batatatamusic

Oh, this is a completely different context and country: Catherine could have ‘official’ lovers because she was a queen in an absolute monarchy, in a system where the nobility tolerated such relationships for power, alliances, or pleasure.

In Confucian China, the moral and social pressure was enormous for women, even for unmarried ones.

It was a pleasure to discuss this short analysis with you all ! thks

Well, in our times, if it were the other way around, people would straight up call it sexual assault lol. In a historical context, that wouldn’t have been possible. In a modern setting, though, it could be interesting if the show actually emphasizes this reversed role in a satirical way—pointing it out and destabilizing the audience. It highlights that for a long time, the dynamic that exploited men was considered wrong, but flipping it today makes it way more obvious

Honestly, there’s nothing we can do about it :)). Women’s literature seems to collect all the naive fantasies that women can have. Oh, and let’s not forget—the girl always gets to have men chasing after her until the very end! But if it’s a man—whether it’s her ex or anyone else—women are merciless. Or, the man says no from the start,and pushed 10,000 kilometers away this girl.

Here’s the funny part (and here comes my little feminist speech): our fantasies are actually quite naive compared to the ones men have had for centuries. And yet, somehow, society keeps pretending it’s all equal.

Let’s imagine a fictional matriarchy (because historically it’s not really possible). Here, it’s just an excuse to stage an idea. Deep down, the fact that in their generations men had concubines, that lineage is passed through men, and that politically and socially women don’t have a real role—this is still a patriarchy, with just internal female dominance. One could call it internal management by women. That’s how I understand it

Because I don’t want him to turn into a" servant", but I want him to keep his original character

ahhh okkkk

agree

So basically, if we take Min Hao out, and rewrite the girl properly with the other guys—little romances, but with more complex and better-written characters—what kind of numbers would we be looking at? And our little sweetheart, where do we stick him then? Yeah, let him do his little side investigation quietly on his own

I’d totally sign off on your idea, but I don’t think the producer will. After all, it’s THE STAR—we basically paid them for the kisses, I think… oh, and the bonus of the shirtless bath scene for everyone. They launched it at the same time as the other project, probably thinking that over there it wouldn’t be as HOT as here (which, by the way, I also find the other project pretty cute in terms of chemistry, even if it’s based on a ‘different kind of love’).

Absolutely agree with you!!!!

Do you agree that the problem here is Ming Hao? We just want to see him in a romance with this beautiful girl—that’s the whole issue :)))

I think this kind of content mainly exists to satisfy the desires of the female audience, which is the majority here (myself included, guilty 😏). It’s our era that decides what we watch.

But let’s get back to so-called “classic” dramas: after watching hundreds of series, I’ll tell you—classic? I’ve never seen it. There are only two tropes: the Cinderella who needs saving, or the all-powerful woman who makes even a loud, fearsome general look like a spineless extra. That’s what today’s audience wants to escape into.

And if it had been a harem drama, then yes, we’d be in history… except that after watching 10 “historical fiction” costume dramas a week, real history is starting to feel like fiction!

For now, her grandmother is just watching. Option 1: either she poisoned the first suitor… or she’s doing absolutely nothing. In any case, I don’t really like her, even though she fits the stereotype of an elderly matriarch

If I were a writer, I wouldn’t have included a romantic subplot for this main heroine, because characters like her are usually alone, and it would have been more fitting given her sacrifices and priorities. Romance here undermines the depth of her character and, above all, makes her appear less dominant.

I’m watching 3 Hou Min Hao on the side right now, lol. Overdose? No 😄 Besides, he’s a very solid vocalist — I’ve seen the live performances!! I’m also rewatching Clouds at the moment… Anyway, I got distracted...

By the way, one more thing. The female lead is very, very beautiful, but what I love most are her eyes. She has a “deep” gaze — there’s humanity and real softness in it. I think that’s her true nature. To me, that’s what saves the character: in close-up shots, I tend to read the expression in her eyes rather than the way the script sometimes treats her character, which can feel rather harsh.

All of this is an emotional rupture, an inner conflict… and yet, I still like the series !!! lol

Here we go again: yet another piece of content — a fairy tale in which a man is gradually reduced to a servant. At first, he is strong, whole, with character and principles, even frighteningly self-sufficient. He has an inner backbone, dignity, tension. But after a few episodes, what do we see? He is no longer a subject, but a function. His will dissolves into the woman’s desires; his strength exists only insofar as she allows it.

This inevitably raises a question: does this woman actually need a man as such? Or is the man in these stories merely an added comfort parameter, an accessory to her emotional universe? I respect the image of a free woman — intelligent, active, running a business, capable of making decisions. That is admirable and dignified. But why is this almost always achieved at the cost of devaluing the male character? Why is equality so often replaced by symbolic castration?

The philosophical issue here goes far beyond the genre of romantic drama. It is a question of balance: whether it is possible to portray a strong woman without dismantling the image of a strong man. Why does contemporary storytelling fear the union of two fully formed individuals and instead prefer a dynamic of domination and submission? Perhaps because genuine partnership is more difficult to write.

You will probably tell me that they are equal in cunning, sharpness of mind, and quick thinking. But that is not what I am talking about. I am not speaking of intellect. It is precisely this so-called “equality” that gets cut short. Just recall the scene where she leaves: he asks her not to go — not out of caprice, but out of care, even concern for her health. And what is her response? Cold. Dry. That is not how one speaks to an equal. That is how one speaks to a servant.

Here, quite clearly and outside of any historical context, what is being presented is a form of matriarchy: a strong, intelligent woman entrepreneur surrounded by an entire gallery of attractive men who, in one way or another, serve her cause — or serve her personally.

Even the visual language reinforces this. The framing is constructed so that roles are deliberately reversed. The way she looks at him while lowering herself to his level; the way she alone decides who will stay close to her and who will not — he appears less like an equal partner and more like a kind of concubine. Perhaps this dynamic will evolve later on; we shall see. But from episodes 2 through 18, this is precisely the structure that is being consistently portrayed.

Exactly!!!!!! But from another point of view: for millennia, women were servants to men, now it's exactly the opposite view lol

yes