Chapter 151 Don't Listen, and Don't Get Hurt (1/2)



When Ou Yangguang embraced and wept with his fellow members backstage at the MMA awards ceremony for the "Song of the Year" award, his other identity as an actor was creating a sensation on screen in a different form.

Just two days after the MMA awards ceremony, episodes 11 and 12 of "The Heirs" aired as scheduled.

These episodes have been the most exciting and dramatic since the show premiered, delivering countless memorable scenes that viewers will love to talk about. Many of these key plot points are closely related to Choi Young-do, played by Ou Yangguang.

Last week's episodes, whether it was the fight with Kim Tan at school in episode nine, or the three-way confrontation when they discovered Cha Eun-sang coming out of Kim Tan's house during their standoff at Kim Tan's house, were all part of a chaotic scene.

In episode 10, at the autumn training camp, Choi Young-do kept watching Cha Eun-sang. When he saw her setting up a tent by herself, Choi Young-do went up to help her. Then Park Myung-soo took a picture of the two of them and suddenly remembered something.

When Park Myung-soo pointed at Cha Eun-sang and claimed that he had seen her leaving Kim Tan's house early that morning, the camera precisely captured Choi Young-do's instantaneous change in expression.

His initial lightheartedness in helping Eun-sang set up the tent, tinged with a touch of playfulness, vanished completely, replaced by scrutiny, suspicion, and displeasure.

"The early hours of the morning?" he pressed, his voice low and carrying an undeniable pressure. Eunsang's denial seemed weak and feeble.

The survival game begins, and the forest becomes the perfect location for interrogation.

Like a patient hunter, Choi Young-do pressed on relentlessly, cornering Eun-sang and speaking like sharp arrows: "You came out of Kim Tan's house at dawn? Could it be... you're an adopted daughter?"

That sarcastic and probing question revealed his inherent sharpness and the distorted speculation stemming from his own family problems.

However, his response was Enshang pulling the trigger of his paintball gun. With a "bang," the paintball exploded in a colorful display on his chest.

Ou Yangguang's performance at this moment was extremely layered—first, he was caught off guard and stunned, looking down at the "scar" on his chest, then he raised his head, his eyes not showing anger, but rather a more intense interest and determination after being provoked.

He didn't wipe away the paint; he just stared at Eun-sang's retreating figure, a cryptic smile playing on his lips.

This shot was captured by countless viewers and dubbed the "masterpiece of evil smile," brimming with the charm of a bad boy.

After that, Choi Young-do followed Cha Eun-sang closely, like a large dog.

And he kept making trouble for Cha Eun-sang, making her wash dishes by herself until dark.

After Yoon Chan-young, Lee Bo-na, and Park Myung-soo arrived, Cha Eun-sang was afraid that Choi Young-do would ask Park Myung-soo if she also knew that she was a social welfare worker, that is, a poor person, thus exposing her identity.

He interrupted Choi Young-do's question and went with him to a grove of trees to talk.

During their unpleasant conversation, Choi Young-do uttered a classic line.

"So, the only way I can get your attention is by doing bad things?"

Later, Eun-sang, missing Kim Tan, tried to call him but couldn't get through. Instead, she ran into Rachel. Rachel's pent-up anger exploded the moment she saw Kim Tan's name on Eun-sang's phone screen, and she slapped him hard across the face.

"I've been holding back for so long!" Rachel Liu shouted angrily.

Eun-sang covered her face, her eyes defiant: "Since I've been hit, I'll finish what I was supposed to do." She was about to make another call. Just as Rachel's second slap was about to land, a large hand firmly grabbed her wrist.

The camera zooms out, and Choi Young-do appears out of nowhere. He shakes off Rachel's hand, his gaze cold, and then pulls Eun-sang away without a word.

This scene, resembling a "hero saves the beauty" entrance, was powerful and domineering.

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