PeachBlossomGoddess

Be the chess player, not the chess piece.

Sword Snow Stride evokes all my best wuxia memories; action, adventure, chivalry, an old murder mystery, political intrigue and a dash of romance and a medley of eccentric surrounding characters with astounding martial arts capabilities.Set in a fantasy world, Xu Fengnian is the son and heir of the fearsome warlord Xu Xiao, king of North Liang, Liyang's largest and most powerful fiefdom. Adapted from 烽火戏诸侯 Feng Huo Xi Zhu Hou's epic 20 volume novel The Snowy Path of the Heroic Blade 雪中悍刀行, this first instalment focuses on the coming of age of main protagonist Xu Fengnian.

Anchored by Zhang Ruoyun and adapted by Wang Juan of Joy of Life fame, this was one of 2021's most anticipated dramas and for me, it did not disappoint. The leisurely pace at which the plot unfolds gives the viewer the time to imbibe the rich complexity of the interplay between characters and their relationship dynamics. Wang Juan has taken his writing to a new level, delivering a crisp dialogue that gives the first impression of wit and occasionally irreverent humour that masks profound layers of hidden meaning, wisdom and emotions in conversations within conversations. This is most evident in Fengnian and Jiang Ni's delicious repartees but it also underlies multiple exchanges between Xu Xiao and Fengnian and belie numerous other superficially adversarial relationships. This requires a level of sophistication and nuance in the portrayals that is only done justice by the more experienced actors.This is unfortunate for Li Gengxi whose lack of experience is evident in her immature and shallow rendition of the marvellously atypical Jiang Ni. Despite some endearing moments, she does not "own" the character quite the same way Zhang Ruoyun is Xu Fengnian but he is a tough act to follow and not a fair comparison for a young actress. She warms to the role considerably in the latter half and I would be happy to see her return for the second season.

Do not be deterred by the fact that this drama did not live up to the high expectations of Chinese viewers, whose main issues are with the slow pace, the choice of female lead and the slo mo action scenes. It is true that the direction of some scenes, in particular action scenes could have been better. While the director wanted viewers to appreciate the grace, artistry and difficulty of the actors movements, the end result is the scenes lack the intensity and thrill of imminent peril. This is understandably a dealbreaker for some hard core wuxia action fans but it didn't really bother me. As the drama progresses, there is some speeding up of the fight scenes that are boosted by Marvel universe like CGI. The final encounter is spectacularly ferocious, thrilling and violent enough to satisfy most critics.

The drama opens with the roguish young Xu Fengnian living in the moment while traipsing the world with his groom Old Huang. He is not comfortable with his father's ruthless tactics and eschews his legacy, one that puts him in the crosshairs of those in the highest circles of power. While Fengnian draws inspiration from many mentors, Xu Xiao and Old Huang are by far his most important early influencers. An unconventional thinker, Fengnian refuses to compromise, strives for win win outcomes but does not hesitate to be ruthless when he needs to be. As he steps up into his role, he starts out as a mere chess piece in a high stakes game where his father Xu Xiao is many steps ahead. Along the way, he grows to be the chess player, not the chess piece. He also better understands his father's choices and become more like his father in some aspects. Zhang Ruoyun and Hu Jun have great chemistry and I found their unorthodox banter and relationship hilarious and moving; we really didn't get enough of them together! This must be Zhang Ruoyun's best role, I enjoyed both his portrayal and Xu Fengnian the character even better than his fabulous Fan Xian in Joy of Life.

While Fengnian starts out protected by his father's retainers, he manages to win hearts and minds using his own unique methods and inducements and finds himself surrounded by a formidable entourage of martial artists, retainers and maids with mysterious pasts; leaving a string of alliances and favours owed in his wake. These are classic wuxia archetype characters that make me shiver with delight at their single minded obsession with the quest for supremacy that comes with inevitable sacrifice and regret; who willingly barter their swords and their lives to advance or to honor past promises or debts. While the story revolves around Xu Fengnian, so many of these surrounding master swordsmen captured my heart and imagination with their prowess and their backstories from the laconic and lethal White Fox, Old Huang, Qing Niao and of course Sword God Li Chungang. The many awe inspiring female swordsman makes it hard for Jiang Ni to really shine and leaves the indelible impression that Fengnian is a man with a fleet of many ships.

It is said that a hero is only as good as its villain and in Zhao Kai, Liu Duanduan explores a deeper villain, a riveting opposite character to Xu Fengnian.and pulls off an oddly empathetic antagonist that practically steals the show. They are both scheming and ruthless characters who attempt to escape their destiny but that is where their similarities end. Zhao Kai is utterly lacking in moral fibre and can only win by foul means ,regardless of consequences or how many must die. He is dangerously and humorously self aware of this and stalks Xu Fengnian looking to exploit a moment of weakness. He won my heart with his unabashed appreciation of Xu Fengnian's brilliance and insight; were their goals not in such conflict, Zhao Kai would be Xu Fengnian's greatest fan. It is a great pity Zhao Kai is not an out of box thinker that could have found a way to align his interest with that of Fengnian. Even though Zhao Kai is far from the most powerful antagonist, a big chunk of the season one plot revolves around his pursuit of Xu Fengnian.

Season one draws to a very satisfying conclusion with an epic and very satisfying showdown and major immediate tasks achieved. It leaves me hungering for more but not in that awful cliffhanger kind of way. It will undoubtedly take a few years for season two to materialise but even if it doesn't, we can still think of this as an immensely enjoyable and very satisfying slice of life kind of drama. This is the second 9.5 from me for 2021 that closes the year on the same high note that Word of Honor started it on.

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Like a mucus bath.

Don't be fooled by this drama's engaging start - a hint of intrigue, the promise of adventure, a powerful secret weapon, political conspiracies aplenty and a heart stopping romance between a intrepid princess and a valiant guard. After about a dozen thrilling episodes this drama turns so icky that it feels like a mucus bath.

Instead of the incomprehensible Rebirth For You, this drama's real title should be The Story of Miaorong. Because over 30 super long episodes (50+ minutes), practically all of the screen time is hijacked by the deranged machinations of the female and male love rejects' pathetic, slimy and absurd schemes. Every time you are about to jump ship out of frustration, they will throw some sugar at you with some sweet scenes between Bao Ning and Li Qian but make no mistake, the very boring actress that plays Miaorong gets MOST of the screentime. The final insult to the injury is this smart couple becomes stupid and their devotion and absolute faith in each other devolves into angsty and immature misunderstandings toward the end. The promising plot threads and interesting antagonists are left largely under exploited while the writers strive to bore us to death with every silly, malicious cat fight and scorned lover trope ever conceived of. This is a total waste of both Ju Jingyi and Zeng Shunxi's acting talent and is little more than a shameless exercise in letting second rate actors get too much exposure.

If you are die hard fans, watch about the first twelve episodes and the last one or two. All the rest can be skipped but my overall recommendation is to save some brain cells and not watch this at all. This is my shortest review ever to avoid wasting any more time on this abomination. Rating 3.5/10.0.

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We don't need another hero.

This is a dark, intensely melodramatic classic wuxia about heroes. The Chinese title 说英雄谁是英雄 (Speaking of heroes, who is a hero?) asks the question who is a hero 英雄/yīngxióng? What is distinctive about this story is that there is no main protagonist. It is left to the audience to decide which character(s) are heroes. Although novelist Wen Ruian is not considered to be in the same league as Jin Yong or Gu Long, there is a cynical provocativeness that distinguishes this best work of his. The martial artists or 大侠/dàxià, featured in this are swordsman known for their legendary weapons. Despite 江湖/jiānghú lore about their great feats and relative prowess, 一山还有一山高, there is always a higher mountain so the outcome to any encounter between these fighters is not known until actually put to a test.

Li Muge's brilliant camera work evocatively captures the essence of a wuxia from the wild vastness of the terrain, the spirit of adventure, the air of intrigue to finally, the profound sense of fatalism and impermanence. Yet despite the stunning aesthetics, the fast paced and bloody fight scenes are over choreographed and somewhat lacking. The action scenes mostly comprise of discontinuous slasher heavy shots that are stitched together to end in exaggerated fierce posing by the combatants. There seems to be a lot of slashing around without capturing the flinch inducing violence and intensely muscular swordsmanship seen in shows like Lu Yang's Brotherhood of Blades. The two final fight scenes are powerful and much more satisfyingly executed with the right mix of violence, emotion and intensity.

This drama's ensemble cast delivers nuanced and polished portrayals of memorable characters such as Chen Chuhe's charismatic Su Mengzhen and Meng Ziyi's heart rending Lei Chun. The diversity and eccentricity of jianghu's denizens from the flamboyant Fang Yingkan, the staunch and astute Yang Wuxie, the hilariously coquettish Zhao Xiaoyao , the fanatical Lei Mei , the wily Lei Sun and the enigmatic Di Feijing anchors this wuxia. Naturally the performances of the three young idol actors who represent the next generation of martial artists, suffers by comparison in such formidable company. While both Zeng Shunxi's Wang Xiaoshi and Liu Yuning's Bai Choufei struggle visibly in more complicated scenes, they deliver credible performances overall. Besides, Bai Choufei is a difficult role that would challenge many seasoned actors. As for Yang Chaoyue, her acting mantra must be "when in doubt, just pout" because besides crying, that is what she does best in every scene. Even though Wen Rou is a superfluous and archetypal character, she has many well written comedic moments with the advisor that disappointingly fall flat in execution. I won't lie, the idol actors failed to convince me of any of their relationships or make me care much for them. I find Su Mengzhen's bond with Yang Wuxie far more compelling than Wang Xiaoshi's with Bai Choufei.

The story opens with the young and decent Wang Xiaoshi's first foray into jianghu, tasked by his shifu to deliver a mysterious box to Su Mengzhen, the young master of the House of Golden Wind Drizzle (House Drizzle). Along the way he forms a fast friendship with the deadly and ambitious Bai Choufei and the well-born, pouty and marriage evading Wen Rou. Together, they head to the capital, seeking fame, fortune and adventure. Near the city, Wang Xiaoshi and Bai Choufei save Su Mengzhen from an ambush and the three become sworn brothers. Thus they find themselves allied with House Drizzle and pitted against their arch-rivals, the Six-Half Hall. The high-minded and valiant do-gooders are drawn to House Drizzle while the less scrupulous, commercial and profit minded converge at Six-Half Hall. There are formidable martial artists and yes, heroes at both sects; neither is completely good or bad they simply live by different ideologies.

All too soon, it becomes clear that Bai Choufei's unrestrained ambition and world view is incompatible with that of Su Mengzhen and House Drizzle. This man has a massive chip on his shoulder and his ambition tragically exceeds his ability. Thus his bottom line is flexible and he is willing to get what he wants by fair means or foul making him better suited towards Six-Half Hall. His desire for Lei Chun, a woman who only has eyes for Su Mengzhen, further fans the flames of his resentment. It is inevitable that Bai Choufei succumbs to his worst instincts to become the kind villain I love to hate; one that I can ultimately somewhat empathize with and understand. Sadly, this is where the screenwriter inexplicably decides to whitewash Bai Choufei and rob him of his free will. What follows is one of the worst character assassinations ever. Bai Choufei, a strong minded, unapologetically ambitious and arrogant character is reduced to a mentally unstable puppet of a corrupt government official. He becomes so unhinged, despicable and pathetic that he is little more than a rabid dog that has to be put down. What a waste. None of the other villains really step up; both Thirteen Doom and Fang Yingkan had potential but are too cursorily dealt with at the end and their motives and some of their actions not satisfactorily explained. That said, Thirteen Doom will always be a bit of a hero to me just for gagging Wen Rou.

The ending bloodbath between the sworn brothers is predictable and inevitable. At this point, Li Muge gives in to his love for melodrama and sprays dogs blood over everything with wild abandon. I was nonplussed at the tragicomic drawn out twitching after going splat death scene that eventually just made me laugh. I expected Su Mengzhen to play a more active role in the finale but his decision was already foreshadowed. He explains himself with his parting words 独立三边静 轻生一剑知 which Tencent simply translated as "The fearless brings peace for many but dies a death that's lonely." Those are incredibly fitting parting words for Su Mengzhen that those who love him can understand and must accept. It is actually a beautiful, famous ancient Tang poem with deep meaning that I will hide in a spoiler in the comment section of this review. The ending was good albeit overly melodramatic for my taste.

Which comes back to the conversation about heroes or 英雄/yīngxióng. When all is said and done, a hero does not have to fit the conventional wuxia hero in terms of righteousness or chivalry. It is enough that they are true to their own ideals and thus the hero of their own story. For me, Di Feijing is unambiguously the hero of this story. In his own way, he is no less chivalrous than Su Mengzhen and between them, they maintained a stable balance of power in the capital. He is the one character that is consistently true to his ideals and lives to protect those he loves. I find his chemistry with Lei Chun to be the most natural and moving in the drama. He is the only character who truly and only loved Lei Chun. Tragically Su Mengzhen is the only one that Lei Chun loved even though he did not love her quite as intensely or as selflessly as Di Feijing did. They are the three characters I cared the most about in this drama. I still don't forgive Li Muge for short changing me of Di Feijing's and to a lesser extent, Thirteen Doom's ending combat scenes. It is not enough for me to know that justice is served, I wanted to see it happen. As for Wang Xiaoshi, he is at best a work in progress. Even though he did his best to fix things, he also ineptly set in motion many of the events that led to among other things, Lei Sun's downfall which snowballed into this giant, tragic mess. If he is a hero, we don't need another hero. In any case, as Lei Chun discovered, heroes are not there when you most need them. Best be your own hero.

I have very mixed feelings about this drama. I think I am mostly disappointed because it could have been so much more had the scriptwriter and the director stuck with the novel and not succumbed to whitewashing and dogs blood melodrama. Thanks to the substance and depth of the original works however, it still a good watch if for nothing else, the stunning aesthetics. This feels like a 7.5/10 for me but I bumped it up to an 8.0 because Di Feijing (Yang Tong) is such an unforgettable character, he stole the show as far as I am concerned.

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Confucius' last stand.

This drama is about a conspiracy that unfolds during the latter part of the Wanli reign of Ming dynasty, regarded as one of the most prosperous periods in human history. It was the beginning of the end as Wanli's indifference and administrative dysfunction led directly to the downfall of the Ming dynasty. A series of shocking serial killings in Jiangnan has the local Du County yamen scrambling for answers. Each macabrely staged corpse comes with a quote from the Analects of Confucius, a chilling message from the killer.

This is a dark story about just how difficult it is to be a decent person, much less one that lives up to.Confucian standards of morality. In a hierarchical feudal society where a scholar's voice drowns out that of a servant and the justice system takes such long detours that it fails even elite rare talents like Judge Song , many inevitably stray down the slippery path of insidious moral compromise. Most of the characters in this story start out as decent people with relatable goals of wanting to improve their lot in life, to set their one true love free, or to right a wrong. For Qu Sangeng, a young bailiff at the yamen, the killings hit too close to home. Hunting down the killer is personal for him but his investigation is hampered by his low rank and treacherous internal yamen politics. With the help of his friends, he manages to connect the killings to a 20-year old arson case where justice may have been subverted. Like his mentor Captain Leng , Sangeng resorts to somewhat questionable methods against some bad actors over the course of his investigation. He soon discovers that point where the end no longer justifies the means and all too easily that line between justice and vengeance becomes blurred. Will he choose to do what's right or succumb to his own worst instincts?

The narrative alternates between two timelines where Lu Zhi and Qu Sangeng are parallel clever characters who are slightly morally flexible and find themselves privy to secrets. Within their sphere of influence is a strong father figure, a scholarly friend and a simpler one with innately stronger moral conviction. The plot is tight and the dialogue is laced with subtle dark humor that fits well with the serious and suspenseful tone of the story. I really appreciate this as too many productions hire big name comedians with exaggerated delivery styles that are jarringly incompatible with the mood of the story. The humourous mocking of too obvious cross dressing was a 10/10 comedy gold moment for me. Mystery buffs will appreciate how the plot keeps you guessing with credible alternate theories that remain in play into the final reveal. The villains are hidden in plain sight, everyone's actions are in character, there are enough clues along the way, the solution makes sense and the ending surprise twist was long foreshadowed. My only slight criticism is some of the character downfalls occur a bit too abruptly and I think the mastermind did have the means to obtain justice in a different way. Even though the ending is fitting and realistic, none of the truly morally upstanding characters get good outcomes. At least one of the deaths was not deserved and unnecessary.

Ning Li anchors this drama as Song Chen, a dark, tortured character full of remorse; betrayed by the system into betraying himself. His heartbreaking struggle to fight monsters without becoming a monster is like watching Confucius' last stand. This character pays tribute to Tang Yin aka Tang Bohu, a renown Ming Dynasty artists and poet. The young actor Yu Yao makes an impression beyond his age with his nuanced, empathetic and chilling portrayal of the young Lu Zhi. While Qu Sangeng is not Bai Yufan's strongest role, he delivers a credible if at times forced performance. This is a wide cast of superb, non-idol actors who pull off complex and captivating portrayals with limited screen time. The bold decision to film in an ancient city and the stunning cinematographic impact of moss drenched walls and vivid rustic countryside and the authentically styled characters all add to the sense of immersion. The drama's visual composition style conveys a suspenseful ambience, a feeling of subtle decay and an air of injustice that belies the vibrant prosperity of Du County. Overall, a superb debut production by filmmaker and screenwriter Zheng Wang that eschews tired tropes. This is a director that has something to say and he tells a riveting and resonating story about justice and morality that leaves food for thought at the end.

This is one of the best ancient suspense thrillers I have watched in a long time and one that hard core mystery buffs can lose themselves in. A highly recommended 9/10 from me.

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Fresh twists on old cliches.

At first glance, Autumn Ballad looks like just another light historical romance featuring a strong, independent heroine with 21st-century attitudes and aspirations. Yet with a chock full of fresh twists on old cliches, this manages to surprise and delight with an all too familiar tale of a lowly illegitimate daughter who finds love most unexpectedly on her quest for self-determination. This well-told story with an authentic voice is carried by Xu Zhengxi and Qiao Xin's heartfelt performances which make me invested in their characters before I even like them.

What I like most about Qiu Yan is that she is really not that nice or always that smart. Phew, what a welcome relief from the all too common suffocatingly flawless heroines. This is where notably Yu Zheng's recent, much higher budget projects fall way short by comparison despite big-name actresses. Trapped and exploited by her low birth status, Qiu Yan is the anti-Cinderella - her stepmother is her fairy godmother; she gives as good as she gets to her step-sisters and her mysterious prince leaves her a fan at the stroke of midnight. She tries for the best hand from the cards she is dealt and if she has to use a few people or step on toes along the way, so be it. She can be as harsh, selfish, and unforgiving as she is brave, capable, and loyal. She schemes, miscalculates, and makes mistakes with real consequences for herself and for others. I don't always like or agree with her but can understand her desperation and humanity.

Liang Yi is a pretty gray character which makes him my kind of male lead. Beneath his icy, civilized veneer he is a calculating, manipulative, ends-justify-the-means kind of guy with an agenda and he plays a long game. His path crosses with Qiu Yan repeatedly over the course of his investigations as head of the powerful Firewood Bureau. From the get-go, Liang Yi sees through Qiu Yan's machinations with contempt and tries to frustrate her designs on Qin Xuan. But he stops short of throwing her under the bus, perhaps in silent acknowledgment of his own utilitarian nature. When their interest align they agree to collaborate and are unflinchingly honest with each other about what's in it for them. In doing so, they also reveal the better sides of their nature and as they grow on each other, I fall for them. Qiu Yan is no damsel in distress in need of rescuing and Liang Yi can be as much cad as a knight in shining armor. They are kindred spirits and when they join forces, the sum of the parts is greater than the whole. It is inevitable that conflict and antagonism spark mutual awareness and passion. Their repartee is witty and the dialogue humorously highlights universal truths about human nature and the role of women in society. Is it too contemporary to be realistic? Probably but who cares?

This drama ought to be the gold standard for how realistic, believable relationships should be developed and portrayed. Xu Zhengxi really captures the essence of how Liang Yi's feelings for Qiu Yan evolve from dislike and distrust to grudging respect and consternation when it dawns upon him that he added to her burdens. His ironic, disbelieving expression as he comes to terms with his feelings for her kills me every time. This is by far the best-acted, anchor performance in the drama, elevated by the OTP's undeniable screen chemistry. While Qiao Xin stages a convincing, empathetic complimentary act, she falls short in her crying scenes.

The supporting characters are also mostly well-written and I particularly appreciate the balanced point of view with respect to the sibling rivalry between Qiu Min and Qiu Yan. Both Qiu Min and Qin Xuan are less thoughtfully written but despite their character flaws, they both get a pretty raw deal. The writers seem to know how to design layered and interesting characters but don't know how to finish their stories. Too many characters get outcomes (good and bad) that are underserved. There are so many gratuitous deaths I wonder whether they were running out of money.

Though far from a masterpiece of suspense and intrigue, the overarching conspiracy that loosely connects the cases moves at a fast pace and is quite well conceived and not just contrived to allow the couple to discover each other. It is a story that has enough momentum and characters with agency that the ending should write itself. Instead, with about 6 episodes to go, the writing inexplicably deviates into flashbacks, forced angst, melodrama, and excessive plot twists that culminate in a just barely satisfactory ending. If not for the sag towards the end, I would rate this production that shines in spite of its modest budget better than a very enjoyable 8/10.

This is not a fairytale but that is what makes it so much fun. It is well worth watching for the fascinating and hilarious relationship dynamics alone.

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The Plagiarist Cookbook

Who Rules the World is based on a well-loved, strong female centric novel that is normally my kind of story. However, the drama adaptation was undermined by the mid-production departure of the director and a key scriptwriter in the bitter aftermath of over fraternisation between production staff. It is clear that the drama was salvaged by borrowing heavily from other dramas and accusations of plagiarism have further weighed on the reception. I watched this for lack of anything better but to my surprise, it comes together quite well. It is indubitably the result of The Plagiarist Cookbook and is best enjoyed with a sense of humor for its stirring romance and parody plot.

This drama starts strongly, promising a sensational fusion of romance, wuxia, palace intrigue and art of war. Set in a fictional Dadong empire, the Empyrean Token, which vests the imperial family with the mandate to rule mysteriously disappears, sending the empire onto the brink of war. All six vassal states vie to recover the token and potentially seize power. Longtime friendly rivals and top martial artists Bai Fengxi and Hei Fengxi get dragged into the fray as they stumble across a string of inexplicable killings. Together, they discover a sect with shadowy motives that could be linked to the struggle for control of Dadong. Behind their carefree jianghu personas, they both conceal identities with vested interests in the coming battle to decide who rules the world. Can their romance survive the battle for a new world order?

This drama's strongest selling point is Bai Fengxi and Hei Fengxi; they are simply the most awesome jianghu power couple. I was expecting more of the same old, same old Zhao Lusi. And my first impression of Yang Yang in what looked like Wang Yibo's hand-me-down Legend of Fei wig was meh, just another idol actor with a sharp, useless look about him. So to my surprise and delight, I enjoyed Lusi and Yang Yang's combined chemistry immensely. I love that their romance develops after years of friendly competition, when they are both secure, fully realised beings. Their relationship dynamics are captured in as much in their witty banter as in the nonverbal communication of their eyes, facial expressions and small gestures. They make for such a stunning looking couple with 夫妻相/fū qī xiàng or the look of a couple that it is hard not to root for them. That said, their relationship is mature and already perfect. They are on the same wavelength with mutual understanding that even in the matter of their secret identities, the reveal is in each case rather anti-climatic; an unimportant and unsurprising detail. While they experience many challenges together, most of the time they sail through them so effortlessly that the intensity is diminished. Since the drama is all about this couple, as charming as it is, their relationship after awhile feels static.

I really like how the smart women (to be clear, that means excluding Langhua) are portrayed in this drama. They are clever, independent and capable decision makers who don't succumb to the dumbest and most boring love rival tropes. Yet ultimately this is not the strong female-centric story I was expecting as it is much more Lanxi's story than it is Xiyun's story. Which is a shame because Lusi really takes her acting to another level in her portrayal of an indomitable and powerful character who cries as persuasively as she laughs and whose stomach is a bottomless pit. Her comedic expression remains her forte and in this production, her articulation is more mature and subtle than her earlier works. Hopefully down the road, she gets another shot at playing a strong female lead character and preferably one that drives the plot.

This is my first Yang Yang drama and wow, he is a sight for sore eyes and a much better actor than I guessed. He has incredibly expressive eyes such excellent micro expressions that he pulls off every imaginable romantic expression effortlessly. I can only applaud the neck breaking effort and dedication that goes into presenting his incomparable jawline at the most optimal camera angle at all times. If only we can unlock that frozen shoulder and see more natural body movement. Beyond that, he appears determined to cling to a righteous, gallant and conventional interpretation of his character. But I did not see the greyer, more complex side to Lanxi which I believe is consistent with how the role is actually written. While I enjoyed the slap that reverberated across the Dadong empire, I needed more. Like his father, I wanted to see Lanxi rise to the occasion, get angry, voice his resentment and demand justice. Instead, his brothers stole his lines while Lanxi simply stares down regally at the antagonists, best chin angle forward and nary a hair out of place. So definitely a young actor with lots of potential but Yang Yang's performance overall does not rise to the level of the character's complexity.

If I had to pinpoint where another writing/direction team takes over, it must be in the over extended Yongzhou arc. It is manifestly obvious that the Yongzhou royal family blueprint and at least two sub-plots in that arc are dumbed down knock offs from Royal Nirvana. I could be forgiving if they'd managed to make it better or more interesting than the original but nope, that did not happen. It is baffling how they chose to focus on done before royal succession palace intrigue tropes and less intelligent, archetypal villains at the expense of more compelling plot threads of conspiracies around dark sects committing murder and mayhem, missing tokens with fascinating grey characters like Huang Chao and Yu Wuyuan. There is an entire missing arc that could have better explored their back stories and more interesting dynamics.

The drama ends well after an exciting climax but the final six episodes are rushed and don't quite manage to close all of the open and more interesting plot threads. The war sequences are very well done even though they don't come together that coherently. But I don't like how they kill off good characters. To me, a few side characters I managed to get invested in deserved better deaths than what they got. And as for the final outcome, everyone got what they most wanted. If only Bai Fengxi knew the irony of her insistence that bai (white) precedes hei (black) in all matters.

The problem with using The Plagiarist Cookbook is the end product feels familiar but ultimately lacks substance and definition. I genuinely enjoyed watching this and laughed my way through it but more so because the MDL thread was amazing with many viewers with a great sense of humor and openness to plurality of opinions. I probably would have still enjoyed it but a lot less had I watched it by myself. While this has been my most fun watch of 2022, I can only rate this 8.0/10.0.

As promised for posterity:

Rules of The World:

#1 Falling down a steep cliff does not result in death
#2 Bai always precedes Hei - it is just the natural order of things
#3 Food has no calories and should be consumed at every opportunity
#4 When bad guys try to kill your love rival, let them
#5 Bai Fengxi remembers what she sees
#6 If you are going to dance seductively, wear a red dress
#7 The sleeve and the fan are mightier than the sword
#8 Don't bother with blankets, just use body heat
#9 Hand made noodles will unlock his life story
#10 Must have at least one bad parent and imaginary cousins
#11 The timely ankle twist is a more important skill than showy gravity defying flying kicks
#12 Must have strong piggy back and copious blood factory
#13 Never hold hands with just any girl in the streets, only that one girl
#14 You don't draw that well, she just looks that good
#15 Be greedy when it comes to food and all four elegant gentlemen
#16 Funerals are for dead people and not those you wish dead
#17 To eat or to Hei Fengxi, that is the question?
#18 Heaven hath no thunder greater than that of a long dead queen
#19 Be known by a dark foxy stripper 名号/name
#20 Surprise - they met when they were kids!
#21 Spicy exotic delicacies to ward off black dogs blood is just another excuse to eat
#22 Introducing your girlfriend to the girl who wants to be your girlfriend makes you the third wheel
#23 Don't give your master love advice unless you like memorizing military stratagems
#24 You get better love advice from romance novels than from your inexperienced subordinate
#25 A real hero need not take advantage of a woman to rule the world
#26 I promise to feed her well
#27 Foreshadowing is when her drawings and clay figures of you are all so.... round
#28 Be sure to let the villain and no one else know you are on to him
#29 When in doubt just stab the least likely suspect in the back
#30 The flower medicine kiss is a cure all for inner energy loss to deep stab wounds
#31 Greatest fool theory of sect leadership
#32 Stop dreaming about kissing her and just do it
#33 Two can play hide and seek in closets made for one
#34 Don't: As my most important wife and empress, I will give you the world
#35 Do: Xiyun who? You are my world
#36 Give your treacherous brother the coup de slap that is heard across the Dadong empire
#37 Revenge is a dish best served with a piece of long white cloth
#38 Let me see if you are good looking enough for my daughter?
#39 It is Hei Bai (black and white) that no son of mine should have to marry above him!
#40 Mess with my woman and I will knock the sacred jade out of your moon
#41 Nothing says hands off, he's mine like your bright red lipstick plastered over his cheek
#42 If Mo Yuan and Ye Hua can survive a weapon of mass destruction, so can I... oh... oops... wrong genre...
#43 Honey, 白头偕老/Bái tóu xié lǎo (grow white hair/old together) is not meant to be taken so literally or so independently.

And they lived heavily one decade after. Burp!

The End.

Warning: DO NOT try at home. May result in substantial weight gain, stomach ache, premature greying and/or loss of life and limb. Also, backstabbing and bitch slapping could be offences punishable by law in your jurisdiction.

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Hell hath no fury like a woman scorned.

This excellent adaption of one of Gu Long's best known works 绝代双骄 is also known as peerless or legendary twins. The cringey English title is a shameless bid to advertise the main leads as eye candy idol actors. This delightful romp through jianghu is faithful to the original story and checks all the boxes in terms of what a true blue wuxia ought to be.

This is a typical Gu Long plot structured around one overarching conspiracy that comes to light after the main protagonists encounter many adventures and solve a few smaller related mysteries. A woman scorned by unrequited love sets out to extract a terrible vengeance by separating twin brothers at birth and raising them to kill or be killed by each other. As the leader of the powerful Yihua Palace, she raises one of the brothers Hua Wuque (Hu Yitian) to be a stellar martial artist whose mission is to hunt down and personally kill the wicked Jiang Xiaoyu. Wuque is a handsome, refined and righteous but overly naive and reserved young man who is the spitting image of his father Jiang Feng.

Wuque's brother Jiang Xiaoyu (Chen Zheyuan) is rescued by Jiang Feng's sworn brother legendary swordsman Yan Nantian and grows up under the influence of the ten great villains of Wicked Canyon. He is renown for his intelligence (mostly due to self praise) and is a lively, charismatic and healthily skeptical young rogue. Less skilled than Wuque, he relies on his deviousness to squirm out of tight situations. He is a determined bachelor that evades several persistent young women before meeting his match in wit and resourcefulness. This embroils him in several romantic entanglements and triangles. During his many colorful adventures, his path crosses with Wuque and they become friends and allies. Together they tackle their main antagonist, the scheming Jiang Biehe and his son Jiang Yulang. Despite their disparate upbringings and appearing on surface to to be polar opposites, both brothers are innately good natured and have common values that bind them in a deep friendship. Nonetheless in accordance with jianghu code of conduct, they must fulfill their vow to face each other in a predestined duel to the death.

The plot and the many archetypal characters in this well known story may seem tropey and unoriginal but Gu Long was one of the pioneers of the modern wuxia genre. If this feels familiar or like something you have watched before, it is more likely those stories or characters were influenced by this rather than the other way around. It is easy to follow because the audience is usually one step ahead of both protagonists and antagonists and knows the big secret that they are brothers. It is a favorite of mine because the overused revenge trope is handled compassionately and does not devolve into simply just an eye for an eye. All of Gu Long's women are capable of being frighteningly single minded in love, unscrupulous, vindictive and utterly ruthless and unforgiving. One of these bad-ass ladies always gets the guy but this is from the 1950s so while there is romance, it is very chaste by today's standards.

I was really impressed by the cast. Many important roles were played by young and upcoming actors and this was very obvious in the first 4 episodes. After that, almost everyone got into character and it came together quite well. While Chen Zheyuan somewhat overacted Jiang Xiaoyu, he is a very versatile and charismatic young actor. He just needs to not try so hard, be a bit more nuanced and develop his own style. Similarly Hu Yitian's Hua Wuque was a bit too restrained or underacted initially. But they had great chemistry and really excelled at showing us how the brothers grew to become more alike as they got to know each other. I must also mention the awesome cat and mouse encounters between Jiang Yulang and Jiang Xiaoyu - what an excellent villain! I actually found this to be the best acted, most nuanced main role.

Finally in terms of what makes or breaks any wuxia it is the fight scenes. These really knocked the ball out of the park - they were truly awesome - excitingly and powerfully choreographed with the right balance between stills, slow motion and non-stop movement. And naturally it is Gu Long so it is a total feast in terms of the number of heart stopping lethal clashes between some very colorful, slightly eccentric martial arts champions with wildly improbable combat abilities. I love this stuff and immediately rewound and re-watched each epic clash.

What a fun, well paced, light heart-ed and engaging wuxia. I wish all adaptations of the classic, best loved Gu Long and Jin Yong wuxias get this kind of quality remake. Two thumbs up!

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Who will spy on the spies?

The Wind Blows from Longxi is an intricate ancient spy thriller that is not for instant gratification audiences. Its biggest hurdle are the first three or four episodes that are weighed down by the introduction of too many bearded and murky characters on both sides of the Shu-Wei conflict. Clearly even Lu Yang couldn't resist romance of the Three Kingdoms lore and goes down the rabbit hole of lingering on defining events and larger than life figures of the day that are peripheral to the otherwise tight plot. Past that, the storytelling simply immerses you in the lonely, tangled, nail biting, heartbreaking, cruel and utterly thankless world of ordinary spies, ants who put themselves in harms way to pave the way for great men to be glorified by history.

Recent adaptations of Mo Boyang's works have been orgies of high speed chases and thrilling action scenes that fall short on suspense and in delivering satisfying and convincing motives and twists. This is very much the opposite. The production values are movie like in quality but due to the shadowy palette, this is best enjoyed on a big screen. The camera is often very still and at times comes at avant-garde angles in low light that accentuates the clandestine nature of the interactions, of opaque motives and conveys a omnipresent sense of alone-ness, tension, ambiguity and danger. The action scenes are signature Lu Yang - impressively choreographed, blood thirsty, vicious and up close and personal in the critical moments.

This drama is set during Zhuge Liang's Northern Expeditions, a period of stalemate between Shu and Wei where neither side had a clear advantage or scored decisive victories. It is an apt setting for this kind of story because when the margins are narrow, intelligence and counter intelligence can tip the scales in either direction. The drama opens with Zhuge Liang's first (of five) Northern Expeditions, which was unsuccessful. This led to General Ma Su's decapitation for his failure to hold Jieting and Zhuge Liang's demotion. It allowed his political rival General Li Yan who advocated a Southern campaign against Wu instead of Zhuge Liang's Northern Expeditions against Wei, to gain power and influence. The Northern Expeditions took place in rather complex geographic terrain, where the timely delivery of military food provisions was challenging and made the difference between victory and defeat. That is broadly most of the historical background that is needed to understand this story. Of course Three Kingdoms buffs will be thrilled by the "drive-by" of many legendary figures on both sides of the conflict but the important characters in Ma Boyong's stories are always the little people or the ants.

The lines between fact and fiction blur as Siwencao, Shu's intelligence agency, suspects that compromised military intelligence had led to their defeat at Jieting. Siwencao hastily concludes that Chen Gong (Chen Kun), a Shu spy code name Baidi (White Emperor) under deep cover at Tianshui (a Wei stronghold) must have defected and sends Xun Xu (Bai Yu), Deputy Chief of Internal Affairs to deal with him. But Xun Xu is not convinced of Chen Gong's culpability; they are intimate friends, related by marriage. Together, they discover that the highest echelons of Siwencao has been infiltrated by Zhulong (Wax Dragon), a Wei spy. They can trust no one and go rogue with a bold ploy to lure Zhulong out into the open with Shu's crossbow design, long coveted by Wei. They are forced down separate paths that are fraught with danger, under resourced and alone with nothing but their absolute trust in and knowledge of each other. But nothing ever goes completely to plan and everyone has secrets. When the rubber meets the road, will they still have each others' back? How well can one really know someone? This also applies to Chen Gong's relationships with both Mi Chong and Guo Gang, which are as riveting and illuminating has his relationship with Xun Xu. After all, this is about two states at war with each other, there is really no good or bad or right or wrong side. All of the characters on both sides are patriots to their own cause; fascinating, layered, suspicious and disingenuous characters practiced in the art of deception. Were it not for an accident of birth, Guo Gang could well have been a Xun Xu to Chen Gong.

The role of such a cunning, duplicitous and morally ambivalent character such as Chen Gong must have been written with Chen Kun in mind. He dominates the screen in every scene and had my heart in my throat at his ability to turn around dire situations and the glimpses of his ferocious, raw pain and rage that is quickly disguised by indifference or conviviality. The wildness and the violence of his emotions when he takes revenge, where his veins literally popped out of his forehead is frighteningly intense and breathtaking. Bai Yu's Xun Xu is Chen Gong's conscience, a sincere and persistent truth seeker whose bottom line is not flexible. Xun Xu's most consequential mis-calculations are with those he loves best and his regret and unspeakable guilt and sorrow are among the most moving performances I have seen from Bai Yu. While Chen Gong and Xun Xu don't actually get that much screen time together, their screen chemistry is tangible and conveys a bond that transcends dialogue with undercurrents from their body language and their unguarded manner with one another. When Chen Gong starts to play a lone hand, Xun Xu senses it and their dynamics shift and become subtly more stilted, again showcasing the sheer virtuosity of their performances.

The most outstanding aspect of Longxi's storytelling is how masterfully the narrative builds up to the plot twists and the reveals. It is so insidious that by the time the reveals happen it is already sitting on the edges of my mind and thus seems to be organic. This is very compelling because I feel that I am part of the process, and underneath all the surrounding complexity the solutions are rather straightforward and should have been obvious. The characters are so fully actualised that their decisions are characteristic and the outcomes are inexorable. Unlike many other conspiracy heavy plots, this does not succumb to too many twists with overly convoluted or illogical outcomes.

The ending is gut wrenching and yet oddly triumphant and fitting. What is clear from the get go is that Chen Gong and Xun Xu are just expendable pawns caught in a high stakes game where they are besieged by both the enemy within and the enemy outside. As a result of serendipity and his own deviousness, Chen Gong is able for a moment, to seize control of the chess board. He plays the White Emperor's gambit, trading one life for three, empowers a righteous man and writes his own ticket home. His decisions are completely in character and in doing so, he finally articulates his own bottom line. But I won't lie, my first reaction to the ending was ".And that is why those dumb f*cks lost the war!" Because I am not sure the greater good was served. While one traitor is felled, the other villain with equally dishonourable tactics gets off largely unscathed and Siwencao remains a weapon that can be both used and abused. The age old question - "Who will spy on the spies?" remains.

While the start is dense and lacks finesse and the dialogue is on the heavy side, this is a drama that rewards the patient viewer. It is not a masterpiece, indeed many of the criticisms about accessibility and the dialogue that is heavily littered with modern phrases are more than fair. Yet I find the immersive storytelling, the suspenseful plot, the stellar acting and the unconventional camerawork immensely enjoyable. This is not something likely to enjoy mass appeal but for me, I would be surprised if I watch a better drama in 2022. I can happily give this a 9.5/10.

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Behind every great man is a woman rolling her eyes.

New Life Begins is a fun and funny satire that mocks ancient Chinese feudal society. It is set in the fictional kingdom of Xinchuan, which presides over eight other provinces or chuans. Xinchuan is the poster child for every deplorable aspect of the feudal patriarchal society that prevailed over most of China's 5000 years of recorded history. Every three years as tribute, eligible young beauties from the provinces are sent for selection as wives or concubines of the Xinchuan princes. As these poor unsuspecting scions pore gleefully over bride portraits, little do they know that the very foundation of their kingdom and beliefs are about to be rocked to its chauvanist core.

As fate would decree, subversive elements infiltrate that year's bride candidates. These elements are woefully untaught and unteachable in the Rules of Reverent Submission for Women. The kind of marriage envisioned by the Xinchaun royalty could not be further from their minds. The ringleader is Li Wei, a deceptively harmless foodie from Jichuan, an inconsequential province where men and women are equal and monogamous. She finds kindred souls in the scheming Hao Jia, the fierce Shangguan Jing and the savvy and ambitious Yuan Ying. Together, they prevail against the suffocating, often life threatening strictures of the Xinchuan inner palace to carve out an existence with some free will. Their brave and hilarious exploits resonate with the oppressed and fuels a fire across the inner palace and then, the capital. As it turns out, behind every great man in Xinchuan is a woman rolling her eyes. Despite the period setting, the ideals in this drama are very modern. It is a very fantastical utopian depiction of the kind of power women can unleash by simply working together instead of turning on one another.

This is not to say that all ten of the Xinchuan princes are bad fellows even though most of them make exceedingly bad husbands. With some, it is simply a matter of training while others need to be kicked to the furthest corners of the empire. The commercially savvy playboy Prince An who thinks he is the sun that the solar system revolves around when he is really the moon is the caricature that made me laugh hardest. That said, the entire ensemble cast delivers rib-tickling and lively comedic sketches that poke fun at the mundane. In a mostly lighthearted and positive but rather cursory manner, the drama evokes many women's themes. Hua Jia's arc is the darkest and most complex one and sounds a dire warning about disgruntled female employees. The sub-plots are short and even though the villains made my blood boil, they are not that smart or complex. That is because the true villain is the tyranny of the patriarchal feudal system and they are all victims of its shortcomings.

All of the sub-plots unfold around the evolution of the relationship between Li Wei and Yin Zheng, the unfavored sixth prince. Hilarity ensues when this woman who lives to eat finds herself shackled to a man who eats to live! With the help of MVP Butler Su, she attempts to tease out the inner fat dude just waiting to burst out of Yin Zheng. In fact, food is her secret weapon; she worms her way into practically everyone's hearts through their stomachs. Both Bai Jingting and Tian Xiwei have good comedic expression and they are fantastic at seamlessly turning funny moments into heart stopping passionate ones. While theirs is a fun, wholesome story, it is too much of a fairy tale. Neither of them have serious flaws and every cloud has a silver lining. In fact Li Wei's perpetual chirpiness grated on me at times. While Yuan Ying is a fabulous and formidable character and I get that one woman's treasure is another's trash, that entire situation is just too good to be true. I also didn't like how their relationship jumps from courtship to the comfortable rhythm of a long married couple, deferring the best romance part till the end. It breaks the natural momentum of a relationship and distracts audience attention from the other arcs. In truth, this drama is a lot more about sisterhood and women's themes than it is about romance. The production should be more confident that these well written, funny, and touching arcs can engage on their own without dragging out the romance to keep viewers invested.

This is one of the rare times that it is the second couple, Shangguan and Yin Qi that stole my heart. I have a weakness for flawed, colorful and unconventional characters like these. Yin Qi's plight is far worst than Yin Zheng's - he is just as unloved and he is no great talent to boot. In the bride lottery, he finds himself sacrificed to the fierce Shangguan, a princess from the powerful and matrilocal Danchuan. But he has a giant heart to go with his big goofy happy-go-lucky smile that makes the fiery Shangguan forgive him for always saying wrong things. Their clashes and banter made my shoulders quiver with laughter as they humorously navigate true challenges and hardships together. Even though they are not perfect and don't have everything, I somehow get the feeling they couldn't be happier.

Overall this is a gorgeous, lighthearted and highly enjoyable story about women's struggles and sisterhood with some romance thrown in. It lacks depth, is slow in places and is far from a masterpiece but the humour is very well done and has mass appeal. A highly recommended watch that I rate 8.5/10.0.

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The sum of ordinary is great.

Wow. I did not expect to enjoy this drama so much. In fact I didn't expect to get past the first episode. But I just had to check it out for the spectacular cast. And I am well chuffed that I did. It is the most eloquent and engaging low concept drama made in years.

Wang Shouyi is chief of the chronically short staffed Bailihe People's Police station. With a 93.4pct community satisfaction rate, they rank 144 out of 163 in the district. These are not elite cops trying to solve major crimes. They are just ordinary cops that grapple with mundane, daily cases from petty crimes to heated community spats. The denizens of their community are a loud, colorful, chaotic, demanding, often ignorant, unreasonable and utterly exasperating lot. This is written authentically with a strong dose of humor and irony that garners big laughs from small things such as an absurdly moving case of diaper theft. It is an intricate, intimate account of the broad array of everyday social pressures experienced by Chinese society. This brilliant, unglamorous drama that feels like a shared coming-of-age experience traverses the bleakest, most flawed to the greatest, most compassionate aspects of humanity.

Wang Jingchun's canny Chief Wang is the star of the show. He badgers his director into assigning four new recruits with diverse abilities and backgrounds to his station. With wisdom and perspicacity, he assigns an experienced mentor to each of the bright eyed and bushy tailed young recruits. This excess of greenness and enthusiasm is met with a mixture of annoyance and trepidation by the battle hardened veterans. Prodded along wisely past hiccups by Chief Wang, adjustments are needed on both sides to make these seemingly random pairings work out. Over time, their shared trials and triumphs end up being a catalyst for character growth all around.

Xia Jie's father, the former well loved chief of Bailihe station perished in the line of duty ten years ago. Her mentor Cheng Hao was mentored by her father and like Xia Jie, seeks closure from what happened so long ago. She is treated like a protected species by her father's comrades and her mom hounds the station to keep her out of harm's way. My blood boils every time her mom goes on a rampage. But as much as I am frustrated and angry at her, I can't help but be moved by her sheer terror and deep sorrow, at how time did not ameliorate the shock and intensity of her loss. I really applaud Bai Lu for her true to life portrayal of Xia Jie's struggle to make peace with the past, find meaning in her role at the station and build life bonds with her peers. I also love that the drama only hints of awareness that could blossom into romance down the road but keeps the primary focus on the camaraderie and burgeoning mutual understanding that turns the four young friends into found family.

Liu Dawei is the other super solid characterisation of a young cop with rough edges that offers the barest glimpses of another Chief Wang in the making several decades down the road. On paper, he is the least promising recruit, a trouble maker at the bottom of his enrolment class. But he has high EQ and it is as much his kind nature as his inherent nosiness that gets him embroiled in everyone's business. His mentor Chen Xinsheng is initially very irritated to be saddled with this brash and over talkative young man with an instinct to rush headlong into danger. Their relationship and how it evolves on multiple fronts and interlocks with the other characters is the best written and portrayed dynamic in the drama. This is not at all surprising that magic happens when you put together immersive and versatile actors of Zhang Ruoyun and Ning Li's caliber.

Xu Kaicheng also delivers a very respectable performance as the book smart Yang Shu, the perfect foil for the street smart Liu Dawei. His struggles with Cao Jianjun his ethically flexible mentor with hero complex, is forced at some emotionally complex moments but overall comes off well. He is surprisingly good at comedy - I laughed the hardest when he is pimped out by the station as an undercover gigolo. I also much enjoyed the stingy Zhao Jiwei's great relish and talent for self criticism and his eye for detail in the cracking of the diaper theft case. This memorable ensemble cast would not be as well rounded out or grounded in reality without Zhao Jiwei and his mentor Zhang Zhijie's focus on how it is the small things that make the biggest difference.

This slice of life drama is far from a fairytale - It doesn't try to suggest that life is fair or bad things don't happen to good people. It resonates because it is simply about coping with life's daily challenges. The outcomes are not always just and success and failure do not necessarily correlated with good or right decisions. All four of these young recruits come with baggage and are mentored by battle scarred veterans with their own issues. Their flaws and personal traumas enable them to process and respond to situations with compassion and compromise and thus not always to the full letter of the law. They may just be ordinary cops trying to be their best selves but together they prove that the sum of ordinary is great.

It is normal for these types of slice of life character dramas to be light on plot but the final arcs do dial up the complexity and intensity of the cases as the young recruits gain experience. While the drama does end at a climax, I would have preferred that they ended this on the penultimate gaslighting/cyber crime case. This drama was never about heroes so I am not sure we need to see history repeat itself with another Xia Jie in the making ten years down the road. It isn't a bad final arc at all it just strikes a bit of an odd note with the rest of the drama. That does not change that this is an immensely enjoyable story that made me reflect a bit, laugh a lot and tear up occasionally. I am rating it my first 9.0 for 2022.

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True Lies

This must watch crime drama hooked me from the start and commanded my undivided attention till the end.  My review is going to be brief because for this drama, spoilers will vastly diminish your viewing experience so best steer clear of the threads until you are done.

Three children from broken families - Zhu Chao Yang (Rong Zishan), Yan Liang (Shi Pengyao) and Yue Pu (Wang Shengdi) accidentally record footage of a murder in progress. They bite off more than they can chew when they go toe to toe with the murderer in a deadly cat and mouse chess game that could lead to mutually assured destruction. This is brilliantly written and superbly acted, with dynamic relationships, complex emotions and mirror lead antagonists. The sophisticated and nuanced performances of all three child actors and notably Rong Zishan are impressive beyond words. They are surrounded by a veteran cast that deftly portrays realistic, empathetic characters with very human failings. This is a dark story about how social and familial pressure and occasionally just darn bad luck can make people do both deeply moving and terrifyingly chilling things. The suspense builds naturally as a result of gripping storytelling and acting and is not artificially induced by music.

As a mystery buff, I have loved the unreliable narrator style of storytelling since I read Agatha Christie's "The Murder of Roger Ackroyd". The kind of darkness of human nature explored in this drama also coincides with my other Christie favorite "Crooked House" so this drama checks all my boxes. However, the adaption of this type of narrative style to film is incredibly difficult and usually disappointing - the movie version of Ian McEwan's Atonement is a classic example. So I am just bowled over by how meticulously and insidiously well executed The Bad Kids is. Even if you watch this without blinking, you will inevitably miss many of the true lies and scratch your head as to when and where the lines between fact and fantasy get blurred. There is no shocking "Aha!" moment - indeed initially I was convinced with and unquestioning of my first impression of what happened. I fell for the fairy tale hook, line and sinker. And then insidiously, all the alternate possibilities started to creep up upon me and drew me into re-watching. I watched this two times and and parts of it more than that and yet the ambiguities and different possibilities persist. That is actually what is fascinating, thrilling, chilling and absolutely mind blowing about this experience. 

Of course there are some mild logic flaws but this is truly so well executed there is little to pick at without being petty. I can't praise this enough, it has to be the best crime/mystery I have watched as of June 2020. It can hold its own relative to the best in class of this genre not just in China but anywhere and everywhere. Two thumbs up!!!

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The meek shall inherit the earth.

This is a very funny, romantic romp through the antics of an unlikely couple in a marriage of convenience that turns into the real thing. Xu Qingjia is a talented young scholar who jilts a highborn lady to fulfil an old promise to marry Hu Jiao, a butcher's daughter. At surface, they could not be more different - he is book smart, humble, meek and measured in his actions while she is street smart, commercial, direct impulsive and a total gangster when provoked. As Qingjia hilariously navigates the challenges of his new assignment as a backwater county magistrate, they discover their differences are complementary and where it counts, their core values are the same.

The surrounding plot of this drama is yet another age old corruption case involving the previous generation with some decent twists. What's different about it is that it unravels slowly over the daily lives and trials of a group of humble merchants and working level government officials. The characters are colourful, often comical and avoid the most cringeworthy familial and love rival archetypes. The romances unfold at a realistic pace and have an honest, down to earth appeal about them. No one character is super smart, infallible or is the main driver of the plot. They all have strengths and weaknesses that make them at times succeed and other times fail. But together it is immensely satisfying to see their combined abilities enable them to prevail over the petty neighbourhood bullies, business rivals and corrupt politicians and win the day with their sincerity, persistence and hard work - the meek shall inherit the earth. Best of all, the ensemble cast is fun, witty and can be very, very funny without being slapstick.

I wouldn't say that the actors are among the best out there (its so great to see Tong Meng Shi/Uncle Wu Zhu from JOL as ML) but everyone delivers very solid performances and the cast somehow just "clicks". I really love how Tong Meng Shi manages to convey the henpecked husband with immense inner courage. Although not a huge Baby Zhang fan, I think she also managed to play the husband training shrew while retaining her femininity. I really enjoyed Gao Zheng and Yu Niang's story as well and I think the casting of Hu Jiao's bovine butcher brother is simply brilliant I laugh just looking at him!

This lively, riotously humorous watch that conveys some grains of wisdom about honour, friendship, love and marriage is a fantastic way to pass some time. I rate it a very enjoyable 7.5/10.

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Karma is a Court Lady.

Billed as a love story between a reformed rake Sheng Chumu and a court lady Fu Rou, this is really an opulent tragicomedy about the succession turmoil that plagued the latter years of Li Shimin/Tang Taizong's reign. It is a surprisingly empathetic and riveting portrayal of the greatest Tang emperor's disappointing and much reviled crown prince Li Chengqian. It strikes me that his story is what the writer really set out to tell; all the other parallel sub-plots are much more indifferently written.

The way the drama is promoted as Fu Rou and Sheng Chumu's love story is misleading and misinforms audience expectations. Yes, I know how adorable they look together but their story is rather pedestrian and is not the main meal so they end up spending an incredible amount of time apart. Neither character has free will and their romance does not drive the narrative; it is in fact subordinated to and frustrated by the main succession plot. That is necessary as these two main parallel, interlocking plots are related primarily from Fu Rou's perspective as a court lady or official 女官 with close access to the workings of the inner palace and the imperial family's private moments.

Although Fu Rou is the eponymous character with the most screen time, this is a cardboard character that is made worse by Li Yitong's anodyne, colourless portrayal. Fu Rou is pretty much superwoman - an incredibly talented, resourceful and daring fixer who finds herself in the middle of every palace conflict large and small. She comes to the aid of anyone that appeals to her bleeding heart, taking on matters well above her pay grade. She has the temerity to lecture and chastise anyone and everyone from lowly palace servants to the emperor himself!  I would have loved this character to death if she had a bit of a dark side, an odd hobby or even some tiny flaw like picking her nose in public or something, anything. But no, Fu Rou is a suffocating paragon of virtue, moral rectitude and forgiveness; who genuinely believes that good deeds begets positive karma that pays off in the long run. But if karma is a bitch, then her title is court lady because there are heinous, irreversible and tragic unintended consequences to Fu Rou's meddling and her indiscriminate assistance to wicked people. Due to editing/censorship issues, we never get see Fu Rou reflect upon the folly and irony of her interventions or experience any sense of remorse or regret. Thus there is no character development and by the end Fu Rou to me is just a vapid, righteous prig of a character that I most resent - poor Chumu is so much better off remaining Changán's most notorious playboy.

In sharp contrast, Xu Kai's Chumu is a much more engaging, funny, relatable and outside of a lapse in the middle; a smart character that undergoes tremendous growth. It is a pity he gets so little screen time because he has a wonderful ability to just casually infuse a moment with comic relief. The comical antics of the gruffly hilarious Sheng Xianjing, Chumu, Chuling (shout out to the very funny Kris Fan), the gamine Princess Xinnan and Prince Han go a long way toward diffusing the dark undertones to the drama. Nothing made me laugh harder than Princess Xinnan balancing those dastardly bowls. Unfortunately the denizens of the inner palace and especially Fu Rou and Prince Zhou are humorlessly written and portrayed, resulting in some stifling and overly angsty inner palace arcs and a notable darkening of the overall mood in the second half.

With five or six couples, there is at surface a lot of romance in this drama but they are mostly flawed, complex and maddening relationships. This is due to the surfeit of unsavory, corrupt and chauvinistic male characters, from stalkers to lechers and murderers who simply cannot take no for an answer and lame brained female characters willing to indulge their flaws. As a result, most of the ships are leaky and not seaworthy enough to survive stormy seas. These messy, disturbing love-hate relationships are not consistently well written and there are arguably too many of them. That said, these characterizations are compatible with the times and the illogical pairings seem to curiously "work". They are certainly far more interesting than the usual lighthearted and fluffy standard fare of secondary romances.

The main appeal of this drama for me is Li Shimin, Tang Taizong's succession story, which I feel is what this drama is really about and it is compellingly portrayed. For a fictionalized account that takes a fair amount of literary license, it captures the essence of the main historical figures and remains astonishingly true to the important events of the day. The one dark stain in Li Shimin's history was the Xuanwu Gate Incident, where he personally killed both his brothers from the same mother and forced his father to abdicate in his favor. He went on to be a benevolent and revered emperor, one of the greatest in history. This drama is set in his twilight years as history appears to be on the brink of repeating itself. It is an intimate, at times a scathing expose on the insufferable privilege of imperialism and at times a compassionate account of how impotent, conflicted and utterly terrified this emperor and his beloved empress must have felt as they watch their sons at each others throats. In all the moments that count within this main arc, the writing holds up although towards the end when everything comes together, it is quite obvious that some scenes were lost to censorship.

The most phenomenal, multi-faceted and evocative performance that stands out among an absolutely fabulous cast is Li Zefeng's portrayal of the crown prince. I find it unfathomable that I have not noticed this actor before. He starts out as the highly regarded crown prince, showing so much promise and closely allied with his brother Prince Han. But he is slowly cracking under the immense pressure of being crown prince under the exacting eye of his father and the court and constantly measured up against his other talented brothers. The acting was so good I could understand why he sought refuge in frivolous pursuits and why he needed Chenji. I was surprised by how openly and sympathetically their taboo relationship is explored. It is the relationship that moved me the most, I grieved with him when it ended and I could see how he unraveled and gave in to his worst instincts. Prince Han is the other well written and well acted role. It is tragically comical how their sibling rivalry blew them up and I love how their bond is depicted with a multitude of emotions and a good dose of irony and humor.

I enjoyed this gorgeous and expensive production quite a bit although the story is quite dark and there are too many distracting sub plots and frustrating characters. Although the writing is at times lazy, fantastic acting by the veteran cast more than makes up for it. But it is definitely not the kind of story most viewers thought they would be watching when they picked this up and it definitely will not appeal to everyone. I enjoyed it enough to give it an 8.0 and would probably rate it quite a bit higher if they had diminished Fu Rou's role.

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Miss Truth of the Art of Death.

I was excited by this drama because the backstory sounds like a Chinese version of a favorite mystery series "Mistress of the Art of Death" which is also about a medieval female crime solving coroner who teams up with a sexy man to solve cases. Like Miss Truth, the novel is about a strong and smart woman, ahead of her time in both forensic knowledge and life attitude. I was both disappointed and relieved that this drama does not dive into the forensic aspects of the cases with the chillingly thrilling gruesome detail of my beloved novels. Indeed all of the gory props are almost cartoonishly fake and any macarbe detail is rather cursorily handled. While set in Tang dynasty, the story-line barely acknowledges the main historical characters and events of the day. Nonetheless it is a short and very enjoyable watch that really stands out in its repudiation of common tropes. 

The drama is about a talented and adventurous young lady coroner's journey of self discovery. As she helps solve cases, unearths Marquis Sui's legendary pearl and unveils a grand conspiracy; she also finds herself and discovers the truth of her heart's desires. The drama starts with a bang by establishing Ran Yan's credentials as a brilliant forensic analyst as she is extorted to solve a murder by the criminal underworld in exchange for her shifu's gambling debts. This tosses her right into the crosshairs of both Xiao Song, a nobleman and the emperor's trusted investigator and fixer and Su Fu, a mysterious assassin who saves her life. They are both tasked by different masters to recover Marquis Sui's pearl, which is part of a larger conspiracy that is the drama's overarching plot. The drama maintains an exciting pace, with danger and intrigue lurking around every corner and builds to a strong finish on a high note with a surprise reveal. I was only able to identify the ultimate mastermind by elimination; there were not enough clues or hints along the way to figure out their identity or motives.

As a big fan of strong, smart female characters, I was baffled by how difficult I found it initially to like newbie Zhou Jieqiong's Ran Yan. She is almost immediately and recklessly infatuated with the thrillingly inscrutable Su Fu and is unquestioning of his motives. Yet this sharp tongued vixen is distrustful of and lashes out inexplicably and ungratefully at Xiao Song, who appreciates her talents immediately and employs her as his coroner. This gives her the means to escape an unwanted marriage arranged by her indifferent father and cliche evil stepmother and half-sister. She snidely calls him a merman in a tone that implies fish face or worse, dead fish and bristles when he affectionately refers to her as his foxy lady. Nonetheless they companionably squable their way through a number of well constructed cases and become a likable and effective crime solving team. While Ran Yan is the titular character, veteran actor Toby Lee's Xiao Song is the sleuth that puts all of the clues together and truly anchors all of the cases and the drama. His character was well written and masterfully portrayed - between his teasing banter, merciless goading, stern rebukes and unyielding support he managed the prickly Ran Yan perfectly. While he arguably cut her too much slack, he knows exactly how to get under her skin. He is no doormat either and knows when enough is enough. The surrounding characters are cleverly and realistically written in a way that reacts to the other characters' flaws; for example I could totally relate to the shrewd and loyal Bai Yin's dislike and ranchor toward Ran Yan for treating his master Xiao Song so poorly.

For once, I actually enjoyed the dreaded love triangle in this drama, something I normally have zero patience for. Initially I didn't like Ran Yan so I didn't really care if she made a bad decision. Ultimately she is a resilient, strong willed character who knows her own mind, is not just defined by love and can roll with the punches so there is no tragically wrong choice for her. It is completely in character for her to break all the rules, throw caution to the wind and indulge in a dangerous, exciting and most unsuitable man - something hopefully every woman gets to do at least once in a lifetime! So does she stay with the one who loves her or go back to the one she loves? All I will say is that the triangle was fittingly, somewhat poignantly and DECISIVELY resolved. She totally manned up and picked the one with the nicest chest (a purely subjective but well researched opinion)!

While I never got to like Ran Yan (she is deliberately written to be really not that nice) and didn't emphatize with her, I reluctantly admired and respected her. This drama really showed me, someone who pounds on the table for strong female leads, that I may have been more socialized to like and accept the conventional c-drama female lead than I would like to admit.

I think all things considered (production value was not that high) this drama should be a 7.5-8.0 but I gave it a 8.0 for being so different in the best of ways in terms of avoiding most (not all) cliches, very smartly written and unconventional characters, hot male leads, exciting pace and cases and ending at the climax.

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A highbrow production with broad appeal.

The Longest Day in Chang'an is an immersive, visually stunning, culturally authentic and thrilling journey back over 1000 years in time to Lantern Festival in Chang'an at the peak of the Tang Dynasty. This is a highbrow and very demanding drama that is immensely enjoyable even if taken simply at face value. The viewer gets to decide how much they wish to invest in it. The production basks in rich historical and cultural detail that marvels over the intellectual, political, legal, administrative, military, cultural and scientific sophistication of Chang'an and the Tang Dynasty more broadly. The faithfulness to historical accuracy and strong edu-drama aspect to this show has history buffs raving with ecstasy. As a layman, the finer nuances would be lost on me were it not for the many knowledgeable insights on this and other sites. That doesn't appeal to everyone and some have remarked on the frequent historical and cultural digressions that interrupt the story-line. My simple take is that "smart fillers" are better than the nonsensical fillers that other dramas spam us with.

The absolutely stunning cinematography is the first and most consistent impression throughout - every frame is beautifully angled to create a visual, vibrant feast for the eyes. Even flames from explosions burst in an artistic pattern of controlled natural assymetry. The production is not shy about indulging in artistic license and is littered with lithe and gorgeously willowy Tang ladies with only one small section acknowledging more ingrained images of the classical, prosperously rotund Tang lady. A number of Chinese manhua worthy characters are almost casually dropped in among the otherwise characteristically Tang dynasty cast including Djimon Hounson's Gao Le, the menacing African slave-trader and lord of Changán's underworld; a deadly female assassin who is fanatically devoted to her radical master; and a wildly improbable Western Persian Prince priest with impressive kung fu and building leaping skills. At the end of the day, this is very much a work of fiction and suspension of disbelief will be required as the lead characters achieve superhuman physical feats and survive certain death. All of which make for gripping, visually compelling and heart stopping action scenes.

The drama is not an easy, light watch. The first season (24 episodes) opens with the intense urgency of a fast moving, action packed thriller as the two leads Zhang Xiaojing (Lei Jia Yun) and Li Bi's (Jackson Yi) race against time to foil a terrorist plot during the Lantern Festival. The constraint of the 24 hour timeline forces the narrative to alternate between the high speed chase, political machinations around a power struggle and flashbacks that set up the backstory; all threads which converge in the unraveling of the conspiracy. The many plot twists interact with an extensive cast of complex characters from various factions with unclear and/or malleable loyalties in the power struggle between Li Bi's patron the Crown Prince and his powerful rival the Right Chancellor. In short, there is already a lot to take in so the occasional non sequitur cultural or historical digression can come off as one thing too many.

It took me a long time to care for any of the main characters in this show. Even relatively "good" characters are flawed, primarily driven by self interests and had questionable loyalties and morals. It wasn't obvious that Li Bi' s cause, the Crown Prince was more worthy than the Right Chancellor. Zhao Xiaojing's dealings with Gao Le alienated me; especially when it appeared his real motive was to protect the reckless and misguided Wen Ran. That episode and short lived character stayed with me for a long time because it is the first of many times that bad things happen to good people. And that is how good people can end up doing bad things. Thus there are no outright good or bad characters in this show, they are all products of events beyond their control. Time and again the drama explores how circumstances can push any character to act against his innate nature and self interest. It is a very realistic portrayal of the complexity of human nature's capacity for both good and evil and was acted out compellingly by a truly superb cast. I started to understand the true spirit of the drama when the plight of the common man of the Peacekeeper Corps moved the phlegmatic Li Bi to tears and made him their reckless champion. The real "heroes" in this drama are the common people; that is why it intentionally neglects the main characters and does not attempt to make you root for them and does not care if they have a happy ending. It celebrates the hardships and unrecognized capabilities of the nameless, faceless, powerless, voiceless man - from the forgotten soldier that gives his life for king and country to the ordinary citizens of Chang'an. It wants you to see them, hear them and care about them.

Season 2 (episodes 25-48) was much more enjoyable for me as the intensity of the chase abates and the narrative focus really zeroes in on the power struggle and the unvieling of the conspiracy and ulitmate mastermind. Finally the lead characters are also allowed to shine and shine they did. Zhao Yi Wei's Long Bo was the most provocative and masterfully portrayed character in the drama. As his path converges with that of Zhao Xiaojing, we see the many parallels between the one who seeks vengence and the one who fights to keep dreams alive.

I was surprised by how much I fun I had unraveling the conspiracy. It was very well done and largely kept to the unspoken bargain of hiding enough clues in plain sight that I was able to figure much of it out on my own. The motives of the ultimate mastermind were not convincing. While I had my eye on him as a suspicous character early on, I assumed he was just a link in the chain but not "the guy". It was a stretch that was probably one plot twist too many. One of the other suspects may have been a more credible choice.

Of course it is a foregone conclusion that the emperor was the ultimate villian. While the power dynamics between a manipulative and insecure emperor and his most trusted advisor and his heir has been done before, it was still extremely very well done here. I was completely satisfied when the son takes a leaf out of his father's book in the ultimate act of emotional manipulation. Checkmate. This was the most satisfaction I got from the ending. The bigger question of whether good things happen to good people is left open.

This is definitely the most epic, most idealistic, substantive and thought provoking drama of 2019. Its biggest flaw is that it is overly ambitious and tries to take on too many themes. That it came together so well is a feat in and of itself but as a result, it was not always easy to watch and certainly not something I wanted to dive right into after a hard day at the office. That said, I truly believe it is a must watch and may even be more enjoyable if taken more simplistically just for its stunning aesthetics, intrigue and action.

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