Story: I am happy that finally that an LGBTQ film/short didn't feature hot studs or even unattractive but fit/skinny males who seem to get more action than the ones who tip the scale.

We can see that the MC is trying to put himself out there, trying to overcome his shyness by going to the pool and giving himself opportunities to get closer to his object of affection but sadly, most of us are all creatures who look towards physical appearances first before delving deep into the person behind it, even the MC is not exempt to this rule.

But towards the end, MC realizes that he can't force attraction that isn't mutual.

Acting: Average

Music: Nothing worth noting.

Rewatch value: Not really. Once is enough as it hit too close to home for me.

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First off, I don't like the ghost character. What was making me just watch this drama was Park Bo Young and even she could not save the drama for me. Secondly, I do not know whether the male lead fell in love with the female lead because of the ghost possessing her body or if he actually fell for her personality (which was not much to begin with). Even though she admired the chef even before she worked for him, her personality is a as dull as the floor of my kitchen. I finally had to drop it because I wasn't sure where the drama was going although I can already predict that it will just end happily with a pretty bow in the end.

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How to rate a drama where the first part had me at the edge of my seat, while the second part almost lulled me to sleep? Hence my dilemma with Alchemy of Souls. I wasn’t sure where part two went wrong, or was it because part one was so amazing, it was hard to replicate the same excitement when I watched it?

The bad of Part 2:

- Though the leads are physically attractive, Jang Uk and Bu Yeon didn’t have the same spark as Jang Uk and Mu Deok.

- The pacing in this one dragged endlessly despite its short length. They spent more time wallowing than fighting.

- All this soul-shifting back and forth, like jumping from one body to the next, that defies the laws of fictional logic? How can the drama just explain away why in this instance, it’s okay to shift, but in that instance it’s not? I can’t keep up anymore with whose body belongs to which soul and whose soul is now inside which body.

- As for the secondary characters, it looked like everyone was just there for the sake of being there and going through the motions. You know which character that caught my interest? The god-damn turtle!

- And all the reminiscing. What’s the point? Am I supposed to believe that Jang Uk grew fond of Bu Yeon, because she’s Bu Yeon, or because she exhibits Naksu’s mannerisms and thoughts?

Part 2 Verdict: A shadow of Part 1. (8 out of 10)

Combined score: 9 out of 10.

Overall impression: Should have stopped at Part 1.

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This easily shot to the top of my favorite modern Chinese drama list, with my favorite actress in tow. Zhao Lu Si is nothing short of amazing in this romance where her character is crushing hard on her brother's best friend. If it were anybody else, the FL will probably come across as clingy and annoying, but she just does it with the right amount of sass.

First time encountering Chen Zhe Yuan in a drama but he's not too shabby himself as the doting big-bro type who is totally clueless in the love department despite his handsome looks since he's pretty focused on working to clear his father's debts. Of course, the difference in age while one is still a minor in itself is a tricky situation, when treated the wrong way. But we learn that Jia Xu does not even express any romantic interest in Sang Zhi until much later when the FL was in college.

I believe the drama made this distinction as clear as day to make all those accusations of pedophilia or grooming baseless. You can't accuse Jia Xu for encouraging Sang Zhi's affections when he is oblivious and does not even see her as more than a younger sister. The feelings of the FL has always been one-sided until they both got older and the show demonstrates this in several occasions.

In other aspects, the parents are not caricaturally cruel but had the appropriate amount of concern for their daughter's well-being as well as being supportive. There are no over-the-top characters and most are well-rounded. The pacing of the plot suited the narrative, and there was no blinding inconsistencies that I can think of. There was the right amount of fluff, angst, comedy and romance in this drama that I enjoyed watching it from beginning to end without touching the FFWD button.

Last but not the least is the swoon-worthy OST that I barely even notice in other dramas, but here, it serves as a delightful backdrop to Sang Zhi and Jai Ju's platonic-to-romantic journey.

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I am not typically into heavy melodrama, unless I count those teenage years of watching British shows about royals, or those childhood days of watching Hong Kong drama series about corrupt cops and dishonorable politicians. But Youth of May was a surprising pick that brought up memories of Martial Law when I was living in my home country. While my experience with martial law pales in comparison to the martial law imposed during the Gwangju uprising, this drama certainly puts into perspective how people have suffered and sacrificed their lives in the fight for democracy.

The drama starts with the discovery of the remains of one of the victims of that fateful event in 1980, but we don’t know who had died. It could be any of the characters the drama will introduce later, except we know that a broken pocket watch was found along with the ruined corpse, and that watch could belong to anyone. So there will be death, we’re almost sure of that, and it would not be pretty.

Then the show takes us back to the days before the uprising, when innocence and love can still bloom despite the political oppression surrounding the area. The chance meeting of a nurse and a medical student turns out to be destined, as fate later brings Hee Tae and Myung Hee together when the latter’s bestie asks her to stand-in as proxy for her blind date with the son of the Head of the Anti-Communist Investigation. This arranged date was supposed to bring the two families together as political allies, with the Hwangs gaining a rich businessman as an in-law and their resources to facilitate the government, while the Lees try to take advantage of political clout to release Soo Ryun and her friends from being incarcerated.

But of course, the activism in Soo Ryun doesn’t allow her to collude with the opposition as she and her friends regard Hee Tae’s father as no more than a government lackey intent on suppressing the democratic freedom of its people. At first, it was funny how Soo Ryun coaches her best friend on how to be rejected by a suitor, but all the tricks and tips Myung Hee deployed did not prevent Hee Tae from wanting to see her again. Although Myung Hee does not seem to mind the affections bestowed upon her, she realizes that she cannot entertain these feelings as she plans to leave the country in a few weeks.

Undeterred, Hee Tae launches an all-out charm offensive, despite his father’s warnings, and pleads with Myung Hee to take a chance on him, even if it’s momentary. The chemistry between Myung Hee and Hee Tae is palpable on screen. Lee Do Hyun’s playfulness balances out Go Min Si’s wistfulness, and they are certainly better matched than Lee Do Hyun with Song Hye Kyo (that romantic pairing as dry as a flatbread). Both leads brought their A-game to this drama and carried so much weight that their characters, despite their flaws, are humanized. The rest of the cast also bring life and color to their respective roles, even the actor portraying the hated Ki Nam who lords over the city, or the actors playing Soo Chan and Soo Ryun who were grappling with the dilemma that their protected status almost exempts them from further investigation, while the poor suffers injustice.

The cinematography and fashion are on point as it paints the 80s cultural vibe against a political backdrop, where they separate the haves and have-nots. The pacing of the plot also sets the urgency of living in the moment when they still can and while Hee Tae and Myung Hee navigate their feelings for each other, they are faced with the reality of the struggles happening around them. Their personal choices on continuing with their star-crossed romance hinge on the plight of their friends and the citizens of Gwangju. Whereas Hee Tae wants to hightail out of the city at the first real sign of political trouble, Myung Hee feels obligated to stay and help those who are victimized by the soldiers.

Although I should commend Myung Hee’s compassionate nature, I sometimes got irritated at her reluctance to leave that put herself and Hee Tae in dangerous situations. Following in her footsteps is her brother who also decides it was a good idea to bolt when he feels like it and causing his sister grief. If only he stayed in place where he should, Myung Hee wouldn’t have gone and tried to save him more than once. Their father is no better, with his attempts to cross military zones and roads that have been closed due to volatile circumstances. Everyone seems to be trying to be a hero and recklessly go into perilous situations that can be avoided.

I understand that cowering and hiding inside your own house is not the solution either, nor I am suggesting that the government at the time had the right to impose martial law or that the soldiers are justified in beating innocent people senseless just because they look like students who are about to protest, but when the situation calls for you staying inside your house for your own safety, I don’t see why you would go out of your way to incur danger.

So kudos to those who are brave enough to die for their beliefs; without them, there will be no calls for change. And Youth of May serves as a reminder that those who came before us paved the way for a better future.

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Call it slow-burn. Like watching rotisserie chicken simmering in the oven. A tale of revenge-turned-love unfolding in bits and pieces in this drama as Sim Woo Joo battles with her conflicting feelings about the son of the woman who stole her father, their house and ruined her whole life. Meanwhile, Han Dong Jin, slouches his back as problems at work surround him, and a belated visit from his ex-lover disrupts his routine. While Sim Woo Joo fights her way through life, Han Dong Jin acquiesces for what falls on his way. He lives minimally as if ready to relinquish everything he has at a moment’s notice. And this is what Woo Joo takes an issue with, the man’s passiveness and easy forgiveness as if he has no right to feel wronged.

Lee Sung Kyung shows some of her best acting prowess in this drama; the way she unleashes her pent-up frustrations at how life dealt her hand, how the father she loved betrayed their family, how she has to hold back some of her emotions for the sake of her sister and brother, how she defends her actions as justifiable, and how she grapples with her growing feelings towards her sworn enemy.

The rest of the cast also pull their own weight in this mostly character-based drama, with the plot being secondary as a background. The events that unfold showcase how humanity or lack there-of can play in the decisions of some, like how some people are repentant while others are not, despite numerous chances given. We learn in this drama, that while some people are just plain horrible, it does not necessarily mean that their off-spring will be the same. Some just lack the basic human decency of treating others with respect and continue to become trash, but we should not be painting their relatives in the same brush because they can turn out to be really decent human beings with an unfortunate excuse of a mother.

If you are expecting a light-hearted, fluffy romance drama, this is not it as Call It Love meanders its way along the excruciatingly long road of life.

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This is basically a poor man's version of "A Business Proposal." Though the premise is more or less the same, one thing I did not like here was how Gal Hui took advantage of her boss' illness to dupe him into believing she was somebody else. Overlooking this fact, the rest of the drama is cute and funny, and sometimes heartbreaking. I can't believe I enjoyed this drama more than I should, despite it's many loopholes. To name a few:

1) The Fall. I am surprised that Do Min Ik did not split his head open while he fell from a good height (on his head!). The chances of surviving this fall is slim to none without major injuries. I get it that he dislodged the pin that made facial recognition possible, but that is all. No bandage wrapping around his head, no broken bones, how is it possible??

2) The Box Cutter. How lame it is that the person who tried to hurt Do Min Ik and others uses the same weapon multiple times??? There was blood on it, dude! How can you use the same damn thing?? Might as well put a sticker on it, "Property of this Idiot."

3) The USB File. I guess everybody has the same USB that could be mistaken easily, that it is a wonder how confidential documents are kept. You can have cat videos and accounts of extortion in the same damn device and people can just take it or leave it or throw it as they please

4) Dubious Company policies. It must be some poor HR screening policy that allows people who were once fired, to be employed again. Do they not keep some records? Won't there be more questions why you are coming back to work?

5) The Police. Clearly they have nothing else to do but to solve this one case of non-murder. They are so easily swayed by statements made by their suspects that it will be surprising if they caught anybody. Hint: they did not. The idiot in #2 turned himself in.

And the best of all:

6) The Cast. I mean the cast on fake Veronica's arm. I mean Do Min Ik may not be able to see faces, but a glaringly obvious green cast with a heart he drew on Gal Hui's cast. In what world would she be able to explain that away??? Even if her cover was not blown earlier in the night, she would be caught green-handed.

There are too many coincidences in this drama to make me believe in logical thinking, but if I switch my brain off, and overlook these inconsistencies, the drama teaches you to open your heart to possibilities and be more human.

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I almost passed on this drama because of the bad advert (looking at you, poster) but I'm so glad I didn't. This for me is an almost perfect enemies-to-lovers romance, with a side of celebrity/commoner trope.

Having known each other for a decade, Nation's boyfriend Tae Sung and Hot Shot PR Manager Han Byeol are constantly at each other's throats through a series of misunderstandings. Their rivalry is widely-known and some figured it was mostly due to unrealized sexual tension and rumours about "are they/aren't they dating" are circling throughout the company.

I didn't realize that Han Byeol is being portrayed by the same woman in Weightlifting Fairy and she is so much better here (maybe because of the bad hair in the latter) and Kim Young Dae is adorable as the love-sick Tae Sung who belatedly realized his feelings for his nemesis. It was so fun and a hoot to watch this show and it certainly is a must-watch.

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This remake of Go Princess Go is highly rated and didn't disappoint. I wasn't sure how I will react to this drama, since I loved the low-budget original due to its "It's so bad, it's good" campy vibes, but this one sure brought it on. Despite my lukewarm feelings towards actors Shin Hae Sun and Kim Jung Hun in their other productions, they gave amazing performances here. They shone as individuals and gelled together as a couple. Their backroom politics and courtyard antics are both engaging and funny.

Supporting characters are multi-dimensional, and portrayed by a talented cast. You can tell that this is a big budget production, from the set & scenery, to the costumes, to the attention to detail, and everything in between. The comedic timing was spot on, and even the over-the-top brewing love story between the Head chef and the Queen's consort provided additional comedic relief. The array of food in the show is also quite impressive so if you are into mukbang shows, political intrigue sprinkled with a dash of rom-com, this drama is for you.

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This is really a refreshing drama despite its youth theme, normally they are so cringey to view for older viewers like me, but it goes deeper than highshool romance. Not a fan of slice-of-life, I am impressed at how the show treated family relationships, childhood friendships and teenage drama. The social teen group are comprised of characters that are multi-dimensional, with their own flaws, but their tenacity to wade through their problems are endearing. They came across as being more mature than even some of the adults in the drama. Despite only in her mid-teens when filming, Ancy Deng's performance is on point. The decision to cast her in spite of her age is a wise one: because teens should be played by teens, and not by older actors who may not necessarily have that youthful naivete. I read reviews that many were disappointed there wasn't a kiss scene in a romance drama (due to Deng's minor status, and her age gap with the ML), but it should not detract from the story.

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I am not much of a fan of time splits, time travel or variation of the sort, but the premise of this drama sounded promising. In the beginning, I enjoyed the banter between the leads. Z. Tao carries enough pizzazz as the domineering boss whose mission in life is to torment his employee/former classmate/ex-rival/secret crush. Song Zu Er, on the other hand, was inconsistent. Sometimes, her portrayal of Qian Wei can come off as whiney and unlikeable, but I wasn’t sure if that’s the way her character was written, or if the acting wasn’t up to par.

Adding to my initial annoyance is this self-proclaimed hero, Li Chong Wen. As far as Second lead goes, he’s not exactly a formidable contender, except perhaps that the ML should learn from his persistence. Probably if we mix Chong Wen and Lu Xun’s personalities, we would find ourselves somebody more balanced. But it is what it is, and despite saying that, he’s not the worst SML in the history of SMLs.

The rest of the characters were not very memorable for me, and through no fault of the cast. They were mostly fillers in the drama whose roles were only to propel the plot of the protagonists’ forward. The only saving grace here really is Lu Xun’s character. His quiet, and yet unwavering support of Qian Wei over the years, was equally sweet and heartbreaking to watch. Although he’s prickly and seems indifferent sometimes, he actually cares a lot about Qian Wei.

The story progressed naturally until Qian Wei wakes up from the coma. From here, you can see all the efforts she tried to get Lu Xun to confess his feelings. But instead of confronting him outright, she employed some sneaky tactics to achieve her goal. I temporarily lost interest at this point. Instead of trying to confirm his feelings for her, I think she should show more reciprocity to do things for him as he did for her all these years. Although she attempted to do so, work-wise, helping him with the case; outside of this, there’s very little else to show that she indeed fell in love with him out of her own accord, and not because of him being nice to her.

After finishing this drama, I felt it somehow anticlimactic. While the drama was in the coma state, I couldn’t wait for Qian Wei to wake up. But once she did, I couldn’t wait for them to go back to that dream state. Although this drama isn’t bad, you will have to suspend your disbelief and just go with the flow in order to make sense of it. 

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At first I thought this would be one of those shows tackling disability as if it was a plot device to keep a relationship going, but while it may have started as how Yukiko and Morio know of each other, it wasn’t a show to gratify the condition.

Whereas other dramas might fail in undertaking the topic of blindness, this one succeeds. This drama does not give you a chance to feel pity for Yukiko, because you see her determination to overcome her inability to see like others. She uses the resources available to her, and where it is lacking, she creates and looks for opportunities to improve.

Instead of feeling sad for Yukiko, I ended up rooting for her like how Morio did in the show. His belief in her strength and tenacity was adorable. And while I appreciate how he supports his girlfriend, it only highlighted the time he has on his hands, that I forget he had a part-time job only after he met Yukiko. Nevertheless, Morio’s redemption arc from delinquent to dependable is to be noted.

Speaking of redemption arcs, I have a beef with the second leads. I cannot fathom how Shishio, who used to fight Morio all the time, ends up being actually in love with him? Logic not computing, but also makes sense. Is this like: boys who bully girls, secretly have a crush on the girl? He gives Morio a job at his grandmother’s store, helps him be his wingman, and later becomes his potential brother-in-law even though he’s gay? What in the fantasy world is this? Meanwhile Izumi, who is Yukiko’s sister, has poor taste in men. She’s also overprotective of her sister, and yet she seems to be the weaker of the two. And because everyone needs a partner, they just lump these two incompatible characters with each other.

Aside from its flaws, this show is a decent watch, especially when they included the educational snippets from Hamada Yutaro, a blind comedian whose jokes flew over my head because I don’t have cued-canned laughter.

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I have mixed feelings about this drama, not because of the large age gap between the two main characters, but how it’s being presented.

We learn that, in order to save their restaurant, Ichika’s family arranged a marriage of convenience for one of the daughters. In the beginning, it was Ichika’s younger sister who was supposed to enter that marriage, but at the last minute, she backed out because 1) she was also older than the groom 2) she did not want to be stuck in a loveless marriage 3) somebody else who liked her proposed to her. All good reasons NOT to agree to a contract marriage.

But then we see Ichika agreeing to this contract marriage because of her outdated (and perhaps believable) concepts compared to her younger sister, who had a more idealistic view of the world. Being a widow in 50s Japan, Ichika basically consigned herself to a lesser role in the kitchen despite her excellent culinary skills. Her belief that a woman in a patriarchal society will never amount to being a head chef, let alone operate a business, is one that is valid considering what is the norm at that time. However, just because society has traditionally accepted a certain thought does not mean it couldn’t be changed for the better. And this is where Amane, her new husband, comes in.

Despite his young age, Amane is very sensible and has the business acumen to support Ichika in her dreams of managing her own cuisine. He quietly does things for his new wife without her awareness. Amane’s contribution to Ichika’s efforts later came to fruition when she finally salvages her family restaurant from ruin.

If you are expecting romance from this drama, don’t. This show is mostly about the food and how one woman’s dreams came true despite the obstacles in her way. Amane’s growing affection for Ichika looks very one-sided to me. I am not sure if it’s because of how the characters are written or the lack of chemistry between the two actors is the reason for this. The most I can see between Ichika and Amane is like how a big sister dotes on her much younger brother.

This drama is more like a PSA for food or for feminism, or both.

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Just by the premise alone, you can tell that this drama will be full of tropes, including, but not limited to: Rich Man/Poor Woman, Boss/Employee, Fake Relationship, Contract Marriage, etc. So, going in, I already expected that it would be a show filled with cliches, and probably have ill-timed laughter that serves no purpose except to be adorable. And this show just does that in the beginning.

We are presented with a female lead who had to grapple with so many false accusations because of her looks. It was one problem that is supposedly plaguing someone so pretty that you are supposed to feel sorry for her, and thus a young, handsome man (not to mention rich) falls on her lap to solve all her issues. It’s all fine and dandy until the latter half of the show.

Here, the drama tried to incorporate heavier topics like the implication of infidelity, implied abuse and other conflicts that came out of left field, that I wonder whether even if it’s the same story we are dealing with. We also see Ayaka's family being supportive of her despite their financial struggles. My only gripe here is that they seem to be happy despite their dire situation, with so many mouths to feed and a baby on the way. Haven’t they ever heard of condoms?

Nevertheless, it is a decent effort by the production crew, especially by the main leads who carried most of the drama weight on their shoulders.

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