Zai Jian Ye You Shu (2026)

Lazy ending

This is usually my favorite kind of plot: a female lead transported into a novel or the past, so I was genuinely excited, especially since the male lead is quite talented. Unfortunately, while the story had potential, it was painfully slow. I kept watching, hoping it would pick up, but it never did. Nothing about the drama felt exciting, which is disappointing because this type of plot has huge potential to be genuinely funny...and it wasn’t.

The ending didn’t help either. I could predict it from miles away, since this isn’t the first Chinese drama to use the “writing the story” loophole to get around the transmigration ban ( wink a dream within a dream which did this way better ). The conclusion felt extremely lazy : “how he comes into her world is a story for another time” just sounds like the writers didn’t know how to end their own script.

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Still waiting for it to click

My Page in The 90s is about a modern-day love advice streamer gets pulled into a cheesy late 20th century romance novel, she finds herself entangled with a cold CEO archetype and forced to play out a love story she never signed up for.

But honestly? This drama spends its entire runtime almost convincing you it has something interesting to say, but then stopping just short of actually saying it.

On paper, this is a classic transmigration setup. Lin Huan’er is initially sharp, pragmatic, and refreshingly clear about her goal: she wants to go back to her own reality.

Huan’er works fine on a surface level. She’s fun, reactive, and decently written. But the second you try to dig underneath that surface, there’s nothing there. Her emotional interior is frustratingly underdeveloped. We’re told she wants to return to her world, but we’re never shown why. What is she leaving behind? A family? Friends? A career she cares about? A life she built? We have no idea. And that becomes an issue later on, when she suddenly decides she might not want to go back after all.

This is, in my opinion, one of the most grotesquely common flaws in transmigration stories: the protagonist’s original life is treated as disposable. Wanting to return becomes a purely logical stance at the start, and abandoning that desire later is framed as emotional growth. Except it isn’t, because there was never anything tangible to give up in the first place. It makes her choice feel hollow because there is nothing to compare it to. Does she truly find something worth staying for, or does the story simply stop caring about the question?

Then there’s Gao Haiming. He is the hyper-competent, emotionally constrained CEO who is secretly warm, loyal, and willing to burn the world down for the woman he loves. Nothing grounds breaking, but decent enough.

Chemistry is another stance in which the story wobbles. It almost works. There are moments, especially in the very last episodesof the drama, where you can see what the writers were aiming for. But for a long time, I felt… nothing. Not even during scenes that were clearly meant to be intense or intimate. Their affection doesn’t feel like it grows, it just appears. One moment there’s emotional distance, the next we’re meant to accept that something deep and irrevocable has formed between them.

A significant chunk of the runtime is spent on Huan’er running away from her feelings, and it feels like a way to avoid doing the actual work of building the relationship. Those episodes would have been far better used letting us watch the affection develop organically, rather than being told it exists.

Secondary characters don’t help. Most of them are painfully uninteresting. Zhu Mengmeng starts off as someone who at least feels relevant to Huan’er’s story, but as the drama progresses, the narrative splits into parallel tracks that intersect every now and then. It ends up feeling like two separate dramas awkwardly stitched together, instead of a cohesive world where relationships actually matter.

Performance-wise, this drama is frustrating. I’m already familiar with Chen Xingxu, and he is undeniably a very good actor. This was my first time watching anything with Wang Yuwen, but she leaves a good impression. Which is precisely why some scenes are so hard to get through. The emotional beats don’t always land, and when they don’t, it feels less like an acting issue and more like a directing and pacing problem.

And the ending? Lazy and emotionally unsatisfying.

I don’t want to get into spoilers, but I have a deep dislike for abrupt endings that simply happen. No explanation, no thematic resolution, no real invitation for interpretation, just a narrative shrug that suggests the writers were tired and wanted to be done. It doesn’t feel open-ended in a mysterious and intricate way, it feels unfinished.

What makes all of this more frustrating is that the drama repeatedly comes close to being good, but it never quite gets there. It gestures at depth without committing to it, sets up questions it doesn’t want to answer, and relies too heavily on familiar tropes without doing enough to justify them.

In the end, this is a drama that had all the necessary components: a capable cast, a workable premise, and moments of genuine charm. But instead of fully committing to its ideas, it settles for “good enough” and for a story about rewriting fate and choosing one’s own ending, that feels especially disappointing.

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