👸🏻❤️‍🩹Call Me Gone and Gorgeous Full Episodes: Born to Be Her Sister's Spare Part, Reborn to Take Her Life Back

The Ultimate "What If?"

In the grand pantheon of dramatic storytelling, there is no greater fantasy than the "do-over." The "what if I had a second chance?" is a question that fuels our daydreams, our regrets, and our most compelling fiction. But in the world of Dramabox melodrama, a rebirth is not a gentle, wistful fantasy. It is a declaration of war. It is the universe handing a character a loaded gun and pointing them in the direction of their enemies.

Welcome to Call Me Gone and Gorgeous, the new 63-episode Romance saga that is, in reality, one of the most brutal and satisfying Counterattack and rebirth narratives you will see this year. This is not a story about a woman learning to love again. This is the story of a woman who was systematically dismantled, psychologically tortured, and left for dead, finally getting a chance to walk away from the ashes... and set fire to the people who pushed her in.

This series is a masterclass in the "rage-watch," a story of such profound injustice and such calculated cruelty that it will make your blood boil. But its true genius lies in its protagonist, Lois Glyn, a woman who doesn't come back to fight for her man. She comes back to make him, and her entire toxic family, a footnote in the story of her new, glorious life.

The Anatomy of a Sacrifice

Before we can celebrate the reborn Lois, we must first understand the one who died. The show’s premise is built on a foundation of such profound, layered betrayal that it's difficult to watch without feeling a physical sense of outrage.

In her previous life, Lois Glyn was a ghost. She was the secret savior of Arthur Herbert, the blind, broken CEO she nursed back to health in secret for five agonizingly long years. He never saw her face. He only knew her voice, and her name: "Seven." He promised her that when his sight returned, they would be together.

And then, the day came. He woke up. And the first person he saw was not Lois. It was her sister, Juliet.

In an act of identity theft so brazen it boggles the mind, Juliet claimed to be "Seven." And the entire Glyn family, in on the plot, drugged their own daughter, Lois, to keep her quiet. They confirmed the lie. They handed their daughter's entire life, her love, her five years of sacrifice, to her sister... just because Juliet, the favored child, also "liked" Arthur.

For three years, Lois begged her parents. She begged them to tell Arthur the truth. Instead, they abused her, shamed her, and silenced her. And when she finally, desperately, went to Arthur herself, to tell him "I am Seven," he did not just disbelieve her. He slapped her. He threw her to the ground, calling her a shameless liar, and told her he would only ever love her sister, Juliet.

But the true, stomach-dropping horror, the secret that defines this family, is even darker. Juliet had leukemia as a child. She needed cord blood to survive. So, her parents had another child. That child was Lois.

Lois was not born out of love. She was manufactured. She is a living, breathing "spare part," a human insurance policy, a blood bag for her "real" sister. This is the truth that underpins every act of cruelty: she is not, and has never been, a person to them. She is a resource.

This life ended as it was lived: in grotesque, tragic injustice. After being slapped by Arthur, Lois, heartbroken, stumbles into the rain and is hit by a car. As she bleeds out, she sees the man she saved, Arthur, in the other car, looking at her, before callously driving away. She dies on an operating table, her last vision a news broadcast of Arthur and Juliet's wedding. Her last vow? To let him go.

Rebirth, and the Power of "Yes"

The show opens at the moment of her rebirth. She is alive. She is young. And her father is standing over her, throwing a plane ticket at her. "Your sister's wedding to Arthur is next month," he sneers. "Go abroad. Don't you dare ruin it."

This is it. The first test. The old Lois would have cried, begged, and pleaded.

The new Lois looks at him, a small, cold smile on her face, and simply says, "Okay."

It is the most powerful "okay" in television history. It is the sound of shackles breaking. It's the sound of a woman who is not just "gone," but on her way to "gorgeous." She’s not here to fight for them anymore. She’s here to leave.

The Laboratory of Cruelty

Her new resolve is immediately, and brutally, put to the test. This family is not content to let her go quietly. They need to break her, one last time. She gets a text... from Arthur. He demands she come to a hotel room.

It is, of course, a trap. She opens the door to find him, her supposed "great love," passionately making out with her sister, Juliet, who is draped in a siren-red dress. Arthur, the antagonist, pulls back, his voice dripping with contempt. He tells Lois he wanted her to see this, so she would "finally give up." He wants her to witness, up close, that he only loves Juliet.

The old Lois would have been shattered. The new Lois is bored.

"I'll never bother you again," she says with a calmness that rattles him. He's confused. This isn't the "obsessed" woman he’s been told she is. He hands her the wedding invitation, and just as she takes it, a chandelier, loosened from the ceiling, comes crashing down.

In that split second, Arthur’s instincts are revealed. He doesn't hesitate. He dives... and tackles Juliet, shielding her body with his own. He leaves Lois, the woman who gave him five years of her life, to be crushed.

Lois is hit. She collapses, blood pouring from a gash on her head. Arthur, as she blacks out, is frantically checking on the unharmed Juliet. "Are you okay? Are you scared?" he coos. Juliet, over his shoulder, gives Lois a victorious, evil smirk.

The Two-Woman Hospital Wing

This is the central thesis of Call Me Gone and Gorgeous: this is not a story about a "love triangle." This is a story about a toxic, abusive triad, and the one person they have all chosen as their scapegoat.

Lois wakes up in the hospital, two days later, on crutches. A nurse, with pity in her voice, mentions that her entire family is just next door. She’s been in a coma for two days, and not one person has come to see her.

Why? Because they are all in the next room, at a "vigil" for Juliet, who wasn't even touched, but who is milking her "fright" for all it’s worth.

Lois, on her crutches, limps to the door. She sees it all. Her parents, her mother, and the man she saved, all doting on her sister. Juliet, seeing her, immediately puts on a performance, offering Lois her soup. "You should have it," she says, the picture of fake kindness.

"This soup was specially made for Juliet!" her mother snaps. "It would be a waste on her."

Arthur, the supposed "hero" of this Romance, chimes in. "Juliet, you're just too kind," he says, glaring at Lois. "That's why she feels entitled to bully you all the time."

They all join in, a Greek chorus of vipers, painting Lois as the villain. And all the while, Juliet, safe in the circle of their protection, looks at Lois and smiles, her eyes gleaming with triumph.

The new Lois doesn't fight. She doesn't cry. She doesn't even enter the room. She just turns, and, on her crutches, limps away. She has finally, finally, accepted the truth. They are not her family. They are her captors.

The Drowning of "Seven"

If the hospital was the psychological execution, the pool scene is the literal one. Juliet, not content with her victory, hunts Lois down. She "warns" her not to tell the truth. She slaps her. "Everything you have is mine," she hisses. "You only deserve my leftovers."

And then, she sees Arthur approaching.

"Want to see who he really loves?" she whispers, and then, grabbing Lois, she screams and pulls them both into the deep end of a swimming pool.

Arthur, seeing them fall, dives in.

He swims directly to Juliet. He bypasses the bleeding, injured woman on crutches, grabs his "true love," and swims her to safety.

From the pool deck, Juliet, coughing, puts on her greatest performance. "Arthur, please!" she cries. "Save my sister! It was my fault, she pushed me, but please save her!"

Arthur holds the "traumatized" Juliet. He looks back at Lois, a woman who is injured, on crutches, and drowning... and he does nothing. He pulls Juliet closer and walks away, leaving Lois to die.

The Verdict: This Is the Dramabox Revenge You've Been Waiting For

This is, without question, one of the most brutal and effective "origin stories" for a Counterattack queen that Dramabox has ever produced. The show is relentless. It is a 63-episode pressure cooker, and the first few episodes are designed to make you hate the villains with a white-hot passion.

And it works. The series is pure, unadulterated "rage-watch" fuel. The short-form, 2-minute episodes are like little poison darts, each one delivering a fresh sting of injustice, a new layer of cruelty.

The official synopsis tells us that Arthur will learn the truth and begin a "desperate pursuit." But after what we’ve just witnessed, that pursuit is not a romantic promise; it's a joke.

• How can a man who slapped and drowned his savior ever be redeemed?

• What "truth" will he finally be willing to see, and at what point is it too late?

• And, most importantly, when he comes crawling back, will our "Gone and Gorgeous" queen even bother to look at him?

This is the core fantasy. Call Me Gone and Gorgeous is not a story about a woman waiting for a man to save her. It’s about a woman who saves herself, from him. The joy is not in their reunion, but in the anticipation of his ultimate, agonizing regret.

Watch Call Me Gone and Gorgeous Full Episodes now, exclusively on Dramabox. You came for the romance, but you'll stay for the revenge.