PeachBlossomGoddess

When you play the game of thrones, you win or you die.

Qin Dynasty Epic, the fourth and final installment of the highly regarded Qin Dynasty series, is about how Yin Zheng fulfilled "Heaven's Mandate" to unify the Warring States (475-221 BC) and became the first emperor of China at age 38 in 221 BC. Such a monumental task was not achieved without the vision and dedication of many great talents from brilliant tacticians, crafty spies, talented engineers and powerful generals. These characters that made it all possible and how they were pitted against wily and determined opponents from six rival kingdoms is magnificently and vividly brought to life in this stunning production.

The production values are very high and there is extraordinary, game of thrones worthy battle footage against some truly breathless backdrops that convey the epic vastness and splendor of the empire. In-depth research and meticulous attention to detail are evident in the costumes, the weapons, the sets and the authentic portrayal of military strategies, diplomacy, espionage, the economics of funding prolonged warfare, the evolution of a common script, immigration and the consequent racial frictions and the conflict between meritocracy and legacy. These themes are seamlessly woven into the visual storytelling in a way that you cannot miss the natural, impenetrable mountain fortress that is Hangu Pass and the Qin life size battle map that further reinforces the topological and geographical advantages of the Qin state.

This is a historical drama but if you are not familiar with Qin history, then be warned that there are mild spoilers in the paragraphs ahead.

Duan Yihong's delicious portrayal of Lv Buwei, venal merchant turned kingmaker and indisputably one of history's great adventurers anchors well over half the drama. His economic reforms and policies paved the way for the eventual unification of the Warring States well before Ying Zheng's conquests began. This is the best written and best acted role in the drama that literally steals the show. This wonderfully grey character that was so inspired by a vision bigger than himself that he actively recruited and promoted the best talent even against his own nature and interest, notably in the case of Li Si. Their scheming both as rivals and allies and mutual respect despite their differences is one of the most complex and riveting portrayals in this drama. I find Li Si the character insufferable and while Li Naiwen's acting is good, it is not quite on par with that of Duan Yihong. Even though I think the drama ends at the right place, it is a pity we don't get to see the irony that Li Si whose life work was Qin's unification may have brought about Qin's rapid downfall with his cruel interference in Ying Zheng's succession. I love that this drama properly credits both Lv Buwei and Li Si with many of the lasting reforms made during Ying Zheng's reign; indeed many (not all) were well underway while he was still a powerless boy king.

The most slanderous and malicious accusation in Sima Qian's Shiji (史记 or Records of the Grand Historian) is that Ying Zheng was in fact Lv Buwei's son; that his former concubine Zhao Ji was already pregnant when she married Ying Yiren. Current historians are rightly skeptical as that would have been a 12 month pregnancy but the drama raises the question head on and leaves room for viewers to decide for themselves. It is likely no accident however, that they cast two actors that bear a strong resemblance to each other as Ying Yiren and Ying Zheng; both in terms of stature and elongated, elegant facial features and in sharp contrast to both Zhao Ji and Lv Buwei's more common rounded features. The desire to put both actors side by side results in the drama's biggest judgement error of having a 40 year old man play the 13-year old Ying Zheng. This is a tall ask of any actor and Zhang Luyi did the best he could but it isn't until well over halfway through the drama that the character's age catches up with that of the actor. In a misguided attempt to make Ying Zheng more relatable, we suffer through some unfathomable cringe dialogues as the obviously middle aged Zhang Luyi plays an adolescent Ying Zheng who is bullied, questions his legitimacy, experiences infatuation and grapples with his mommy issues.
 
In an attempt to appeal to broad audiences, the drama over-indulges in the salacious Lao Ai/Zhao Ji arc. Zhao Ji is mercilessly portrayed as the wanton, shallow, selfish, reckless and easily manipulated harlot who likely turned Ying Zheng into a misogynist whose women were all anonymous. And while Lao Ai's allegedly majestic physical attributes can never be disproven, he definitely had a peanut sized brain and his attempted coup was puny and nowhere near the scale the drama suggests. Although scandal holds timeless appeal, I am here to watch the first emperor of China, not the first gigolo of China. The time would have been better spent building up characters who become prominent after Lv Buwei's exit and indeed the immediate next 1-2 episodes feel like one hand clapping.

I must mention that Zhang Lu Yi redeems himself with his characterization of the mature Ying Zheng. I was riveted by how he howled like his heart was torn from him when he "fulfilled" Zhao Yan's abominable request only to be overcome with remorse and cowardice when faced with the real thing years later. His portrayal of Ying Zheng's encounter with Jing Ke is also exceptional. That said, I have mixed feelings about how this larger than life figure was written, it somewhat diminishes him. While I like that they humanized him and gave him a benevolent side that is at odds with countless other depictions, I wish they went with a bolder, more controversial interpretation by balancing that out with some vices and a more ruthless, darker side as well. I didn't need to see him cook scholars but even how he dealt with Lao Ai's kids was just glossed over, not to mention his legendary harem and his intense superstition. The real Ying Zheng is probably turning in his undisturbed tomb at this millenial, tree hugging, touchy feely characterization that robs him of the requisite ruthlessness to do great and hard things.

While there are many epic battle scenes the unification wars were fought just as much behind the scenes as on the front lines as all warfare is based on deception. By the time Yin Zheng took over, the six kingdoms appeared to be largely sitting ducks but nonetheless, they put up a really good fight. While the conquest of the remaining kingdoms after Zhao (especially Chu) feels a bit rushed, all the important moments are there. I really felt for the vanquished in this show, was moved by their desperate causes and teared up at their inevitable defeats. The sense of loss experienced by the de-throned young Zhao king with his mother and uncle as regent could have well have been the young Ying Zheng. Under resourced, out smarted, undermined by their own and with the odds against them, Li Mu, Prince Fei and Prince Dan still fought bravely and valiantly. But when you play the game of thrones, you win or you die.

One of my favourite Cantonese expressions is 七国咁乱 which roughly means as chaotic as the warring states. I always find making sense of that messy, turbulent period of Chinese history so mind boggling that I cannot praise enough the clean, smart way this drama's narrative navigates the multitude of important events and characters that lead to the unification of China under Qin and the reforms and contributions that lasted thousands of years. Yes, there are some flaws, some missed opportunities and digressions that do not detract much from this sumptuous and enveloping historical drama that makes this a very solid 9.0 for me.

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Buns of Steel.

Blossoms in Adversity / Xī Huā Zhǐ/惜花芷 is the story of superwoman Hua Zhi's feel-good romp through feudal China. When Imperial Censor Hua dares to criticize the monarch, he is exiled along with all the men in his family. A bevy of helpless women and young children are left to fend for themselves. Hua Zhi takes charge and rallies the women together to triumph against overwhelming odds. When she flexes her buns of steel, no feat is beyond Hua Zhi! She parleys a candied hawthorn business into a pastry and restaurant empire, picks up stray royal children, foils a few palace plots, build schools and a canal, rescues the Hua family men and even manages to find time to fall in love! All in the space of a 2-3 years!!! Phew! Even superwoman would surely stagger from sheer exhaustion!

This narrative paints a distressing picture of how oppressive life was for women in hierarchical ancient Chinese patriarchal society. The best part of this drama is how in order to survive, the women defy social conventions, set aside petty differences, learn to trust each other and work together towards shared goals. While the sheer scale of their financial and other achievements are preposterous, there is something very cathartic and satisfying about how flamboyantly they flourish. The storytelling is squarely centered on Hua Zhi and speeds through many of the supporting character arcs, leaving their motivations and struggles under-developed. This is a pity because family dramas like this are most compelling when important supporting characters are given enough agency to be the main characters of their own arcs.

This is one of those dramas that is best enjoyed superficially and with heavy suspension of disbelief. Upon closer scrutiny, the overarching empowerment theme is contradicted by some of the sub-plots. I was disturbed by the different treatment of domestic abuse in Hua Jing and Hua Xian's case. But what I disliked most was what happens to Hua Rong and her child. It is as if she learned nothing from her family's struggles about resilience in the face of adversity. There are a few poorly developed sub-plots like this that the writers raced through without thinking carefully about the messaging.

As much as I like Zhang Jingyi, this is not her best role. Her interpretation of Hua Zhi is too perfect, too calm, too understanding and too reasonable. This has led to many Mary Sue comments about the character. But Hua Zhi is actually written to have many flaws - she can be over confident, she cannot mind her own business, she is reckless and like her grandfather, she cannot hold her tongue. In the canal arc, she is the architect of her own downfall but because everyone unites around her, she never suffers any consequences for her actions. This character has too much plot armor and is already so smart and capable that she shows virtually no growth from beginning to end.

Hua Zhi's relationship with Gu Yanxi is similarly whitewashed to the extent that it appears too ideal to be true; it lacks passion, conflict and intensity. Hua Zhi lets Gu Yanxi off too easily for deceiving her in the beginning when any normal person would be at least a little bit angry at him. She also never communicates any discomfort with his role at the Security Bureau; indeed she seems quite happy to use his authority there to serve her purposes. Thus, it came as much as a surprise to me as it must have to Yanxi that it could be a deal breaker for her! So much for their so called mature, open and communicative relationship! I don't know why young actors like to make their characters so perfect all the time and have such a hard time embracing more complex but perfectly natural human relationship dynamics and emotions.

Hu Yitian delivers a more nuanced portrayal of Gu Yanxi as the emperor's sharpest knife. His fight scenes are phenomenal and he is menacing and ruthless as the commander. He shows us he is a different person; more open, at ease and happier when he is with Hua Zhi. While this is one of Hu Yitian's better roles to date, he shies away from showing us the true extent of his affection for the emperor and his inner conflict. This is a missed opportunity because Hai Yitian delivers a compelling portrayal of the lonely, paranoid and manipulative emperor. Because Hu Yitian's portrayal of Gu Yanxi does not meet him halfway, the emperor's affection for his nephew comes across as borderline obsessive and a lot more one sided than it really is.

Even though it seems her character Shaoyao is dumbed down from the novel, Lu Yuxiao is once again a scene stealer in this drama. This kind of beguilingly innocent, simple minded savant kind of character is extremely difficult to portray well but Lu Yuxiao pulls it off brilliantly. She doesn't get enough screen time to steal the show but I was more invested in her character than I was in Hua Zhi who is too perfect to be relatable.

The ending of this drama really cracked me up. It is one of the few times that the villain actually saves the day by doing what Hua Zhi and Gu Yanxi could never have done. Although it is also possible that Gu Yanxi learned his lesson not to look for needles in hair stacks and had the good sense to show up a just a tad late at the ceremony. Despite some flaws, this is a very appealing feel-good drama for those seeking light entertainment. My rating 8/10.

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Justice is blind and not heartless.

I have never had a good impression of China's opaque legal system so I was both curious and skeptical about Draw the Line. This drama is a fascinating tour of the inner workings of China's grassroots level judicial system. It shines a surprisingly candid spotlight on gaps in the Chinese judicial system from rapid economic growth, modernisation, changing social values and the proliferation of the internet and social media.

Fang Yuan is the presiding judge at the Xingcheng District Court, a local people's court of first instance which handles both civil and criminal cases. Fang Yuan's division handles civil cases while criminal matters are adjudicated by his colleague Song Yufei, a deputy chief judge of the intermediate people's court. What surprises me most is how hands on the grassroots judges are in the Chinese legal system. They do a lot of field work themselves from directing the gathering of evidence to personally interviewing plaintiffs, defendants and witnesses. The role of lawyers is so passive and marginalized it is as if they are for decorative purposes only. For civil cases, the court first seeks to resolve conflicts through court sponsored mediation. If an agreement, is reached, it becomes legally binding once it is reviewed and documented by a judge. Mediation can be a draining process, especially when dealing with less educated, unreasonable and belligerent citizens. Thus beyond legal knowledge it takes a combination of investigative and persuasive skills and a healthy dose of patience to be effective as a grassroots judge in China.

The arrival of Ye Xin, a young researcher from the Supreme Court is met with speculation and trepidation by the close knit community at the Xingcheng District Court. She is an annoying character in the beginning because she has no practical experience, and adopts a rigid by the book approach to interpreting the law. Experienced grassroots judges like Fang Yuan and his mentee Zhou Yian are more pragmatic about bridging the inevitable gaps between static legal codes and the myriad complexities of real life cases. Still it is never easy to figure out where to draw the line between the letter of the law and the spirit of the law. Beyond the heavy case load, the courts also face the challenge of social media, where cases are tried in the court of public opinion on distorted facts. Although the judges do their best to weigh the the practical, moral and humane aspects of their decisions, they don't always get it right. They have their own flaws, biases and personal or familial pressures. These dynamics set Chinese Supreme Court down the path of judicial reform, where case law is increasingly implemented instead of just statutory law.

The impeccably curated cases create a fascinating mosaic of moral, familial, commercial and social issues great and small confronting the Chinese public today. They are based on thought provoking and relevant real life cases; some of which have sparked public debate and controversy. The drama is very even handed about presenting both the plaintiff and defendant's point of view. The writers very effectively showcase resembling cases to illustrate the range of different human emotions, motives and outcomes. There are cases where two sons are driven to kill because of their mother, sexual harassment cases with different power dynamics and common reasons for the breakdown of marriages and related child custody disputes. From the mundane and petty to the serious and complex, the cases strike a riveting, sometimes heart rending chord because we have all read about or heard about or experienced something similar. At the same time, these cases deftly illustrate the many challenges faced by grassroots judges. They are the everyday heroes who navigate the grey areas of the law and morality with compassion to deliver justice that is blind and not heartless.

The cast in this drama needs no introduction and does a stellar job in drawing out the complex human aspects of the cases. Jin Dong delivers a multi-faceted Fang Yuan who is everything to everyone at work - a stern and impartial judge, a tireless and persuasive mediator, a wise mentor and a playful colleague. This leaves him with much less to give at home as a father and husband. We see a very down to earth version Cheng Yi as the introspective Zhou Yian, the young judge who must surely cut his own hair! He convincingly navigates a crisis of conviction after making some mis-steps. Both Yian and Cai Wenjing's Ye Xin are the characters who show the most growth in this drama but the characters that move me most are either defendants or plaintiffs in some of the more heart rending cases.

The best, most thought provoking case to me is the one about the roommates that is analogous to tripping a friend to escape a bear attack. Even though all the cases are interesting, there are too many of the cases in the back half that personally entangle various court personnel. This requires repeated suspension of disbelief in terms of how impartial and self sacrificing the various protagonists managed to be. It also highlights in my opinion an area that still needs judicial reform, which is how conflicts of interest are handled. It seems there is no requirement for judges to recuse themselves when their colleagues end up as defendants. The ending case is just too personal with too many coincidences and conflicts and an outcome that I find the least equitable with some defendants getting off too lightly while others are very harshly indicted. It is not the right note to end on and as a result I rate this an 8.0 instead of an 8.5. Overall a highly recommended, eye opening, thought provoking and fascinating watch with heart felt performances from some of my favourite Chinese actors.

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'Cause I saw the end, before we'd began.

Zhousheng Chen pledged his life to protect the realm with an unbreakable vow to never marry or father children. Cui Shiyi, a peerless beauty 倾国倾城 (qing guo qing cheng) was promised to the Crown Prince from birth. He is her shifu, her master; thus any romantic relationship between them is forbidden. This kind of story never ends well - Zhousheng Chen knew it, Shiyi knew it and I knew it. Yet I fell helplessly down the rabbit hole with them and almost drowned myself with tears. I did not expect to be so moved or so heartbroken 'cause I saw the end, before we'd began. So be warned, this moving, legendary love story between the noble Nanchen wang and Shiyi is sad and unforgettable.

This drama's production values are incredible from the movie aspect ratio, stunning sets, gorgeous costumes drenched in a soft palette that accentuates the beauty and ethos of the unspoken, unspeakable emotions that encompasses every loaded moment. The haunting and poignant OSTs are the only times their feelings and promises are verbalized. The lyrics are layered with meaning that compliments the beautiful prose of Mo Bao Fei Bao's popular novel 一生一世美人骨., that is woven seamlessly into the script.

I love how Mo Bao Fei Bao writes - her composition style is simple and profound at the same time and yet I am unable to finish the novel. It is set in the present, with Shiyi flashing back to their past. I simply can't relate to a docile modern woman with such ancient values, whose whole reason for existence is one man. The drama adaptation that starts with the past makes for far better storytelling as Shiyi is a product of her time, a Northern Wei noblewoman raised to dutifully abide by all the social strictures and expectations of the day. Underlying her gentle, serene expression, she is incredibly single minded ("my heart already belongs to someone, it will not change") and the imperceptible flashes of fury in her magnificent eyes says she is far from docile. Bai Lu interprets Shiyi brilliantly and brings her gentle strength and courage to life in a way that vastly exceeds the novel. 

As for Ren Jialun, he is truly one of those rare actors who says it best when he says nothing at all. He never has to tell Shiyi how he feels about her, it it is evident in all the small gestures and most of all, it is in his eyes, in the sublimely romantic way he eyes her ever so longingly... and so regretfully. It emanates from the core of his being and breaks free from all of the constraints imposed by duty, responsibility and his toxic oath. With this mature, charismatic and substantive performance, Ren Jialun sheds his more youthful persona and proves his ability to compel in more complex roles that require some heft and gravitas. That said, I wish Zhousheng Chen wasn't quite so restrained; that they had given us at least one moment of temptation, where for once if only briefly, he forgets he is Nanchen wang so that they can be just Chen and Shiyi. If I remember correctly it is hinted heavily that there was one such moment in the novel. Nonetheless the palpable chemistry between the leads convinces that while not in deed, they are lovers in every other sense and meaning of the word. This captivating and shattering performance by both leads underpinned by their remarkable chemistry makes this slow burn, tragic romance a must watch.

Even though the drama adaptation attempts to better flesh out the past, the story's focus remains predominantly on the romance and that is where it shines. The external political plot is designed almost solely to either frustrate or facilitate the romance and thus does not bear close scrutiny. It is clear that political plots are not the screenwriter/novelist's forte although she does a credible job pulling together perhaps too many common tropes - rival clans, power struggles, Wu Tzetian-lite (brainless) and thwarted love rival wrapped up in filicide, murder and betrayal. Although all of the supporting roles including the villains are very well acted, there are many side characters who do not advance the plot and the inter-relationships and rivalries among the main clans and the consequent political dynamics are not well explained. And then there are characters like Yang Shao who conveniently pops up as alternately friend or foe as and when required by the plot. His motives and loyalties are not obvious and for such a poorly developed character, he gets to do some pretty important stuff.  Neither villain is that complex and they both seize power without the means to secure the border and thus the empire without Nanchen wang. They are not intelligent or worthy opponents - even when they win, it is by foul means that lead to self destruction. Nonetheless, I watched this with a forgiving eye, mostly because I was too busy emptying my tear ducts to have the emotional energy to be bothered by the logic flaws.

This drama really enraged me at the end. The lovers' fates are well telegraphed from the get go so that is not my issue. My problem is with how Zhousheng Chen the character was mutilated by the writers at the end. The core of what makes Zhousheng Chen noble down to his beautiful bones is the conviction that his sacrifice, their sacrifice is worthy. And it is manifestly not worthy - he makes the same mistake twice of shoring up a ruler who simply cannot hold on to the throne and is bound to be a puppet. What it comes down to is he chose to save his bloodline and a bunch of worthless, doomed ministers at the cost of peace at the border, his beloved Nanchen army and Shiyi; leaving the country defenseless and in the hands of a sociopath. Even though the writers acknowledge they did him dirty when Shiyi piteously comes to the same damning conclusion and it just breaks her, how they wrote themselves into this corner is unforgiveable. It could have been avoided if the external plot were better configured to begin with and if they had the courage to change some aspects of the novel rather than simply writing to back-solve for certain outcomes. In doing so, they made an incredibly compelling case for Zhousheng Chen to just kiss the girl, revolt and seize power or to ride off with her in the sunset and defect to Nanxiao. He would still stay more true to character because that is what would have achieved the greater good instead of simply protecting his brother's legacy at all cost. Thus with regret that oozes from every pore, Zhousheng Chen foolishly forsakes both the common people and his Shiyi for the king and country that forsook him. There is no level on which this is a satisfying outcome and Zhousheng Chen deserves better than that.

Since I am ranting, I would add that I am not in the least consoled by the fact their unfulfilled love even moves the universe to give them another shot in the modern sequel Forever and Ever. First of all, this takes thousands of years. Secondly, if I were Shiyi, I would run, run, run, run, run AWAY from Zhousheng Chen after what he did. And finally, to get my much needed closure, I am really irritated at having to try to watch a darned modern romance, a genre I normally avoid like covid.

I still rate this a 9.0 largely due to mesmerizing performances by both Bail Lu and Ren Jialun, in their rendition of this love story that captured my heart and soul in a stunning depiction of 色授魂与 (se shou hun yu). I don't need to elaborate on what that means, it is there in every glance, every word, every interaction.


Postscript:
For those of you who need closure, there is a very well fan made alternate ending ending produced by industry professionals. I have fan subbed it and hidden it as a spoiler in the comment section of this review.

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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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The Art of Strategic Retreat

Immortal Ascension is the long-awaited live-action adaptation of the hit xianxia web-novel A Record of a Mortal's Journey to Immortality by Wang Yu (忘语), a defining work of the "mortal cultivation" sub-genre. While the novel chronicles protagonist Han Li's thousand-year journey over a sprawling 2,400 chapters, this ambitious adaptation condenses the first 200 years into 30 episodes. It is set in a brutal, realistic immortal world where might makes right. The Heavenly Dao (天道) is indifferent to concepts of "good" or "evil"; the path to immortality isn't about grand morality or predestined genius, but about raw power and survival. Here, cunning, alchemy, and artifacts can trump sheer talent.

Three borrowed bowls of flour for flatbread. That is why an ordinary village boy, Han Li, stumbles on to a thousand year path to immortality. It isn't a profound or carefully considered decision or even a conscious choice on his part —just survival instinct, pure and simple. It begins in Shenshou Valley, a place that opens his eyes to a world beyond his wildest imagination and offers his first chilling glimpse into the callous utilitarianism and transactional nature of cultivation relationships. He picks up the underappreciated skill of gardening and chances upon his most invaluable artifact. From his first mentor, Physician Mo, Han Li learns the core secret to immortality: live to fight another day. He is the master of the art of strategic retreat—my lips would twitch every time he began stealthily backing away at the slightest hint of hostility.

Han Li is an unconventional protagonist. He isn't motivated by naive heroism and chooses a path that is ultimately selfish and solitary. Often underestimated, he prevails through cautious pragmatism and resourcefulness, relying on methodical long-term planning, deception, and fleeing unwinnable conflicts. Despite the running gag that Han Li is very plain, Yang Yang is perfectly cast. His immaculate appearance and radiant, ageless glow convey the aura of a character who is ultimately unattainable. I've never been a fan of his acting, but this is by far his best role. His portrayal is exquisite: the careful circumspection in his movements, the nuanced flicker in his eyes, the micro-expressions that signal he is always watchful and calculating; that fraught stillness when sensing danger; and the intense, cold-blooded ruthlessness in combat. Yang Yang's power, grace, and natural athleticism are on full display. Instead of just standing around uselessly waving a fan (Who Rules the World), he delivers multiple thrilling, intense, and brilliantly choreographed action sequences that showcase Han Li's ability to think on his feet, using his cunning and resources to level the playing field. The visual effects, however, are a bit dated and at times overwhelm the impressive stunt work, detracting from how flawlessly Yang Yang executes difficult mid-air acrobatics while staying completely in character.

I love the decision to shoot mostly on location—it vividly reinforces the vastness, timelessness, and solitude of Han Li's journey. It may have made lighting and framing more difficult to control, but it's far superior to the typical fake, over-lit, and stagnant xianxia set. The plot feels condensed, and the pacing is uneven, alternating rapidly between character introductions, heavy world-building via dialogue, and high-octane action. Some important characters—Physician Mo, Mo Caihuan, and a few of Han Li's Yellow Maple Valley mentors—are fleshed out, but too many others zip by cursorily. While Wang Duo plays the villain with great relish and humor, Wang Chan's character is a cardboard cutout, because Han Li's greatest antagonist is truly the indifferent universe—and Han Li himself, and the humanity he must leave behind.

At times, this feels like a video game, but it is actually a quite sad and profound story. The narrative tone doesn't indulge in sadness; Han Li's moments of temptation and regret are subtle and transient: a pause, a concealed glance behind lowered eyelids, the slightest hesitation, the moment he gives in to a brief hug. It's all in the subtext, in how he regularly shouts out to Li Feiyu, recalling his last mortal friend. Han Li is not a relatable protagonist; it's hard to feel sorry for him, as he does not feel sorry for himself or for the people he coldly leaves behind.

Fittingly, at the end of this first phase, we come full circle to a precious piece of flatbread that Nangong Wan casually snatches from him. Ms. Mo would never have done that. It's why she is not the endgame; she isn't ruthless or selfish enough to accompany him on his journey. While this is not a romantic story, the character who moved me most was Ms. Mo. It is with his first love and final obsession that Han Li almost allows himself to be mortal.

I don't know how to feel about this kind of story or Han Li's path. It is inspiring as a tale of how an ordinary person can become extraordinary. And a sobering lesson about at what price. It is a story that has stayed with me. I have to rate it 9/10.

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The boundless promise.

Feng Ren is a Gushi/骨仕, an enigmatic, lethal sworn blade whose sole reason of existence is to protect the coveted Wuliang/无量/Boundless Heart Sutra. He intercepts a blind boy Po Xiao, who may just be a decoy or may be the true custodian of the Wuliang Heart Sutra and together, they flee the city. On their perilous journey they learn each others secrets. Underneath all the half-truths and deceptions between them, an inexplicable bond, an unspoken shared understanding and trust grows between then. For such a short length story, the actors' chemistry and the depth and complexity of emotions they conveyed shook me. Every twist deepens their bond and the boundless promise they make to each other. The important message of this story is that with great power, comes great responsibility. This is dark and heartbreaking wuxia but the break of dawn that pierces the darkness is blinding and immensely powerful.

Everything about this movie smacks of Guo Jingming's fabulous taste and hallmark aesthetics. If like me, you watch this after My Journey To You, it is quite clear that the drama expands upon many ideas in terms of style, plot and character design from this 37-minute movie. Feng Ren makes me think of Han Yasi and Po Xiao of Xue Gongzi. The narrative also explores how best to deal with a weapon of unaparallelled power. Due to its short length, the plot is tight with no unnecessary digressions and everything comes to a full circle at the end. It perfectly illustrates the power of a short story in how it captures the heart and the imagination with all that is left unsaid and untold. This is a simple, well executed plot that is a must watch and one that I am happy to rate 8.5/10.

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Dumbed down to the point of fatousness.

Let me keep this short to avoid wasting more time on this mind numbingly boring 39-episode revenge drama that was 40 episodes too many. The original works The Emperor's Book 帝皇书 is a dark and complicated tale of a love, duty, revenge and atonement. The adaptation has been dumbed down to the point of fatuousness in a misguided attempt to make the intricate plot more accessible. The broad plot outline is unmistakably Nirvana in Fire lite with swapped gender roles and a ton of romance.

The bright, over-lit palette sets the wrong tone for this kind of dark story of betrayal from the get go. The action heavy open sees swashbuckling badass pirate Ren Anle proposing to crown prince Han Ye with her dowry of 30,000 elite sea troops. Despite Dilraba's impressive flirting skills, Anle's shameless pursuit of Han Ye went on for too long and seems heavy handed. There isn't much natural spark between her and Gong Jun even though they look fantastic together. Despite her exquisite beauty and charisma Dilraba's acting in this is disappointing. She comes across as someone who never suffered or experienced profound loss. Her best distressed or traumatized expressions smack of someone whose favorite pair of Jimmy Choos got muddied; a far cry from someone whose entire clan down to nine generations got unjustly wiped out. The collaterally damaged characters Luo Mingxi, An Ning, Lin Lang and even the delusional Chengán are more convincing as deeply scarred and haunted by the Di family massacre. To be fair, the titular role of Anle is not well written. She barely gets to do any of the hard stuff. Everyone from Luo Mingxxi to An Ning steals her thunder in terms of the scheming, making ruthless decisions and even fighting.

"My heart was once stirred by a woman called Ren Anle, but all my life I will protect Di Ziyuan/ 我对一个叫任安乐的女子动过心，但我这一世都会护着帝梓元" is the novel's best line that encapsulates what Han Ye is all about. If Gong Jun had to get one line right, it was this one. His expressionless lacklustre delivery of this line epitomizes his vacuous, uninspired acting throughout. The only characters that made me care are Wen Zhou and Lin Lang. Liu Yuning also does a decent job largely because he dubbed himself. Sadly his character has no development and doesn't do much other than to mope and slouche around plotting with a sinister twisted smile on his face.

There is too much standing around and talking in this drama but there are only a few good lines that are repeated ad nauseum. Of course the Di family army lost 80,000 troops; more than the 70,000 strong Chiyan army! The sheer hubris and audacity of these third tier writers to repeatedly allude to a masterpiece and hint their Di family suffered more is pathetic. They neutered an amazing plot and weighed it down with a pedestrian rendition of the Romeo and Juliet trope. The revenge arc climaxes too early and the showdown lacks intensity. The narrative further devolves into a bunch of silly sub-plots that are just juvenile attempts to squeeze some angst out of viewers by unimaginatively throwing a few characters off a cliff and killing a few others gratuitously. This just made me laugh instead of cry. This drama seems to drag on forever to the point that the hair turning white oddly makes sense! Only watch this if you are die hard Dilraba or Gong Jun fans. I rate this 6.5/10.0.

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Drink the finest wines, look at lovely girls, make the best friends, and fight glorious battles.

Spymaster Ning Yuanzhou and his elite Liudao Tang spies are tasked to escort a Wu diplomatic delegation to An to pay a king's ransom for their captured ruler. He encounters the stunning and deadly Ren Ruyi, a vengeance driven assassin nonpareil who defected from An. They have overlapping goals and form a wary alliance. Predictably, these aging-out, disillusioned operatives from opposite sides fall in love and indulge in a mid-life crisis amidst a suicide mission to rescue the foolish Wudi. This is an unexpectedly funny drama and the humor works well but masks the monumental task ahead of the delegation. Its best achievement is it makes us fall in love with a motley crew of unforgettable, flawed characters to the point we root for them against all odds and beyond reason.

This is a rare drama where I am more invested in the supporting cast than the main leads. Written by a feminist writer, Ren Ruyi is literally superwoman; independent, ruthless and indomitable; an indestructible one woman killing machine with fantasy level combat abilities. Ning Yuanzhou also walks on water; a master spy whose machinations decide who sits on the thrones of both states. Together they are so formidable that it seems more efficient to skip the mission or war as they can easily topple any ruler in their way. These over the top character designs with exaggerated abilities and superficial flaws rarely resonate with me. But I did derive petty enjoyment from their bitch slapping, scolding and kicking ass through the two kingdoms.

The casting of Liu Yuning and Liu Shishi in the leading roles is brilliant. While there are better actors, these roles play to their individual strengths and they both executed well. Liu Yuning plays a character that hides in plain sight. A too pretty actor would not work in this role. And Ren Ruyi the stone cold killer is perfectly reflected in Liu Shishi's stoic expressionless face and bright hard eyes. Even as she becomes less guarded and warms up to the delegation, there is bare of relaxation of her taut features; every frown and smile is controlled. Her head is at an exhausting elevated angle that made me wonder if she has frozen shoulder. Even her grief is so beautiful in a restrained way that I was unaffected, even mildly irritated at her cry scenes. Such an aloof portrayal made their chemistry seem decent but did not light up the screen . So it didn't matter to me if they made it out at the other end. As fully realized characters that live and die by the sword, they know the score. Their romance peaks too early, had few true obstacles and repetitive fan service sweet nothings moments . The heavy handed messaging about women's biological clocks annoyed me.

The more interesting characters are the young ones, Yang Ying and Li Tongguang, both on heroes journeys. He Landou delivers a inspiring portrayal of an uncertain young princess completely in over her head, overcoming fear, heartbreak and every obstacle to emerge as a purposeful person with the the courage of her convictions. At surface Li Tongguang appears to be a fascinating character; strong, smart, ambitious and charming. Unfortunately he has a dark side, an odd and creepy Oedipus complex for his shifu. Part of the problem is this narrative doesn't invest in villains; most antagonists are killed off so quickly they leave no impression. Thus Li Tongguang becomes the default fall guy; whenever something bad has to happen to create angst or move the plot along, it is pinned on him. Nonetheless the role is well played enough that I had a soft spot for the character throughout.

Saving the best for last, Fang Yilun's Yu Shisan stole the show as far as I am concerned. I love flawed, humorously self-aware, very mortal characters like this with no special powers or death defying abilities. Hopefully Fang Yilun's amazing comedic expression and timing gets noticed. His shock and aghast at the idea he was falling in love made me shake with laughter and moved me unaccountably at the same time. When he prosaically warns his love not to fall for a rogue like him, I knew she was as much a lost cause as I was. Shisan is the unsung hero of this story. He picks up the slack so that Yuanzhou can rescue Ruyi and was there for Qian Zhou, Sun Lang and Yuan Lu through the last legs of their mission. He remained true to his life's mantra to live fully with no regrets: drink the finest wine, look at lovely girls, make the best friends, and fight glorious battles. / 这辈子就要喝最烈的酒, 看最美的姑娘, 交最好的朋友, 打最漂亮的仗. It is too bad he did not dare to or did not believe he had the right to love and thus denies his heart to finish the job. If I could have changed just one thing, I would have had Shisan leap on to that horse along with his love. The other flawed character I enjoyed immensely is Wudi. After Shisan, he made me laugh hardest, especially during the great escape. He also moved me with his profound regret and intent do better.

This drama has a linear plot that is not well paced; it either advances at a high speed that glosses over logic holes or stalls out to dwell on repetitive romantic or delusional tropes. The harder you look at the plot, the less it makes sense. As it is more of a character story, I am willing to be forgiving as long as important characters are not destroyed along the way. In that aspect, the drama starts out exceptionally well with a fantastic core of well conceived, multi-layered and compelling characters. Unfortunately, the character designs start to break down quite early on, with Li Tongguang. The ending was rushed, had some sloppy edits and packs in an unnecessary Wu arc. Too many characters are destroyed into the finale including Ruyi and Yuanhou. Ruyi prioritizes her personal agenda, bites off more than she can chew (again) and had to be rescued (again); forcing Yuanzhou to choose his love over his mission. Consequently they were not there when Liudao Tang needed them most. Finally, Ruyi makes a decision that is not true to herself or to her beliefs about living well. After investing so much on Li Tongguang, this character has no development and mucks everything up in the finale. The ending was was bloodier than I expected and unnecessarily cruel. I didn't have a huge issue with the outcome in and of itself, just the figurative character assassinations.

As for the ending scene, upon re-watch, I realized it is not confusing, it simply pays homage to the meaning of the drama's title Yī Niàn Guān Shān / 一念关山 or A Thought of Guanshan and closes the drama on a note of finality. It is a line from an ancient poem 却东西门行/But the East West Gate written by Shen Yue during the Northern and Southern dynasties. It is a sad poem reflecting on life, the passage of time and destiny. Guanshan/ 关山 refers to memories spanning the mountains and rivers (meaning the far reaches of the empire); of past events joyful and sorrowful. It is an Auld Lang Syne moment where someone who lived on longs for the bygone years and lost friends. It is unnecessarily cruel to close the story with a character that was meant to move on with their life. The bigger point is everyone they are thinking of did not make it out at the other end. The ending to me is not ambiguous.

I enjoyed many parts of this drama which started out as an 8.5 for me but there were draggy parts, key characters got destroyed, all the holes become obvious with re-watch and the ending is just not good. It is still a wonderful watch with lovable characters, fabulous fight scenes and divine comedy. I am just petty and I won't forgive them for Yu Shisan. My final rating is 8/10.









ENDING SPOILER COMMENTS

The final scene is actually very clear.:

Ten years later, the countries are at peace. He County which was the frontier battleground is prosperous and thriving; children are well schooled but the naughty ones sneak out to play. Chu Yue visits the battleground which with a decade of peace is covered with grass. She takes a moment to think of the past, of everyone that sacrificed and imagines either what could have been or that they are in another place. Her fantasy doesn't have to make complete sense because it is just her imagination. The child she sees on the horse is not the same younger child that sneaks out of school. Ning Shisan on the horse is older, with loose hair in a pure white outfit. Chu Yue should not be in this scene. Shisan denied his heart to set her free. He saved her and meant for her to go on, to love and live life with no regrets. It enraged me that they did this to poor Chu Yue and it would have broke Shisan to see her like this.

Ruyi should have been in that end scene, possibly with a son and a daughter. She could have escaped and remained true to her promise to Yuanzhou to go on without him, that a woman can live well without love. The drama foreshadowed many times that she would be last woman standing and yet they both literally and figuratively killed her character when she chose to blow herself up after assassinating the Beipan king and prince. Ruyi had a choice and the one she made sends all kinds of wrong messages to women everywhere. The only woman who remained true to herself was Yang Ying. She moved on, made the best of her situation and lived well regardless. If Ruyi had to die, the end scene should have closed with Yang Ying instead of Chu Yue.

I also think they should not have killed off Wudi. The team put themselves in harms way to bring him back; he learned some hard lessons and would have been a much a better ruler for it. They killed him off so that Yuanzhou could play kingmaker. It was a rushed, completely dumb, ridiculous and gratuitous Wu subplot that negates poor Qian Zhou and Chai Ming's sacrifice. I could go on but these are some of the main reasons I am so let down by the ending.

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The Art of the Bluff

The King of Light (光明王), the second volume of the epic Purple River (紫川/Zǐchuān) fantasy series, weaves a tale of war, comedy, and political intrigue. House Zichuan remains embroiled in conflicts with Beizu, House Liufeng, and House Lin in a chaotic, war-torn world. The story resumes at the Season 1 (光明三杰 Three Heroes of Light) cliffhanger, with Si Yilin and Zichuan Xiu outnumbered and surrounded by Beizu’s elite troops at Payi. Di Lin flamboyantly extricates them, but at a steep cost to Zichuan and Si Yilin personally. After Payi, the focus shifts to Xiu’s adventures in Yanzhou, where he discovers his raison d’être. He rises as the King of Light, a brilliant, adaptable leader capable of uniting Yanzhou and, potentially, the entire Xichuan continent.

Despite its limited budget, the drama impresses with its movie like cinematography that captures the story’s grand scale, a starkly beautiful and portentous palette and a pervasive sense of fate. The Purple River series is a plot-heavy saga driven by political intrigue, power struggles, and large-scale warfare. Limited by budget, the drama emphasizes internal plotting and how the main characters are shaped by events until Zichuan Xiu emerges to steer the narrative. External plot developments can be hard to follow, conveyed mostly via dialogue and a few well-executed, plot-defining war and action scenes.

The character arcs are well-written and convincingly portrayed. The core of the story is the bond between the Three Heroes of Light, and the interplay of their conflicting ideologies, loyalties, and fates lends emotional weight. Si Yilin is a textbook hero: an inspiring frontline commander with little to show for his unwavering loyalty, honor, and selflessness. He never fully recovers—personally or professionally—from the devastating consequences of his righteous but disastrous Yanzhou campaign. Di Lin, his antithesis, is a classic anti-hero: an ambitious, morally flexible manipulator who wins at all costs. To him, the world can burn so long as he has his wife and his brothers, leaving him feared and alienated. Unlike Si Yilin or even Ning, he struggles to inspire Zichuan’s citizens or forge political alliances.

Zichuan Xiu is a chameleon; a tactical genius lurks behind his irreverent humor and roguish, indolent facade. He’s the most complex and fascinating character, balancing Si Yilin’s idealism with Di Lin’s ruthless pragmatism. Raised in Zichuan Canxing’s treacherous household, he’s practically Machiavelli’s heir, hiding his brilliance behind a non-threatening persona that’s routinely underestimated. His unpredictability and mastery of deception keep even close confidantes like Bai Chuan in the dark. Yang Xuwen scintillates in this demanding role, seamlessly transitioning between Xiu’s many facets: the “Flower of Yanzhou,” the reckless avenger, Ning’s charming swain, the deadly red-eyed assassin, the reluctant King of Light, and, best of all, the grifter who snatches victory from the jaws of defeat.

This season introduces House Liufeng and Liufeng Shuang as a potential ally and romantic interest for Xiu. The Liufeng arc feels rushed, with the house’s internal strife unfolding like a montage and Shuang’s character underdeveloped. Still, like Bai Chuan, she’s a strong woman who stands beside Xiu rather than needing his protection. I enjoyed their dynamic enough to worry for Ning, who has blossomed into an empathetic, shrewd, and resolute heir to House Zichuan. Her quiet realization that Xiu is on a different path and her attempt to move forward moved me, and I hope a worthy partner awaits her. I’m not deeply invested in Xiu’s romantic prospects, though; the only love story that truly touched me was Si Yilin and Ka Dan’s.

The drama boasts outstanding villains, from the hilariously inept Lu Di to the mysterious Black Veil, the vicious Luo Si, and the encroaching Sairong. Canxing remains the terrifying chess grandmaster, always two steps ahead. Behind his affable, fatherly demeanor lies a paranoid sociopath who insidiously poisons the well and cunningly pits detractors against one another. In a masterful stroke, he turns the tables on Di Lin and quashes internal opposition, cementing his status as a formidable antagonist. I’m almost afraid to see Xiu challenge him, uncertain if he can prevail, which makes the stakes feel hefty and real.

Though the stitching together of abridged plot threads creates some choppiness, the story builds to a thrilling finale. An adversary becomes a staunch ally in a brilliant “A-ha!” moment that transforms the nonsensical comedic combat arcs into sheer genius. A gripping showdown between two well-matched combatants ends with a tantalizing mystery. The finale masterfully blends peak tension with peak comedy, showcasing the art of the bluff. Yes, unanswered questions and unsettling premonitions linger, with open threads for future conflicts, but The King of Light chapter concludes splendidly, earning an 8.5/10.0 for Season 2 and the series overall. This fantastic production deserves more—more budget, episodes, resources, and seasons. That said, it’s not for everyone. It will appeal most to attentive audiences who savor intricate political plots, intrigue, opaque characters, and a healthy dose of comedy and irony.

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Journeys end in lovers meeting.

Pearl Eclipse is adapted from a beautiful, dark and tragic novel Madame Huzhu 斛珠夫人 set in the Novoland universe. It is an unforgettable and heartbreaking story about guilt, obsession, love and the futile struggle against fate that inextricably entangles the three main protagonists Fang Jianming, Emperor Dixu and Fang Haishi. Although the plot and many characterisations deviate markedly from the novel, the core message that we can choose our destiny but cannot overcome fate remains. Although not quite as dark as the novel, this is an angst filled, tortured tale about tragically flawed characters that won't appeal to everyone.

The novel has heavy BL elements to it and the incredibly dark, complicated and almost parasitical relationship between Dixu and Jianming is quite well portrayed in the drama. It is by far the most uniquely fascinating relationship in this drama because they are so entangled neither has free will. Poor Haishi, hers was a lost cause from the start because Jianming already was inextricably bonded to Dixu by ties far more powerful than the baixi. Their depth of shared history and sorrow and Jianming's sense of guilt and his obsession with putting Humpty Dumpty together again are practically insurmountable challenges. And to Jianming's credit, while undoubtedly tempted, he avoids Haishi's many overtures because he already pledged himself to Dixu.

The drama seems slow to start because it took all three leads a surprisingly long time to get into character and to convey the many layers of their intertwined backstories. This is made more difficult because their backstories are told in flashbacks which works well in novels but is harder to do onscreen when the actors are not in character. I don't think it is particularly fair to pick on only one of them but they are all rather seasoned actors so it is disappointing. Xu Kai Cheng overacted in the beginning and he and Chen Weiting were not connecting. Their unspoken rapport only becomes evident later on and that is when the drama starts to get interesting. Even though I find Chen Weiting incredibly handsome despite the terrible wig and enjoyed his performance overall, I don't think he managed to convey the multifaceted, fascinatingly complex character that is Fang Jianming. While he nails it as the archetypal ice-block, noble idiot shifu, a more daring and intense portrayal should have delivered a better glimpse into the dark ruthlessness, frustration and temptation that torments the character.

Haishi of the drama is well fleshed out and far better dimensioned than the novel. It is refreshing to see a brave, capable female character that speaks her mind and goes after her man relentlessly. And her outraged and shocked reaction to rejection just cracked me up because I am sure it is something that a flawless beauty like Yang Mi is personally not accustomed to. While Haishi and Jianming make for a stunning couple, their chemistry emerges slowly and it does fall far short of the sizzle of TMOPB. This is partly because it is supposed to be a hidden, taboo romance; one that is so incredibly ill fated that knowing better, Jianming avoids; while true to her nature, Haishi rushes recklessly headlong into. As much as I applaud Yang Mi for doing her own voice work here, it is a mediocre performance that reflects years of neglect in this area on her part. She already naturally has a young and very feminine voice that should not have been made even younger and quite so girlish. It does not fit the role of a woman passing herself off as a man and it conjures up uncomfortable images with respect to this already forbidden romance. Although she improves towards the end, I can't help but think her usual voice dubber would have elevated her performance considerably.

While I do not like the way Tilan was written, she is the catalyst that enables the drama to take another path. But it is unfair to have practically all of Dixu's darkness heaped upon her and their relationship got so toxic I struggled with the turn around, in particular on her part. She also seemed a lot stronger and smarter in the beginning where she passively aggressively standsup to Dixu. Unfortunately her character was truly thrown under the bus to enable the end outcome. Zhuoying and Zheliu have the only non dysfunctional relationship in this drama that is a welcome relief but oddly boring at the same time.

What I like most about the adaptation is how it is faithful to the novel in terms of how it takes us down the path of the dark, hopeless entanglement between the three main protagonists and then turns it around. At the darkest moment, Haishi convinces Dixu to give himself a second chance which sets in motion an unwind of this vicious circle into a virtuous one. One change leads to another that reveals another layer of each character and get to see them change and grow into a formidable, united force against their enemies. It is a very strong message that we can choose our destiny, ie. how we live our lives and even though ultimately we may or may not be able to overcome fate, the journey is more important than the destination.

This is a very high value production with lavish costumes, sets and some intense and brilliantly choreographed action scenes, notably the epic battle reminiscent of Lord of the Rings at Hangguan Pass. Yet despite a few riveting action scenes, this is largely a character story with very little plot movement. Despite a few thrilling encounters especially in the early episodes, the various sub plots to overthrow the emperor Dixu are not properly fleshed out and don't tie well together. There are interesting villains in the book that get dumbed down to obvious cartoon characters with boring motives that can't even hide well in plain sight. The ending feels like it is missing scenes and beloved characters like Zhuoying and Zheliu's story is ended cursorily almost as an afterthought. The final plot is anti-climatic, predictable and completely premised on the stupidity of two characters. The plight of the mer-folk, their tears for pearls and how this fantasy story that begins and should end with them gets lost as a result of changes made to the character stories.

I have very mixed feelings about the ending. I think the most fitting way to end this is about 20 minutes into the penultimate episode (47) where journeys end in lovers meeting. The final episode and outcome for most of the couples are not deserved, made worse by a weak and rushed end plot that is not earned. They ought to have stopped while they were ahead. That said, Haishi and Jianming's final scene is both actors most moving and resonating performance in the entire drama. But while superficially the important aspects of the drama are faithful to the novel, the final product lacks the finesse, symmetry and haunting dark and cruel inevitably of the novel. The novel is fated and inexorable while the drama is fated and unnecessary. I rate this between 7.5-8.5; it will feel more like an 8.5 to those who stop ~20 minutes into episode 47.

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A viper's nest.

After growing up in the countryside, Zhuang Hanyan returns to the capital to claim her rightful place as the legitimate daughter of the Zhuang family. Her reception is mixed—some family members seek reconciliation, while others fiercely resist her presence. It soon becomes clear that the Zhuang household is a viper’s nest, but Hanyan is no naïve country girl. There’s more to her return than meets the eye, something her late sister’s husband, Fu Yunxi, quickly discerns. Their relationship evolves from adversarial to conspiratorial as they uncover each other’s secrets and forge an uneasy alliance.

The Glory/ 雁回时 is another in a recent wave of revenge dramas that starts with a suspenseful, addictive hook but fizzles in the second half. The reveal of Ruan Xiwen’s tragic backstory and her complex, scheming dynamic with her daughter Hanyan forms the emotional core of the drama. Unfortunately, after this peak, the narrative devolves into dog-blood melodrama, riddled with clichés, plot holes, and unconvincing motivations. Wen Zhenrong delivers a vehement, emotionally charged performance as the bitter and wounded Ruan Xiwen, anchoring the first half—but once her arc concludes, the tension noticeably deflates.

Though I typically adore ruthless, morally grey characters like Hanyan and Yunxi, their pairing falls flat. Their silent staring contests and psychological battles feel insipid, especially compared to over-the-top performances by older actors like Yu Entai's exaggerated facial contortions and whispered threats. That said, Chen Duling shines as Hanyan, balancing hidden depths with fiery resolve. Xin Yunlai, however, is stoic to the point of woodenness, though his awkward, crooked half-smiles carry a strange charm.

The biggest flaw lies in the overabundance of toxic characters with nonsensical motives. Why does Hanyan—clearly talented and resourceful—fight so hard for acceptance in such a dysfunctional family? The schemes lack payoff, the villains are cartoonishly petty, and the central "hidden treasure" subplot feels pointless (why hoard wealth with no heirs to inherit it?). The second half is a mess of twists without cohesion, and the ending—hinting at Greek tragedy but lacking the courage to commit—leaves a wishy-washy, unsatisfying aftertaste.

Yet, despite its flaws, I found myself oddly engrossed. Like a drink that starts intoxicating, turns bland, then ends bitter, The Glory is a flawed but strangely compelling ride. 7.5/10—great potential, squandered execution.

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Poetry in motion.

This is a really fun and adorable school romance drama that will steal your heart. It carries the underlying message that education should be a universal right but it does not necessarily produce a moral person.

Wen Renjuan is swept off her feet by a seemingly wicked man from a different world in a brief but unforgettable encounter.  They reunite at the prestigious Zhuxiu Academy after Luo Qiuchi wins a place in a national poetry competition. Of course it is impossible back then for even elite young women to be formally educated, in a co-ed academy no less! But since the setting is so much fun and it avoids the muss and fuss of the cross dressing trope, let's let that one slide. This is mostly a coming of age character drama that explores class conflict and how different students of Zhuxiu Academy respond to competition, envy and disappointment in academics and relationships.

The best thing about this drama is  watching the character and relationship development of the two main couples - it is literally poetry in motion. Both couples are lovable and so convincingly "belong together" I have a hard time picking a favorite. Renjuan is the character that grows the most in the drama - she blossoms from a timid girl into a feisty, clever and simply irresistible young beauty who fights fiercely for her beliefs.  Lu Xiaolu is simply a joy to watch in this role; she has the cutest, most natural facial expressions and gestures that convincingly conveys the innate goodness of Renyuan's nature. The way initial attraction turns into love and how Qiuchi and Renjuan grow together as a couple as they get to know and understand each other is just breathtaking.  I particularly enjoyed watching Qiuchi temper his natural possessiveness and protectiveness towards Renjuan to give her room to make her own decisions and judgements even when he knows she is not on the right track. With quiet, gentle but unyielding insistence, Wenjuan bends Qiuchi to her will and helps him accept and let go of the bitterness of  his childhood losses. This is one of the best, most realistic couples I have seen in terms of how their relationship grows from strength to strength.

In sharp contrast to Qiuchi and Renjuan, Hang Ruxue and Qing He are a much more reserved, less demonstrative couple. But it is clear their feelings for each other are conveyed less with words and more with deep soulful glances and actions. It is just as moving to watch the skittish, love struck Qing He's confidence grow as she wins the heart of her strong and silent general. Xie Binbin's Ruxue is so intimidatingly endearing I hope to see him in many more lead roles from now. I also love the camaraderie between both couples and how they support each other. My favorite character however has to be the boy emperor - he cracks me up every time!

Where this drama falls down is in the plot and the pacing. It opens really strongly with a fresh and exciting initial meeting between the leads. We get a lot of great action and thrilling twists in the first 10-15 episodes of the drama and the plot unfolds at an engaging pace. However, the overarching plot peaks too early and then lapses into a series of charmingly heartwarming but bland school related short plots that lack complexity and are easily resolved. It helps that it hones in on the dynamic between the couples and is so well done that I didn't mind that the plot threads water. However, both relationships peak shortly thereafter and while the lovey dovey couples are adorable, the pace is slow from then.

The main problem is that the villains are revealed very early on but they hang around until the bitter end. It does not help that the writing gets sloppy and illogical things happen in the ending arcs. For example, Renjuan's hard won martial arts skills evaporate in thin air so that she can be helpless and easily overcome by the villains as is required by the plot. The villains are also repetitive and unimaginative with shallow and tropey motives. The final (usually best) villain could not get any sympathy from me, I just rolled my eyes at his boring histrionics. It is not a lot to ask that the most complex villain in the story does better than that! At least two of the villains could have been tackled together and this could have been a much better drama with about 10 episodes fewer.

I consider this a heartwarming and good character and relationship drama with some truly entertaining moments. And I am sure you will watch one of my favorite and most hot, squeal-worthy hilarious a moments at end E5/beginning E6 at least two times... I rate this a very enjoyable 7.5 but I had it at 8.0 until about the last 10 episodes.

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Uneasy lies the head that wears the crown.

Mental health warning: if you are prone to depression do not watch this drama. It is relentlessly depressing and could win any competition for most tragic, angst ridden character ever. Despite the lack of balance in the mood and other flaws, the acting is fantastic and there are many stunning and unique aspects to this drama that make it worth watching. This drama literally transports you to an elegant pavilion surrounded by breathtaking landscape to admire the majestic grace and radiance of a pair of courting cranes... only to have them swoop down and poop all over you. You should stop reading here if you want to avoid mild spoilers - it is impossible to meaningfully review this without any.

The biggest issue with this drama is that it is not accessible. The plot is heavy with political intrigue and revels in ambiguity. This leaves many things open for analysis and discussion. Nothing and nobody is as they initially appear. The plot twists are intricate and the devil is in details that don't always lend themselves well to film adaptation. To dial up the suspense, key segments of footage is omitted and played back later to reveal the plot. Multiple re-watches are needed to understand the subtleties of each twist. The subtitles appear to be decent but don't do justice to more detailed subplots or the overall beauty of the prose. This is one where good subtitles would be worth waiting for. [Update Feb 2023: Good subtitles are now finally available for this on Youku International. They are vastly superior to previous ones so try to watch this on Youku.]

This story is adapted from a well-acclaimed novel about a tragic prince who is beset with treachery at every turn. Plotting and conspiracies are afoot as court officials advance their own agendas amidst the power struggle between crown prince Xiao Dingquan (Luo Jin) and his brother from another mother Prince Qi (Jin Han). The emperor (Huang Zhi Zhong) blatantly favors his first born Prince Qi over his heir Dingquan, who is perpetually in danger of being deposed by his own father. The emperor holds Dingquan to a higher standard; he must be groomed to hold on to the throne and carry on his legacy. Dingquan is hurt and bewildered by his father's favoritism and longs to be treated at least equally. He doesn't see that as the crown prince, he is already the most dear. The emperor presides over a corrupt court and depends on powerful generals to secure the kingdom's borders. He maintains his grip on power by pitting powerful ministers and generals against one another and does not allow sentiment or moral scruple to upset the balance of power in the court. Even his best loved sons have to be pawns in this merciless game of thrones. He finds Dingquan's morality and sentimental attachments at best naive and inconvenient; and at worst incompatible with the power dynamics and political realities of the court. He dislikes his son's frequent appeal to their relationship and his affection to get his way rather than winning on the merits of the situation. Their relationship is complicated by Dingquan's close relationship with his maternal uncle General Gu Silin whose military might is a source of discomfort and paranoia for the emperor.

The father-son relationship is the most significant, riveting relationship in the drama. Luo Jin visibly takes his acting up another notch in his portrayal of the lonely prince who demands his father's affection and approval even as he unflinchingly opposes him to protect his values and those dear to him. He was a bit too generous with the waterworks and indubitably has yet to master Hu Ge's ability to make his audience sob uncontrollably without shedding a single tear. Nonetheless Dingquan's struggle to stay true to himself as he is pushed to make painful choices for political expedience is compelling and gut wrenching. It is however, Huang Zhi Zhong's emperor that steals the show. He is first emperor and then a father caught between two sons that he loves in very different ways. His cold and ruthless public exterior masks his private pain every time he is forced to deal harshly with Dingquan, whom he distrusts but is actually the son that can hurt him the most. He is a cynical old soul who is disdainful of but yet also reluctantly admires his son's idealism and moral conviction. The emperor was masterfully portrayed and is able to evoke complex and multifaceted emotions including anger, empathy and pity. The conflicts that unfold show us that neither is ever completely right or wrong they just have different world views and priorities.

The second important relationship in the drama is the love story between Wenxi/Gu A'bao (Li Yi Tong) and Dingquan. The chemistry between the two leads is delightful and one of the reasons I stuck with this drama. The way the storyline unfolds and the writing however does not do justice to this wonderful pairing. In the novel (which I did not read) Dingquan never meets Wenxi, he only knows her as Gu A'bao. In the drama, Dingquan has several encounters with Wenxi before she steals into the palace disguised as a maid. Although he never fully sees her face, it is clear that they are soulmates and they fall in love. Forced to go separate ways, in their last encounter Wenxi approaches him in the palace dressed as a maid. Shortly thereafter, he meets Gu A'bao the maid with whom he continues to communicate in sophisticated allegory and metaphor but we are supposed to believe he doesn't recognize her! It is manifestly obvious that she is educated beyond even highborn ladies like the crown princess. This inexplicable and pointless faithfulness to the novel (after departing from it so significantly) is most likely just sheer laziness. They had the OTP meet early on to make it more romantically appealing but didn't bother to make further conforming changes to the plot.

Had they more logically carried this change through the plot, with some small modifications, they could have set the story up for a huge, far more relate-able and captivating plot twist, one that works much better in a drama instead of getting mired down in dry and detailed twists that work better in a book. I was already half convinced that at some point Dingquan figured out who she was and they were working together - this resonates from their body language and the way they communicate with each other. Considering the mental masturbation that went into the trivial question of whether the two male leads in the Untamed were lovers, imagine the speculative interest that would have gone into analyzing when Dingquan figured out Gu A'bao was Wenxi and when they started working together.. Instead they dragged out the reunion and settled for a far less memorable, crowd pleasing moment of truth devoid of the drama's signature ambiguity. This would also better explain some of the extreme lengths he goes to to protect Gu A'bao and make some of her motives and decisions more logical but those are small points. I just sigh for the big opportunity missed!

There was excessive plotting and too many betrayals in this drama. Censorship and deteriorating writing in the middle made some sub-plots confusing and less logical. The villains in this drama are complex grey characters with families and relationships that cast them in a somewhat sympathetic light. They are also way too smart, to the extent that each of Dingquan's few hard won victories cost him an arm and a leg. While there is some character progression and growth, Dingquan is too emotional and does not learn from his mistakes. As a result of repeated defeats, crushing personal losses, and an increasing sense of isolation the character regresses and starts to exhibit his father's capacity for cruelty and abuse. I did not like where they went with this and the way he treats the female lead is something that did not sit well with me. It was also gratuitous and rather pointless unless the writer was trying to make me lose respect for both characters. Which is a pity because Lu Wenxi/Gu A'bao is a uniquely interesting character - passive aggressive, bold, stubborn, vengeful, brilliant and indomitable. Li Yi Tong was so incredible in this role I was angry at the writer for diminishing her character into a bit of a lovesick fool in the middle although she finishes strongly.

The ending episode was messy and leads to the (mistaken) conclusion that the ending is open, possibly sad and definitely bad. For all intents and purposes however, the story actually ended at about 26 minutes into the last episode when things come to a full circle for the OTP. At that point, the two important relationships are satisfactorily and realistically resolved and all of the villains get some form of retribution. All of the rest is of footage that relates to a final thread that was shot but not aired due to censorship. This hints at the possibility of a different or open ending; that there is more betrayal and tragedy ahead. However, there was not enough build up of this thread to substantiate any definitive outcome. It should all have just been lumped together with the 3 minute cryptically worded epilogue that suggests the story continues (and may even be released one day). Viewed that way, the ending was good enough.

The twelve episodes that were cut likely closes the remaining loose threads with respect to several characters including Gu Fengen, scholar Xu and the 5th prince. Although the story never builds towards its final denouement, this could be the one time Chinese censors did us a big favor. This writer has no sense of balance and destroys some fantastic tropes and characters by taking them to mind blowing extremes. I have heard how the novel ends and I don't need to be there for a final betrayal that culminates in tragedy. This writer tortures the main protagonist to death with a vindictiveness that suggests the character was inspired by someone who terribly wronged them. I am glad that the censors have forced us to get off the bus at a great place and right before it drives off a cliff.

Despite the resonating sadness, this is still a ravishing production with some truly brilliant acting, moving prose, thought provoking insights, intriguing ambiguities and an acceptable ending. It has some of the most poetic, romantic lines I have come across in a Chinese drama. The real tragedy is that this has all the makings of a masterpiece but it just was not. 

Sept 2020 Update: The last 12 episodes (Royal Nirvana Special) are out. It ties up all the remaining loose threads regarding Prince Zhao (5th prince), Gu Fengan and Xu Changping. It is well done with a fitting ending.

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Lukewarm.

Warm on a Cold Night is a fantasy historical investigative drama set in a fictional Qian kingdom. Qian is a rich kingdom that attracts immigration from the neighboring Qi kingdom. The Qian are more cerebral and capable administrators with strong legal frameworks and institutions. The Qi subsist in the cold and harsh Northern climate and are ridden with internal strife. They are more primitive shapeshifters with formidable and fantastical physical powers. A longstanding treaty enables Qi immigrants to better their lives in Qian defending the border and engaging in more physically demanding professions.

A young Qian constable Su Jiuér questions a hot-blooded Qi suspect Han Zheng in connection with a serial murder case. She discovers that he has a strange ability to alleviate the incurable cold disease that afflicts her and latches on to him like a lifeline. They work together grudgingly after it turns out that Han Zheng is also after her suspect Mu Yan. They get off to a bickering start but predictably fall for each other as they investigate a series of mysterious cases that stoke tensions between the Qian and the Qi in the Qian capital. They are aided by friends in high places including Jiuér's admirer and budding playwright Prince Wen Jun, his brother Crown Prince Wen Ying, and the gorgeously spectacular Qi general Chi Lan.

The main romance is carried by Li Yitong's and Bi Wenjun's chemistry; their stunning visuals and incredible charisma. These compelling actors are short-changed by two-dimensional and inconsistent character designs and a frustrating script that is lacking in both character and relationship growth. Jiu'er is a smart and logical character, a keenly astute investigator of consequential crimes in Jiuxiao City. Except when she regresses into childhood, talks to herself in a whiny and high-pitched tone, and behaves like a complete nincompoop. I was dumbfounded at this exaggerated and shallow character interpretation. Still, Li Yitong is so innately likable that she successfully pulls off such a difficult character to connect with and invest in. Although Bi Wenjun delivers a more nuanced portrayal, Han Zheng as a character is equally exasperating. All this grumpy 60-year-old Qi shapeshifter seems to do is scowl, get jealous, lose his temper, and become reckless; rinse and repeat. This is a role with the potential to be interesting and multi-faceted but that is never realized. Initially, I was too busy marveling at how he makes a fanny pack and flowery kimono print robes look so hot. As I soak up his bold, expressive eyes, the high-tanned cheekbones, haughty nose, down to... dry, chapped full lips... wait... did they run out of money for lip balm? Ouch - hope they didn't need to do too many retakes of those kiss scenes. Fabulous visuals don't cut it for long - I was quickly left wanting more from these stagnant roles locked in a juvenile romance that moves at a snooze pace.

In sharp contrast are Chi Lan and Wen Ying's much more complex and interesting stories. Both personas were clearly written by a much more sophisticated and mature writer and they anchor the show. Chi Lan is an awesome female role; measured, analytical, poised, and as cool as a cucumber with a barely perceptible air of danger about her. This lady knows when her head is being turned but if it pleases her, she permits it anyway. And you don't want to mess with her because she makes for a deadly adversary on any battlefield. Her interactions with Wen Ying are laced with tension and have real depth and complexity. Wen Ying is her true equal, another fascinating and layered personality who is at the surface cultured and sincere yet incredibly difficult to get to really know. Theirs is the romance I cared about and they are the main reason I did not drop this drama. I would love to see their story continue down the road. He Ruixian proved to be the true star of this show with her incisive portrayal of a remarkable character.

In terms of world-building, this is a wildly imaginative one that is original and different but errs on the side of being overly far-fetched. The world's "rules" are not firmly established and seem to be made up along the way. This is especially true in terms of the many functions and effects of the cyborg like the Qi vitality stone stuck to the chests of these shapeshifters that are wolves until they become apes. The writer also unnecessarily creates insurmountable biological obstacles between the Qi and Qian races just to impress upon us the depth and endurance of the main love story. It smacks of the work of an immature and lazy writer who couldn't be bothered to show us that their love is epic instead of forcing it upon us. What I like best about the world is the Qi's superpowers and how they engage in combat. The fight scene choreography is amazing; energetic, hard-hitting, lethal, and thrilling. I especially enjoyed watching Chi Lan's badass and deadly grace in combat.

As for the mysteries, they run too long and while they are quite interesting, the only memorable one is the painting case. Their strength is not in the plot but in the wonderful job the production does humanizing the victims as people who lived, laughed, loved, and will be missed. They also tie in nicely with the main conspiracy which is well-conceived. While some of the villains are too obvious, the mastermind hides in plain sight and surfaces with a nice twist. Although I suspected them quite early on, the acting was so masterful I doubted myself until the reveal. As for the ending, it was a mixed bag - an epic showdown, a great escape, some noble idiocy, a bizarre reversal, a ruler is anointed and loose ends aplenty. All things considered, this drama is true to its hot and cold theme in leaving me lukewarm. I rate this 8.0/10.0 simply because of the mastermind twist, without which it was a solid 7.5 all the way for me.

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