batatatamusic

I completely understand what you mean, and I agree with you on all the points in principle. I’ll try to reformulate it in my own way 🙂

For me, the term “idol actor” refers to someone who mainly sells their image and star power, has a very large fanbase, and chooses projects that are largely mainstream rather than auteur cinema or more artistic works. I wouldn’t say that he does auteur cinema, but he is somewhere in between. These are not projects driven purely by mainstream success; instead, he seems to prioritize script quality and good directors who themselves navigate between two worlds.

To not be considered an “idol actor,” one needs dramaturgical skills, not just beauty, presence, or charisma. And he has all of that (based on the works I’ve seen — I’ve watched three, and all three are among my favorites).

After Reborn, this is not a mainstream series; it won’t appeal to everyone. So if he continues choosing projects like this, he won’t be able to maintain a very, very large fanbase — but it will be more selective. On the other hand, he will gain real fans, meaning people who follow him for his projects and remain loyal. Of course, at some point, he will also do commercial work — that’s inevitable.

However, when it comes to his star power, you can also see it in how brands invest in him. He still has contracts with very major brands, which shows that they believe in his star power as well.

As examples of very commercial projects: Best Thing, Speed and Love, Shine on Me…
(no deep script, Instagrammable visuals, beautiful actors, romantic storylines, and star actors aimed mainly at a young audience)
He is currently in a phase of diversification to show that he is a very talented, mature, and above all versatile actor. He has done modern realistic/social dramas, modern romance, and now wuxia/romance — I’d bet that the next one will be historical. For now, this is clearly the path he has chosen 😉

D-4

agree !!

I agree with you that C-Dramas aesthetically break all the records… by the way, can someone enlighten me on who the screenwriter and director are? It doesn’t seem to be listed here.

I like it too, no problem there 😉...

;) lol

Thank you for the advice, I’ll follow it — I’m going to start watching and I’ll let you know. And enjoy this fun series in the meantime!

As for this series, personally I think the main problem was that the screenwriter didn’t really adapt the book for TV dialogue. It still feels like a book, whereas I think there’s a huge difference between reading a book and watching a film or a series 😉 That’s why there’s often too much explanation and not enough truly natural dialogue.

What I mean is a bit subtle, I know there’s a whole army of people who love this series, and I wish you all an enjoyable watch!

A film that narrates every scene out loud… I no longer needed my brain to draw my own conclusions, so I turned it off (a very rare exception).
And lo and behold, a tomato flies across the room, hurled by a fan of the shared 8.6 rating. ;))

That doesn't stop me from continuing to watch to see this visual beauty.

They talk and talk just to explain the plot, like a built-in audio guide. Did you notice how every actor is desperately trying to make sure we understand what’s happening on screen? The only thing I’m happy about is that, at least, the actors clearly understand the story themselves (I Hope sooo)… Because these aren’t really dialogues — it’s the plot summary being read out loud by very attractive people

/EP17
Don’t throw tomatoes at me, but can someone explain the hype around this drama? If it’s just two incredibly good-looking actors/actresses plus beautiful costumes, fine. .. unless you’re wide awake and just admiring the stars’ beauty and the ending music

I think this isn’t a series for a wide audience; it’s quite heavy to watch, but it’s good and the couple acts wonderfully

I found her quite well suited to her role in Youthful Glory — a bit lively and sparkling. I’d say she’s clearly improving, and based on the trailer excerpts alone, this might turn out to be her best role so far.

However, compared to Yi Ran, I wouldn’t say she has the same level of talent or technical skill. We’ll see how it goes — fingers crossed.

I wouldn’t classify him as an idol actor at all. Beyond that, his attitude as a public figure is quite discreet — at least, that’s the impression he gives. Isn’t it?

He is perfect in series such as "Reborn", "Twelve Letters", and "When I Fly Towards You". His acting is remarkably mature and serious, with a nuanced, introverted style.
These are projects truly worth watching, led by talented directors and supported by strong co-stars — (like in "Reborn", where Zhang Jingyi, in my opinion, also stands out as one of the most talented young actresses of her generation, on the same level as him..)

On top of that, these are rare projects with genuinely solid screenwriting — something I don’t often come across.

Painfully true, this reality — "that even what is explicitly shown is not understood by some people...."
Sometimes, even writing something clearly is not enough to make our true intention understood. :)
But I also often read comments from sensitive, perceptive people, and for that I’m grateful. I enjoy seeing other analyses as well, opinions different from my own, especially when they invite me to reflect. I’ve also had very pleasant experiences where the discussions were far more enriching than the series itself lol

I completely agree with you. In our time, we no longer watch attentively, nor do we read attentively. We consume works hastily, sometimes even at 2× speed. Yet, like any form of art, a work can be read on multiple levels, through several layers of meaning.

This is also why, when we compare contemporary content with the great cinematic traditions of the world — by which I mean major works — so much in art is not stated explicitly. It is left to the viewer’s interpretation, free to draw their own conclusions, extract ideas, and fill in the silences.

By contrast, in Netflix-style series, everything is pre-digested: the message is stated, shown, and underlined in a very explicit way so that it can be understood immediately. As a result, many people no longer have the habit — or the desire — to look at the same image from another angle.

I Love your analyse thank you!
Regarding SML
I often tell myself, for example, that the simple fact that he slapped the FL shows that the writer, at that precise moment, has already made their choice. This gesture is not insignificant: it clearly indicates to the viewer (often one who is too lazy to think, or who watches superficially out of fear of engaging more deeply) who must be discarded. The ML, on the other hand, would never have raised his hand — no matter who he truly is as a character; if he is the ML, then this gesture simply cannot exist. And that’s how it is. In contemporary cinematic works, especially when they aim to be politically correct and acceptable to a broad audience, this kind of decision is almost mechanical. I understand it.

What I mean is that a character who is initially complex and multifaceted is, by the middle of the narrative, condemned to his role as the SML: he is forced to drift toward something darker, more sordid — one single facet of himself. Not because this is necessary for his inner development, but because the audience must be reassured: no doubt must remain. The ML has to appear as the legitimate suitor, morally irreproachable.

From that point on, two options present themselves for this sacrificed character. Either he remains the villain until the very end — a villain, purely and simply — frozen in that role. Or he is granted a so-called “redemption arc” — meaning: he dies. And this death, too, is politically correct. The ultimate sacrifice becomes the only acceptable and unanimously agreed-upon way, by a broad audience, to atone for his past sins and finally become a “good man.”

Thank you!!

Thank you for your reply. Indeed, I was absolutely not saying that I would like to see a jerk or a mean guy as the lead — quite the opposite (you understood me well 😉).
What I meant was that I don’t always want to see purely black-and-white heroes, but rather more complex and deeper characters — stories that really explore complex personalities and themes in greater depth. Complexity is very human and much more interesting to watch and reflect on than someone who is either perfect or purely evil (which feels less “human”). And very often, that’s mostly what we get in dramas.
I was also saying that the social context that was mentioned was really interesting and deserved to be brought to the forefront

In fiction, such as cinema, we don’t always have endless opportunities to take our time building the idea of a character from the start. Regarding her position and job, if she was in a precarious situation and didn’t want to take risks, ML, on the other hand, took risks by bringing the baby with him, even though the situation was also fragile (especially since she was a photographer he had admired for a long time). I’m not judging anyone; I’m simply making observations.