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This is one of them "just dispose of him quietly"-Type of moments.

Like, this shit is bleeding braincells, at this point.
WHY the fuck would you not assume the child is with the royals, when literally the army took the child from the inn-keeper?
WHY would he assume it is NOT his child, when he knew she was pregnant and he had one child with him the entire time? How the hell would she have gotten pregnant and given birth to a child of the same age?
HOW did they waddle around the fog THIS close and not recognize each other's faces and voices?
The only two people I kind of see why they are dumbasses would be the fucking children, because they children and children are stupid.

I get it, they try to create drama, but couldn't they have left it at the "Eenie, meanie, mynie, moooo~ Your wife fooled ya with the switcheroooo~"-type of main plotline, where the mother somehow managed to keep the child alive, even though there was a baby corpse?
Why is there ALWAYS some retarded "twist" with some fake that was probably a clone created by some demon or dark magician? They're always the same.
Just stay with the fluffy shit, it's a peaceful story.

Just entered chapter 4 and she's insufferable.
I just read a comment about her not having lived through her former life or some such, so she's basically a child. But that's not how it works. You can't completely be this way of "me any my past life" and constantly referencing it, playing poker like a pro at the age of seven, yet tell me that the story means to tell us she's not actually meant to be like an adult. That's a pro level cope, if I've ever seen one.
She's simply dumb as fuck.

I'm now in chapter 22, and as far as I could see in the comments, the story seems to be finished at chapter 35, so I'm not that far from the end. Therefore, I will make my comment now, since there are a few takes fresh on my mind right now.

Outside of the fact that I strongly dislike stories that use the density of characters to their advantage, i.e., creating drama off characters that couldn't pick up their keys from the floor, I also side-eye every strong message that feels like the author is trying to chew it up and spit it down my throat. If you do that and it doesn't land, I will immediately feel worse about the experience of the entire story.
As for creating Drama through stupidity: For example, when the new Lord comes in, and everyone acts completely hostile. If the lord before was such a terrible lord, they should have simply done the same thing they are doing now, and basically not do anything the lord says. Power is, to a certain extent, granted. Civil wars or riots weren't that uncommon, since every territory held its own rules and was its own small ecosystem, even if it belonged to a bigger picture, which would be the Kingdom at large.
Pretending the new Lord will just be the same as the old one and going as far as to scoff at this bro creating a LITERAL MIRACLE in your desolate plot of land is the most backward, braindead, utterly bizarre reaction I have ever seen a character in such a situation opt for. So what if it could be poisoned? Eating poisoned berries and dying is still better than eating none and dying anyway. They literally just fuck off at the notion of finally being able to feed their starving people, saying they are "busy". Busy with what, pray tell? Busy starving? When god handed out the brains, I guess they were also busy with something else at the time.
My feelings of wanting to prove someone's worth or innocence fade to stubbornness in wanting them to figure out the "fuck around and find out" mathematical equation the hard way. My petty self rears its head in such occasions, because it feels like this completely uncalled-for attitude is being rewarded, when the protagonist has to crawl up their ass to gain their favor. By that standard, this story was barely sufferable when it came to that part.

But since that was already a thing that annoyed me, why is the "message" - and I'm careful in calling it that, because it's debatable, maybe "theme" would be more fitting - the thing I felt more strongly about? Well, because those idiotic morons are only a thing in very few scenes, though they left a real impression. The theme does what a theme usually does - it stays with you the entire story, at least for most of it.
In chapter 22, it's been the strongest since the beginning of the story. They want to make a point about how the original family of the FL was just very superficial, trying to hold onto a bygone era by simply wearing old dresses and not updating their house, including even the library, as if they were frozen in time. Once she changes her outlook, they get furious because they dislike her walking around like everyone else. They are stupid. Obviously, she's the one always standing out with her old-fashioned dress, so their later on criticising her for standing out at a banquet because of her modern attire is already moronic. But that's the "villainous" family. Or, well, at least they are meant to be disgusting in their ways and behavior, since they also beat the FL and all that.
The problem comes in when the story tries to make a point about superficiality, based on that thinking. While yes, they are superficial, looking only at clothes, not the person behind it, but that stems from entirely different issues. They are deluding themselves, living in their own little world, in which the reality of how their house has fallen deeply isn't able to reach or hurt them. This isn't them being "all about clothes", it's them being "delusional as fuck".
While you can indeed fit this theme perfectly to the scene of Agnes being helped up by the ML or him coming to get her after the party in the beginning, despite her horrible looks, it still speaks more of his moral character in general. He barely talked to her the first time and was already forced to marry her the second time. In the end, he's a nice guy. So he wouldn't be as shitty as to let a woman lying on the ground or treating her badly, when she got into a pickle for being nice to HIM when he needed it. Saying he's special, because he was nice to her when she still looked like a clown car, is a bit of a stretch. He's really nice, but it's not enough for an entire theme, because one single day later, he finds out how beautiful she actually is underneath that ton of makeup. In other words, he didn't have to prove anything; he didn't even get a chance to in the first place, because he was rewarded right away and had no reason to complain anyway.
After the younger brother of the FL comes to her frontier territory and gets a makeover of the same kind that she had, we see he's also extremely cute and has a handsome face. The children of the territory want to play with him, unlike the nobles at his debut party just a bit earlier, who made fun of his getup. FL remarks how nice the children of this territory actually are and how accepting they are.
The problem with that is - while, in a way, what she says about appearances is true at its core -, that they also ostracised him. They literally called him a clown. The noble children also weren't endlessly mocking him; they were just mocking his appearance, which he chose to show - his clothes and hairstyle, which made him look rather funny. Now that he looks normal, they want to engage with him. The nobles would be no different; surely, they would not mock him now, as it was the same for the FL before.
The FL talks big about clothes being irrelevant, but the whole story is based on the fact that her brother needs to wear "normal" clothes and a corresponding hairstyle in order to fit the modern mold; otherwise, people will make fun of him. Her character never mattered, his character never mattered. If anything, she should be able to don that awful clothing AND makeup, as well as the as hairstyle, while still being recognized as a human being and forming meaningful relationships. The first thing that the frontier people mentioned also happened to be her looks. Nobody knew her character, and her personality was never really discussed; it was all about her being "unfashionable", whatever that means.
The only person who treated her like a human being, though, was the ML, and again, it wasn't like that something special either. He didn't WANT to marry her. He was simply told and, according to his personality as stated, did as he was told.
I'm not trying to lower his character, since I do acknowledge that he's steadfast, friendly, courteous, and all that, but it's not enough to make that theme run when it was something that barely had any part in the story.
Also, the fact that the clothes made her physically sick is just another layer added to the insanity level of the parents, underlining how delusional they actually are. They could have ordered those old-style dresses from a tailor; instead, she's wearing hand-me-downs from her grandmother. This and that are two entirely different topics that can't be mixed up. They are completely captivated by their delusion, which is why their behavior has little to do with "caring about clothes".
Had they given her the opportunity to make friends and find love while still with her parents and in their style, resolving their mental issues to the point of them finally understanding that they can't bring back the past and that they have to move with time in order to catch up to it, giving her the chance to have that "glow up" somewhere at least in the middle of the story at the earliest, that would have been driven home a lot better.
Instead, absolutely every single character in this story is superficial as fuck, and when they don't look conventionally pretty, they are treated like clowns or worse. She changed his brothers looks from the first moment he steps into their frontier territory, but then talks about the person mattering more than the clothes they were. He didn't mention how uncomfortable his clothes were at all, so I assume they weren't. He was sad because people mocked him for it, but he was in denial that it was because they looked freaky.

The reason I made that difference between "theme" and "message" earlier is that a "theme" ordinarily carries some type of message, but a "message" can be something a character says one time in a single episode of a 15-season television show. It does not, technically, have to be recurring, while a "theme", as mentioned in the beginning, is something that gives an underlying tone to the entire story, even if it isn't omnipresent.
In this case, the theme is trying to tell you that clothes don't matter. What they actually meant to say, most likely, is "looks don't matter", but they literally fall into the trap of conflating "looks" with "clothes". For example, someone who is overweight doesn't work hard enough. As a fat person, who tried and keeps trying to lose weight, I still accept that I could work out more, and I got a myriad of other problems, which are not solved by me losing weight, and others that might be solved only a smidgeon if I lost a lot of weight. In a way, I can control my weight, but it's far from easy, and even if it were easy, it wouldn't happen fast. I can't snap my fingers and look snatched, all of a sudden, you get what I mean? Even less control will I have over my facial features, body structure, hair color, etc. I can dye my hair and wear contacts, I could even get cosmetic surgery, but in essence, it's not within my power to simply change that.
In all of these cases, I am still a human being, and people should be looking at "me", not my obvious faults that may not mean I'm a bad person. Even if I was simply the laziest fuck in the world and thus fat, it wouldn't mean I have a bad personality, once you got to know me. Being dressed up like a particularly ugly doll will repel others at first glance, because humans are superficial by nature. But you can always try to get to know the person despite that.
And yet, "clothes don't matter" is a far inferior version of "looks don't matter" compared to even stories like La Belle et la Bete, which actually does equate looks to personality (the beast is the beast for his "ugly" personality, though he used to be attractive originally; therefore, he now has to charme a lady with that personality, as his face no longer reaches anyone), for example, because clothes, in fact, can be changed enormously easily. Taking off loads of makeup takes mere minutes, even if you are careful and detail-oriented. Getting out of a bad hairstyle can be tricky, in case you cut off too much, but other than that, it's not a big deal. Clothes DO matter. Because it tells others if you want to dress fitting for the occasion or if you want to go against the grain. You specifically CHOSE to wear a certain piece of clothing or a certain type of makeup, so you knew what you were doing. In this case, yes, she was forced, so I would have been fine with him falling in love with her, thinking she looks a bit shitty, but grasping her good personality, falling in love with it, growing accustomed to her style and taking her this way, potentially believing she wears these on her own dime, only recognizing later on that she was forced by means of physical and psychological violence from her parents.
Again, it's a weak theme in its own category, but it could have made for an interesting story without butchering even this weak theme beyond recognition. It's kind of a shame, honestly. Makes me want to write a story where this is done properly. Anyway, I digress, the point is, as I said, that clothes, in fact, DO matter, and all this story proves, while trying to say otherwise, is exactly that. And that's quite sad.

I don't know, I just started and I feel like I'm not getting through chapter 2. Is there any reason for me to continue? Like, does this get any better?
It feels so cringey right now.

I get it, there are charming dimwits in stories that I like as well, but the problem arises when that stupidity does not lead to cute or funny scenes that have an overall positive outcome, but just chaotic messes that could have (and should have) been prevented.
1. Why does the protagonist know exactly how "evil" Ophelia originally was, yet still hasn't resolved herself to understand her position? She would just freeze up instead of properly reacting. Knowing how she did something to this Countess Cadell, for example, she should WANT to apologize first and deal with everything else later. She could have said she would borrow the painting, instead of having it gifted, since she never had any interest in the painting to begin with. Why did she talk to the FL when she approached her, knowing the Crown Prince, whose favor she tried to curry, literally told her not to even greet her at the ball she was thrown out of?
2. Speaking of which: Why is she too dumb to understand that the mere fact that the OG FL approached her means that she isn't the innocent angel she read about in the novel? Because that OG FL would ALSO know that she shouldn't approach her. Not just because she should really be afraid, after all that has happened, but if she was so kind-hearted, she would have had to know that it would cause more damage to the Protagonist if she were seen speaking to her, right after she was told off by the Crown Prince.
3. Speaking of which, yet again: How the fuck did she even enter the premises that one time when she went to that ball, if the Crown Prince would immediately throw her out anyway? She didn't do anything; she simply walked in, and he was yelling at her.
4. Speaking of which, one more time: She can see how much the Crown Prince hates her. She got that impression from their very first meeting. HOW would it work for her to simply "do as the OG FL did" so he would fall for her? The OG FL did all of this off a blank slate. In other words, she did all of these positive things, building up on neutral ground, securing a steady foundation to their relationship, on which all the stuff that would have come later - i.e., all the shit that the Protagonist now tries to "take away" from the OG FL - was just thrown on like flitter. On the other hand, the relationship the Crown Prince has with Ophelia, as well as the entire house and husband she belongs to, is anything but neutral - she's trying to build something on a patch of dead soil. No, not just dead - completely cursed. Where does she get off believing this would work? Yes, the Crown Prince is embarrassing and childish, but she's not any better.

In the end, as of now, at chapter 14, everybody exudes the air of retardation. The only motherfucker with some semblence of a brain would be the husband, Sylvester.

And I love it.

Just get rid of this motherfucker, nuke him from orbit or something. I smell trouble.

Well, have you ever read the Webtoon "Special Civil Servant"?