Reviews

SO Good, Lots of Ups and Downs and Tears

This show was so good, it had me crying, angry, happy, blushing, and frustrated. The chemistry of the two couples was absolutely amazing, and I wish we can see more of each pair in the future.

This series felt so real to me. No character was perfect, and everyone had their flaws (except Qin Lang). Every character had to make hard choices that they had to live with and suffere the consequences of them. Lu Feng and Xiao Chen had such a long, sad, and complicated story. it showed how no romantic love is perfect and the sometimes other types of love (familial, brotherly) can cause harm instead of being a caring support. Both of them had horrible parents who only saw themselves and basically shamed their children until their dying breath.

Each character had their wrongs. Yi Chen fought for his brother and against Lu Feng with the right intentions, but he didn’t always see was Xiao Chen wanted or how much Lu Fend changed and was sorry for what happened. Yi Chen loves his older brother so much that he did what he thought was best. Xiao Chen had to make impossible decisions that no one should have to make or be in the position to make. Having to chose between his family’s love and Lu Feng, have to choose to fulfill his mother’s dying demand. No matter how horrible she was, Xiao Chen loved her and wanted to make her happy. In that moment his love for his mother won against Lu Feng, but his love for Lu Feng would eventually prevail. Qin Lang’s love for Yi Chen made him compliant and submissive to Yi Chen’s anger and dislike towards Lu Feng, which only ended up hurting everyone more, but he also did what he thought was best, letting his love lead his way. Lu Feng, no matter how much of a black or red flag he was suffered as much or just as much as Xiao Chen. Lu Feng loved Xiao Chen more than anything in the world, more than his career, his future, his father, his sister, and his family, and more than any obstacle that was in their way. Lu Feng always knew what he wanted, a whole life with the love of his life, but Xiao Chen, who did also want that, sometimes had to choose his love for something else over Lu Feng, making them both suffer. Xiao Chen wasn’t wrong for his choice, but they both lived with the consequences of their choices and eventually chose to forgive each other and get the help they needed to repair their trauma, love each other, and learn how to be in a relationship again, given their harsh and traumatic past.

NO character (of the main 4) was right or wrong in every decision they made, but they all did it because of love. Love made them all crazy for a decade, but love is also the reason they all healed in the end. This was a beautiful story, however traumatic and painful, it showed how love hurts, but prevails.

I wil miss watching them every Saturday :(

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It was cozy yet dreary at the same time

Out of all the installments in the Fourever You series, this was my most anticipated one. Considering how little screen time Suer and Duennao had in the previous installments, it was enough to make me crave a full series centered around them.

Their chemistry was already established, so everything depended on the execution and the story’s foundation to create another memorable project. While the sequel delivered on some aspects, it also came with several flaws that were difficult to overlook.

The Pros:

First, the cliche storyline was executed surprisingly well. Most of the scenes were predictable, but I still found myself invested in them. The casting of the twins was excellent, as the actors genuinely looked alike, making the dynamic much more believable.

I also enjoyed watching the main couple’s everyday school life and their individual family struggles. Duen is blessed with a loving mother and a supportive brother, while Suer comes from a much more complicated background. He constantly clashes with his tsundere older brother and has to deal with a father whose toxic masculinity is reinforced by his position as the head of their gang.

I don’t know why, but I always enjoy jealousy scenes. They add an extra layer of spice to the couple’s chemistry, and seeing Suer get jealous was incredibly cute. Although their relationship took a long time to be officially defined, I loved the sense of comfort and familiarity that existed between them from the very first EPs.

The Cons:

The biggest issue for me was the acting, particularly from the supporting cast. It is such a crucial element, and I hate it when a character isn’t portrayed convincingly, which is exactly how I felt about Suer’s older brother. His performance lacked authenticity and emotional depth, and at times it felt like he needed more acting training.

I also noticed a lack of emotional engagement from the main couple’s friends, including the twin brother. Whenever they weren’t speaking, they often appeared stagnant, as if they were simply waiting for their next line. Unfortunately, the main couple isn’t completely exempt from this criticism. There were scenes where it felt like they were merely reciting dialogue rather than genuinely embodying their characters.

The Pacing:

This is very much a slow-burn romance. The first six EPs are dedicated to Suer’s melancholic longing as he admires Nao from afar. Then the final two EPs rush through most of the romantic payoff, from their transition into a confession to becoming an official one.

Don’t get me wrong, I enjoyed the story and had no issue with the slow-burn approach itself. However, I couldn’t help but feel that we need more scenes after they officially got together. A couple of moments would have significantly increased the enjoyment factor and made the emotional payoff more rewarding.

Final Thoughts:

Winter serves as an effective metaphor for Suer’s six years of patience before finally confessing to Dao. He endured the emotional coldness of one-sided love and uncertainty for years, waiting for the right moment. In a way, the cold never really bothered him.

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My wuv for you grows every single daaaaaaaay!

I was curious about the live action of My Dress-Up Darling. It's decent.

It only has ten episodes with a run time of 24 minutes each. In other words, it has fewer episodes than a typical cour of an anime. Yet, surprisingly, it also covers events in the anime's second season. Despite this, it doesn't feel rushed, nor does it feel that something is missing.

The live-action format clearly shows that a gyaru doesn't look anything close to a white woman. Consequently, a real-life gyaru looks and seems a bit less attractive. That seems to be the case with Nagase Riko, who plays as Marin. To be fair, she captures Marin's personality well.

The live-action format is also better when showing cosplay. In anime, they don't really stand out. In here, they look otherworldly.

Personally, what I love seeing in this adaptation is how the actresses who play the sisters, Juju and Shinju, look gorgeous.

Anyway, as already mentioned, this adaptation mostly covers the anime's first season but also includes some events in Season 2. This is great because it shows the themes of both anime seasons. Season 1 shows the drive and discipline to pursue a passion; on the other hand, Season 2 shows that some people will accept you no matter what your interests are.

The bottom line? This is a solid adaptation of My Dress-Up Darling.

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Recommended for those looking for something easy-watching, heartwarming, and features a child.

I was particularly interested in the episodes featuring Youyou, the lead couple's son. I think he is so smart and really ties the story together, making it much more enjoyable. It honestly feels like without him, the plot wouldn't have progressed at all because of how the male and female leads suddenly stopped communicating. It’s quite baffling because they used to talk and express themselves so much before. But once they had a child—a situation where things should be clear—they became hesitant and kept holding back. It’s almost funny.

Looking at it from the male lead's perspective, it feels like he is hated for no good reason. I don't understand why there is so much resentment to the point of keeping his own child from knowing he is the father. It’s just too cruel. If I were him, I would feel deeply hurt and resentful. But he doesn't hold a grudge at all; he is just heartbroken about being abandoned, yet he forgives her easily because he admits himself that he can never be firm or strict with her.

Nevertheless, we can still feel and see that both of them genuinely care for one another and aren't being selfish—that’s the charming part. Another great thing about this show is the complete absence of any violence in words, thoughts, or actions. It is truly heartwarming.

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Much better than part 1...

While "New" often directs the actors as childish and cringe (Earth has to be played as a toddler), "New" was this time in the second row just producing and executive producing. The new director did tune down the childish and cringe behaviours of the direction but there is still some unnecessary childish stuff left including the stupid sound effects.

What me irked the most are the inconsistencies between season 1 and season 2. Johann bought a café in season 1 but it was not seen in season 2 at all - why is that? Of course we also did not see the bar which was also bought by Johann. This does not make much sense without any explaination. I have no idea if the novels have the same inconsistencies but for me it breaks the whole story arc. You may say it's nitpicking but for me it's a huge deal. The series does not feel in the same universe anymore.

They also broke with the story telling. In Part 1 all four couples were intertwined which made the story more dynamic. The forth couple in this case were Tonfah & Typhoon, not prominently featured but we knew there was something wrong, but we couldn't put a finger on it, till it was revealed in Part 2. But this interactions between all the couples is missed often in the last two parts. For themselves the parts with Arthit & Daotok and Suea & Dueannao are good, but they don't feel natural in the grand picture of the whole series.

The whole production was not thought through. Either tell the story in parts per couple or tell them together. The mish-mash did not help the series at all. It may be easier to follow but I don't feel a production should make it easy for the viewer. If you can't keep up with a story when it involves more than two people you need to concentrate more and such series always have a "previously" part, because that's what the US series did, because they can't be bothered to remember. For me it's a timewaster, I know what happened a week before and I don't want to know what will happen next week. For this series "Suea & Dueannao" should have been the beginning of Part 1 with their school time and then we could have had Hill & Ter and Johann & North. The Suea & Duennao arc could have been sprinkled in the Tonfah & Typhoon and Arthit & Daotok arc. But of course what do I know about story telling? 🤣

So overall even with all the problems it was a "good" show. It was not stellar, but it was entertaining for the most part. Arthit & Daotok did give us something different alone from the beginning but had flaws executing the story till the end and nobody liked Arthit turning into a red flag for two episodes. Tonfah & Typhoon was cuteness overload with a basic evil dad background. Thai scriptwriters always have a problem to alter the original work to make it better than the original. That is a strength of many JBLs where a medicore manga is turned into something different, for example "Our Youth" where 50% of the original was scrubbed and 50% was newly written for the series. But I suppose we can't have it all. Lazyness trumps the thai screenwriters and fangirls (and fanboys) don't care about the story anyways as we can see with all the 10 reviews here on MDL.

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Yearner final boss

This is probably the only fourever series for which I hadn't read the novel so my review is solely based on the series. I absolutely loved the fluff overload and yearning I got with this one🤭🤭. At first I was like why are we even getting this when we saw their story in season 1 but when I watched it I was like "totally worth it". I really loved all the couples. The mafia brothers kinda reminded me of our Arseni brothers with the downbadism. I really wanted to see more of SinghaBen but i get it for 8 episodes and 3 other couples they did what they could.

The only sad thing for me was that FieldDan didn't get a happy ending. That man liked Dan wayy before Tiger liked Nao so I kinda feel he deserved a happy ending. Anyways enjoyed it and will miss our doc and princess gang

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Storyline had potential, wasted on bad script and acting

This is my first review so please forgive any mistakes. I have been watching BL for about 8 years now and I was so sad to see this series wasted. It had so much potential.

The Good:
The beginning was good for the most part. It opened on the seven bodies tree murder, which was done very well. The realism of the bodies and the scariness and the horror were all there. The ghost makeup and acting was so good too. I had to close my eyes a few times throughout this show because it was that good. I liked the lore behind the killings (for the beginning at least), but at some point, it felt like they kept dragging it out.

The actor of Bom, the crazy killer son, did a wonderful job. His psychoticness, craziness, and his urge to kill were all acted out with great skill. HIs plot twist was one of the good surprises in this show. I never saw this twist coming and I was very surprised by how well he acted.

Now onto the Bad:
I’m sorry (not really), but Pooh cannot act, and for the life of me I can’t see their chemistry they used to have in Pitbabe 1. Whenever I see him on the screen and tries to act, it just cringes me out. He always has like this submissive soft voice thing going on and it just doesn’t hit right. He always plays a timid character who tries to act strong but really isn’t. This role felt similar to Charlie from Pitbabe, the damsel in distress, who can’t do anything without a protector. His acting comes off emotionless and flat. I do wish that Pavel had a better partner who can act alongside him (please don’t hate me). Pavel did get better after Pitbabe, but Pooh for some reason just got worse. I hate his character and how he portrayed him, but I do understand that part of it was the script.

If you watched this show or want to watch this show because of the police aspect, DO NOT, the police work in this show is horrendous. First off, when cops find someone, actually the only person at the crimes scene covered in blood, you should arrest them, not fall in love with them. I don’t like how the two main leads started their relationship, it was so unprofessional that I struggled to watch their romance. I wish this show focused more on the horror, police work, and the murders, but whenever something important happens: they catch the killer, find important info, they always have to kiss, hug, or be intimate in the wrong times, which leads to more problems. Also where are the handcuffs in this show???? Dozens of cops, no handcuffs for criminals in sight??? They don’t ask the basic questions, nor do they clarify what the characters are actually doing. Like when they first discovered the bodies, it was obvious it was a ritualistic killing so why didn’t they ask: What is the ritual? Why are seven bodies needed? Why are the eyes and mouth sown shut? How are the victims related? In what order were they killed? Why did that matter? Where were the bodies kept if they were each killed one day apart for a week? Like all of these questions would have gotten them to the killer if they just actually did the work. Like I get that they wanted some of these to be surprise factors later in the story, but they were such obvious questions anyone would be asking at first, not just dismissing everything.

I do not like how they introduced Pooh and Pavel’s character’s. I wished they made Pooh’s character become some sort of ghost hunter or something, then you could have them meet at the scene, both strong independent characters who both want the same thing, to catch the killer and solve the case, but each does it differently. Pooh’s character through his knowledge of folklore and the supernatural and Pavel’s character through police work, but nope, they did this weird unprofessional cop/witness/suspect thing.

The whole rivalry between King and Sing was stupid. Horribled explained and showed how unprofessionally both characters were. Foced more on hating each other and taking the other one down instead of solving the case. Like the second they got this case, they fought each other and King and his father just focused on planting evidence to close the case, with like zero investigation or time put into the case. Like WTF??? seriously, like I get the corrupt police aspect they tried to do, but it was entirely missed. It would have made more sense if the killer was King’s father who was trying to save himself and King from the curse and that is the reason why King’s father needed to plant evidence and close the case fast, but nope, they dropped the ball on that one too.

This series had the potential to be one of the best, but sadly, Change failed. The weak non-existent police work, Pooh’s ‘acting’, the unnecessary rivalry, and the bad execution of the story and ending. All the horror and extremely good makeup lost.

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Much better than part 1...

While "New" often directs the actors as childish and cringe (Earth has to be played as a toddler), "New" was this time in the second row just producing and executive producing. The new director did tune down the childish and cringe behaviours of the direction but there is still some unnecessary childish stuff left including the stupid sound effects.

What me irked the most are the inconsistencies between season 1 and season 2. Johann bought a café in season 1 but it was not seen in season 2 at all - why is that? Of course we also did not see the bar which was also bought by Johann. This does not make much sense without any explaination. I have no idea if the novels have the same inconsistencies but for me it breaks the whole story arc. You may say it's nitpicking but for me it's a huge deal. The series does not feel in the same universe anymore.

They also broke with the story telling. In Part 1 all four couples were intertwined which made the story more dynamic. The forth couple in this case were Tonfah & Typhoon, not prominently featured but we knew there was something wrong, but we couldn't put a finger on it, till it was revealed in Part 2. But this interactions between all the couples is missed often in the last two parts. For themselves the parts with Arthit & Daotok and Suea & Dueannao are good, but they don't feel natural in the grand picture of the whole series.

The whole production was not thought through. Either tell the story in parts per couple or tell them together. The mish-mash did not help the series at all. It may be easier to follow but I don't feel a production should make it easy for the viewer. If you can't keep up with a story when it involves more than two people you need to concentrate more and such series always have a "previously" part, because that's what the US series did, because they can't be bothered to remember. For me it's a timewaster, I know what happened a week before and I don't want to know what will happen next week. For this series "Suea & Dueannao" should have been the beginning of Part 1 with their school time and then we could have had Hill & Ter and Johann & North. The Suea & Duennao arc could have been sprinkled in the Tonfah & Typhoon and Arthit & Daotok arc. But of course what do I know about story telling? 🤣

So overall even with all the problems it was a "good" show. It was not stellar, but it was entertaining for the most part. Arthit & Daotok did give us something different alone from the beginning but had flaws executing the story till the end and nobody liked Arthit turning into a red flag for two episodes. Tonfah & Typhoon was cuteness overload with a basic evil dad background. Thai scriptwriters always have a problem to alter the original work to make it better than the original. That is a strength of many JBLs where a medicore manga is turned into something different, for example "Our Youth" where 50% of the original was scrubbed and 50% was newly written for the series. But I suppose we can't have it all. Lazyness trumps the thai screenwriters and fangirls (and fanboys) don't care about the story anyways as we can see with all the 10 reviews here on MDL.

Ah, uncut and cut are two pages, so automatically deduction of 1.0 for the cut one. You never ever should watch it!

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Once you start you won't be able to stop~

Let me begin by saying that I really did not like season 1 of Fourever You, I rated it 7 stars and that was being generous. Season 2 though, ooh this season was a whole different ballgame.

Beside the Sky (eps 1-8) was an absolutely devastating story to watch unfold. Completely gut-wrenching, the actors (especially Tonliew) did such an amazing job. If you like heartbreak and family drama this one is for you. The way Typhoon's depression is depicted here and the abusive relationship he has with his father and how that affected his mental health is so well done, the writing team did a really great job while handling such a sensitive topic.

The Sun From Another Star (eps 9-16) while, having it's serious moments, was more light hearted. Honestly the ghosts were a great subplot. I wish there'd been more ghost shenanigans throughout the story, but once the initial ghost subplot is wrapped up and the romance plot begins the ghosts become a nonexistent footnote. I really enjoyed all the characters in this story though, the dads were fun and Arthit and Dao's relationship building was great to watch. I don't typically go for hate to love plotlines, but Arthit grows on you like mold and you can't help but fall in love with his stupid antics.

Winter Season (eps 17-24) was the story I was looking forward to most. I really like tsundere characters, so Tiger being a mafia boss son and also a giant sweetheart immediately grabbed my attention. I won't say I was disappointed, the story had it's highs and lows. The romance plot completely overshadowed the mafia subplot though to the point where anytime the mafia stuff came up it felt completely out of place. That being said though, the romance plot was an absolute delight. I really wish this story had more episodes, I feel like it would've benefited a lot if it'd been twelve episodes long instead of eight to help fully bring the mafia subplot to life. I still enjoyed the story though and I enjoyed how much care was put into Tiger and Nao's relationship.

General info for anyone wanting to know:
• Are the stories overlapping? No, not really. Some of the characters show up in other stories, but you don't have to watch one story to understand another and you don't have to watch them in order. They're all meant to be stand alone stories, just set in the same universe. You might consider watching a few episodes of season 1 just for context of the side characters, but other than that watch however you want.
• Is the series spicy/nsfw? Not even a little bit. It's mega fluff! Hugs, hand holding, cuddling in bed, forehead kisses, and all the cute stuff. All the intimate scenes are a pan away, fade to black type scenes.
• Are the books worth reading? Yes! The series follows the books very well, it's a near perfect adaptation. I've read Another Star and am almost done with Beside the Sky and I'm definitely planning on reading Winter Season next. If you can find a translation in your preferred language I would definitely recommend giving them a read.

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A Button Worth a Treasure

At the turn of the 1990s and the new millennium, South Korea was still coming to terms with the aftermath of the Asian financial crisis. Against a backdrop of economic uncertainty and profound social change, works such as “Tomato” offered the public something precious: not an escape from reality, but a reassuring confirmation that hard work, honesty and perseverance could still be rewarded.

Through a modern fairy-tale structure, the drama constructs a narrative universe in which injustices are gradually rectified, love overcomes social barriers, and even the most bitter conflicts find a possible reconciliation.

The whole story unfolds within a narrative framework that is surprisingly modern for its time, managing to go beyond what might be a predictable or seemingly conservative portrayal. "Tomato" constructs a world that is strongly centred on female characters, who are free to take on leading decision-making and professional roles without being reduced to mere stereotypes.

A telling example is the comparison between the two female CEOs of rival companies (Park Woon Sook and Jang Jung Hee, absolutely priceless in their roles)– influential and determined leaders who drive the narrative just as much as the younger protagonists, helping to paint a picture in which economic and entrepreneurial power is predominantly in female hands.

Similarly, the protagonist Han-yi (Kim Hee Soon, stunning and perfectly cast in her characterisation) is not merely the classic romantic heroine. Whilst she may bring to mind certain characteristics of a modern-day ‘Cinderella’, the character stands out above all for her work ethic, her perseverance and a moral integrity that never translates into passivity.
The successes she achieves throughout the story are not gifted to her by fate or through the intervention of saviour-like figures: rather, they are the result of experience, sacrifice and professional growth, in a narrative that ultimately rewards merit just as much as it does emotions.

In this sense, the drama seems to reflect a cultural climate in which individual commitment, integrity and the ability to bounce back from adversity continue to represent core values, offering the audience an optimistic yet not entirely naïve narrative about the possibilities of personal redemption.

The beating heart of “Tomato” lies above all in the interaction between four complementary characters, who together define the story’s virtues, limitations and contradictions. Whilst Han-yi embodies instinctive honesty and the perseverance honed through hard work, the young and brilliant lawyer Seung-jun (Kim Suk Hoon, with an image of the perfect, well-behaved lad that couldn’t be more genuine) serves as her natural male counterpart, driven by a deep sense of justice and an almost disarming trust in others.

Far removed from contemporary stereotypes linked to unbridled ambition, money or tormenting personal traumas – which, in his case, are limited to a difficult relationship with his mother, the energetic Chairwoman of Hyesung – Seung-jun embodies an almost reassuring figure, the classic ‘boy next door’ who is always willing to help others, including through his professional commitment and numerous pro bono causes. It is, however, his very trust that ultimately leaves him vulnerable to a long series of misunderstandings and manipulations that affect his romantic life.

In stark contrast stands Se-ra (Kim Ji Young, perfectly suited to the job), an antagonist modelled on an almost ‘classic’ conception of the melodramatic villain. Driven by ambition, resentment and a desire for social recognition, the young woman does not act out of necessity or trauma, but out of a clear determination to secure a position she believes is rightfully hers. Her constant scheming fuels much of the series’ conflict, yet the character never loses that almost archetypal quality that makes her instantly recognisable to the viewer.

Rounding out the picture is Cha Ki Jun (Kim Sang Joon, a decidedly enigmatic character), arguably the most multifaceted figure in the entire narrative. In love with Se-ra yet fully aware of her true nature, a loyal executive at Hyesung yet capable of navigating with remarkable skill through strategies, omissions and subtle psychological manoeuvres, the character gradually becomes the main driving force behind the events. Ambiguous without ever truly becoming villainous, Ki Jun observes and influences the events from a privileged position, often assuming the role of the story’s true deus ex machina.

Adding to the mix are the two female chairwomen of the rival companies, figures who help to give the drama a surprising focus on women. Seong Young-sook, at the helm of Hyesung Shoes, embodies a rigorous, almost military style of leadership: short hair, rather masculine clothing and an unyielding character that leads her to judge colleagues and family members according to criteria of discipline and efficiency.

On the opposite side is Na Hye-yeon, chairwoman of Terra Shoes, a woman who is equally determined but characterised by a greater sense of humour and a sharp wit that animates much of her exchanges with her long-standing rival. The verbal sparring between the two provides some of the series’ most entertaining moments, whilst at the same time helping to define a context in which economic and decision-making power lies firmly in the hands of women.

Although caught up against their will in the web of misunderstandings and manipulation orchestrated by Se-ra, both women end up embodying another central theme of the classic melodrama: the conflict between social status and personal feelings. In particular, Young-sook views the relationship between her son Seung-jun and Han-yi with growing suspicion, perceiving her as a girl lacking the appropriate social standing to join her family.

It is a dynamic that echoes the traditional class conflicts typical of the genre, though it never develops into an absolute dichotomy, leaving room instead for a gradual evolution of their relationships and mutual perceptions.

Less prominent, but just as entertaining, are the characters of Yun-ah (Kim Yu-ri, utterly adorable and deliberately naive), Han-yi’s best friend, an aspiring singer and the unwitting catalyst for the chain of events that will unfold in the drama, and Yoon Ho Tae (Kim Jin, decidedly comical), Se-ra’s brother, a likeable layabout with managerial ambitions that are always doomed to failure.

Viewed today, “Tomato” is also striking for its numerous narrative and iconographic elements that would become familiar to drama enthusiasts in the years that followed. The forced cohabitation of the protagonists – set, moreover, in a characteristic rooftop house – foreshadows dynamics that would later be developed and made famous by works such as “Full House” or “Attic Cat”; likewise, dates at the amusement park, bike rides, encounters in the rain sheltered by a yellow umbrella, the glass slipper – very Disney-esque – and a long series of romantic misunderstandings all help to shape a visual world that would become an integral part of the romantic language of Korean television.

Alongside these more recognisable elements, the drama demonstrates a particular sensitivity in its use of small, recurring objects and symbols. The tomato seedlings that grow alongside the protagonists metaphorically accompany the evolution of their relationship, whilst a simple button picked up by Han-yi after she rescued Seung-jun gradually becomes an emotional memento capable of holding memories, feelings and truths that have long remained hidden. It is a narrative that attaches great importance to small gestures, everyday acts of kindness and seemingly insignificant objects, recognising in them an evocative power that is often greater than that of words.

Maybe the most authentic aspect of the work is revealed in this constant attention to detail: an almost disarming faith in people’s ability to recognise, understand and reconnect with one another despite mistakes, social differences and misunderstandings. A sincere optimism that permeates the entire series and which, even today, helps to make it a small but significant testament to the early days of the Hallyu wave.

In keeping with the tone that runs through the entire narrative, the ending too eschews overly punitive or melodramatic resolutions, opting instead for a conclusion centred on reconciliation and personal growth. The protagonists are naturally rewarded for their perseverance, but the drama takes great care to avoid turning the antagonists into mere scapegoats. Se-ra, after her manipulations have gradually been exposed, is neither destroyed nor unduly humiliated; on the contrary, she is given the chance to reflect on her choices and embark on a new path alongside Ki Jun, the only character who has truly understood her limitations and fragility without ever idealising her.

Adults, too, are called upon to re-examine their own beliefs. The two mothers, who for a long time were intent on projecting their personal ambitions and corporate logic onto their children’s lives, eventually come to accept their children’s independence and freedom of choice, gradually stepping away from the role of obstacle that traditional melodrama would have assigned them. What emerges is a sort of ensemble parable in which each character, in their own way, is called upon to confront their mistakes, prejudices and expectations, ultimately finding a form of balance.

It is a conclusion that prioritises understanding over punishment, maturity over revenge, and hope over resentment; a choice that may be predictable, but one that is perfectly consistent with the spirit of a series which, from start to finish, has made optimism and faith in people its defining feature.

7/10

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By far the weakest arc!

This had so much potential, but as usual with thai shows, they just botched it. This arc had it especially not easy, because it was the last, but we saw so much of it in Part 1. When you know you will film all arcs of the novel, you should have started with THIS arc. Why? Because it starts at highschool and then fades into university. So the first 5 episodes don't belong into Part 2, they should have been in Part 1 at the beginning. Yes we would have been left hanging but it would have made much more sense.

Instead we get a time jump of three years in this arc which feels strange. And it just happens by accident that Mr. Mafia Boy confesses and that at the end of episode 6. They had the mafia subplot and Mr. Mafia boy did kill someone - no consequences - because it's Mafia I suppose. His then not boyfriend did not ask and Mr. Mafia Boy did not explain. Also no real explaination what the family really did, besides having a 08/15 cartoonish evil dad who had the decency to die without fuzz before causing more problems. As usual we have a not really gay but gay brother who is the same as Mr. Mafia Boy and then we have even one more couple which has not much screen time at all and they should have because the main story dragged on for too long.

They could have done something more with the mafia arc, but no. I have no clue if the novel is more exciting but this was not it. The order was wrong, the interactions with North & Johann are too short, Easter and Hill were not seen at all.

So for a standalone it was ok, but for the big picture of both season this arc did not work well. The actors were good for the most parts, the production was on a high level but the story is missing the kick to make it exciting.

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Not a school drama or a romance story

Plot: Contrary to the pictures and preview, this drama is about generational drama. It is about how terrible family members can be. Basically, every adult in this movie is toxic and don't deserve to be raising kids. They run through life with hypocrisy and hurting everyone around them. The parents absolutely suck and there is no redemption arc for them. The extended family is absolute bonkers. FL just needs to cut them all out of her life and never look back, which she doesn't which teaches you to accept toxic people in your life.

Romance: I can't say there was any romance in this. The ML was just playing the role of white knight saving the damsel in distress. While the FL was running around saying hurtful things to him. He needs to move on and never look back as well.

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