PeachBlossomGoddess

Cat's paw.

The disturbingly elegant and noble Lan Jue, courtesy name Peizhi, is the picture of a rising young Vice Minister of Rites. Beneath his urbane facade, he conceals a burning purpose to clear his father's name in a two-decade-old treason case. In this quest, he is quite bendable with regard to the means that justify his ends. He is stymied at each turn by Zhang Ping, an impecunious scholar, noodle maker, and truth seeker. Zhang Ping is convinced Peizhi is a villain and is determined to bust him. Peizhi is cynically amused by Zhang Ping's naive righteousness and impressed with his deductive talent. He means to make use of him if he can and if not, dispose of him. Watching Zhang Ping go from being Peizhi's cat's paw to someone he raises kittens with is the best part of this drama for me.

This high-production-value drama conjures a sinister, suspenseful aura that permeates the stylish, lavish existence of the Dayong elite. Everything from the set design to that ridiculously mysterious and beautiful opening dance, to Peizhi's floaty diaphanous costumes, to Peizhi's long, sensuous unbound hair reflects, elegance, refinement, and impeccable taste... aside from Song Weilong who obviously drew the short style straw starting with the rigid wig and the way his outfits look like they were slept in. It is no wonder Peizhi's old flame is less than impressed with the goofy, big-boned, toothy peasant with a big nose to boot that Peizhi traded down to. It does require suspension of disbelief considering how utterly appealing both the ardently devoted Mowen and frostily sophisticated Shulin are. The only explanation is Peizhi must be an eyelash man.

This is a bit unusual for the mystery genre in that it is far more of a character-driven story than it is plot-driven. As far as the cases go, they are well executed and unfold more as procedurals. Outside of certain aspects of the main conspiracy, the viewer is not given a fair chance to solve any of the cases. There are plot design shortcuts such as resorting to the water illusion trick to bridge memory gaps and uncover long-lost evidence and there are logic holes, such as crime scenes staying undisturbed for too long. While the over-arching conspiracy is well conceived with decent twists, it is not that original. The villains reveal themselves early on so it is also anti-climatic. But for once I don't really mind because Jing Boran's Peizhi is just too bloody distracting. How can a man look so damn indecent, almost naked with just his hair unbound? And my mouth goes dry at the subtle multi-partied flirtations - those deep searching and revealing looks these gorgeous men keep exchanging with one another. It is such a big upgrade from the typical stunned dead duck stare of conventional romances. I freely admit my brain went on strike so often I am grateful the solutions were just spoon-fed to me.

This drama is superbly well executed and gets all the important things right. Any shortfalls in the plot are made up for in excellent character design and heartfelt, immersive performances by the cast. Jing Boran and Wang Duo deliver standout performances but even Song Weilong, whose acting is still a work in progress, is so well cast he just somehow fits this Zhang Ping character. It is a shame that his scenes with Jing Boran obviously suffered heavy cuts. After all of the build-up, I was really looking forward to seeing Zhang Ping and Peizhi shine in the final arc. Instead, it is pretty much hijacked by Shulin's unfinished business with Peizhi and his abandonment issues. Everyone else including Mowen and the emperor is sidelined. As much as I love Shulin's complexity and Wang Duo's phenomenal acting, I have mixed feelings about the final arc. The tone feels a bit off and succumbs to a tad too much cliched, dog's blood melodrama. I think that Zhang Ping's newfound pragmatism and epiphany that the right outcome can be more important than the truth is fitting. It demonstrates enormous character growth even though justice proved to be ultimately elusive.

Moral of the story: Don't be a cat's paw - be careful who you date!

Overall a feast for the eyes and the senses - 8/10.

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Three Blind Mice.

The Chinese title of this drama 天行健/Tiān Xíng Jiàn comes from a profound phrase 天行健, 君子以自强不息 from the ancient divination classic I-Ching. Loosely translated, it means in a dynamic world, gentlemen should constantly strive for improvement; to be virtuous. In the context of this drama, it alludes to how three very different individuals struggle for relevance against the overwhelming tide of history.

This production's rich historical and cultural texture has been widely praised by history buffs. The nostalgic opening sequence seamlessly weaves in scenes from the drama with real footage from that era. It is set in early 1911 which was a pivotal time in modern Chinese history. By then, impoverished by civil strife and foreign incursions, the Qing dynasty was on its last legs. While clearly the time of emperors was ending, China's struggle with what form of government it would adopt went on for almost 40 years. In this story, the court is divided between conservatives (Imperial Household Department) and reformists (Prince Qi); both of whom are trying to preserve some form of constitutional monarchy. Tongmenghui led by Sun Wen (Sun Yat-sen) are rebels who want to do away with the monarchy and go down the path of a democratic republic. The powerful Beiyang Army, (then led by Yuan Shikai, the unnamed fisherman) was a deciding player in Chinese politics right up to 1949 and beyond. At the time, foreign powers including the Japanese, actively meddled in Chinese domestic affairs. Thus while there are indeed too many factions, this accurately depicts the landscape at the time

There is a lot to unpack as this is equally a plot and character driven story. A map leading to a fabled treasure is stolen from the palace. The various factions realize that such a fabulous treasure could make a meaningful difference to the success of their cause. Thus begins a mad dash of a treasure hunt that entangles three individuals who are disenfranchised by the changing times: the personal guard of the deposed Guangxu emperor, a swordsman in the age of guns and a Confucian scholar after the abolition of imperial exams. Can these three blind mice grappling with their own outdated ideals be trusted to see the bigger picture and ensure the treasure ends up in the right hands?

Men Sandao was once the emperor's guard who dared to love a princess. He was imprisoned when the emperor's Hundred Days' Reform failed. Twelve years later, he is freed on the condition he retrieves the fabled treasure that is desperately needed to shore up the national coffers. He is pitted against Zhuo Bufan, the leader of the impoverished Rongtian sect who seeks the treasure as a means to make his sect famous. His nemesis Dagu constable Wang Jialuo doesn't care about the treasure; he just means to hunt down and hold Zhuo Bufan and the Rongtian sect accountable for nine murders in his county. They are all flawed and obsessive characters who are smart yet frustratingly intractable in their beliefs. Even Men Sandao, the fullest and most intriguing character remains true to the only two things that matter to him from the beginning to the end. Similarly, Zhuo Bufan refuses to ditch his cause until his cause abandons him. The greatest zealot is Wang Jialuo, who is the product of everything wrong with the Confucian exam system; a tradition so steeped in rote learning over original thought he is utterly incapable of operating outside of the Qing code.

Men Sandao is Qin Junjie's best role to date, one he delivers with a mastery that matches the stagecraft of the many veteran actors in the cast. The way he habitually held his hands as if they were still in shackles moved me as much as the forlorn tear he shed at Guangxu emperor's grave. His natural chemistry with the rest of the cast elevated the character interactions all around. Despite their conflicting agendas, Men Sandao shared a mutual respect and understanding with Zhuo Bufan and was also able to manage the more difficult Wang Jialuo. I laughed uproariously at how he turned Lucky into his lackey and enjoyed his spirited debates with Liu Lin. I could tell he saw a lot of his younger self in her and their relationship was the one I found most moving. All of the roles that mattered, including the villain roles, were well executed with many memorable scenes featuring Prince Qi, Cunqing and Zhong Haichao. Lin Anjing was the only notable weak link in an otherwise stellar cast.

There is never a dull moment in this well-written screenplay that seamlessly fuses multiple interlocking character stories into the action and adventure. Told with dark humor, wit and irony, the narrative does not shy away from blood, violence and sudden death. Though a bit a bit heavy on slow motion and close ups, the action scenes are intense and well shot; with the occasional dose of bizarre humor. I laughed hardest at Wang Jialuo's Tarantino like foolish bravado in the face of certain death and his absurd resurrections. But laughter aside, I really didn't much care for him or Zhuo Bufan and their romantic entanglements. The only characters I rooted for were Men Sandao, Gege, Liu Lin and the ubiquitous Lucky with his uncanny knack for popping up just when needed. Though some characters got endings they didn't deserve, the ending overall is quite fitting and not surprising. This is ultimately a dark story, reflective of the times. One of the better dramas of 2024 for me that deserves more attention. I rate this 8.5/10.0.

Scroll down for more detailed spoiler ending thoughts.









MAJOR ENDING SPOILER COMMENTS



I found both Zhuo Bufan and Wang Jialuo's ending very fitting and oddly justified. Make no mistake, Zhuo Bufan was not a great guy. He betrayed many jianghu codes of conduct in his quest for greatness and sacrificed his sect members with callous indifference. It is no wonder they turned on him. He arguably would have never really given up were it not for the fact that the Rongtian sect was no more. He also conveniently forgot he promised Wang Jialuo that he would settle accounts with him and tried to ride off into the sunset after abandoning the treasure hunt. There was so much blood on Zhuo Bufan and Huo Qin’s hands including Wang Jialuo's shifu and the poor, heroic Tan Xian that there had to be consequences. Of course Wang Jialuo was no better and ultimately also betrays his true love and his beloved Qing code in his obsession with closing his case. It is both ironic and fitting that he was his own judge and executioner. It cracked me up that Men Sandao went after him in case for the tenth time he didn’t really die dead.

The most undeserved deaths were those of Lucky and Liu Lin, who were the true heroes of this story. They represented the best, most idealistic and hopeful voices of their movement and the future their world had to change for. Their deaths were not necessary and far more cruel and pointless than telling us that Men Sandao and Gege never reunited after Fujian. In any case, there were no lasting good outcomes for anyone during that time in history. Any survivors would have had to face an ugly 40 years of civil war with Tongmenghui ultimately ending up on the wrong side of history. So it has to be enough that they fought the good fight that led to the movement’s finest moments. RIP Liu Lin and Lucky Hao Han who was definitely a hǎohàn/好汉/good guy but just not that lucky.






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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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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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Sword in hand, righteous in heart. 手中握剑, 心中有义.

It was a windy and snowy day. Lei Wujie, a young swordsman wanders into a remote snow-capped inn. Xiao Se, the richly garbed innkeeper is set upon by bandits. The valiant Wujie intervenes and a fiery battle ensues. Appalled by the destruction, Xiao Se travels with Wujie to Xueyue City to collect usurious compensation. Along the way, they are caught in a vicious multi party melee over a mysterious golden coffin. They are swept out of harm's way by Wuxin, a powerful and enigmatic unordained monk. Thus begins the adventures of a loan shark innkeeper, an intrepid airhead and an irreverent monk. On their journey, they make as many deadly enemies as they do lifelong friends. Sword in hand, righteous in heart 手中握剑, 心中有义, the young friends set out on a quest for justice and their vision of jianghu or the martial world. In jianghu there is no absolute right or wrong, just an individual sense of morality and righteousness; the higher values that each swordsman is willing to give their life to protect.

This addictive, high fantasy wuxia captures the spirit of rivers and lakes and the thirst of the wanderer to see where the skies end. The hilarious banter and unlimited friendship between the trio and their ever growing circle is immersive and exhilarating. I love that despite his superpowers, Wuxin needs Xiao Se to bankroll their travels and Lei Wujie has no sense of direction and gets Xiao Se lost all the time. Xiao Se (萧瑟; desolate) is a lonely and guarded character with a subtle air of loss and disappointment cloaked in sarcasm and arrogance. From the first instance he shares a curious understanding with Wuxin, another itinerant character with a cryptic past. They are both brilliant, complex and somewhat broken characters seeking answers and redress. Though younger in years, Wuxin is a wise, almost omniscient old soul, who is more at peace with his past than Xiao Se is. They find solace in Lei Wujie's simplistic, pure hearted idealism; his fearless youthful optimism and sense of invincibility. They are the core that attracts other great talents such as the redoubtable eldest martial brother Tang Lian, the strategic Ye Ruoyi, the divine healer Hua Jin and the sticky as fly paper Sikong Qianluo.

There is a lot to unpack in this story, beginning with the abundance of flamboyant and formidable jianghu characters. My personal favorite is Baili Dongjun, lush brewmaster and first city lord of Xueyue City. The prequel 少年白马醉春风 The Young Brewmaster's Adventure chronicles the youthful adventures of the colorful older generation of martial heroes. This explains the richly defined jianghu universe of legendary heroes and weapons and the fully realised characters with deep relationships and substantive backstories. Many surrounding characters are heroes of their own sub-plots that unfold alongside without seeming to digress from the main storyline. Loyalties notwithstanding, all five sword deities are moving and fascinating characters that make me want to know how their journeys begin. This drama is said to stay true to the original and the well loved manhua. This is likely due to the involvement of the novelist Zhou Munan (周木楠), whose prose is witty and simple, yet profoundly zen.

As the heroes converge on the capital, Tianqi City, the plot takes a political turn. The emperor is ailing and they are caught up in the battle for the throne between Prince Bai and Prince Chi. They race against time to unravel the old conspiracy that led to the downfall of Lord Langya many years ago. Fans of Langya List 琅琊榜 or Nirvana in Fire will recognise immediately that beyond the ranking of heroes, large chunks of this story pays homage to that masterpiece. The plot climaxes in an epic and heartbreaking denouement that reveals all the hard truths. While some villains could be better fleshed out and get off too lightly, the ending ties up all loose ends. Nirvana in Fire left me inconsolable but I am uplifted by how this version of the age-old battle for the throne story ends. Heaven's will does not always prevail over man's will; we have a choice in whether to take the lonely road or the one that is filled with friends.

It is obvious from the production values that the budget is modest at best but money is spent in all the right places. The styling of each characters is distinct and eye-catching and their weapons are badass. The fight scenes are intense, well choreographed, fast moving and exciting; the hallmark of a good wuxia. Each sect and swordsman have signature battle techniques and advantages that are well conceived and awe inspiring.

The acting is impressive and anchored by charismatic portrayals and compelling chemistry between Liu Xueyi's Wuxin and Li Hongyi's Xiao Se. Both characters are by far the fan favorites. Many characters were so well portrayed they deliver lingering impact beyond their screen time. The only notable exception is Sikong Qianluo, a cartoon character that has zero chemistry with Xiao Se. Someone must have sent them the wrong script because they seem to be acting out the role of the lovesick fangirl accosting a celebrity actor. But romance is peripheral in this saga and there are more riveting ones such as Li Hanyi and Zhao Yuzhen's story as well as that of Tang Lian and Fairy Rui.

This is a must watch wuxia, one that delivers all the best loved aspects of the genre. It has small flaws but I enjoyed it too much to want to pick at them. I will just leave it at that it would have been nice to see more of Wuxin and while the final fight scene was meaningful and satisfying, there were a few other clashes I would have loved to see. All considered, I am happy to rate this 9.0/10.0 and crown it the best wuxia of 2022.

PS - Don't forget to watch the 5 minute special ending episode.

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No good deed goes unpunished.

This is a melodramatic story about a badass assassin Shen Lige and Liu Yikang, titled Prince Pengcheng who was best known for reforms that heralded a golden age for the short lived Liu Song dynasty (420-479). In real life, Liu Yikang was probably a dull and dusty fellow who promulgated legislation and ably shouldered the burden of tedious administrative tasks artfully dodged by his brother the allegedly sickly emperor Wen. In this romanticized account, Pengcheng falls in love with the beautiful and deadly Lige, who helps him drain the swamp and weed out a bunch of corrupt and rebellious aristrocrats who are disenfranchised by his reforms.

Shen Lige (Li Qin) must be one of the strongest, most badass, most lethal and most gorgeous female leads of c-drama. She makes a grand entrance and her character is awesome up until the bitter end and is the strongest selling point of this drama. Li Qin's acting is so superb her Lige is powerful, engaging, fierce yet still feminine and her expressions are nuanced and emotionally on point. Initially I was not convinced on her pairing with Qin Hao - he is obviously quite a bit older and her "lao tou"/old dude jokes did not help. But Qin Hao is a very compelling actor and in no time, I was rooting for Lige and Pengcheng. While their chemistry is not sizzling or deeply passionate, they are both smart characters that are clearly on the same wavelength and make a formidable team. That said, I feel an actor of Qin Hao's caliber was somewhat wasted on a role such as Pengcheng - he would have made a far more compelling villlain. I also did not like the noticeable skin smoothing they did on him which obscured his micro expressions.

All of the characters in this drama are just simply fantastic. How can you not love Prince Jingling who has the best, most subtly comical facial expressions? Or the completely adorable, wholesome loving, humble devoted goodness that is Shen family? Or the mischevious Zijin and Lige's loyal assassin fraternity? There are so many wonderful, well written characters that are charismatically portrayed and interact with so much chemistry and rapport that you can't help falling in love with them. Guard your hearts carefully though because one of the key takeaways of this drama is that no good deed goes unpunished and compassion and mercy is repaid with treachery and murder. Of course we can't expect all of the characters to survive but there have to be enough survivors to keep us invested in the drama and this one barely makes it. The deaths also have to be "good deaths" at the hands of a worthy opponent and not at the hands of say a puny mutant ninja flying cockroach.

Very much like its predecessor Weiyoung, the villains in this drama are quite enjoyable almost cartoonlike caricatures with very dramatic, somewhat comical facial expressions. Lu Yuan is an excellent, overpowering villian. And Consort Sun relishes hamming it up so much at many points she appears on the verge of cracking up with laughter. However, there are also too many repetitive petty villains with cliché motives and too many lives. The main villains and in particular the mastermind in black (whose identity was obvious quite early on) are interesting characters that should have been better developed instead of digressing into sibling rivalry, green eyed monster and excessive bitch slapping tropes. Unfortunately, the villain spotlight was hijacked by the very pretty Shen Leqing, a well acted but two dimensional character with pedestrian motives. I guess in life and in art, men can see better than they can think.

The story writing is where this exhausting melodrama falls down hard. The plot is predictable and smacks of Weiyoung. Heavy suspension of disbelief is needed because from the get go, a lot of things that don't make sense happen. I rolled my eyes so often that I can no longer tell if my right and left eyeballs have exchanged sockets! But the acting is so delightful and there are so many thrilling moments that for the first 20+ episodes I went with it. At some point however, the excessive plotting and the rollercoaster ride of emotional ups and downs as beloved characters are mowed down with reckless impunity while petty villains survive against improbable odds becomes simply too much. The drama peaks in the mid-30s after the most well developed villain is felled and it further loses momentum after some of my best loved characters are gratuitously killed off. It limps through some repetitive sub-plots towards an unexpectedly good ending which I almost missed because I wasn't that motivated to finish. I find the writers of this drama guilty of writing under the influence of alcohol. They tortured my eyeballs with cruel and reckless depravity and are hereby sentenced to writing commercials for the next 15 years. The surprisingly fitting ending qualifies them for probation after 8.0 years, which is also my rating for this drama.

There seems to be some confusion over the ending so I am copying my a spoiler tagged explanation of what happened from the threads to the comment section of this review.

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I kissed a girl just to try it.

This crisp, cleverly written coming-of-age movie with a bit of a twist, explores the usual themes of first love, rejection, self-discovery, and accepting your family for who they really are. It is carried by persuasive and heartfelt performances by both Wu Lei and Zhang Zifeng whose restrained, nuanced portrayals convey the confusion of awakening youth and the utter depth of despair of first love and rejection. In this genre, young actors tend to lose my empathy by over-dramatizing and overacting in such angsty moments but these two truly moved me by not doing so. I also appreciate the well-timed light humor that diffuses tense moments and captures the ultimate resilience and optimism of youth.

Zheng Yuxing and Chen Chen couldn't be more different - he is a bit of a rebel, the cool kid with a bit of internet following while she is a good student with bright prospects who unexpectedly flunks out. Thrown together by an outrageous lie, a mutual understanding that becomes a touching, unexpected relationship blossom between them. They embark on a most excellent adventure together as Chen Chen convinces Yuxing he must confront Ming, who is breaking his heart. Instead, they end up facing their feelings for each other and what it means for each of them culminates in an "I kissed a girl just to try it" kiss that says all that needs to be said. The chemistry between both leads is incredible and is exactly as it should be. I can't praise enough how these two young actors effortlessly show us rather than tell us the complex multitude of emotions they are experiencing.

Unfortunately for Yuxing and Chen Chen, there are too heavy consequences for their actions. Once again we see that young people are so much better people and I am left hoping these two stay that way on their long journey ahead. The ending is realistic with the right touch of wistfulness and hope.

So now is the time to confess that I only watched this because I wanted to see my favorite Wu Lei of unforgettable Fei Liu fame's first screen kiss. Needless to say, I got much more than I bargained for. While this movie has received backlash for not being upfront about what it is about, I think that criticism reflects a lack of understanding that that is the whole point. Who is Ming? That is the most irrelevant detail because it changes nothing. Yuxing's emotions, Chen Chen's emotions, our emotions, and our experiences are the same regardless of certain aspects of our identity.

The premise of this movie isn't the most original but the way it communicates its simple message is. And the acting deserves a standing ovation. This is an 8.5 for me with a strong recommendation to watch.

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Fake it till you make it.

Regeneration is an excellent short suspense thriller. The narrative opens with a reporter He Shan witnessing the kidnapping of her contact Fei Ke. In classic Christie style, five strangers including He Shan are summoned to an island mansion for the reading of Fei Ke's will. They are each asked to share their memories of Fei Ke before the will is read. As implied by the homonym of his name, Fei Ke was not who he appeared to be; he showed a different self to each of them. As they piece together their memories, a complex, disturbing and moving picture of Fei Ke emerges.

Jing Boran delivers a compelling portrayal of Fei Ke as a charismatic, amoral "fake it till you make it" kind of character. I don't think any other actor could have evoked such complex and contradictory reactions. At many points in the narrative when I wanted to absolutely despise his Fei Ke, I found myself searching for excuses for him. Yet when I could have and should have empathized with him, I found myself judging him. All of the characters have many layers that peel off like an onion. Like Fei Ke, they all have at least one moment of hesitation before they almost willfully make a fatal, life changing decision that takes them down the path of no return. By the end of this web of lies, the only story that moved me was that of the two lovers star crossed who ended up as collateral damage. Everyone else reaped what they sowed; even Fei Ke who believed his own lies to the point he deceived himself more than anyone else.

The plot pulled me in from the start and kept me wanting more with each reveal. However, at the point of reversal, changes were deliberately made to the original novel plot, likely to avoid book spoilers. I think this was big mistake. As a result, plot holes emerged and the final three episodes did not come together as well as they could have. In the novel, the group gathered because the main antagonist wished to make amends. That is simple, straightforward and easy to understand. In the drama, they gather as a result of a convoluted and rather far fetched revenge plot. Some of the character designs and motives were changed in to make this work. Some of it just didn't make sense as those parties could have achieved their objectives in more direct and effective ways. This is made worse by the melodramatic storm at the end where everyone does silly things for some cheap thrills.

Even though the ending was overly dramatic and could have been more tightly written it was dark and consequential. All things considered, this is a suspenseful and thought provoking watch with many unexpected twists and reversals. And If you need a shallow reason to watch it, Jing Boran looks yummy in every scene. My rating 8.0/10.0.

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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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Dead men tell no tales.

Pledge of Allegiance is a dark and murky Ming Dynasty suspense thriller in the vein of the renown Brotherhood of the Blades franchise. Produced by Lu Yang and written by the same writer, the Jinyiwei/锦衣卫 or brocade-clad guards of this drama are grey characters whose true allegiance is to their brotherhood and their personal values and priorities and not to some overarching sense of morality or righteousness on a grand scale. This drama is set in a time of opaque and wild, conspiracy laden history and has an elaborate plot with manifold twists. This is likely to lose casual watchers, especially those without a basic understanding of the historical context. [A detailed discussion of the history can be found in the Discussion section of the drama page.]

This drama is set during the chaotic battle for the throne that followed the demise of Zhu Yuanzhang, the founding Hongwu Emperor of Ming dynasty. A succession crisis plagued the last five years of his long reign when the crown prince Zhu Biao died unexpectedly. Zhu Yuanzhang had chosen Zhu Biao to succeed him over his most capable and some claim his favorite fourth son Zhu Di or Prince Yan because Zhu Biao was the son of his legitimate wife. Conflict arose after Zhu Biao's death when he chose Zhu Biao's son Zhu Yunwen to be his successor. Zhu Yunwen was also the son of a consort and not of Zhu Biao's legitimate wife. Thus his claim to the throne was no less legitimate than Prince Yan's notwithstanding his grandfather's endorsement. The young Jianwen Emperor's tenuous hold on the throne was further shaken when he unwisely sought to temper the military might of his prince uncles, exiling and killing many of them. Prince Yan who secured the Northern border needed little further excuse to revolt. The silent power struggle that began with Zhu Biao's death broke out into open civil war almost from the moment of Jianwen's ascent. At the time, the capital was in the south at Yingtian (present Nanjing). Prince Yan for all intents and purposes was already in control of the northern capital Beiping (Beijing) where he defended the nation from the Mongols. He was aided by his elite border spies, the Yebushou/夜不收 or night scouts. They are pitted against the Jinyiwei who are the emperor's secret police but like many bureaucracies and the court at the time, there were divided loyalties at every level. While likely consistent with history, this aspect of unclear and shifting loyalties makes most of the character motivations in this drama especially difficult to follow.

Li Wu is a thief and a consummate liar. He steals the identity of a sergeant and sneaks into the mansion of Wang Kegong, who had just been transferred back to the capital with a secret edict. He has life threatening encounters with Shu Tang an assassin and Lu Zheng, a young detective who is literally willing to kill a sergeant to create a vacancy for himself to assume that position. They get caught up in a race to secure the Yuming Lock, which contains a secret that could change the course of history. Though they have different masters and at times conflicting agendas, they share a decade old traumatic childhood past. Whether by chance or destiny, they are reunited to solve the mystery of what really happened one fateful day ten years ago. But the links to the past get more tenuous and secrets that can turn friend into foe are revealed. As the body count grows, the solution slips further out of grasp as dead men tell no tales.

The main roles are complex and the cast delivers all-round riveting performances. In this kind of battle for the throne story there are no real villains; everyone is quite dark and have their own agendas. Zhang Yunlong is particularly convincing as thief with an inconvenient conscience and a knack for turning dire situations around. He had so many balls in the air at the same time that I could barely keep up with his lies and his promises. Chen Ruoxuan's portrayal of Lu Zheng as such a smart and yet naive and (wilfully?) obtuse character is nuanced and empathetic. It is no wonder Li Wu, Lu Yulin and even Zhang Junqing feel compelled to protect him. I enjoyed Li Wu's bromance with Lu Zheng as much as I did his romance with Shu Tang. Chen Ruoxuan and Zhang Yunlong have such good chemistry that they are masters of the art of the unspoken; how it is possible to have an innate understanding and trust that is beyond words and even actions. The stage is nicely set for this recurring theme in the telling of the fable of the Tan Hua flower spirit in episode 3. This underlies many interactions between main characters including the Mu sisters. This aspect of reading the subtext is very well conceived, it challenges both the characters and viewers to hear the truth behind the lies and to "hear" what is left unsaid. Sun Yi is a gorgeous and terrific actress and this time, she has a meaty role although her character is not always consistently written and her relationship with the colonel is not well fleshed out. As such, it is Ma Yujie's daringly articulated Zhang Junqing steals the show as the most fascinating and strongest female character of this drama.

This drama is not that action heavy but the sequences are fast moving and very well choreographed although they lack the intensity and raw ferocity of Brotherhood of Blades. I am quite relieved at the shorter and less stressful combat scenes as they are still packed with shocking and bloody twists. Just don't look too deeply at the logic defying ability of many characters to survive body piercing stabs in close vicinity to vital organs.

The plot design is serpentine and deliberately messy. This is probably meant to reflect the opacity, duplicity and chaos that prevailed at the time. Many character motivations are never fully revealed which gives rise to a sense of lazy writing; that at times characters become inconsistent for the sake of delivering yet another twist. There were a few too many twists that detract from the main plot. The final episodes in particular appear to have suffered from heavy cuts. This could be because the main conspiracy that is designed to be weaved into significant historical events may have gone too far in distorting history. This results in an ending that is satisfactory overall but leaves a few open sub-plots and unanswered questions. I love these plot heavy historical suspense thrillers and think this is a high quality, compellingly acted production overall. However, the story could have been told in a much less confusing way so I can objectively only rate this an 8.0/10.0. That said, my personal enjoyment level is at 8.5.

I will include below my personal speculation on how I think the story ends and some other ending comments that are inevitably spoiler heavy. Do not read it until you have finished watching.










WARNING: ENDING SPOILERS AHEAD










The past:
In terms of what happened in that prison years ago, I came to the conclusion that Li Yan, Song Heming, Wang Kegong,, Mu Jinggao and possibly even Lu Yulin were all loyal to the deceased crown prince Zhu Biao. The compassionate and peace loving Zhu Biao did not wish such evil weapons to ever be used so he hid them and left the riddle of the location with Mu Jinggao, the firearms maker. Li Yan was the go between but was framed for murdering the crown prince by an evil Jinyiwei. He revealed the riddle and gave up Mu Jinggao to Song Heming to save his son Li Feng, who was sent to his good friend Minister Yuan. Li Yan probably implicated Mu Jinggao because he not only knew where the firearms were stashed but also how to make them. True to his word, Song Heming arrested Li Wu as Li Feng's substitute. Unfortunately Lu Zheng messed everything up by letting Li Wu and the Mu daughter go. Lu Yulin had to sacrifice Song Heming in order to save Lu Zheng. This is a consistent theme where they sacrifice themselves/each other to keep the secret buried but try to save each other's bloodline. The other possibility is Lu Yulin was working for Prince Yan and killed Song Heming for the Yuming Lock. But his motives changed after he grew to love Lu Zheng and then protecting him became his only objective. In either case, between Lu Yulin and Wang Kegong, they kept the Yuming Lock and the key to how to unlock it hidden for ten years, giving it to no one. The evil Jinyiwei who framed Li Yan and set this all in motion was of course the real Li Dongfang, a bastard son keen to earn merit from his father Prince Yan. That is why he tracked down both Mu sisters and tried to use them to try to find the weapons. He also hoped that if Mu Jinggao were still alive he would come back for his daughters. I don't believe Mu Jinggao ever was a Yebushou because if that were the case, Prince Yan would not only have the weapons, he would know how to make them. I also doubt he is still alive as if he were, he would have surfaced or been found. It seems implausible that Lu Yulin who was just a mid-level Jinyiwei at the time could have saved such a high profile rebel under intense scrutiny.

The ending:
With the help of Boss Shen, Li Wu is in control of the game changing weapons and thus has a seat at the table in terms of the outcome of the power struggle. But he is just a common thief; like all commoners throughout Chinese history 民以食为天/mín yǐ shí wéi tiān - as long as there is food on the table it doesn't matter who the emperor is. Like Zhu Biao, he only cares that his beloved capital and "his people" don't suffer the vagaries of war. So he decides that no one should have the weapons. Yet he made promises and owes debts to both sides of the conflict so he engineers a compromise outcome. As promised (in exchange for Li Dongfang and hostage Bai Mingshan), he and Lu Zheng open the city gates to Prince Yan's forces but he smuggles the weapons away after taking control of the river fleet. In history, a traitor delivered control of the imperial river fleet to Prince Yan while another opened the city gates to his forces - see why the final episodes got cut quite a bit?. To Li Wu, it was clear Prince Yan would ultimately prevail and this was the least bloodthirsty way to cede to the inevitable.

At the same time, Li Wu owed Yuan Zhongdao for a number of things including Lu Zheng's life. He probably made good by smuggling the emperor, his consort and son out of the country. That is probably what Shu Tang went away to do - she was getting them safely out of the capital. She never really sided with Prince Yan she was just repaying her debt to Li Dongfang. Once he was dead, she can act in her own best conscience and she would be helping her sister who gave her life to fake the emperor's death. She may also have wanted to see if her father is still alive or to ensure that the technique of making these weapons is destroyed. In history, the palace was burned when Prince Yan entered the city. He produced three charred corpses allegedly of the Jianwen emperor, his consort and their son and declared himself emperor. That is why I already guessed Zhang Junqing would die with Yuan Zhongdao and I expected Mei Dou to be the third corpse but I am glad they didn't go there or that got cut. It is wild history that Jianwen Emperor survived the fire and escaped to Southeast Asia or further south in China. Zhu Di is said to have sent Zheng He off on his expeditions across Southeast Asia to hunt him down. This part of the conclusion obviously suffered heavy cuts as it indulges in speculative history.

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In the land of the scorpion the rooster is king.

This drama adapts Wei Yu's well loved romantic and suspenseful adventure novel Xī Chū Yù Mén /西出玉门 or West out of the Yumen (Jade Gate). The spirited and mysterious Ye Liuxi's first waking memory is of the desert with scant personal belongings to point to who she was and where she is from. A picture links her to Chang Dong, who lost all he held dear in that same patch of sand. Liuxi persuades Chang Dong to return to that most treacherous part of the desert with her. Together with a team of three others, they set out to crack the mystery of the Yumen Pass. On their quest to face their past, they stumble into a different, frightening and dangerous world where they find love, adventure, friendship and betrayal.

The most fabulous thing about this drama is that Ye Liuxi is a force of nature that simply sweeps you away with her beauty, strength and charisma. It is a role that must have been written for Ni Ni, whose portrayal of Liuxi is nothing short of iconic. Bai Yu's rendition of Chang Dong's quiet might and reserved brilliance is the perfect foil for Liuxi's more vivid personality. Their chemistry is so natural and shockingly scrumptious that I replay most of their couple scenes with a silly, lovesick grin on my face. I now have a whole new appreciation for Bai Yu's hotness. The other two romances are quite cute and endearing but neither is compelling or even necessary. Skipping or toning down one or both of these secondary romances could have helped the pacing of this drama.

The acting, rapport and comedic timing of the main cast is terrific and a heavier focus on their friendship over romance would have been no less enjoyable. It was a lot of fun to watch them humorously pull off their clone geminus selves. It is nice to see Jin Han in his element again as a misguided and flawed character. Lu Yuxiao makes an impression again as a young actor to watch. I also found both Gao Shen and Ding Liu's kick ass youthful exuberance a joy to watch. Sadly Meng Ziyi is the biggest let down in the cast. Long Zhi is an interesting role, a character with a world vision and the ruthlessness to achieve it. Sadly Meng Ziyi delivers a shallow and uninspired interpretation with two expressions - stone-faced and pissed off. She manages to turn a layered character into a cardboard and archetypal one. I used to wonder why such a lovely and charming actor didn't get more lead roles. Now I know.

Where this drama falters is in the pacing and narrative style. The transitions between sub-plots are not well handled with abrupt cuts to a side romance or worse, the narrator and the painter in the middle of action scenes or as momentum is building nicely into an interrupted reveal. The world within the Yumen Pass itself is well designed, rich in history and lore and occupied by dangerous and fascinating characters. The world building mostly takes place via exposition and usually right before the viewer needs that information. This kind of heavy foreshadowing diminishes the surprise factor in what comes next. This also comes with few pay-offs; in the end all I really needed to know is that in the land of the scorpion the rooster is king.

Even though this drama wraps up nicely with no major loose ends, the ending is anti-climatic. With one notable exception, most characters have fitting endings. However, the climax on the action adventure side takes place very early in the drama and the main romance peaks shortly after the mid-point. After that, the pieces of the puzzle fall into place and the plot seems to build towards a final, badass showdown that doesn't quite materialise. The writers decided it is better to jaw jaw than to war war which would be fine if this weren't a fantasy action adventure. I am also miffed that my thirst for justice and symmetry that demands some serious loss of limbs is not satisfied, nary a hair was even harmed! I console myself with the fact that the roosters once again show the scorpions who is the boss!

This is a must watch drama for just Ni Ni and Bai Yi's acting and chemistry alone. If anyone else were in the lead roles, I would only rate this an 8.0/10.0 but I am bumping my rating up to an 8.5 to recognize their riveting performances.

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You can't bring a sword to a gun fight.

Like many wuxia fans, I consider Jin Yong / Gum Yoong (Cantonese) the greatest wuxia writer of all time. Side Story of Fox Volant 飛狐外傳 is one of his early works. It was written shortly after The Flying Fox of Snowy Mountain 雪山飞狐, which is both a prequel and a sequel. Unlike many versions that combine both novels, Side Story of Fox Volant is adapted as a stand-alone story. Despite some meaningful changes, this adaptation captures the essence of the original story, the spirit of martial heroes or daxia/大侠 and the vagaries of jianghu/江湖.

The drama is action packed with fast paced, intense, starkly violent and brilliantly choreographed combat sequences that will satisfy any hard core wuxia buff. Slow motion is used sparingly for maximum brutal impact. No one has magic qigong or special powers. The main fighters - Hu Yidao, Miao Renfeng, Hu Fei and Tian Guinong are swordsman with distinct combat styles and battle advantages. When they clash it is very muscular and lethally up close. The nimble Yuan Ziyi's weapon of choice is a whip, which minimizes close encounters to compensate for the physical disadvantage of being a woman. With each episode I think the action has to be as good as it gets but to my surprise and delight, the production keeps delivering into the final wulin arc. The wulin arc in terms of both plot design and action is the best I have seen. While Miao Renfeng and Hu Fei's martial teamwork in episode 22 may be the best of the best, the ending battle encounters are inventive, exhilarating and savagely satisfying. The action scenes are this drama's strongest point and are worthy of multiple thrilling re-watches.

I am not a fan of the trend of whitewashing characters, especially Jin Yong's characters. Jin Yong is the master of multi-faceted characters. His heroes are flawed. His villains have redeeming features. Nobody is perfect in the Jin Yong universe. So when writers have the audacity to tweak his characters, they usually muck it up. When it comes to earlier, less refined works like this, I don't mind so much as there is room for improvement. While this version does a good job with Yuan Ziyi, Hu Fei is disappointingly adapted beyond recognition. The attempt to make Tian Guinong and Nan Lan empathetic is nauseating and boring. This is one of the four don'ts Jin Yong specifically warned against in the preface to the latest edition of the novel.

This is one of the author's darker, more cynical works. Most of the characters love too well but not wisely - Hu Fei, Miao Renfeng, Cheng Lingsu, Ma Chunhua, and Nan Lan. The heart wants what the heart wants, consequences be damned. Nan Lan and Ma Chunhua are selfish and don't care who they hurt in the process while Cheng Lingsu, Hu Fei and Miao Renfeng are noble idiots. They all pay a terrible price for following their hearts. Yuan Ziyi is the only exception; she dares only to hate but not to love.

Yuan Ziyi is one of Jin Yong's most under appreciated and saddest heroines. She is the only heroine who is not an extension of the hero; she is on her own independent path to salvation. Born from an act of violence, she is consumed by self loathing; doomed by unkind karma to seek justice and then live a life of atonement for the sins of her father. In the context of her beliefs, if she breaks her solemn oath she will only prolong her bad karma. In the novel, she acts out and does very controversial things. These actions drown out her piteous backstory and make her a widely disliked character. This adaptation deftly writes out those events, enabling us to see her in a more empathetic light. Her shifu should have been left offscreen as her pressure obscures Ziyi's own resolve to keep her vow. I always feel terribly sorry for Ziyi; she never had free will. She is alive but she does not live. I am not sure that chanting sutras into oblivion is a better fate than death, which is final liberation from all suffering. I don't love Liang Jie's acting but her Ziyi impressed me. The slightest shadow of regret in her eyes in a stone cold face and her ability to convey so much beyond her words moved me to tears several times.

Even though Cheng Lingsu is a clever character, I never found her relatable because her entire reason for existence is Hu Fei. But to my surprise, I like Xing Fei's warm and personable rendition of Lingsu. Her Lingsu is devoted to Hu Fei without coming across as a doormat and she gets him out of many tight spots with her quick thinking. The complex entanglement between the three of them is well portrayed. Hu Fei's chemistry with Ziyi is tangibly different from his dynamics with Lingsu, making it immediately obvious who he loves and who loves him. He is much more of one heart with Ziyi and they instinctively act in unison with little need for communication or explanation. Whereas Lingsu is constantly reining Hu Fei in and giving him instructions that are at odds with his natural instincts. When he can't help disobeying, he appears reckless and unintelligent. This character flaw arguably contributes to what happens to Lingsu at the end. There are better ways to show that Hu Fei is less in sync with Lingsu without throwing his character under the bus.

Lin Yushen's Miao Renfeng steals the show in this drama. Criticism that his Miao Renfeng is too much like his Yang Xiao in Heaven Sword is fair but he is so cool and he pulls off the character's inner conflicts and emotions so well that I don't mind. This performance anchors the drama for he is the martial hero of this story, His code of honor demands that he does the right thing even when it is the wrong thing for himself and those he loves. I wouldn't object if they call this the Legend of Miao Renfeng because of this compelling portrayal of what it means to be a daxia. Even though he is movingly handsome when he is suffering, the story wallows in Miao Renfeng's betrayal and loss for too long. The tawdry Nan Lan/Tian Guinong arc is a boring extended digression. The opportunity missed is that Hu Fei and Miao Renfeng do not get enough scenes together. They have remarkable combined chemistry and their joint fight scene is the one of the drama's best.

As for the titular character Hu Fei 胡斐, (which is a homonym for fox volant or flying fox), I always loved his character design. Far from being infallible, he is a work in progress - young and smart with tons of potential but a bit hot headed and too idealistic. He is the people's hero; the guy who demands justice for the underdog regardless of the cost to himself. His best traits, this strong sense of righteousneous and his willingness to fight the unfair fight is dumbed down to recklessness and even stupidity in this adaptation. He is written off as a bull in the China shop whose hot headedness could wreck the Red Flower Society's mission to save wulin. He doesn't accomplish much on his own and without Ziyi and Lingsu, he'd have died many times. It does not help that despite his phenomenal acting, Qin Junjie looks a bit too mature to play an 18 year old.

Despite good pacing, the plot digresses into too many dull sub-plots and arcs. This is an issue with the original work, which this adaptation already cleans up considerably. The Nan Lan and Poison Valley disciple arcs are the least interesting and Hu Fei deserves to be less peripheral in the reveal of the conspiracy behind Hu Yidao's death. The wulin arc brings the story to a climax, one that exceeds that of the novel on some fronts but is a let down in other aspects. Good characters die in wuxias, it is par for the course. But their deaths must be worthy and not gratuitous. What I dislike most about the ending is that it unnecessarily sacrifices a knight errant after they capture the king. It is a futile sacrifice because you can't bring a sword to a gun fight. Sadly, the advent of guns heralds the demise of jianghu and martial heroes.

This is a good adaptation overall that is limited by original works that lack the finesse of Jin Yong's subsequent masterpieces. The novel is already too dark and unbalanced. It is not necessary to outdo Jin Yong in how incredibly cruel he is to Hu Fei. Despite its darkness, the novel still ends on a note of optimism because Hu Fei's journey continues. But in the drama Hu Fei seems to be left to live largely in the past with two women, one too old and too icky for him and another so young it would be too icky. Thus to me this is at best an 8.0 in terms of storytelling that I bump up to an 8.5 for the not to be missed fight scenes. Nonetheless, this wuxia takes you on a stirring and addictive journey that is well worth it - as long as you do not need a Disney ending.

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I always feel like somebody's watching me.

I struggle to contain my anger at the monumental disappointment this drama turned into because it could have been a huge hit. I am so irritated I need to get it off my chest with a spoiler heavy review, something I really dislike doing. I think I figured out the confusing ending that I explain below. Do not read this if you don't want to be spoiled.

The story is a very simple, poignant enchanted fairy tale. Fu Jiuyun (Zheng Yecheng) is an immortal who falls for a mortal with an indomitable spirit in a magical painting his shifu left him and stalks her across ten incarnations over a thousand years. In her incarnation as Yanyan, a Li princess, she is destined to marry her childhood sweetheart and live a happy life. Jiuyun cannot stay away from her and in the guise of a dissipated genius artist Gongziqi gifts her a magical painting of a peach blossom tree and a magical song that she performs for her mother's birthday celebration. Note that the painting and song are key in the ending interpretation. The dance is truly captivating and if nothing else, just watch that. At this point I was addicted and fully invested in both leads.

An ambitious neighboring prince makes a deal with demon forces, invades her kingdom, massacres her family and enslaves her people. A devastated Yanyan vows vengeance and embarks on a quest to obtain a magical lamp that can absorb the demon forces and free her people. She assumes the appearance of her maid Ah Man (note the name) and calls herself Qinchuan. This is where they replace the actress Jiang Yiyi with the more well known Zhao Lusi. First mistake - it was not just confusing throughout but I had to get over the first actress whom I liked and get invested in the female lead all over again. The switch worked at first because Lusi is a really funny actress and her antics with Jiuyun, Xiao Bai and Er Meng were entertaining. However, the couple's interactions fell short of the seamless transition from humor to intimacy that was so well done in Under the Power. As a result, Jiuyun initially comes across one of those oily old dudes that misbehaves with young girls. While their chemistry eventually "clicked", Lusi's initial indifference made Jiuyun's overtures seem unwelcome to the point of harassment.

Just when their romance takes off, the show separates them and shifts into the revenge plot. This is where Qinchuan becomes all bravado and no brain - she has no credible plan and has to be rescued multiple times. She works with Er Meng and Xiao Bai; Jiuyun only bails her out from afar. The show peaks too early with the take-down of most of the bad guys and then digresses further into the super boring second couple. I suggest skipping all of their scenes in the middle. They could have easily cut 6-10 episodes to avoid the fatal loss of momentum in the storytelling. Then Jiuyun decides to help Qinchuan fulfill her mission even though it means a certain end for him. He is the wick of the lamp that once lit, eventually burns out.

Once the tone shifts away from largely comedic, Lusi struggles to get into the moment in action and emotional scenes. She is not versatile and is mostly just excellent at comedy. Her performance was flat through most of the second part of the show and only saved by some of the steamier romantic scenes with Jiuyun. By then, I had enough and just wanted it to end. Zheng Yecheng's performance on the other hand was consistently stellar - he really carried the show. Apart from being smoking hot (I can watch him all day), his interpretation of the hard core romantic good guy that disguises himself as a world weary, cynical, indifferent and dissipated immortal was spot on. His eyes shine with unshed tears at all the right moments and as he protects Qin Chuan from the truth of what she asks of him.

The ending is confusing and to me it is quite sad in a Butterfly Lovers kind of way (major spoiler):

Qinchuan realizes that Jiuyun is not coming back ; even Meishan admits that his soul has scattered. She completes her ritual with the lamp - she had already bonded with it earlier on. She wakes up as child Yanyan who dreams an old man (her shifu?) tells her that she gets a fresh start. I think the lamp takes them all back in time for a do over. She grows up and intuitively makes way for Zichen to fall in love with Xuanzhu. Her maid is no longer Ah Man but a Xiao Cui. She has more sad dreams where Jiuyun tells her that she will soon forget him. As the time loop starts to replay her mother's birthday she forgets how to play the song Jiuyun/Gongziqi wrote for her and the pipa disappears into the painting. In this new life, Yanyan will marry Er Meng and their kingdoms will be at peace. She never becomes Qinchuan so eventually Qinchuan and Jiuyun's relationship also gets erased or never happens. Jiuyun snatches the last bits of her memory of Qinchuan and escapes into the magic painting with Qinchuan and the pipa. It is the only place where they can be together but they may be just shadows or memories of who they were. I initially thought she was sucked into the lamp where Jiuyun creates an alternative world for her but if that were the case, he wouldn't have to put her into the painting. This is where they should have used both actresses to make it more clear by leaving Yanyan behind while Qinchuan goes into the painting with Jiuyun. It makes me feel a bit better to imagine that Qinchuan and Jiuyun cultivate together in the painting and after thousands of years both become immortals that live happily ever after. The novel ending is different, more straightforward and much happier - essentially Jiuyun eventually reappears and they are together.

Despite the poor execution and confusing ending, it is still a beautiful fairy tale with some gorgeous scenes and amazing moments that is worth watching. Best be liberal with the fast forward button through the middle parts. My low rating reflects the poor execution that prevented this from being an unforgettable and addictive love story.

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The Scent of a Woman

I was sold on this drama the moment I eyeballed the three hot main dudes - I mean what's not to like about a light and funny drama with some serious eye candy? But somehow this morphed from just another fun and light young adult comedy into a hilarious and empowering story of friendship and the shining idealism of youth that made a deeper than expected impression on me.

Xue Wenxi disguises herself as her brother Wenbin to support her family as a talented copywriter and author of illicit romantic fiction. A chance encounter and a series of mishaps leads to her reluctant enrollment at the prestigious Yunshang Academy. There she becomes the glue that bonds the "Yunshang Four" an uncommon friendship between the scholarly and noble Feng Chengjun, the savvy Yu Lexuan and the rebellious Lei Zexin. Together they prevail over many coming of age challenges and overcome past secrets and misdeeds of the previous generation.

In a departure from the acclaimed Korean adaption (which I did not watch), this Chinese version portrays an unmistakably feminine version of Wenbin, from the casting of the very petite and lovely Ju Jingyi as Wenbin to surrounding her with uncommonly tall male leads. If you are unable to suspend disbelief that she is not busted as a girl on day one, then your time is better spent on the earlier version. If you get overly hung up on how she looks, you will not enjoy the witty script and brilliant comedic rapport between the leads nor appreciate the more important themes that this adaptation chooses to focus on instead. The casting visibly illustrates the daunting physical challenges Wenbin faces in an academy that has an equally vigorous physical curriculum. 

What I love most about this drama is that it avoids sending the message that in order succeed in a man's world, a woman must look like a man and act like one too. It points out multiple times throughout the drama that Wenbin is a beautiful and delicate gentleman. It is clearly on the edge of everyone's consciousness that he is a girl because all of the boys are drawn to her like bees to a honeypot and when her gender is revealed no one faints from shock. Indeed one of my favorite early moments is the look on Chengjun's face when he sniffs her and gets his first whiff of the scent of a woman. It is unmistakable, all of those boys sense it but no self respecting dude is going to blurt out the unthinkable and ruin the fun of having a girl on campus! Our Wenbin revels in being herself, a young girl - at times she is annoying as hell - naggy, bitchy, petty, jealous but most of the time she is mischievous, charming, sensitive and comforting. For me, it is much more fun to watch a girl having a blast just being herself at an all-boys school than watching the tired routine of a woman trying to fit in by aping a man. 

The script is very cleverly written and funny and the characters are so lovable and relateable they all give me that magical deja vu of people I know. I am floored by the seamless interactions and comedic timing between the cast as witty banter is conveyed in as much via body language and facial expressions as it is in words. The humor is just my speed - a slightly wicked roasting of all too familiar human emotions, traits and rites of passage. This is a heavily character driven drama with very satisfying character growth. The headmaster is priceless and is the show's true unsung hero. The pacing however gets hijacked by too many (albeit hilarious) comedic sketches without plot advancement to the point it drags slightly in the middle. And then everything happens a bit too quickly at the end as the romance peaks at almost at the same time the conspiracy is revealed. It could be better balanced if Wenbin's reveal happens earlier and without toying with Han Shumin's heart - it is unnecessary angst and a small stain on Chengjun's character and judgment.

Chengjun and Wenbin are smitten with each other from the beginning and their attraction and chemistry grows convincingly into something that hilariously both thrills and terrifies Chengjun. He is not my pick of the three but it is clear that his patience, wisdom and quiet indulgence is the perfect foil for the more high strung, impetuous and sometimes willful Wenbin. And her intelligence, lively and infectious sense of humor and mischief rescues him from being boring. It is a good match. Sadly my personal choice, the clever and diabolically cheeky Lexuan appears subtly more into Zexin than Wenbin. He is by far the most layered, complicated and thus interesting character. Zexin has the most character growth but would never work with Wenbin - they would just bring out the worst of their mutual immaturity, quick temper and impulsiveness. For me, their comaraderie and unflinching support for each other as they find the courage of their own convictions is far more riveting than the romance. My weary old soul is unaccountably moved by the youthful idealism and sense of justice and equality that culminates in a moving Oh Captain My Captain moment. It is also amazing that they got away with student protests, vigilante justice, and even subversive propaganda.

There is at least one hilarious laugh out loud moment in literally every episode of this drama that has men clammoring to follow the scent of a woman to the female version of Yunshang Academy! I haven't enjoyed myself so much in a long time. Sure there are flaws but think about watching this as like having a fling and not till death do us part; no need to over analyze, just go along, get along and enjoy the ride. This is overall a 9.0 for me but on just enjoyment factor alone I would call it a 9.5/10.0.

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The mountains are high and the emperor is far away 山高皇帝远.

Under the Microscope takes a detailed look at some of the ancient financial shenanigans that eventually collapsed a dynasty. It is an adaptation of a documentary written by Ma Boyong based on rare ancient folk archives from the Ming dynasty. The Ming dynasty's demise was in large part due to the inability of the government to properly manage its finances, particularly with respect to tax revenue collection. The mountains are high and the emperor is far away 山高皇帝远/shān gāo huángdì yuǎn; thus local fief lords and officials in remote locations were able to do as they please. Social unrest frequently erupted as a result of local officials' failure to carry out central government directives due to both incompetence and corruption. That is the backdrop against which this ancient tax puzzle cum murder mystery unfolds.

Shuai Jiamo is an orphaned peasant and a math savant. He is known in Renhua county as a simpleton and is probably either Aspergic or mildly autistic. He makes a simple living providing field measurement services. In his spare time, he counts cards for his only friend Feng Baoyu, playboy and scion of the prosperous Feng's Ham Shop. He is obsessed with accuracy and when he discovers discrepancies in land records, he tries to track it down. In the process, he stumbles across a misallocated tax that awakens long-dormant memories of the day his whole life changed. Without considering broader consequences, he obstinately decides it must be made right and single-mindedly sets out to rectify these errors. All sorts of vested interests from fief lords to various county officials are affected and conspire to frustrate him. First they turn Chen Renqing, a wily lawyer whose justice and honour can be bought by the highest bidder, loose on him. They also inflame peasants across all eight counties of Jin'an Prefecture, ensuring that chaos, murder and mayhem ensues.

Zhang Ruoyun steps out of his comfort zone in this role of a character that is not always in the moment and relates to others in a different way. Although he seems to over-act in places, the brilliance in his overall interpretation is how insidiously he plants the seeds of doubt. Is the over-acting deliberate and in character? Is the real Shuai Jiamo the one who chastises Feng Baoyu for not paying more heed to his sums and observes that he will soon have a brother-in-law? Or are the glimpses of cunning, empathy, even wit and humour just inconsistent characterisations? Is Shuai Jiamo really that simple and traumatised or does he have complex hidden motives? His nemesis the shrewd and cynical Chen Renqing certainly believes the latter. Leaving these questions largely unanswered makes this yet another fascinating and memorable characterisation by Zhang Ruoyun. His incredible chemistry with Wang Yang thrills and delights in new ways as their roles here force them to connect across entirely different wavelengths. Wang Yang is always at his best in morally ambiguous roles and delivers a wicked and empathetic performance as this lawyer on a white horse. It is also nice to see the limelight shared by Fei Qiming (Feng Baoyu) and Qi Wei (Feng Biyu), who also deliver hilariously engaging portrayals.

This is a beautifully shot production with a detailed eye that captures the humble, tattered and vivid humanity of the common people and the contrasting texture of their venal overlords. The devil is always in the detail with these kinds of accounting and mathematical puzzles that do not lend themselves well to screen adaptation. But this production creatively and humorously dresses up the inherently dry subject matter and does its best to avoid too much exposition. The plot is well paced and the conspiracy builds to a climax that shook me and left me speechless with my heart in my mouth. The villains are well foreshadowed but the reveal still satisfyingly ties up loose ends. Some bad guys got off too lightly but this is realistic and somewhat dictated by historical fact. This is a superbly well-written and entertaining ancient grassroots story that will appeal to anyone on the lookout for fresh themes and stories. 8.5/10.0.

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