Where Agatha Christie Meets Chinese Thriller Style
That’s the overall vibe of this short drama, which I recommend to those curious about thrillers/suspense/crime shows but aren’t ready to dive into the heavier, grittier ones of cdramaland.Don’t get me wrong: there are a few murders that may not be ideal for dinner time viewing, but the pacing, tone, and tension are so well-managed that those moments hit just right, giving the drama the necessary dark touch of the genre. For seasoned watchers, I’d say it’s a fun, well made break that stands proud as the little brother – or step brother - among the long format family with its more serious and thoughtful content. It doesn´t have that oppresive atmosphere, but it´s not light either.
Being a longtime fan of Agatha Christie novels and all their screen adaptations, I can say this drama blends the mystery storytelling style of the author with Chinese elements and flavors. Coincidentally – or not - it’s based on a 2015 novel written by another female author, Gui Ma Xing.
The structure is classic: someone is torturing and killing women in 1929 Shanghai. As our ensemble investigation team digs into the serial murders and the identity of the killer, a deeper, darker mystery intertwined with them begins to unfold - all with fast pacing, overal well-structured transitions and enjoyable storytelling.
Acting
This is not only my first short drama, but THE first short drama in the industry starring two powerhouse actors known for their acting chops: the award-winning, often-nominated, and beautiful Wan Qian, and the young yet veteran chameleonic Qin Jun Jie—who you’ve probably seen before without realizing it was him, lol.
Like many, I tuned in expecting that their presence meant a minimum level of production quality besides good acting - and we were right! In short dramas, where episodes last only 10 to 15 minutes, acting is key. It gives dimension to characters that could otherwise feel flat or underdeveloped, and enhance the story. Here, the main leads have details, traits, and depth—even without tons of backstory shoved in your face. Sometimes, while a scene is unfolding in the foreground, subtle interactions play out in the background. The two other main cast members are good, and even those I didn’t expect much from, did well. That alone makes a difference.
The characters´ dynamic is engaging, fun to watch, and well-developed throughout.
Gao Ying is a badass woman torn between loyalty to her powerful family and the search for truth in order to protect the victims. An interesting grey character with more than meets the eye.
Xia Mo is a genius forensic scientist, both coward and brave, coping with a traumatic past through some mental issues. He adds the logics, the small touches of humor and tender (creepy tender?) to the mix.
Xia Yin Qi, her sister, is a materialistic and independent spirit who cares deeply about her brother’s wellbeing.
Detective Tang Zhen Yun is the well socially connected, justice-seeking young skilled fighter who also craves professional recognition.
Production
If you’re picky about production, breathe easy because this one delivers. It’s clearly a high-quality production with attention to detail (except for one or two hands here and there). The Republican Shanghai setting is well crafted, and the opulent Zhu Que Tang shines in all its decadent charm without looking fake.
It’s also filmed in ultra-high resolution, which makes it visually pleasing even for more demanding viewers, adding a novel element usually absent in short dramas till now. The editing is thorough: right fast pacing, smooth transitions in general.
The script follows a classic structure: successive, connected key events and clues push the story forward in a logical way, reminiscent of Agatha Christie’s best. The attentive viewer might pick up on answers not long before the reveals, but never with full certainty, keeping both seasoned and casual viewers engaged and away from boredom. You may guess who the killer is, but the why and how remains unkown. As the first arc (about the killer) starts to wrap up, the second, deeper – and darker - arc related to the killings begins to emerge stronger. At this point, Agatha Christie has bowed out and we’re deep in Chinese thriller territory, subject-wise (flashbacks included...)
Direction
The fast pace and “rough” execution style, which are jarring in a full-length thriller, fit the short format like a silk glove, due to its core characteristics. And the stakes stay high right until the end.
At this point, you have to consider the format limitations. What a long format drama does in its first two episodes (around 90 minutes), the short one has to pull off in barely a quarter of that time - roughly 20 minutes or so. So execution is key: setting up the characters, their dynamics, and the core mystery or plot points. Finally, those viewers should at least give the first three episodes a shot to get a real feel for the show before deciding to keep going or drop i
Social discussion... Short drama with purpose?
There’s a persistent thread of social commentary running through the drama — on women’s roles, both in the past and today, not just in society at large but also within the entertainment industry. Corruption and power, too, is tackled. These themes are woven into the characters, the plot, and even the subplots. I honestly didn’t expect that. There’s actually a lot to unpack here: from how they introduce these themes to the levels of analysis and questions it might provoke in such a short runtime.
While regular viewers of this format might find it perfect for commuting or killing time in a queue, if you're more like me, the best way is probably to binge it in one or two sittings.
This drama Ichecks all the right boxes that make it an entertaining and short, binge-worthy experience. Perfect for a cold, foggy night if you’re in the mood for something on the lighter side – but not light - of the cdrama thriller/crime genre.
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Duel on Mount Hua: Eastern Heretic and Western Venom
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Amazing wuxia through and through
This 8- episode drama is part of the recent Duel on Mount Hua saga — a prequel that dives into the backstories of iconic characters from Jin Yong’s wuxia classic Legend of the Condor Heroes — and, in my opinion, it’s the bestt chapter from beginning to end.First, a clarification: each drama in this saga has different scriptwriters, directors, and cast members, although some of them cross paths in the final one. This means the vibe, pacing, storytelling, acting, and even the production aren’t aligned or cohesive. From the start, I decided to approach them as independent projects — you can do the same or go for the whole saga.
So, for this review, I’m talking only about Eastern Heretic and Western Venom, written and directed by Xu Bing.I’m highlighting him because people often overlook the importance of these two factors when watching dramas or films, focusing only on the actors — and I think this saga is a perfect example that really shows it.
The pacing here is fantastic. In each episode, not only you discover more about each character, but you see them evolve logically as events progress. The story unfolds smoothly, mixing awesome fights, bits of humor, and dramatic moments that gradually build in intensity, leading to a powerful climax near the end. You’ll find loyalty, friendship, lessons learned the hard way, misunderstandings, martial artists with distinctive techniques, tragedy, love, betrayal, cunning villains, morally grey characters… and so on.
One of its biggest strengths is the old-school martial arts action: close-quarters combat with fists, swords, and other down-to-earth weapons. They´re well chorewell-choreographed and filmed, have momentum, and slow-motion is used sparingly. The actors are also believable as fighters – you could even recognize some faces! People get dirty here (literally), and they die.
Direction is outstanding, and so is the script. The whole show has a raw, rough vibe that matches the story without losing emotional impact. There’s no forced poetic touch, no visuals pushed over content, and no music trying to force epicness. Yet, the soundtrack is amazing — from scene music to the ending credits. Sequences are exquisitely filmed, pleasing to the eyes without visual overstimulation, heavy filters, or forced aesthetics.
The casting is chef’s kiss. Not only are there seasoned actors, but also a director who knows how to get the best out of everyone, including the supporting cast. Zhou Yiwei steals the show, but Vengo Gao Weiguang is also charismatic, and the chemistry among the main cast is great.
So, if you’re looking for a wuxia with an old-school vibe, a compelling story, and entertaining, well-choreographed fights, this is without a doubt the drama you need to watch.
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An unexpected realistic portrait of love and relationships in adult life
I had chosen Discovery of Romance in the first place because of the main male lead—an excellent actor, Qin Jun Jie—and although I already knew the female lead, Janice Wu, she hadn’t really stood out to me until now. Here, she’s really good and believable. Of the three main protagonists, the second male lead is the weakest. With a different casting choice, things might have been a bit more interesting and the overall score would´ve been higher. His acting isn't good.This is a story of second chances, growth, and life, told in an engaging way, with the three main protagonists breaking the fourth wall from time to time. The first 10 to 13 episodes are comedy gold. In the middle part, the tone begins to shift as we learn more about everyone involved, and the final stretch (episodes 20 to 26) ... well, be prepared, it’s touching.
That said, this show is not for everyone. It's a “kind of love triangle” without really being one, since that first encounter pushes the ex to fight for the girl to come back to him—a difficult task, considering the female lead is in a relationship that checks all the boxes, at least on paper. As I said, the first 10 to 13 episodes are gold—I have so many many many favorite hilarious moments. Then the tone slowly changes, and by the end, it becomes deeply emotional – although ends in a high note again.
The protagonists are entering their 30s, and that’s clearly the target audience: people in their 30s and older. You need to have lived a bit, to have experienced life's ups and downs, heartbreaks, failures, longings, and struggles beyond your 20s, to fully appreciate, understand, and reflect on what’s happening, both in general and within each character, and why they make the choices they do.
There are no purely good or bad people here, just human beings being human: imperfect, selfish, immature, arrogant, insecure, caring, ambitious, sweet. They made choices, and they hurt themselves and others in the process. Some will grow more than others. That’s real life. They’re not perfect or always likable, but you won´t hate anyone. I think this is the drama’s strongest point together with the acting and the chemistry between Qin Jun Jie and Janice Wu. It feels real, with real people. And because of that, it's by no means perfect—but it’s solid and genuinely good.
I won’t spoil the ending. I was pleasently surprised, because I didn’t expect to find such a real and touching drama.
Side notes:
The friends/side characters follow the trend of early 2020s dramas, with a slightly cartoonish tone, but nothing you can’t handle. Overall, the acting is solid across the cast—except for two characters who are just boring to watch. I skipped some of their scenes (very personal preference, of course, as this review).
The English title is bad. The Chinese title is much more accurate—it plays with the name of the female lead and the ideas/situations of love. I guess in those years “Romance” and “Love” were trending, and “Blossom” wasn’t on anyone’s radar yet.
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Three things you need to know to better appreciate this drama
This short, meaningful, and deeply unconventional drama is a journey toward healing and self-love that takes us, the viewers, on a compassionate and empathetic ride through the inner world of someone struggling with mental health.It’s not a romance. It’s not a thriller. It’s not sci-fi or fantasy (don´t believe any of the possible categories they tag it). Bear with me a little longer, because if you’ve started this drama and dropped it, or are just curious about it, trust me: it’s worth the try at some point in life.
Thruth is, you can’t come into this show the same way you do with others, not just because of the subject matter, but because of the director’s intention: to create a form of storytelling that immerses you fully in the protagonist’s mental state. So, besides being in the right state of mind and mood, here’s what I suggest to truly appreciate the watching experience, IN THIS PARTICULAR ORDER:
1. Don’t go in blind if you aren´t a seasoned film and series watcher of different genres
Beyond the basic MDL synopsis, which tells you this is the story of a person with Dissociative Identity Disorder (DID), it really helps to know a bit more about the condition itself. That knowledge is what allows you to surf the, at first, seemingly disjointed and confusing waters of the narrative, and connect with what and who you´re seeing.
The following is enough: DID—previously known as Multiple Personality Disorder—is a mental health condition where an individual hosts two or more distinct identities, each with its own personality, voice, memories, and even physical traits. These “alters” may or may not be aware of each other.
“Dissociate” literally means to disconnect, and this disconnection often results in memory gaps besides affecting the ability to connect with reality. DID is typically a response to severe trauma, especially in childhood, where the mind protects itself through this division of identities.
2. Pay close attention to everything.
Every line, every strand of hair, every written word (or character, lol), every little detail that appears in the frame matters. Understanding the basics of DID is what allows you to catch the subtle clues that drop constantly throughout the series as scattered puzzle pieces that slowly start to align.
How each characters stands, who does what, the visual methapores, a reflection in the floor, all matters. By the time the thruth comes out on ep 6, you´ve already figured it out enough to be prepared for it, but not enough as to stop watching and know the final outcome.
3. Let it goes and enjoy the ride.
Don’t try to force this into a box of what a drama “should” be—especially one dealing with mental health. As I said before, this show doesn’t tell you what’s happening. It doesn’t even really show you. It puts you in it. For that, allow yourself to be vulnerable, and surrender to the director’s vision, the brilliant cast, the poetic cinematography, and the unique narrative flow.
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Amazing fights and story since beginning of ep 1
I’m not so fond of modern wuxia, although in the 90s I watched lots of movies about the themes so common in this genre. I’m an idealist, so the core values and main themes resonate with me. I also like adventures, subtle love, complex and/or tragic characters, and layered stories. In modern times, with modern aesthetics, I hadn’t found anything that really really caught my attention in wuxia: sometimes the production is good, yeah, but there’s no soul; sometimes the acting just doesn’t click and the fighting isn’t strong enough to make a lasting impression; sometimes the love story is too sweet or too romantic? I’ve tried the most famous ones of recent years and dropped them all… until I crossed paths with Qin Jun Jie in Heroes (2024). I was sold by his acting and charisma and then I found Side Story of Fox Volant. Imagine my joy when I saw Lin Yu Shen was also in it—an actor whose dramas I haven’t seen much of, but also like.So, I’ve already told you two excellent reasons to watch this show:
- Qin Jun Jie (Hu Fei, and also plays his father, Hu Yidao) is the young protagonist on his path of growth;
- Lin Yu Shen (Miao Reng Fen), the mature, tragic, and almost unbeatable best martial art master of the jianghu - the world of martial arts.
The acting, the charisma they both ooze, and the physical effort they put into the fight sequences are amazing - their scenes together are a delight because of the extra chemistry they exude .
Of course, choreography and direction are crucial in these types of scenes, and in general, the whole drama is excellent in this regard, with at least one good and entertaining fight in each episode. You also have female warriors or martial artists, with agency, personality and technique, but nothing can compete with the close-combat sword fights of the two male protagonists, who are totally believable in their roles. You can tell they trained. In this regard, the opening fight and the one in episode 22 are, for me, the best in a drama where almost every fight is top-notch. I found myself smiling and jumping out of my seat like a child from pure enjoyment. The camerawork was excellent here.
The fights are sometimes quick and sometimes rightly long, but always intense; sometimes brutal, but always entertaining—and in all cases, a pleasure to watch. What did I like the most? The unbeatable hero is presented in a way that makes you totally believe he really is the best and unbeatable—you’ll understand when you see it. The director definitely knows how to create an aura and make you root for a character, lol.
You´ll find some slow-motion, but they aren´t overused and what I liked about them is that they’re mostly reserved for moments outside the fights. My favorite, of course, is the one near the end—and you’ll know it when you see it.
The music enhances the story, the scenes, and the fights. Both the opening and ending themes capture the spirit and tone of the show. The opening one is inspiring, adventurous, and grandiose, but my favorite is the ending one—bittersweet, melancholic, and beautiful. So yeah, you more or less know what to expect now...and by the end of ep 1.
The pace is fantastic, and with the exception of 2 or 3 eps in the middle, it keeps you hooked non-stop. All the characters have a part to play, the plot is cohesive, and the production and acting is solid. One important thing: you have to keep in mind the time setting and genre, as there’s a lot of Confucianism, Buddhism, and wuxia values/principles/ideas that may seem difficult when seen from a Western and modern perspective. Perhaps the Qing Dynasty style might be discouraging for some, but when the acting is so good—have I mentioned how charismatic the two main male actors are?—you soon forget about it, and you’ll even find some characters attractive.
Hope you enjoy this show as much as I do if you like this genre or similar kinds of stuff!!
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The beautiful song of the common people
This slice-of-life drama from 2024 is among the most beautiful and warm pieces of art in the form of drama that I recall from recent years. I’ve seen masterpieces, immersive, rollercoaster-like, magnificent, simple, riveting, soothing, emotional, and touching ones, but until now, very few can be labeled as beautiful and warm. Born to Be the One is that.I approached it with mistrust, knowing almost nothing about it and expecting to get bored soon. God, I was wrong! I didn´t want it to end, I wanted to go on with them in their journeys.
It’s inspired by (and I would also say dedicated to) middle-class people in all shapes and forms. Perhaps now you’re thinking this is not a drama for you because life is already hard enough to immerse yourself in lives so close to your reality, but I tell you: the journey is beyond worthy. You’ll laugh, cry, reflect, enjoy, smile, get mad, feel understood, feel happy and not so — but you’ll never feel desperate, alone, or depressed. You’ll feel part of it, and part of its people.
The story is told through the lives of three couples. The main one is a family: they’re both 40 year old, have a 10-year-old daughter and an almost 1½-year-old baby. Each of this couple’s younger brothers has their own story: the female lead’s brother is in his early 30s and married, the male lead’s brother is in his late 20s and has a girlfriend. Their family backgrounds are also diverse: lonely mothers, widows, parents who live in the countryside, parents who both died in an accident. Same with their jobs, their work/career trajectories, and the different segments that exist within the middle class.
Through them, and in a very close and relatable way, the drama reflects on universal topics: the importance of choosing a partner who shares your values and of being honest about what you want in life; the struggles of women in modern society — in all shapes and forms; the idealization of the countryside and the big cities; the savage competition and stress in work environments and their consequences; the rising cost of living; family relationships; unemployment after turning 35 or 40. All possible scenarios are here.
There are so, so many scenes I’d like to highlight — again, beautifully done and acted — but I don’t wan tto spoil anything. They’re all so smoothly executed that the script deserves recognition indeed (and I usually don’t emphasize this aspect). I know the show has several nominations, and I wouldn’t be surprised if the script is among them.
The storytelling is also of my liking. The first episodes are slow because of the setup, but then the drama tackles so many things that, without realizing it, you’ll find yourself ruminating about them while not watching. The OST is also enchanting, inspiring, touching, warm — and it follows you unconsciously.
Finally, the acting. The main couple is flawless: so realistic and natural that many times you forget you’re watching a drama and feel like you’re spying through a camera in a real home. The rest of the main cast is also very solid, even the actress I usually don’t like and doesn’t have much range - Here, the character fits her like a glove. And the same can be said for practically everyone. Special shout out to the young actress who plays the daughter!
Although its setting is local and it addresses some local issues, humankind has no boundaries and neither does the core message of this drama: Life isn’t perfect and has its ups and downs. In the end, there isn’t one best way to live; everyone has their own, and as long as you’re not a bad person, you have to live your life in the way that suits you best and makes you happy.
It's a beautiful, warm, relatable, and truly universal drama. Hope you enjoy it too, if you give it a chance.
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This review may contain spoilers
You just need closure
The Long Season tt’s a simple drama with layered commentary—contradictory as it sounds—masterfully told by the director Bob Xin and crew, where everything slowly falls into place as the episodes progress. Also, do your appreciation of the beauty it carries, like a musical piece that builds in crescendo until it reaches its climax and then ends on a quiet but resonant note (The music analogy isn’t out of place here, as the soundtrack is an essential part of the storytelling and the final outcome).The drama may seem slow at first, but you can’t stop watching as each episode passes: every frame has weight, every detail matters, even when it feels like “nothing” is happening. One of those rare cases where I stayed for the complete intro and ending credits till the very end: you don’t want to rush into it, and you don’t want to rush out either. You could say the director managed to immerse you in the same limbo that seems to envelop the characters.
It’s hard to classify The Long Season: it’s a murder mystery, a human study, a social commentary, a tragedy. In that sense, the three-minute sequence at the end of episode 10 is fantastic: the inexorable events tied together by fate and unleashed by a finger’s snap somewhere unknown—as in the poem—like the running waters of the great river of life that we can’t escape.
The murder aftermath and the conflict in the fabric feel like a small-scale life approach mixed with social commentary: while the Reform in China was necessary for a brighter future of the nation and its people, it didn’t come without cost or collateral damage. The old productive model, the old social structure, collapsed and hit harder in some areas—especially in two generations: the middle-aged, who saw their once secure future crumble and were left with nothing but broken dreams, and the young, who simply didn’t have or see a clear future at all.
Among the latter, the most painful case is Wang Yang, as he was the only one who had figured out what he really wanted in life during those complex and chaotic times. He had talent, the means, and the courage to make their dreams real. He was a bright soul, unmatched by the hardships of life, unlike the rest. That’s the greatest tragedy.
It makes you question: is your fate decided? And by whom? Do your choices and beliefs really matter and have impact? And if so, to what extent? On one hand, the answer might seem yes; on the other, no. In the end, perhaps a mix of both? It’s about the tragedy of the characters, but also their role within those times of change, all intertwined and shown with the utmost artistic sensitivity.
Perhaps just live your life and do what you can with what is given? Life is like a melody, with its own story, logic, and parts, and we are just another element—important to the whole, but not so important as to stand as a single note no matter what we wish for. And here we are again questioning whether life is a dream and, if so, what’s the point... a recurrent theme in Chinese filmography that I personally love.
The three old men are, in this sense, three losers at different levels. Not only because they couldn’t keep up with society but mostly because they couldn’t keep up with their own expectations, for different reasons: a personal tragedy, a bad decision, no tools for adaptation. The sense of being outcasts and the weight of lost opportunities float throughout the whole drama. This middle-aged generation in the 90s was struck by the economic Reform and had the second half of the life they thought already secured taken away. They were left in limbo while the rest of the country, society, and the next generations thrived. They were the collateral damage for the brighter future.
But then, Wang Xiang isn’t a loser. He just needed closure for the tragedy that hit his life at the same moment the country shook off the old economic model. Despite enduring the harshest hardships, he rose wiser and stronger. He embraced another life and new opportunities in Yang Bei, the youngest generation with future). His Long Season ended with the revelation of the truth.
For me, what makes The Long Season so powerful is how it blends the personal (Wang Xiang’s tragedy and search for closure) with the generational (a middle-aged group left in limbo after the economic reforms) issues. All together with a superb script, direction, soundtrack, storytelling, and acting from the whole cast.
It just life, the circle of life.
And in this regard, the final message reminds me of how One Hundred Years of Solitude, by Gabriel García Márquez, closes, and what the author said many years later about that final paragraph:
“Before reaching the final line, however, he had already understood that he would never leave that room, for it was foreseen that the city of mirrors (or mirages) would be wiped out by the wind and exiled from the memory of men at the precise moment when Aureliano Babilonia would finish deciphering the parchments, and that everything written on them was unrepeatable since time immemorial and forever more, because races condemned to one hundred years of solitude did not have a second opportunity on earth.”
The older García Márquez changed his mind: he realized—and believed—that people do deserve and have a second chance on earth. So it seems with the director of The Long Season.
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