Liu Yuning is on the roll!!!
First of all, huge shout out to all the supporting actors. They are absolute gems when it comes to showcasing their prowess of acting in a comedy genre. This show is undeniably hilarious (that laughter of 18th Prince is my favourite) and it is even better when the show itself knows about it and doesn't take itself seriously from the get go. From the first episode you will be glued to the screen and binge watch all the episodes.Li Yitong is simply made for this genre and Liu Yu Ning is in his best. (It is basically his yr.) I just like that guy whatever he does, whatever roles he chooses or whatever song he sings. (Yes, I am totally biased!)
The first ep. explains what the story is all about - a sword triangle *cough* a love triangle that literally raises the storm and the struggle of ML to seize the throne (literally quite a bloody one) and they definitely have a chemistry in this one... literally 'cough'.
Now the best part of it is the music and the lyrics that made me laugh so much which is very unique especially in historical/wuxia dramas. The scenes of FL trying to change the story and repeating the same things over and over again in 2x and 3x speed was really funny (that is some final destination stuff going on with her). I love it how it gets serious when it is required with a perfect blend of comedy that is central to the plot and the production what to say...they have got some big BUDGET. Nothing looks cheap everything is top notch and the fact that they used famous scenes of other popular dramas and reused them in a comedic way is cherry on top. Another commendable thing is the character development of side characters, no matter how small but they tried to evolve all the characters and gave them screentime which I haven't seen in many dramas.
If you are a fan of 'Romance of tiger and rose' and Love game in Eastern Fantasy' and another kdrama 'Extraordinary You' then this show will definitely exceed your expectations because it incorporates everything which the others lacked. Overall it is now one of my favourites of 2025 dramas with a well thought out transmigration plot that I have watched in a while. (Believe me you won't be able to guess the twists and yes it is remarkably done from start to finish so throw your worries of 'rushed ending' out of the window.)
Highly recommended.
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This drama has everything you'll love.⭐
From beginning to end, this drama truly delivered. Fresh concepts, great synergy among the cast, amazing music, and just the right amount of comedy without any cringe—plus some of the best actors in recent years. Liu Yu Ning was outstanding and consistently excels in roles like this. I hope we continue to see him in more historical or fantasy dramas.It’s definitely a rewatch-worthy series because you’ll enjoy yourself from start to finish. The overall concept stands out—just when you think you can predict what’s coming next, the show proves you wrong every time. I’d 100% recommend it to anyone who enjoys a perfect blend of historical romance and comedy.
A 10/10 banger! This one’s officially going on my “never forget” list.
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1This review may contain spoilers
How to Lose a Plot in 40 Episodes — and Still Walk Away with Liu Yuning's Spine Intact
★★★☆☆ (5/10) — Four stars for Liu Yuning’s lumbar courage, one for the costume budget, zero for narrative mercy.Some dramas are good. Some are bad. And some exist in that rare third category: the genre-bending fever dream you watch out of loyalty, finish out of morbid curiosity, and then question your entire concept of narrative coherence.
Let’s start with the central mystery: What genre is this?
Is it a romance? No, unless you define romance as one person emotionally bleeding out while the other flicks metaphysical riddles at them. Is it satire? Perhaps. Parody? Sometimes. A parody of a parody? Getting warmer. A slow-burn fantasy with a twist of self-awareness? Possibly, if the “twist” snapped the narrative spine somewhere around episode 12 and nobody told the scriptwriters.
This is not a slow-burn romance, it’s more of a cold shoulder in silk robes. And yet, like many viewers, I clicked play. Why? Three reasons:
The poster, which promised epic fantasy and emotional depth.
The premise, which teased brilliance through narrative self-reference.
Liu Yuning, whose performance, spine, and general ability to suffer gracefully on screen have become the stuff of legend.
He enters as the God of Death, cloaked in threat and charisma, a walking, brooding contradiction of pain and purpose. But as episodes pass, he degrades into what can only be described as the Patron Saint of Emotional Begging. Watching him go from divine menace to doormat philosopher is both impressive and heartbreaking.
And the FL? She knows she's in a novel world. She has foreknowledge of events. She understands the narrative setup. In short, she holds the cheat codes. And what does she do? She gaslights the ML, fumbles assassination plans, and drops half-baked existential quotes like fortune cookies from a bad philosophy class. This could’ve been the smart kind of self-aware fiction, where a character leverages story logic to reshape her fate. Instead, we got 31 episodes of emotional whirligig, poorly planned sabotage, and dialogue that could be summarised as: “Yes, I’m hurting you. But it’s because I read the spoilers.”
Her reactions? Inexplicable. Her growth? Non-existent. Her emotional intelligence? Hovering somewhere between “toddler in a tantrum” and “taxidermied Victorian doll.” And the dialogue? Forget poetic, every line sounds like she's haggling over bootleg scrolls at a metaphysical flea market. Again, this isn’t the actress’s fault. Clearly someone behind the camera instructed her to exceed parody and she committed with wild-eyed determination.
This is not what a heroine should do in a self-aware fiction drama. What should she do?
Observe the narrative structure and learn its rules.
Make allies- power in fiction equals survival.
Use foreknowledge to evolve strategically.
Stop weaponising emotional trauma as plot filler.
Build an actual arc- with intention, consequences, and vulnerability.
Instead, she walks in philosophical circles, drags the ML along with half-truths, and treats emotional consistency like an optional side quest.
Now, let’s talk about writing.
A good script, especially one dealing with stories that reflect on their own structure and romance, needs three things:
Character Consistency- Development, not regression.
Emotional Logic- If we can’t follow the “why,” we stop caring about the “what.”
Earned Moments- Big scenes must be built upon, not dropped in like surprise confetti from a broken ceiling.
This show ignores all three. Pacing oscillates like a caffeinated metronome. Plot arcs appear and vanish like side characters in a dream. Emotional payoffs? Denied. Instead, we get… the bite scene.
Yes. That cringe-crowned moment when the ML, bleeding from a sword wound and barely conscious, is violently shaken and then bitten by the FL in an act that’s equal parts rabid and romantic-adjacent. No tenderness. No catharsis. Just… jaw-dropping nonsense. The kind of scene that makes you question not the actors, but the writer’s grasp of human interaction, or gravity.
And the Crown Prince? Introduced as a man with the comedic energy of someone who might grow donkey ears and burst into song, he later pulls off a sword-wielding redemption arc. How? No one knows. He undergoes a 180° emotional transformation faster than a Netflix recap can say “previously on.” The Emperor, meanwhile, spends what feels like an eternity inventing increasingly sadistic punishments for his son, only to pivot without warning into "Father of the Year" mode. Don’t look for logic here. Our scriptwriter clearly believed they were penning the drama of the century, possibly while sipping hallucinogenic tea or something far stronger.
Even Gárgamel, with his cat Azrael, had clearer motivation than our eyebrow-wielding villain here. And at least Gárgamel knew what he wanted (Smurfs). This villain? He sneers. He raises an eyebrow. He plots vaguely. He exists in a state of permanent dramatic squint, delivering monologues that suggest he thinks he's in Macbeth while everyone else is stuck in Scooby-Doo. With every new plan, he seems one cackle away from asking where the smurfs went. It’s not menace, it’s theatrical confusion. His villainy becomes so exaggerated it borders on self-parody. It’s not that he twirls an actual mustache, it’s more like he’s auditioning for the role of a moustachioed villain straight out of the melodrama bargain bin.
Which brings us to the supporting cast, criminally underused and suspiciously better written. The Nightwalkers? An intriguing and promising concept, sadly underused and left mostly unexplored. The sister? More logical, more emotionally full of subtlety. Fu Gui? A minor character with more clarity and heart than the entire central arc.
Cinematography? Competent. Wardrobe? Sumptuous and repetitive, at least if you're the FL, condemned to recycle the same gown in several key episodes. The ML’s outfits, on the other hand, seem to have enjoyed both budget and narrative respect. Pacing? Like a rubber band stretched too thin over a 40-episode arc. Dialogue? Cringe-worthy at best, with failed attempts at humour that never quite land.
And the ending?
Equal parts predictable and nonsensical, a rare feat. I watched the final stretch at 2x speed, not because I was bored, but because I needed to emotionally outrun the plot.
So what is this drama?
Not a romance. A romance requires mutual emotional investment, vulnerability, and growth. This gave us martyrdom, manipulation, and confusion. Not a parody either, parody implies purpose. This felt more like someone spilled three genres into a blender, added eyeliner and trauma, and hoped for magic.
And yet. Liu Yuning stands tall. His character bleeds, breaks, and somehow survives, narratively, emotionally, and physically. He lends gravitas to a script that doesn’t deserve him, making the unwatchable nearly worthwhile. He does it all armed with nothing but cheekbones and that gaze, the kind that carries centuries of suffering and half the audience’s emotional investment. In the end, this isn’t a drama. It’s a hostage situation. One where the script holds its characters captive, and only LYN attempts a jailbreak, with no tools but his eyes and a well-fitted cloak.
Would I recommend it? Only with caveats.
If you’ve just emerged from the raw anguish of Moon Lovers, the sharp narrative elegance of Story of Kunning Palace, or the unexpected emotional payoff of The Prisoner of Beauty, my advice is simple: give this one a miss, or at least, wait. Let the memory of strong writing cleanse your palate. This drama might wear the costume of intelligence and genre experimentation, but beneath the surface, it sells you a sheep in wolf’s clothing, and expects applause.
Me? I’m off to rewatch Story of the Kunning Palace and TPOB. I need to remember what good writing looks like.
This is just my personal take, and I hope no one gets offended, everyone’s tastes are different, just like in my book club where we all have our own opinions. If you loved this drama, that’s awesome! I’m happy for you. All I ask is that you respect my view, too. After all, variety is what makes stories interesting… even if sometimes the flavour’s not quite to my taste.
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Chaotic, angsty & hilarious satire of the cdrama industry. Enemies to lovers + slow burn.
Hands down one of the best 2025 cdramas! This drama is about the female lead, who is an actress hired to star in a new drama as the female lead. Unexpectedly, she gets transported into the script of the drama, and becomes the actual female lead of that world. Forced to re-enach iconic scenes (that would ultimately lead to her death), she sets on a path to change the script, avoid the villainous male lead, and stay alive until the end.POSITIVE:
- Handsome, strong and tragic male lead (scripts words, not mine haha). Liu Yu Ning does a perfect job at playing three different versions of his character. We get to see the male lead as a red flag villain, morally grey prince and soft-hearted martial artists.
- Brilliant satire of the cdrama industry. The best thing about the drama is that it uses the cliche tropes and scenes we are all painfully familiar with, but spins them into hilarious parodies. The drama totally makes fun of itself and mocks things like no-death during cliff falls, plot armour, save and beauty moments etc. I love that we get to see re-creation of some iconic scenes from popular dramas such as Till the End of the Moon, Love Like the Galaxy, A Journey to Love, One and Only, Story of Kunning Palace.
- Top-notch comedy. There is not a single episode where I wasn’t cracking up like crazy.
- Mix of comedy, politics, romance and sad/angsty moments. The drama blends to perfection the emotional highs and lows. One minute I would be crying buckets of tears or be extremely stressed, and then the next, cracking up like crazy.
- Enemies to lovers + slow burn romance + male chases female. The burn is slow, alright. It takes the female lead around 30 episodes to accept and reveal her feelings for the male lead. The romance is more angsty than fluffy.
- Complex script. The plot has so many layers I don’t even know where to begin with. Yes, the focus is the satire/parody, but at the same time, the drama delves into political intrigue, angsty family dynamics, as well as more abstract concepts like the butterfly dream (real vs fake world) and scriptwriting. The script is so well written that it’s amazing how it told us beforehand all the iconic scenes that were coming, and yet managed to create such unpredictable twists, it surprised us all. The most brilliant thing is that so many things didn’t make sense but at the same time, made perfect sense.
- Stunning production. From the setting designs, to costumes, action/fight scenes, cinematography. I especially love Li Shi Liu unique martial arts costumes.
- Great chemistry between the cast, especially the main leads. Everyone’s performance was brilliant. Liu Yu Ning shined the brightest in this role, his crying scenes were beautifully raw and he slayed the comedy timing too. His co-star, Li Yi Tong, did a phenomenal job too, it was my first time seeing her and I’m impressed. Noteworthy to mention is the Emperor’s scenes, that literally had me ready to throw rocks at my screen, fantastic performance.
- Great OST + BGM. Plus, the insert of A Journey to Love song was chef’s kiss.
- Ending. Brilliantly crafted. All character's arcs were wrapped up well and the transmigration portion was satisfying (considering the tight censorship).
NEGATIVE:
- I have to admit that in the middle of the drama there were a few things that annoyed me. First was the female lead’s prejudice. She kept rejecting the male lead and believing him to be the villain. She never wanted to hear him out or understand his pov. She had pre-conceive notions of how the script would play out, what he would do, and all this lasted for 30 episodes. She was stubborn and stuck in her ways. Also, she felt a bit undeveloped compared to the male lead, who was more fleshed out as a character. Second, the 18th Prince was slightly more irritating than funny. Third, the second couple felt like an odd pair, and I couldn’t ship them as much as I wanted to. HOWEVER, the last 8 episodes made all of these things better. The female lead shined bright when she finally trusted the male lead and started fighting alongside him. The 18th Prince development was fantastic and I even began to enjoy the second couple after their angsty scenes. So, although I was irritated in the middle, the final episodes made up for it!
OVERALL:
This IS the cdrama to watch if you are a cdrama lover. The satire of the whole cdrama industry is top notch and I feel like cdrama watchers will greatly appreciate it. A perfect blend of comedy, politics, angst and romance. The twists are too good to miss out on. This stunning production is extremely unique and brilliantly crafted. Best 2025 cdrama for me, I highly recommend it.
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This review may contain spoilers
Only if you're a Liu Yu Ning fan
After watching The Prisoner of Beauty I really wanted to love this but it wasn't meant to be. Don't get me wrong Liu Yu Ning was terrific as the male lead Nan Heng / Li Shi Liu unfortunately he couldn't save this drama.I have never been so angry watching a drama before. But this one managed to piss me off to no end. How could one character (the male lead at that) be so hated. Everyone (aside from his people) were mean, downright cruel to him. And then along comes the female lead and dang if she isn't the worse of the lot (and that includes the emperor and that's saying something)
His own father hated him for something he didn't do. Honestly how could a child be responsible for a grown up's death? And it just went downhill from there.
Every episode seemed to get worse starting from the very first episode. In just a couple of episodes I was actually rooting for Nan Heng to ride off into the sunset and leave the rest to their own fate.
Then around episode 30 the writer decides to change it up and have the emperor realize he'd wronged Nan Heng. And of course the female lead finally comes in with the "White head, same heart" but personally, I felt it was too little too late.
Great happy ending.
Would I recommend it? No. But if you are a Liu Yu Ning fan and you've seen everything else of his then give it a shot, he's the only reason to watch it. However, I'd recommend a rewatch of The Prisoner of Beauty instead.
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A Dream Within a Dream: Not Confusing—Just Smarter Than Average
Some viewers struggle with A Dream Within a Dream because it doesn’t follow the usual formula. But that’s not a flaw, it’s intentional. This drama asks you to engage with nuance, not just react to surface-level tropes. A Dream Within a Dream isn’t trying to fit into a neat box. If you go in expecting a straightforward love story, you’ll be confused. But if you’re open to something layered, emotionally complex, and structurally bold, you’ll find a drama that rewards attention and rewatching.💫 Let’s Talk About the Heroine
Too many viewers get stuck feeling sorry for Nan Heng and overlook the true emotional core of the story, Song Yi Meng. She’s one of the most realistically strong females leads in Chinese drama, not because she’s cunning or hyper-competent, but because she’s deeply human. She’s smart, but not infallible. kind, but not self-sacrificing. Her strength lies in how she adapts, how she processes each new revelation, and how she makes decisions that balance survival with integrity.
From the start, Song Yi Meng is shown only the side of Nan Heng that reinforces her fear and distrust. She doesn’t get the luxury of seeing his inner turmoil the way the audience does. What she sees is threat, manipulation, and the looming shadow of a fate she’s trying to escape. And yet, she never sells out her family, friends, or even Nan Heng to protect herself. She navigates a world designed to test her, and still chooses compassion over cruelty, discernment over desperation, and love over fear.
🎭Exceptional Acting That Elevates Every Scene
Liu Yu Ning
Liu Yu Ning’s performance is powerful; he begins as a divine threat and gradually unravels into someone heartbreakingly human. His micro expressions are razor-sharp, a flicker of pain, a restrained smile, a glance that carries centuries of grief. He doesn’t overplay emotion, he lets it simmer beneath the surface, and that restraint makes every breakdown hit harder.
In action scenes, he’s magnetic. His physicality is fluid and commanding, never stiff or ornamental. Whether he’s wielding a sword or simply standing still, he looks like someone who belongs in a myth. And when he speaks? Every line is delivered with intention. He doesn’t just recite, he inhabits. His voice carries weight, his pauses are deliberate, and his emotional control makes even the quietest scenes feel charged.
Li Yi Tong
Li Yi Tong portrayal of Song Yi Meng is exceptional. The character is unpredictable, emotionally layered, and sharply funny. She had the difficult task of playing two versions of herself, one who naively falls for Nan Heng without knowing the full consequences, and another who is self-aware, burdened by knowledge of the original script, such as what happens to her, her family, and the cost of loving him. As her real feelings for Nan Heng deepen, she’s caught between foreknowledge and vulnerability, and Li Yi Tong navigates that tension with remarkable finesse.
What makes her performance even more compelling is her comedic timing. She brings a brand of humor that feels distinctly 80's 90's Hong Kong, quick, clever, and emotionally agile. Humor is notoriously hard to play, especially in a drama this emotionally charged, but she nails it. Her tonal shifts, her misdirection, her ability to pivot from satire to sincerity in a single breath, they’re masterful.
💞 A Love Story That Feels Earned
One of the most refreshing aspects of A Dream Within a Dream is how it builds its central romance, not through forced tropes or exaggerated tension, but through quiet, intentional intimacy. The love story between Nan Heng and the Song Yi Meng unfolds organically, shaped by trust, vulnerability, and emotional growth. It’s not rushed. It’s not manufactured. It’s earned.
Their chemistry is undeniable, but it’s not the kind that screams physical attraction every time they share a scene. Instead, it’s the kind of closeness that feels like two best friends slowly realizing they’ve become each other’s home. There’s a tenderness to their connection, a shared language of glances, silences, and emotional weight that makes every moment between them feel grounded and real.
And when the Song Yi Meng finally chooses to love Nan Heng, it’s a quiet resolution. Her trust in him is unwavering. No back-and-forth mistrust, no last-minute misunderstandings just to stretch the plot. Their connection doesn't lean on dramatic declarations or surface level chemistry, it grows from shared pain, mutual respect, and the quiet realization that, despite everything, they choose each other. Theirs is a relationship that feels lived-in, like two people who’ve been through the worst and still find comfort in each other. It’s subtle, satisfying, and deeply human, the kind of storytelling that respects both the characters and the audience.
🧠 Writing That Asks You to Think
Some viewers say the writing lacks emotional logic, but that’s only true if you’re expecting conventional payoffs. A Dream Within a Dream isn’t built for easy consumption. It’s a drama that questions its own structure, and in doing so, asks the audience to think more deeply about character, consequence, and emotional truth.
The dialogue is masterfully constructed. Every scene unfolds with intention, layering emotional tension, character insight, and thematic callbacks in ways that feel organic. You don’t just follow the plot, you start caring about every character, even the ones with limited screen time.
And the humor? It’s woven seamlessly into dramatic situations, never feeling out of place or forced. It’s clever, culturally resonant, and often used to highlight emotional absurdity rather than undercut it. Near the end, the writing revisit earlier themes, especially the concept of scene reset, with such precision that it brings the entire narrative full circle. It’s not just a callback; it’s a culmination. The story doesn’t just end, it resolves, emotionally and structurally, in a way that rewards viewers who’ve been paying attention.
🎬 A Finale That Actually Delivers
Unlike many dramas that leave secondary characters dangling in ambiguity, A Dream Within a Dream gives every major character a proper send-off. We see where they end up, what choices they make, and whether they find peace. It’s rare to get that kind of narrative closure, and ADWAD does it with elegance and intention.
🎶 Sound That Speaks
One of the most underrated strengths of A Dream Within a Dream is its music. The soundtrack isn’t just beautiful, it’s narratively precise. Every lyric is paired with its scene like it was written for that exact emotional beat. Whether it’s heartbreak, revelation, or quiet defiance, the music amplifies the moment without overwhelming it. It’s rare to see a drama where the OST feels like part of the script, but here, it absolutely does.
🔁 Rewatch Value That Keeps Giving
This is a show that rewards multiple viewings. On your first watch, you’re caught in the emotional whirlwind. On your second, you start noticing the patterns. By the third, you begin to understand each character’s position in the loop, what they know, what they fear, what they’re trying to change. Every rewatch offers a new perspective, a deeper understanding, and a fresh emotional angle. It’s storytelling that evolves with you.
📚 Let’s Talk Comparisons
So many reviewers on this site throw shade at and rate down A Dream Within a Dream, while praising The Prisoner of Beauty with a kind of disingenuous enthusiasm.
Let's be clear, there is obviously a bias at play, one that colors their entire viewing experience. They watch ADWAD through a lens of skepticism, picking apart characters and storylines that are simply too complex for them to understand or appreciate.
TPOB is fine. It’s an average romance story with familiar emotional beats. But it doesn’t take risks. It doesn’t challenge genre. It doesn’t ask you to think about storytelling itself. A Dream Within a Dream does all of that and more. If you rate TPOB higher, that’s a matter of taste. But let’s not pretend it’s because the writing is stronger. ADWAD is simply operating on a different level.
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A surreal, witty, and emotionally gripping journey — truly a dream within a dream.
As someone who has watched Asian dramas for years, very few shows leave such a lasting impression. This one was a standout from the very beginning. The plot — with its layers of metafiction, reincarnation themes, and dreamlike transitions between script and reality — felt both fresh and deeply philosophical. It plays with cdrama tropes in a clever, self-aware way while still delivering heartfelt emotion, political intrigue, and beautifully choreographed action.The female lead is strong, determined, and never reduced to a mere love interest. She grows throughout the story, and although her initial prejudice toward the male lead dragged on a bit too long, it made her eventual trust and transformation all the more satisfying. The male lead, portrayed with stunning versatility by Liu Yu Ning, anchors the emotional weight of the show — tragic, dangerous, and incredibly tender when it counts.
The production is top-tier: breathtaking costumes, sharp dialogue, tight editing, and one of the most memorable soundtracks I’ve heard in a while. Comedy, angst, and satire are perfectly balanced. Even when some characters or side plots faltered, the final stretch brought everything together in such a satisfying way that I forgot all my earlier frustrations.
This is not just a drama, it’s an experience. For those who love slow-burn romance, layered storytelling, and a twist on familiar fantasy elements — this is a must-watch.
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It gets to a point
I want to start this rant review by saying that, if A Dream Within a Dream (or alternatively, Everyone Hates Nan Heng) was trying to rage-bait me, then it has successfully completed its task, because I haven’t written a drama review in almost a year, but this one made me do it.The premise is interesting: Song Xiaoyu, an unsuccessful actress, gets a leading role next to an A-List celebrity (Nan Feng), but her character is only a pawn to the male lead in a terrible script. She then gets sucked into the story and decides to be as far away as possible from the “God of War” male lead. Though it doesn’t sound too ground breaking, the first episode and its satirical tone of the chinese drama industry immediately caught my attention. The first few episodes were good (although a bit too corny for my taste), but it didn’t take too long for it to go downhill, and fast.
Which brings me to the first (of many) fatal flaw, the female lead of this story. I absolutely despised Song Yimeng’s character. She is supposed to be the only “real” person in a world full of fictional characters, yet somehow acts the most caricature-like absurdly of them all. Her behavior is erratic to the point of being nonsensical. She is terrified of Nan Heng one minute, pitying him the next, overconfident in between, then suddenly in love with him (?). There is no arc here, just emotional whiplash.
Also, how do you go from repeatedly dying in a scripted world without fear to suddenly being terrified of death after your situation changes slightly? The fear itself makes sense, you could argue that, since the situation has changed, she can’t be completely certain a new death scene will result in her restarting the story, but she never has a thought process that leads to this conclusion and explains her fears. And never, not once does she seriously think about going back to her real life? She’s constantly stressed and in danger, yet seems perfectly content to remain in this fictional world just because she has money and a fake family.
Speaking of which, her family dynamics? Barely explored. She immediately latches onto her fictional family without any organic development. Why not let us see those bonds form over time, rather than expecting us to care just because you told us to?
The drama tries to critique the tropes of male-centric stories where female leads exist only to further the male protagonist’s journey. But then it... becomes that exact thing. Nan Heng and Li Shiliu dominate the screen. SYM might be the protagonist, but she spends most of the drama reacting, acting ridiculously, or even, especially during the middle part of the story, off-screen. She doesn’t grow. Even by episode 27, she’s still stuck on the idea that the script is unchangeable. No progress. No inner transformation. Just a tragic family backstory shoved in way too late in a failed attempt at emotional depth and a sense of clarity that comes out of nowhere towards the end of the story that can only be described as reaching Nirvana because she saw Nan Heng mounted on a fake pegasus and dressed in white.
And then, of course, the plot holes. So many. It genuinely feels like they filmed the first draft of the script with no revisions. Characters reach conclusions instantly, they contradict themselves within minutes. Basic logic? Missing. I could list a dozen examples, but here’s the one that broke me: when Song Yimeng, Chu Guihong, and Li Shiliu are “working together”, Nan Heng (disguised as LSL) denies any alliance with the Seventh Prince and even joins a plot to assassinate himself (which, honestly, I found pretty funny). But just a few episodes later, he’s throwing a banquet at Waning River Crescent as Nan Heng, casually walking around with Shangguan He. Subtlety? Never heard of it. And naturally, no one notices, because everyone in this drama is, tragically, an idiot.
As for overall character development. There was close to none. SYM, as mentioned previously, had no character development arc, NH was perfect from the beginning (the viewer just didn’t know about it), the emperor turned a switch and went from hating his son to loving him. As for Chu Guihong, I, innocently, thought that he would have the most interesting character arc, becoming a villain and all, but it just ends up being so incredibly exaggerated and nonsensical, I can't even say I liked that.
Then there's Song Yiting. At first I disliked her because she was annoying (which, fair, so am I), but this woman is vile. She's a predator who attempts to s*x**lly assault Li Shiliu under the pretense of wanting to “ruin her marriage prospects”. There is no gray area here. She drugs a man to force him into s*x and the show barely blinks. I could talk a lot more about this, but choose not to in order to protect my own sanity.
And if all of thatr wasn’t already enough, here enters the Scriptwriter character, who shows up, becomes a moustache-twirling-top-hat-wearing cartoon villain and then ends up helping the protagonists. Just like SYM, no real person attributes, just absolute idiocracy.
I know I have done nothing but complain, but (shockingly) there were things I liked.
The soundtrack, for one, is mostly great. Unfortunately, most of the good tracks are tied to Li Shiliu, and once he’s gone, so is the music. But during his scenes, the audio experience was really good.
The drama was indeed funny. There were many moments in which I caught myself actually laughing out loud at scenes, so I have to give credit where it’s due.
As for Nan Heng, shockingly, I enjoyed his character, for the most part. He carried more emotional nuance than expected and managed to steal the spotlight from the actual female lead, Song Yimeng, in what is supposedly her breaking-the-cycle-of-female-lead-being-a-device-to-the-male-lead story. Ironically, a drama that seems to critique the sidelining of female leads ends up doing exactly that, SYM becomes more of a supporting character halfway through the show.
Well, in conclusion, powering through this drama was like when you drive past a car crash. Horrifying, and yet somehow impossible to look away from precisely because it is so terrible.
Come to think of it, the acting, costumes, setting, and soundtrack all range from at least average to genuinely great. Production value isn’t the issue, the script is, and unfortunately, without solid writing, even the most stunning production falls flat.
A Dream Within a Dream starts off promising, dynamic, and almost clever. But it quickly devolves into a bloated mess of half-baked character arcs and lazy plotting (it seems that the writers wanted things to happen and characters to develop thoughts, but were too lazy to do the DEVELOPING part, and just threw the action into the screen). The very clichés it claims to satirize, it ends up indulging in.
If the goal was to criticize bad storytelling, maybe they should’ve tried writing a good one first.
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An Uncommon Yet Intrigue Story
A Dream within a Dream" isn't your typical drama, especially if you prefer straightforward plots and immediate resolutions. Those accustomed to shorter series or narratives where every conflict has a clear-cut ending might find this one challenging to fully appreciate or even understand.Many viewers mistakenly categorize this drama as a story primarily focused on intrigue, power struggles, or romance. While elements of these might be present, they aren't the central theme. Instead, the core of "A Dream within a Dream" lies in its unique exploration of a script's world gradually altering due to external influences. This intervention causes each character to evolve, inevitably forcing the narrative itself to adapt and shift.
These subtle transformations aren't always obvious at first glance, requiring careful attention to fully grasp. However, as the drama unfolds, every event meticulously builds towards a powerful climax, where the ultimate direction of the "script" is determined by the very characters living within it.
This is certainly not something you come across often, which is why I call this drama one-of-a-kind.
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I went into this series so so excited because it honestly sounds like it was made for me.
Note to self #1 – Just because I adore Your Name / Kimi no Na wa and Trash of the Count’s Family is one of my favorite books doesn’t mean I have to adopt every cousin in the genre.Note to self #2 – A cute poster is not a personality test. I can resist. I must resist.
Note to self #3 – “The more, the better” may work with chocolate, but not with Chinese dramas.
Yes… I’m judging myself. Harshly.
This series looked like the full package: transmigration, political drama,
family crisis, unspoken feelings, adventurous quests, secret identities, and romance. I should have liked it. But somewhere along the way… something just didn’t click.
What could go wrong?
Well, I don’t even know. It started off so promising — the costumes were stunning, and the music was lovely.
When I think of transmigration stories, I want to be swept away — something funny, original, and most importantly, compelling. That last part matters most, because even if the stakes aren’t high, there still needs to be depth, something that makes me care.
And for me, A Dream Within a Dream just never quite got there.
I was hooked by the first episode… and then it happened. The story just failed to keep me engaged — not in the middle, not even at the end, when things were supposed to be exciting.
It lacked that vital tension that drives a story forward. Without it, the momentum just died.And then came the ending. Honestly? Disappointing.
No
Everything was wrapped up too neatly — major conflicts resolved in an instant, no tension, no surprises, no emotional payoff. After such a long journey, it all felt hollow.
Not perfect, but hey – happy ending, so thanks!
Did I care about the characters? Sort of.
Nan Heng, the emotionally bruised prince with trust issues, had my whole heart.
Song Yi Meng? Well… she tried. I wanted to like her, but somehow her heroine energy got lost somewhere between episode 16 and my patience.
Chu Gui Hong - no thanks.
Maybe I’m just salty because of the prince.
Yes. Biases.
I could definitely see this story working better with 10 fewer episodes.
It wasn’t a bad series by any means — just not my type (at least not right now). This feels like the kind of show you watch in winter, when snow is gently falling, you’ve got hot chocolate in hand, and you're curled up under a blanket.
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WHAT A BANGER
I usually hate watching ongoing dramas because I get too impatient. But I knew this drama was going to be one of my absolute favourites since episode one, so whenever a new episode aired, I dropped everything else and watched it as soon as I could. It's that addicting. The story, despite not being very unique, is still quite nice. Most of the characters are very loveable. Nan Heng just might be the best cdrama male lead of 2025. He's so charismatic that you can't help but root for him all throughout the drama. Liu Yu Ning also deserves credit for this. He did such a great job bringing Nan Heng to life. On that note, the acting in this drama is superb. If I had to point out a flaw, it would be that the drama got a little draggy around ep 20 - 25, due to the VERY UNREASONABLE misunderstandings between ml and fl, but other than that, I only have good things to say. Overall, it's a really fun drama, that's almost perfect from start to end.Was this review helpful to you?
This review may contain spoilers
Annoying FL
Maybe it’s because I watched TPOB, thennnn I watched this! And I’m sorry, this just didn’t live up to my expectations.The plot- very promising. Being sucked into the novel world, ok nothing new. Other dramas have done the same. The FL dying multiple times and having to find the correct outcome- interesting. Trying to change the main plot, and being sucked back into the original plot, also very interesting. However, the themes become repetitive, something like Deja vu or Groundhog Day.
The comedy- I knew it was meant to be comedic, light-hearted and humorous. But um.. some parts were just childish, esp with Riley King’s acting and expressions.
The main beef I had was with the FL. As many viewers that like her, there are also many that dislike her character. Way too much talking, then annoying. Imagine the ML trying to give his explanation and EVERY TIME she just cuts him off. And then she tries to act all cute- no sorry. Can’t stand her.
What I like:
1) Liu yuning- but of course. He is dominating 2025 💜💜 his dual roles and costumes- very shuai. The way he just SLIDES IN just to save her- haha so good.
I’m trying to think of other things I like… nope sorry just the one! Haha., in the end, I was just skipping quite a lot just to finish it.
2) oh - the music and background sound effects were great! In fact, I think it enhanced the drama and made it way better.
All in all, not a great watch for me. But maybe it will be to your liking 🤷🏻♀️
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