whole. To this day, I still find myself revisiting Ming and Kit's scenes, as they remain the undeniable highlight of 2 Moons. Despite their limited screen time, Kimmon and Copter delivered the strongest chemistry in the series, making every interaction between Ming and Kit feel natural, entertaining, and emotionally engaging.

Their relationship had the perfect balance of playful banter, heartfelt moments, and gradual romantic development, making it easy to become invested in their story. Whether it was Ming's relentless attempts to win over his "KitKat" or their humorous bickering that slowly evolved into genuine affection, their scenes consistently left a lasting impression and never lost their charm, even after multiple rewatches.

Unfortunately, I can't say the same for the rest of the series. The main storyline lacked enough emotional impact for me to revisit it in its entirety, and I often find myself skipping directly to MingKit's scenes instead. Their chemistry and charisma carried much of my enjoyment of the show, and without them, I don't think I would have returned to 2 Moons nearly as often. While the series itself isn't one I regularly rewatch from beginning to end, Ming and Kit's storyline alone is more than enough reason for me to keep coming back.

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Has GMMTV’s GL Series Entered Its Dark Age?

Good Points:

Jan and JingJing’s acting was absolutely wonderful.

Jan delivered a stable yet consistently high-level performance, and JingJing’s explosive acting power was genuinely impressive.

Bad Points:

(Structure)

First of all, the structure was just terrible.

Why did they bring in Wine’s past trauma, which should have been one of the most important parts of the story, in the latter half of the series?

That kind of thing should normally be shown early in the story — in the case of Enemies With Benefits, around Episodes 1 to 4. From there, the story should have shown Wine overcoming that trauma through her relationship with Lal, and then, in the final arc, brought back the source of that trauma as the ultimate test she had to confront.

But in reality, every bit of character depth came too late. By the time they finally started digging into Lal and Wine, I had already lost interest in them, and I was bored with the story itself.

That is what makes it so frustrating. Lal and Wine had enough potential for me to like them, so it feels like such a waste.

(Too Many Unnecessary Elements)

First of all, the side-couple storyline was completely unnecessary.

Lal and Wine were already underwritten, and yet the show threw in even more romantic elements for the side characters in the second half. At that point, it was nothing but noise.

Tangkwa should have been a character who represented the beliefs that Wine could not directly express to Lal. She should have been used to give Wine more depth, showing why she respects Wine and what Wine means to the people around her.

Proud, meanwhile, could have been a tricky character who enters the story midway through, but is also serious and sincere about her work — someone who occasionally shakes up Lal and Wine’s relationship as a counterbalance.

In the early stage of GMMTV’s GL series, there have been successful side couples in works like 23.5, Us, and Whale Store xoxo. But in Enemies With Benefits, whether because GMMTV’s GL series has entered a mass-production phase or not, the side-couple elements ended up feeling extremely sloppy and unnecessary.

(The Setting Is Too Weak)

This series sometimes tries too hard to create tension around the idea that “it would be bad if people at work found out about them.”

But honestly, all I could think was: “Would it really be that bad if they found out?”

The reason is simple: the story never properly shows the threat or background behind what would happen if they were exposed.

If they really wanted to make the idea of being found out feel dangerous, they should have shown something in Episode 1, like Lal witnessing two employees in a relationship being forced out of the company. That would have made her think, “This company is dangerous. We absolutely cannot get caught.”

But the atmosphere in the workplace is actually pretty light. It feels like everyone would probably accept them anyway, so there is no real sense of tension.

Far from feeling like a threat, the employees in Sales and Accounting actually seem to want Lal and Wine to get along.

It is also a waste that the employees in Sales and Accounting mostly become background characters or comic relief. They should have been important supporting characters who helped explain why Lal and Wine are respected, and why their different versions of “being right” clash with each other.

Instead, they simply ended up as comedy devices.

As for Lal and Wine themselves, they were extremely hostile toward each other from the beginning to the middle of Episode 1. But after sleeping together under the influence of alcohol, the very next day, the distance between them suddenly shrinks as if all that hostility had never existed. Then one of them suddenly asks the other to become friends with benefits.

That was way too abrupt.

The show should have carefully portrayed the process of them gradually getting closer. If it had done that, it could have created the kind of painful, frustrating tension where they have physically crossed the line, but they are not lovers, and their emotional distance is still nowhere near as close as their bodies have become.

That is what the story should have shown.

(Conclusion)

Lately, I have been nothing but disappointed in GMMTV’s GL series.

From 23.5 to Whale Store xoxo, they were releasing one god-tier work after another. But from Girl Rules onward, everything suddenly turned to crap.

They do not need to make multiple series at once. I want them to carefully create one high-quality drama at a time.

Laying down a production line and mass-producing GL series like a factory is not the answer.

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