PeachBlossomGoddess

An appealing lawyer.

Chen Tumi grew up studying the Tang legal code with her mother's handwritten notes. It was her only link to her dead mother. When her father is wrongly indicted for a crime, she defies convention to defend him in court. She is an appealing lawyer both literally and figuratively. Her determination, intelligence, and logical arguments catch the attention of powerful actors including Crown Prince Han Wuwei and Kang Zhengyuan of the powerful Dali Temple (judiciary). She is quietly aided by the mysterious Ye Cha.

Similar to the Justice Bao stories, the legal cases in Ms. Chun is a Litigator deal largely with the common people. The cases are quite engaging and easy to follow with well-written and satisfactory outcomes. The court arguments are livened up by the amusing and friendly rivalry between Prince Han and Official Kang. While it is a bit of a Mary Sue kind of setup where everyone falls for Tumi, this funny and lighthearted quadrangle never gets annoying. Tumi is such a breath of fresh air - although she is young and inexperienced, she is clever and logical. She is able to seek and accept help without seeming weak or coming across as a damsel in distress. I am pleased to come across this very natural and charming young actress Zhang Dafei who has many interesting roles in upcoming dramas. The bromance and hilarious banter between Han Wuwei and Kang Zhengyuan is another very entertaining aspect of this drama. I checked this out because of Huang Junjie and found myself delighted and entertained by the chockfull of eye candy that makes up the charismatic young cast.

This drama's greatest shortcoming is that there are obviously many cut scenes or arcs. This affects how the larger conspiracy unfolds and leaves open some plot points. Some of the character and relationship development also feel uneven. Both Kang Zhengyuan and Ye Cha are well designed personalities that didn't get fleshed out enough. I would have liked to see Tumi interact more with Zhengyuan as he shows her the ropes in terms of judicial process. While saved by the clear spark of attraction between them, Tumi's relationship with Ye Cha seems to advance too quickly. Finally Wuwei's persona appears to take a baffling darker turn towards the end. While this wraps up well enough, there are enough unanswered questions and open plot points that beg for a second season. I would rate this higher than 7.5 were it not for the fact that it leaves a slight unfinished taste in my mouth, though not enough to ruin the drama. This drama is a lot of fun and the cast is simply a joy to watch. I am looking forward to season 2 but there is no need to wait to start this as it seems intended to be an ongoing episodic series.

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The road to perdition.

To put it simply, The Knockout knocks it out of the park with its audacious portrayal of an anti-villain as the main protagonist. Spanning twenty years, it is a masterful account of how a struggling everyman insidiously strays onto the road to perdition. The stage is set brilliantly from the get-go to manipulate us into sympathizing with a character who does terrible things. We are blinded by their humanity and blame the system for failing them, forcing the oppressed to become the oppressor.

Gao Qiqiang starts out as a humble fishmonger doing his best to raise his younger brother and sister. When thugs threaten their livelihood, he stands up to them but is framed and arrested. An upstanding young officer An Xi suspects he was bullied, books the case leniently, and tries to keep his tormentors at bay. Ironically with small acts of kindness, An Xi empowers Gao Giqiang and propels him in unimaginable ways. The complex and sincere bond of empathy and indebtedness that is forged between the two men is the linchpin of this story. Their most pivotal character turning points and moments of truth play out on the neutral ground of a humble noodle shop. where much is revealed with few words.

It is clear from the outpouring of accolades that Gao Qiqiang is an iconic portrayal that put the hitherto under-appreciated Zhang Songwen on the map. Gao Qiqiang is a visionary mastermind who draws inspiration from Sun Tzu's Art of War. He is dangerously underestimated because of his amicable facade and his disarming affection for and vulnerability with those he cares for. The way he embraces fashion to please his wife to how he willfully blinds himself to his brother's weaknesses is both touching and relatable. When crossed, threatened, or betrayed, he is unforgiving and cruel to the point of depravity - no one is safe from him. He is chillingly ruthless and implacable when it comes to imposing his own brand of loyalty and justice. Like any good sociopath he oozes regret but in truth has no qualms about sacrificing his generals. He "makes it right" by caring for their families sincerely and with deep gratitude. He is bound by a very misguided code; one that is ruthless and amoral yet oddly authentic and honorable. Zhang Songwen embodies this character so well that some believe he is not acting and insist he should be at least investigated, if not locked up.

An Xi is both Gao Qiqiang's savior and his nemesis. More than anything, he is his biggest victim. This character makes me sad and mad. He is well meaning and does the right thing with all the wrong outcomes. Zhang Yi was reluctant to accept the role of An Xi, feeling he wasn't a good fit and wouldn't able to pull it off. But Zhang Songwen's Gao Qiqiang would not be so compelling without Zhang Yi's An Xi. It is their incredible rapport and ability to silently communicate that makes the small screen seem huge. Zhang Yi's expressive gaze and more subtle style is the perfect foil for Zhang Songwen's flamboyance and charisma. While I admired and sympathised with Gao Qiqiang, An Xi is the one that often moved me to tears. His speaking eyes frequently implore Gao Qiqiang to be a good man and convey bottomless dejection that gives lie to the goofy smiles he flashes at Meng Yu. The aging of characters over three distinct time arcs across twenty years is rarely captured as well as it is here. But it is Zhang Yi that simply nails this part - he is wary and tired but not quite beaten; the righteous flame in his eyes are dimmed but at the core still burns hot.

This drama is impeccably cast and is a who's who list of China's best actors, all of whom deliver immersive performances. The director's incisive lens meticulously peels back the many layers of the multi-faceted characters and their intricate relationships. The female characters are written to be strong and impactful beyond their screen time. Li Yitong really takes her acting to another level as Meng Yu; it is by far her strongest, most memorable role to date. Her screen chemistry with Zhang Yi is unexpected and endearing. And then there is Gao Ye's simply sensational Chen Shuting, the ultimate gangster's moll - cool, stylish and fearless. The way she menaces the wits out of Gao Qiqiang is one of the drama's highlights for me. There is a lot more on-screen violence in this drama than I expected. While the worst of it takes place off-screen, it is so well staged that it is more visceral and blood thirsty in my overactive imagination.

The rich plot builds to a shocking, unpredictable and devastating climax about a third of the way through. Then it loses momentum and in the final ten episodes it limps toward a predictable ending. This is somewhat to be expected as this was produced in partnership with the state, the nationalist message is inevitable.I really did not care about the party's anti corruption task force and yawned through their heroic sweep through Jinghai City to weed out the endemic corruption that had seeped into the cracks at every level of the bureaucracy. It is clear that there were some cuts and at least one character is whitewashed but I don't think it changes the gist of the final outcome. The final confrontation between Gao Qiqiang and An Xi saves the entire arc and there were enough characters I cared about including Meng Yu that it was still overall a decent arc. All considered, I am not as dismayed by the way this ends as others are. The fact that the government always wins is a foregone conclusion and not a spoiler in any crime and/or corruption themed Chinese drama. But in this case, I don't really think it shines that great of a light on "the good guys". I mean where were they for twenty years? And I am not sure the "good guys" win here. Poor An Xi is definitely is not a winner; in fact no one wins. Indeed audiences overwhelmingly empathise with Gao Qiqiang. Thus this is actually a very dark crime story with a surreptitiously bold and critical ending.

This spectacular crime thriller is a must watch. The first 30 episodes feel like a tour de force that can easily be rated 9.0/9.5. The rest are more at the 8.0 level so 9.0 feels about right for my final rating.

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The cook, the eunuch and the chowhound - a crime solving menage a trois.

This comedic drama features a wildly imaginative yet oddly fitting crime fighting menage a trois comprising of a low (sixth) ranked magistrate (Tang Fan), a high-ranked embroidered guard (jingyi wei; Sui Zhou) and an influential eunuch (Wang Zhi) with the emperor's ear. Their paths intersect on cases with national security implications and while they have different agendas and masters, their synergistic and mutually beneficial collaborations blossom into friendship. The three main characters are well written - their bromance, hilarious antics and interactions are this drama's greatest strength.

With an irrepressible grin and a wicked gleam in his eyes, Darren Chen really hams it up with his cheeky, flirtatious and sometimes deliberately irritating characterisation of the titular Tang Fan, an idealistic young magistrate who is more of a chowhound than a sleuthhound. The talented and willowy Tang Fan is a very pretty boy with delicate and vivacious features who embraces his feminine side with abandon and is passionate, emotional, naggy, petulant, petty and vengeful. This outrageously funny character writes erotic novels to supplement his puny income, lives to eat, seems extremely well acquainted with the how to but yet can't cook to save his life. He happily moves in with the gorgeously taciturn, moody, much more masculine and deadly Sui Zhou who steals Tang Fan's heart with his ability to cook a mean meal. There is enough in their interactions and suggestive domestic arrangement to get the BL fans all hot and bothered without running afoul of Chinese censorship. And then of course there is Wang Zhi, the most morally grey and dangerous of the three. He approaches relationships transaction ally - "you scratch my back I'll scratch yours" and is unambiguous about his first loyalty to king and country. Newcomer Liu Yaoyuan's portrayal of the ruthless, calculating and yet inexplicably likable Wang Zhi nicely rounds out this kinky threesome. Between them, they are able to marshal resources from the lowest to highest reaches of society to solve their cases.

Set at the heart of the capital during the Chenghua reign of Ming Dynasty, the important characters and events of the period are nicely tied into the overall plot-lines. The surrounding characters were somewhat cliche but mostly well done from the "adopted daughter" Dong'er, the miracle doctor, the Oirats, Wang Zhi's beggar informants and the rare treat of a smart and hot emperor. The cases run the gamut from crimes of passion, corruption, larceny, terrorism and climaxes in a dangerous conspiracy reaching the highest ranks of government. Most surrounding characters including the villains have recurring roles in subsequent cases which gives them dimension and avoids the confusion of excessive character introductions with each new case. The cases shouldn't be taken too seriously; while they are fun and quite interesting, they are not that original or that difficult to solve and have some logic holes and are thus unlikely to satisfy a serious crime or mystery buff. The rhythm of the investigations frequently digress into inane and somewhat childish hit or miss comedic sketches that can go on for too long. There is a slight misogynist undertone to this drama - even the likable women have unflattering traits (stupid, noisy, whiny, irrational), or worse are power hungry, traitors, extremists or come to a bad end.

The tightly choreographed action scenes are signature Jackie Chan - lethal, gripping, high impact, extremely acrobatic and fluid poetry in motion. They are not excessive, do not drag on for too long and avoid the mid-combat slapstick moments he used to be so fond of; all good changes. The camerawork is stunning and very artistic, approaching movie quality. They obviously spared no expense with this and it shows.

For those who grew up on Jackie Chan, the Sleuth of Ming Dynasty is a fun romp down memory lane. There is a bit of the artistic Jackie Chan, the wacky whack-y Jackie Chan, the comedic Jackie Chan, the high testosterone Jackie Chan, the innovative Jackie Chan, the crass Jackie Chan and finally and pleasingly, the mature Jackie Chan. I outgrew his flicks ages ago - after awhile I found the hair rising stunts, high speed chases and exaggerated comedic routines repetitive, shallow and draining. So I am pleasantly surprised to see in this drama that maturity has toned down and balanced some (not all) of his more extreme inclinations while still remaining essentially Jackie Chan. It is also nice to see the uniquely Jackie Chan inspired Hong Kong wu da pan (武打片) sub-genre with its chauvinistic, contradictory, cynical, sarcastic yet sentimental and idealistic spirit has evolved for the better but is still innately the same.

This is highly entertaining and enjoyable if you don't look too hard at it or seek profound meaning. It is not always my sense of humor and the cases are solid but not exceptional so I rate it an 8.5 but I can see why others would call it a 9.0 or better.

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If you build it they will come.

This is a story about the Chinese dream. It is vivid, it is visceral, it is unflinching, it is moving; it is about community, sacrifice and bold dreams. It is not a fairytale.

As part of the government's fupin 扶贫 or poverty alleviation program, an impoverished village in Xihaigu, one of the least inhabitable regions of the land-locked Ningxia province, is to be resettled in Minning Town, a brand new settlement several hundred kilometers away on the edge of the Gobi Desert. Young Ma Defu, a fresh graduate and junior cadre member is tasked to convince the stroppy, irascible and rightly skeptical inhabitants of his home town to abandon their ancestral homes for the freaking Gobi desert!!! The hostile, savage and utterly desolate beauty of the terrain is stunningly captured in an arid, sun soaked and brilliant palette that immediately conveys the daunting enormity of the task ahead. The drama chronicles the immeasurable trials and hard won triumphs of Ma Defu and his team of dedicated experts who together with the intrepid, early settlers, had conviction that if you build it, they will come.

For a flag waving fupinju, this drama does not shy away from criticism - the sheer boldness and absurdity of the effort to tame the Gobi and how poorly planned and under resourced the initial effort was, the bureaucratic impediments, numerous setbacks and mis-steps, misguided policies, self serving and corrupt politicians are all scathingly laid bare while remaining focused on the main characters. Because first and foremost this story is about real people, mostly peasants who even when they are stupid and myopic, they are compellingly relatable - everybody has an aunt or an uncle or a neighbor or knows someone who is just like that. They are true backbone of resilience and endurance upon which the Chinese dream is built upon. This is the kind of drama that usually has me rolling my eyes, but in this case, practically every episode managed to move me to tears.

The standout character among the all-star cast of rivetingly portrayed characters is Rayzha Alimjan's haunting and inspiring depiction of Li Shui Hua, an ordinary peasant for whom the poverty alleviation program didn't come soon enough. Like many of the villagers, her name contains the character shuǐ 水 because water is such a scarce commodity that any name containing 水must bestow luck on the owner. But alas, her dreams are worth less than the price of a donkey and misfortunes befall the young Shui Hua. But this woman just rolls with the punches and nobly soldiers on, retaining a kind of inner joy, optimism and dignity that radiates from her dusty, sun burnt skin and labor torn body. When her dreams elude her, she moves on and sets and works toward new, more realistic goals. It is most fitting that the man with small vision tries to build her a well while the man with great vision builds her a dam. This is by far, the strongest, bravest, best written female character I have seen in c-drama. As for the actor, she was pretty great in Longest Day in Changan but this is her memorable, hopefully award winning performance.

As much as I enjoyed every moment of this drama, it took me an incredibly long time to watch it. This drama is not over dubbed and the characters speak a local Northwestern dialect that I initially struggled to understand and I really dislike reading subtitles. But I got used to the dialect after the first 8 or 9 episodes and after that I embraced the lively and colorful proliferation of local dialects. There were many hilarious lost in translation moments where the villagers struggled to communicate with experts from Fujian (a southern province) who were sent to help create a mushroom industry in their non-existent local economy.

If I must criticize, I think the drama is a bit too short and some of the time jumps at the end skip important moments in some of the characters' lives that I cared about, especially Defu. And I admit that the ins and outs of mushroom farming was too vivid and a bit too much information for me - I will never quite be able to enjoy mushrooms with the same relish again. That said, if the Ningxia vines are as resilient as the people, we may one day see some vintages of Ningxia wines that give their Bordeaux and Burgundy peers a run for their money.

Like most, this kind of genre is not my usual cup of tea. But this one is different - as a product of Daylight Entertainment, it is as close to a masterpiece as something of genre can be. It is marvelously well written and gorgeously shot, not at all dry or heavily bogged down by propaganda. At the same time, it really brings to life not just how China lifted 750mm people out of poverty (as defined by the World Bank) since 1990 (the beginning of this drama) but WHY they absolutely had to do it. It is an unprecedented achievement in the history of the world and this drama truly tells the story in a way that does it justice - from the perspective of ordinary people. Even though overall I rate this a 9.0, in many places and moments, it feels like a 10.0.

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Despicable Me.

This sublime wuxia revolves around two atypical protagonists and their scorching, profound connection. A bold BL adaption that makes no attempt to suggest the relationship is just a bromance, the love story is so charismatically portrayed that it will captivate even mainstream viewers. Both protagonists are morally ambiguous and flawed characters with their own code of conduct. They fall far short of conventional da xia/大侠 or martial heroes but still manage to beguile us into caring and rooting for them.

What elevates this drama is the scriptwriting , the writer put her heart into this and while I cannot compare it with the book, I couldn't be more satisfied with the drama's storytelling. Important plot and character points are planned and planted well in advance and the story unfolds in a way that pulls us into various the plot threads and the partial reveals. Many questions, including when Zhou Zishu recognizes Wen Kexing; are never clearly answered but can be surmised upon re-watch from  hints in the dialogue and the characters' subsequent actions. The playful, flirtatious dialogue heavily laced with double entendre and layers of meaning with its facile parlance of idioms and ancient parables has won widespread praise from educators and broad audiences, inspiring young adults to dust off their classical texts with renewed enthusiasm. This winsome first work of a young scriptwriter sets a high bar for historical dramas going forward and puts the often lazy and tired works of more experienced writers to shame.

At surface, the backdrop and many characters are classic wuxia themes and anachronisms - various jianghu sects are vying to recover five shards of liulijia, a glazed artefact that can unlock a hidden repository of the most elite martial arts and miraculous medical manuscripts. Sound familiar? Its been done many times. But it scarcely matters because the two main protagonists, Zhou Zishu and Wen Kexing immediately sweep us away with their outrageous, titillating courtship. Gong Jun's shamelessly flirtatious Wen Kexing, is the most predatory, lecherous, and utterly delicious display of physical attraction I have seen since John Malkovich's iconic Valmont in Dangerous Liaisons. I am quite certain most of Zhang Zehan's eye rolls were not acting and I just love his improvised comment - even my fart smells good! Both actors deliver immersive resonating performances - Gong Jun with a wild vengeful ferocity behind flashes of vulnerability and Zhang Zhehan with a subtle nuanced complexity that hints at a multitude of emotions within micro expressions. Classic wuxia themes and archetypes are woven into an addictive tale of friendship, love, betrayal, loyalty, ambition, sacrifice and of course revenge.

While a bit heavy on the slow motion, the fight scenes are stunningly choreographed and delivers enough hairy, scary, dicey, slicey moments to have me at the edge of my seat. I was stunned by the raw ferocious rage and naked hatred that spilled out of Gu Xiang in the epic finale. The bloodthirsty, brutally lethal and absolutely berserk final mortal battle where the master of the Ghost Valley emits rage with the wild light of cruel insanity flashing in his eyes is without doubt the highlight of the action. This of course excludes Lao Wen and Ah Xu's exuberant fight scenes because everybody knows its really a mating dance where they are actually just ogling at each other. The story is well paced with a good balance of mystery, action and and ends spectacularly with enough twists, surprises and a breathless cruelty that pays homage to the true spirit of the genre. If I have to find fault, there are too many sects and side characters that don't advance the plot. The relationship between Zhao Jing and Scorpion King also feels off in a creepy way and even though the role is very well acted, Scorpion King's motives are not well developed. In general the villains feel rather two dimensional but perhaps this is unavoidable given how grey and complex both protagonists are.

Even though this is hands down one of the best wuxias I have seen in years, this is more of a character drama in the sense that the core characters are what really brings this story life in a differentiated way. I am going to discuss them in greater detail in the following paragraphs. Be warned there are mild spoilers so you may want to stop reading here and revisit after completing.

*Be warned - mild spoilers ahead!*

The narrator Zhou Zishu is a dark character and while he is not a villain, he is amoral and thus the story is told via the lens of a world view that is defined by personal loyalties and relationships rather than some over arching sense of morality. In Zhang Zhehan's own words, Zhou Zishu has thousands of layers and is thus the most fascinating and difficult character to both write and to portray. In this both writer and actor delivered brilliantly in striking that perfect balance of revealing not too much but just enough to create an enigmatic character with insidious lingering impact. Zishu is a cynical and disillusioned cold hearted assassin who is  only bound to and motivated by his word of honor - yes for once we have an aptly titled c-drama. He doesn't blame Jin wang for his fall from grace nor does he try to avenge his fallen sect brothers because like himself, they all must live and die by their oath, their word of honor. By the time he encounters Zhang Chengling and Wen Kexing, he is resigned to his self inflicted fate and means to spend his remaining days wandering the world drinking himself into oblivion. He epitomizes despicable me, stricken by self loathing for his weaknesses, for his failings that led to the deaths of his sect brothers and Four Seasons Manor's downfall.

Zishu is pulled back into the world of the living by his promise to see Chengling to safety - his intent is to do no more than that and is indifferent to the boy's pleas to accept him as his disciple. Although he was attracted to Kexing, he dismisses his outrageous overtures and distrusts him but lets him stick around to keep an eye on him. It is only after Kexing hallucinates and calls him Zhou Zishu that his attitude changes. That must be when he suspects who Kexing is and for the first time, sees a path towards keeping his promise to his shifu by resurrecting Four Seasons Manor and thus he accepts Chengling as his disciple. But he is really only putting his affairs in order so to speak. Even though he acknowledges Kexing as his soul mate, he does not deem himself worthy of a long and happy life.

Wen Kexing on the other hand is innately a good person, who is driven by hate and vengeance into doing some terrible things. Unlike Zishu, he still longs to be a good person and deep down still believes he is indeed a good person. While Gong Jun brings the many facets of Wen Kexing from the terrifying to the vulnerable alive vividly with his expressive eyes, the character itself is a more easily understandable, angsty, revenge driven wuxia archetype. Zishu is a much darker character than Kexing and he does not save or redeem Kexing, it is actually the other way around. Although Kexing at surface gets more screen time, as the narrator that always seems to know more than he reveals, Zishu is omnipresent and invites the most mind share. As they change each other and extend their found family to include Chengling, Gu Xiang, Cao Weining and even the irascible and hilarious Ye Bai Yi, Zishu subtly comes to embrace life again.

This drama peaks spectacularly in the gorgeously shot penultimate episode that has everything - clever final reveals, plot twists, shocking, shattering losses, violent clashes and epic showdowns. I screamed, I jumped up and down, I cried, I couldn't believe my eyes! This is the way a drama should end, at its peak. Yes, there are small loose threads but overall, I am very happy with the ending. True, the final afterthought episode is a bit of a non sequitur but everything else was so spectacular I am willing to not look that hard at it. This is by far the best wuxia I have seen in many, many years and I can happily call this a perfect 9.5.

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A hot and cheesy mess.

Though hardly original, this drama's switched bride trope is well executed and entertaining. A very shady prime minister marries his illegitimate daughter Shen Keyi to Wen Ye, a prince and the country's God of War posthumously. As it turns out, Wen Ye is very much alive and full of suspicion when he discovers himself married to his enemy's daughter. Meanwhile Shen Keyi is tasked by her stepmother to steal a jade token from Wen Ye in exchange for her beloved nanny's wellbeing. Their early antics are silly but very funny. It was great to watch an older and jaded general fall for a lively, natural and utterly beguiling young girl. The leads have good chemistry and both actors deliver convincing performances. I also enjoyed the comedic banter between Wen Ye and his two sidekicks.

At twelve episodes this drama was hilariously hot and cheesy but by twenty-four episodes it turned into a hot and cheesy mess. The palace plot becomes increasingly convoluted and absurd and both lead's adorable silliness descends into stupidity and melodrama as they navigate multiple obstacles. Ultimately, the much simpler love story between the princess and the guard moved me more. The ending is a bit rushed but it was actually pretty good in the messiest way possible. All considered not the worst drama to watch to just pass some time. I rate it 6.5/10.0

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The winds of change.

This slow paced suspense thriller by the director of The Bad Kids is told with such dry humor and irony that it initially conceals the story's intense, almost unbearable pathos. It is about how the irresistible force of the winds of change profoundly affects the lives of two generations of Hualin. Hualin is a fictional Northeastern town where the entire economy was built around a state owned enterprise, Huagang Steel, which is said to be modelled on either Angang Steel or Benxi Steel. The mill employs most of the town in some capacity and runs everything from its schools to its hospitals. This economic model collapsed in the late 1990s, displacing hundreds of thousands of workers across China. Towns like Hualin, where one enterprise comprised practically the entire economy were particularly hard hit.

The drama opens in 2016, where the main protagonist Wang Xiang, an irascible old taxi driver helps his brother-in-law Gong Biao hunt down scammers who tried to knock off his taxi medallion. They rope in Ma Desheng, a retired disillusioned cop turned ballroom dancer to aid them. Their determined, bungling poking around results in a murder that Wang Xiang insists must be linked to a cold dismemberment case at the mill that they had investigated almost two decades ago. This takes them back to 1997/1998, which was a turning point in all three lives that they survived but never quite recovered from.

Fan Wei's portrayal of the older Wang Xiang's grief frozen expression and his glittering angry sad gaze is brilliant and evocative. I almost couldn't see Qin Hao in middle-aged Gong Biao, who still somehow manages to hang on to that optimism and naivete of youth. And Chen Minghao never fails to impress with his ability to combine comedy with tragedy - his ballroom dancing left me speechless! I enjoyed the chemistry and rapport of the older cast immensely. Only veteran actors of this caliber are able to stay in character and wear the passage of time and hardship through multi-decade transformations so effortlessly. In the present, they are shadows of their former selves, displaced by the reform and changes that swept across China as it opened up to change. I am surprised by how candid this drama is about how these economic reforms did not benefit everybody.

Back in 1997, the three friends are in their prime. Wang Xiang is the important train driver that transports raw materials to the mill; Gong Biao is a rare young college graduate groomed to advance in the mill's senior management; and Ma Desheng is a hot shot detective in charge of shocking murders that shook the town. The young Wang Yang sees the writing on the wall with respect to the mill's future and resists his father's efforts to help him secure a position there, seeking employment in the nascent and seedier private sector instead. There he becomes fast friends with Shen Mo and Fu Weijun. Unlike the older generation who are still in denial, this youthful trio are quicker to accept and adapt to the rapidly changing environment. The bond of their friendship is just as strong and as real as that of their elders. The younger cast impressively hold their own well up against the veterans. This has to be Li Gengxi's best, least petulant portrayal but I still find her to be the weakest link in the cast overall. While her performance was quite good, I did not like or empathise with her Shen Mo the way I felt compelled by and rooted for both Wang Yang (lLiu Yitei) and Fu Weijun (Jiang Qiming).

In terms of the mystery plot, it is very well designed with a few good twists but is overall straightforward and easy to understand. The clues are intriguing and well planted early on and an outline of what happened emerges at a slow but riveting pace. When all is revealed, everything fits together and makes sense. It is true that this drama is a much bigger story than the mystery itself but the unravelling of the case is the centrepiece that pulls the sub-plots and narrative that spans two decades together. It is a very dark story that unfolds during a time of inescapable change that everyone is helpless up against. At the same time, they go through some utterly devastating events. The passage of time doesn't dull anything; in fact to them decades later it is still as if it all happened just yesterday. Poor Wang Xiang and to a lesser extent, his buddies are in limbo, suspended in this dreadful, long autumn. The drama tries to end with closure followed by a positive epiphany; to move forward and not look back 往前走/wǎng qián zǒu. Yet I can't shake the overwhelming sense of how beautiful but quietly helpless and tragic this story is. Not everyone will be able to understand or relate to the late 1990s backdrop or enjoy the slow pace but for me this is the best drama I have watched this year (as of May 2023). I rate it 9.5/10:0.

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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 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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The Heart Will Go On

Ye Li is summoned from the elite Lishan Academy to prepare for her wedding to Mo Xiuyao, a crippled and unfavored prince. Her younger sister Ye Ying is now engaged to her former fiancé, Prince Mo Jingli. Ye Li is unfazed by the groom swap and blithely oblivious to her new husband's frosty glowers and suspicious side-eyes. True to Xiuyao's suspicions, there is more to Ye Li than meets the eye. She has secrets and has returned to the capital with a higher purpose than marriage—one focused on righting injustices against the former Prince Ding and Lishan Academy. As it turns out, both Ye Li and Mo Xiuyao were collateral damage in a power play at the highest level of imperial authority. Their common cause draws them together, but in order to truly work together, they must confront the past and put it behind them.

Though set in the fictional dynasty of Dachu, the setting for The First Jasmine is clearly inspired by Wu Zetian's controversial ascent, and the costumes, political dynamics, and social structures are distinctly Tang dynasty. While the political plot is not particularly special, the past intrigue is revealed in a way that draws you in, like pieces of a puzzle gradually falling into place. Everyone is an unreliable narrator, divulging their own role in the multiple betrayals eight years ago from their own point of view. The plot does not bother to fully explain itself, leaving the audience to speculate on and eventually piece together what happened with a growing sense of dread.

The problem is that the drama reaches its emotional peak a little too early, and after that, there is a sense of anticlimax heading into the finale. The final plot arc is rushed and fails to deliver a sense that justice was served or that the country is in better hands.

That said, this is a very solid character-driven story about healing. Both Ye Li and Mo Xiuyao are deeply damaged by past trauma, and the way their relationship evolves makes sense given what they endured. Ye Li is a deeply traumatized and complicated protagonist who appears functional only because of the coping mechanisms she relies upon to get through her difficulties. As a character, perhaps Ye Li is too capable, but she embodies the ethos of the elite Lishan Academy, and through her, the heart will go on. That said, the Lishan backstory unveil took too long and left me emotionally exhausted.

While Bai Lu pulls off a memorable and heartbreaking portrayal of Ye Li's trauma, her final showdown lacked sufficient impact. Her cold, resting-death-face missed the mark, and I felt that Xiuyao—no less a victim—deserved to be in on the final confrontation. I am fine with sidelining the male lead in the finale of female-centric storylines, but the actress has to be able to rise to the moment. That didn't happen here.

There were many interesting character arcs that didn't play out. I expected Han Mingxi to play a more consequential role and saw potential in his hilarious interactions with Ye Ying. But to me, Mo Jingli was the biggest missed opportunity. He is a cunning and layered character who pursued a just cause via questionable means. I did not like how the narrative diminished his cause, his motivations, and his intelligence heading into the finale.

Ultimately, this drama tries to combine too many themes. It is difficult to mix romance into a heavy revenge story, so I didn't mind so much that they didn't really try. Where it falls down most for me is how the main revenge plot failed to deliver closure or transformation. The story introduces so many interesting characters who seem to have agency and free will, only to have them go down the path of tired tropes. Screenwriter Zhao Na strikes again - her dramas always start well on the inspiration from borrowed works but she is really building a track record in not knowing how to end her plot arcs properly.

This starts out as an 8.5-level drama, but with the ending, it only earns an 8.0+. Still, it has enough unique aspects to make it an enjoyable and recommended watch.

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Genius is 1 percent inspiration and 99 percent perspiration.

At twenty-three, Lin Zhaoxi lives a life of quiet desperation. She grows up in the shadow of two natural math geniuses - her father Lin Zhaosheng and his mentee and love of her life, Pei Zhi. Despite her passion, her aptitude for math is not intuitive and falls short of true genius. Discouraged, she majors in philosophy and is resigned to a mundane existence. She also loses touch with Pei Zhi after he leaves to further his studies in Germany. Her world unravels further when she discovers her father Old Lin has early onset Alzheimer's. Then out of the blue, she is whisked away to cheese world, a parallel world with a childhood classmate Ji Jiang. In order to return to their world or strawberry world, they must win Math Olympics. This was a challenge she failed as a child. It was arguably the great inflection point that put her on a less satisfactory life path, one that is lacking passion.

Don't be put off by the math aspects of this drama; the writer does a good job making abstruse concepts and theorems quite approachable and avoids getting bogged down into the weeds. The storytelling indulges in almost ten episodes of sheer childhood delight as the young Lin Zhaoxi, Ji Jiang and Pei Zhi try out for Math Olympics. The child actors led by Wang Shengdi, Fu Bohan and Lin Zeyi blew me away with their natural and uninhibited articulation of joie de vivre that conquers all. The young cast steals the show with their empowering message that genius is 1 percent inspiration and 99 percent perspiration. The Harry Potter allusions were brilliant - it just cracked me up that no one wanted to be Harry! It also pays proper homage to Snape, one of the most complex, fascinating and moving fictional characters ever written. This is indisputably the strongest, best arc of the drama.

The middling arc is a struggle by comparison as both Zhang Xincheng and Zhang Zifeng take time to get in character and are not that convincing as lovers. It is not a bad arc at all, in fact the father daughter dynamics are very enjoyable and touching. It is just that the first arc is just too good. Initially, Zhang Zifeng seems mis-cast because unlike Ji Jiang and Pei Zhi, I could barely see any vestiges of the child that was Lin Zhaoxi. But upon reflection, it is intended that all of that youthful optimism and sense of invincibility is extinguished. The actress really redeems herself in the latter episodes, especially in her chilling encounter with her doppelganger. Oddly it is Zhang Xincheng's performance that doesn't hit all the right notes in this. I think he is much less comfortable taking on grey or flawed roles. I didn't like Pei Zhi for most of the drama and only empathised with him after his heart to heart with his father Pei Donglai in cheese world. Both the young and grown Ji Jiang is far more charismatic and is seamless portrayed by both actors. As always the veteran actors Lei Jiayin, Wang Xiao (Zhang Shuping) and Geng Le (Pei Donglai) are the ones that save the day by extracting the best performances from the younger actors. In this one, even they are outclassed by the amazing kids. Ni Ni's brief stint as an omnipresent and unforgettable character is both delightful and heartbreaking. The drama picks up pace and comes together in the final act. It finishes strongly with a few good mind blowing twists and reveals to end in a good way. Some may not like how it was all wrapped up but I did and I explain why in a spoiler in the comment section of this review.

The Heart of Genius is a well-crafted and intriguing story about life, love and friendship that is comical, inspiring and heartbreaking. Everyone makes mistakes and has regrets; Lin Zhaoxi didn't try hard enough, Pei Zhi lost his father too soon; Lin Zhaosheng didn't fight to clear his name; Zhang Shuping did the wrong thing... This drama tantalises with the impossible fantasy of re-writing history, to have a chance at a do-over of the big what-if moments in life. It proves that even though assholes are still assholes in each world, the grass is not necessarily greener in cheese world; that there are always consequences and trade-offs that are of unknown, unknowable value. Thus we must be consoled by the wisdom that life is not a fairy tale and who we are and who we love are the sum total of our shared experiences good and bad. To live in the moment and to accept what we can't change. It is a very engaging and thought provoking drama that does not seem to get the appreciation it deserves. It is one of the most enjoyable dramas I watched recently and am happy to rate this an 8.5 overall.

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Abs-olutely Fabulous!

I rarely watch modern romance dramas but the lure of a mystery piqued my attention. And within minutes, I was sold at the first eyeful of Tsao Yuning's absolutely fabulous abs. Yes, this is one of those dramas that makes me embrace my shallow self. Because this dude is one sexy beast with the kind of tanned, toned, intensely masculine smoking hotness that reduces me to a speechless, foolishly grinning, puddle of drool.

Five years ago, aspiring actress Ruan Nianchu is at the wrong place at the wrong time and falls headlong into a hairy situation. She falls for a dangerous stranger who saves her life, evidently at the cost of his own. A hopeless romantic and optimist, she can't forget him and looks for him in countless blind dates. He reappears with a hidden agenda as Li Teng, as mysterious, intimidating and possessive as ever. The air literally sizzles between this couple who are now my gold standard for onscreen chemistry. There is no mistaking the intense longing and physical attraction between the two. The slow build up to the kiss scenes that usually starts with him invading her personal space and circling her is very hot. And yes, they go all in for the kisses, there are no birds involved. Its a good thing this is only 16 episodes cause my TV was in danger of burning out from the heat even with my air-con cranked up to the max.

I really like the way each episode opens with a flashback that reveals a bit more of the backstory. It is very effective in establishing the depth and substance of the feelings between Li Teng and Ruan Nianchu very early on and it adds to the sense of intrigue around what happened 5 years ago. Underneath it all, the plot is simple but fast paced and interesting even though it does have an its been done before feeling. The villains have rather boring motives and the final villain is revealed the moment they are dropped into the plot which is a bit clumsy.

I found the second couple to be a sheer delight. At surface they are a bit cliche but the kid is hilarious and mixes up their story in a good way. And Li Teng's camaraderie and loyalty to his sexy Men in Black like team of operatives is both cool and heartwarming at the same time.

Overall I rate this very entertaining watch an 7.5 even though its unlikely to turn me into a fan of this genre. I must confess that if Tsao Yuning flaunted his magnificent chest and fab abs just a few more times, I would have abandoned all standards and slapped one of my rare 10.0s on this one. If nothing else, I had several lbs of water weight loss from all that drooling.

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A Sword-Grabbing Saga That Will Tickle Your Bones

The Legend of the Female General is a hilarious drama that I enjoyed immensely. Its entire premise is a crater-sized plot hole, so if you can't suspend disbelief big time, best give this one a skip. The title makes its mythic, Hua Mulan-esque aspirations obvious (Mulan, of course, being a legend herself). The indisputably romantic and lyrical Chinese title, 锦月如歌 (Song of the Brocade Moon), makes it clear this is more Art of Love than Art of War. And in that, it delivers in spades as a sword-grabbing saga that will tickle your bones.

For me, the unwitting humor here far surpasses that of A Dream Within A Dream (which I dropped), which tried so hard to be a parody it was more stressful than amusing. This drama comically embraces a bunch of the best, most incredulously well-loved tropes with abandon and just runs with them, not caring if they are well-stitched together. While I found it a nonsensical riot, I totally understand why it's been panned.

To preserve their military status, the (dumb-dumb) He family swaps out their sickly, all-important male child, He Rufei, for their robust and completely expendable daughter, He Yan. They couldn't find a big and tall girl, so they made do with a short, scrawny, and chesty one. She grows up wearing a mask and achieves glory as the redoubtable General Feihong, whose military successes are so awesome they make the real He Rufei wish he'd been born short and scrawny sans boobs. He stages an epic recovery at the height of her fame and swoops in to steal her glory. Of course, no one notices the one-head height difference because this kingdom is a classic Darwin 101 example of a state doomed to extinction. After reclaiming his name, he arranges for her to fall off a cliff, evidently unaware that no one dies falling off a cliff in a Chinese drama.

Disguised as a man, He Yan later joins the Yezhou army led by the no less renowned General Feihong—her old classmate, Xiao Jue. Suspecting "he" is a spy, Xiao Jue gives "him" the hot side-eye many times until the thrust of his mighty sword is parried by a pair of boobies. Yes, shame on me! I loved all the dirty jokes and naughty-but-nice innuendo that had me gawking at my big-screen TV with a stupid, lovestruck grin. I wasn't bothered at all that the cross-dressing "pretty boy" He Yan went full-on girly on Xiao Jue with her shameless flirting and half-innocent innuendo.

The truth is, I don't dislike trashy idol romance dramas when they are made like this. Most of the time, I drop them because I've seen the leads go through the same tired motions with so many other pairings that the chemistry feels contrived. There is nothing more nauseating than the dreadful dead-duck stare that so many third-rate traffic actors try to sell as infatuation. This drama works because I was hooked by Zhou Ye and Cheng Lei's chemistry. I saw an explosion of sparks every time he side-eyed her and she ogled him right back like she was ready to misbehave. True story: after the hot moment of enlightenment in Episode 4, my old big-screen TV literally died on me, and I had to rush-order a new one.

I won't bother shredding the plot and logic holes—there are lots of them, and far more articulate voices have already gone to town on it. Undeniably, the compelling chemistry and strong portrayals by both Cheng Lei and Zhou Ye carry this drama, bolstered by solid performances all around. I was charmed by how naturally Li Qing brought to life the face-swapped role of Cheng Lisu, and his romance with Song Tao Tao was cute and funny. Chu Zhao is the best-written, most multifaceted character in the story. The conflict between his ambition and his morality is well-played by Zhang Kangle. I had to laugh at how Bai Shu totally hammed up his cartoon villain with wildly exaggerated facial expressions; he seemed to be having the time of his life.

By far the strongest aspect of this drama are the fight scenes—they are brutally intense, fast-paced, and thrilling. This director is known for problematic storytelling, but his action choreography is really something else. Some of the war tactics are creative takes on famous Three Kingdoms battles.

As for Zhou Ye, she is a total firecracker who absolutely lights up the fiery scenes as delightfully as she owns the cute, girly bits. On the surface, she may not look the part of a female general, but she certainly acted it in the fight scenes. Too many idol actors shirk hardcore action, daring to pass off a few showy twirls and wimpy sleeve-swats as fighting. As He Yan, Zhou Ye really wielded her spear and sword powerfully and vehemently; the strain of demanding moves was visible on her features. She is a professionally trained ballerina—incredibly strong and athletic despite her size. Not all generals have to be tall and physically imposing; many famous ones were more brain than brawn. Zhuge Liang of Three Kingdoms fame was skinny and runty with mediocre combat skills, wandering into battle with his fan. While the fearsome Cao Cao was a killing machine, both he and the unbeatable Yue Fei were allegedly quite short and possibly even stocky. Oh, the preconceived notions we have! What pains me most is that no one asks why cast such a tall actor as Bai Shu as He Rufei instead of why cast Zhou Ye as He Yan.

I'm not trying to deflect the well-deserved criticisms. This is indubitably not an award-winning masterpiece, but it won my heart with its cheeky adult humor, melting romance, gripping action, and overall engaging rehash of cheesy tropes. Even with my 9.5+ rated dramas, I'm not much of a re-watcher. But this is one of the few trashy gems with scenes I can see myself replaying when I'm bored. Happy to rate this 8/10 as a top-tier guilty pleasure.

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Aged to perfection.

Since Love and Destiny was produced by the same team and resides in the same world, comparisons to TMOPB are inevitable. Pleasingly, the only connection is that it takes place earlier in the same 3L3W universe. This is efficient as less time is wasted on world building and explaining the tribes, hierarchies, time and other conventions. The story-line sticks to the 3L3W formula of an unforgettable love story that spans three lives and three realms. While TMOPB was an intensely passionate love story, this has more of a romantic comedy flavor. This is the story of a pure heart-ed young fairy who falls in love with the powerful and much older God of War. This relationship dynamic sets up for a different love story that again succeeds in delighting and captivating in a way that is now becoming a 3L3W brand.

The plot is common for this genre (save the world or save the girl) and is this drama's biggest weakness. Those familiar with the director may observe the backstory of some leading characters (Jiu Chen, Ling Xi and Jing Xiu) were inspired by Journey of Flower - (Bai Zhihua, Hua Qiangu and Dongfang). That said, L&D is neither another TMOPB, nor JOF but a delightful story that stands on its own, albeit with a few cliche tropes. The three main arcs could have been better balanced - the first two took too long and did not leave much time for the final, most satisfying arc. There were too many (well executed) comedic fillers in this drama. This made it feel like "nothing's happening" or the relationship progressed too slowly.

The weak plot was compensated for by superb acting by the main leads. Veteran actors Chang Chen (Jiu Chen) and Ni Ni (Ling Xi) were perfectly matched. They are both gorgeous actors whose emotions and facial expressions transform and make them compelling in their appeal. The role of Jiu Chen was made for a Chang Chen that is aged to perfection - his sculpted bone structure and fierce expression exudes the aura of a stoic, mature and powerful God of War. Any suggestion that some young idol actor could have pulled this off is ridiculous. Jiu Chen is a formidable character that wears the lonely responsibility of keeping the realms safe. He moves mountains to force a win-win in his terrible conflict between duty and love. His instinct is to protect Ling Xi, to the fault of hiding the truth from her. He is alternately stern and helplessly indulgent with her. His impassive expression softens, he even smiles and becomes open and vulnerable only with Ling Xi. He is touchingly candid and unguarded when he confesses his feelings to her. With insight beyond her youth, Ling Xi recognizes the loneliness and burden inherent in Jiu Chen's role. She captivates him with her spell-blinding smile and mischievous antics; he is touched by her devotion and inept attempts to aid him. As their feelings grow, you can feel the invisible bond of their awareness and affection for each other. Ling Xi's best, most courageous moments are when she makes unbelievable sacrifices in order not to add to Jiu Chen's burdens. Each loves the other more than they love themselves.

In the first arc (20+ episodes), the Ling Xi wakes up Jiu Chen, who had been frozen for 50,000 years after sealing the Demon King. He is suspicious that such a weak fairy could have awakened him and takes her in, ostensibly to care for his health. The guileless and infatuated Ling Xi is delighted and disrupts his household with her comical attempts to entice him. She loses her senses over him and fires up his stone cold heart with her devotion. However, as God of War it is his duty to execute the young fairy with the ability to release the Demon King. Initially I found Ling Xi too subservient; a bird immortal with a bit of a bird brain. Yet Ni Ni's portrayal of Ling Xi was never annoying, indeed I was charmed despite my preference for stronger characters. She won me over when she bravely steps up to protect Jiu Chen and takes responsibility for her own life.

In the second arc (up to episode 50), Ling Xi is reincarnated as a mortal Lin Mo who has to go through three trials. She overcomes many challenges and becomes independent along the way. This is where Jing Xiu emerges as a manipulative, petty and sinister love rival to Jiu Chen. Episodes 30-40 can be skipped - this part was draggy and I struggled to empathize with Jing Xiu. This actor overacted the villain when he is actually supposed to be a grey character - he was so selfish, manipulative and creepy I was irritated at Ling Xi for not being wary of him. There were many unnecessary side characters in this arc that lingers too long on Ling Xi's coming of age. The best moments are between episodes 40-50 where Jiu Chen and Lin Mo fall touchingly in love (again). The final arc was the shortest and the sweetest. Ling Xi becomes a powerful high goddess who forces Jiu Chen to let her share his burdens and they face their enemy together.

The supporting cast was strong and there is a lovely secondary love story between Yun Fung and Qing Yao that is nicely intertwined with the primary. The villains did a decent job being evil and hateful but their motivators were typical: revenge, envy and obsessive unrequited love. The OST is very good but the CGI is quite dreadful. Overall a quality and enjoyable drama with a big budget. The bottom line remains as a love story, it boils down to the main leads. In this, they delivered - virtually all of their scenes brought a silly, lovesick and goofy smile to my face. You will enjoy this immensely if you appreciate leading actors and a love story that is truly aged to perfection.

PS - got a number of PMs re: comparison to TMOPB. I avoided directly comparing them but I also reviewed TMOPB and if you read that, what I think the differences are is obvious and reflected in the rating.

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Those who seek revenge dig two graves.

This is a heartbreaking and sobering revenge drama about an ancient Me Too movenment by nine commoners seeking justice. The two main protagonists, Rulan and Meng Wan are apprentices at Yanyu Tower, whose exquisite embroidery are prized by the imperial palace. Underneath his polished and elegant facade, Yanyu Tower's proprietor and master embroiderer Wu Lian is the worst kind of predator; one who uses his power and privilege to repeatedly manipulate and abuse the young women working for him. When Rulan has the audacity and tenacity to seek legal redress, most including her bestie Meng Wan hesitate to help her; knowing how stacked the system is against them. Ultimately her plight and her conviction inspires nine people to devote their entire reason for existence to taking Wu Lian down and obtaining justice for Rulan and in some cases themselves. There are no fairytales in this drama; their stories are utterly devastating; alternately moving me to tears and making my teeth clench and my blood boil.

This drama is not for the faint hearted and comes with a ton of trigger warnings. It is ruthless and brutal in terms of its scathing depiction of the unbalanced power dynamics between the powerful and the powerless. It convincingly articulates why regardless of consequences, Rulan, Meng Wan and their friends decide to take a stand against a clever, powerful and ruthless opponent. Their efforts are stymied at almost every turn and many of them pay the dear cost of justice. Wu Lian is almost too smart a villain and too well resourced. It is dismaying to see these nine avengers fall for the same traps over and over. In desperation, some of them take unnecessary risks and make terrible sacrifices with scant payoff in their attempt to gather enough evidence to indict him.

This is a large cast with consequential roles that deliver all around strong performances. Hu Yixuan's portrayal of Rulan's disillusionment, agony, bravery and forlorn quest for justice is harrowing, piteous and ultimately tragic. Wu Qian also impresses as the icily soft spoken, resolute avenging angel and mastermind of the revenge plot. As for Wu Lian, it is rare to encounter such an intelligent and downright despicable villain, masterfully acted by Qiao Zhenyu. All of the support roles come together well to paint a picture of common people from all walks of life with dreams and goals that get disrupted as they come together to get justice. The thief Li Chunfeng and the embroideress Jue Ming charmed and moved me into rooting for them most.

This kind of drama that tackles such a difficult subject matter is unlikely to appeal broad audiences. It is well executed for the most part but tends to be unnecessarily melodramatic in the later arcs. The villain origin backstory left me unmoved and is not convincing. I would expect Wu Lian's father's concubine to have impacted him in a more positive way. While this story ends in a realistic way, I am not satisfied. Wu Lian's enablers who covered for him repeatedly get off way too lightly. Finally the way this wraps up sends too strong a message that those who seek revenge dig two graves. Revenge becomes their sole purpose and end game to the extent that I wonder - did they really win? There is just too much collateral damage and sacrifice even though Humpty Dumpty can not be put together again. Maybe it would have been better to just live well. I needed to see at least one of the victims recover from this and go on to have a good life. The final What If episode 25 made me feel worse not better. I struggle with how to rate this. As much as I applaud the topic, the acting and how emotionally invested I got in the story, it left me with a hollow feeling after the ending arcs. It is still a good, thought provoking watch but I can only rate this a 7.5/10.0.

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