batatatamusic

:(( thks

What a waste putting this guy!!!!! in such a trash script with that garbage female lead and actress… The only ones worth saving are the ML and his bodyguard friend, that’s it. … In this kind of series, at least own it and put a real s**FL next to the ML — that would’ve been way more believable than disguising one as some kind of saint. :(( lolll

You’re right too! And of course, clichés change—I’d even say every 5-10
years :)

I completely agree with you—for the same reasons, I also find his character very refreshing and well developed. If there’s a Chinese series I would recommend from 2025, it would definitely be 12 Letters—absolutely beautiful, with very polished production and Yi Ran’s best performance.
As for Jade, in my personal opinion it feels too commercial. Of course, it has its strengths, but I couldn’t make it past episode 13… maybe one day, or maybe not :)

I completely agree with you! And thank you very much for your comments. Have you seen "Twelve Letters"? It is absolutely fantastic! I also wrote a review about this drama that reflects in detail what I think about it. :))

In second place, "Reborn" is magnificent as well—the female and male leads are both excellent. Even though the drama can be difficult to watch at times, and there are certain ideas I’m not particularly fond of, it remains a memorable series that leaves a strong impression.

There is also "When I Fly Towards You", a bright and uplifting drama, with a great director and, once again, a very enjoyable cast to watch.

I haven't watched The Land of Warriors...

Ideally, you are right, and I also believe that, unfortunately, this is the current situation. Women with children are still sometimes perceived as less competent in their work, or as being less available. Moreover, employers still provide too little support to adapt working conditions or genuinely accommodate people with families.

If I consider the first drama I watched with such an ending, it does not bother me at all: I see it as a personal choice, and it is perfectly natural for people to have different aspirations and life paths. However, when one watches hundreds of dramas conveying the same ideology over a long period, up until the years leading to 2024, it becomes clear that a pattern of thought is emerging, which is regrettable.

We can now observe a reversal of this trend. Whereas before 2024, pregnant female leads, mothers, or women planning to have children were rarely portrayed, current series are now largely centered around themes of birth rates, parenthood, and the balance between professional and family life. One might assume that this shift reflects a growing awareness of demographic aging and the challenges it raises: who, in the future, will contribute to funding pensions?

Thus, we move from one cliché to another. In both cases, it becomes evident that through works supposedly meant to entertain and provide relaxation—without any particular pretension—ideological messages can still be conveyed. And it should not be forgotten that, in such contexts, the viewer’s mind is often more receptive to these influences.

You’ve made me want to discover it!

Very reasonable (lol ) 😄

I generally agree about FL. I think the casting was successful for the role — she fits it well. However, the development of her character lacks nuance in the writing, and she doesn’t quite manage to compensate for that or match ML in certain scenes, especially in the middle.

However, we differ in our opinions about Yi Ran. I’ve only seen good things from him. First of all, his character is the best written, and in terms of direction, it’s better constructed and more coherent. His performance, in my opinion, is very, very accurate, bringing a sense of freshness to the genre without overacting.

On top of that, I think he’s one of the very few in the industry who has the potential to become a truly serious actor, not just an “idol,” if he continues choosing interesting projects like he has been. true talent

As for the criticism of the performances, I could be much harsher with the older generation — the parents, ML’s mother, etc. I actually think the younger actors performed much better than the older ones :))

And besides, as I often say, I’m not particularly fond of giving ratings. It feels somewhat academic, even reductive — a little too arbitrary for something as fluid and personal as art. Art, to me, resists being confined to numbers.

And yet, if I’m being fair, a rating can also reflect a feeling — not just technique. A work may be imperfect on a technical level, may lack a certain precision or refinement, and still leave behind something : a mood, an impression, a quiet resonance that lingers.

Of course, any judgment like this is often shaped in relation to similar works . And if we were to approach things from a more strictly technical perspective, there would always be countless details to discuss, refine, even critique. And then, there are those rare works — the truly remarkable ones — where everything seems to come together: craft, intention, and emotion, all aligned in a singular, almost self-evident vision.

Thank you for your response. Is this version of Frankenstein very scary, or is it more on the mild side?

Thanknyou for your reply !

I give a 10 to Yi Ran because he’s the one carrying the drama. I also want to say that he is convincing, performs with great restraint, and manages to stay in character all the way through.
Giving a 10 in art is always debatable and somewhat arbitrary, since it’s also about personal feelings and sensations—and above all, it’s not an exact science. However, what I do know is that he clearly deserves support through this rating, both for his potential and for his dedication.
As for the others, many of the cast members are quite young. There are some who are good and others less so. The older-generation couple also acted well. That’s my point of view. ))

I agree with you... ' it diminishes his other charms'

Exactly, let's not get discouraged!

That’s true, but I would say it’s a bit like Faust — behind fame there is always a kind of bargain with the devil. 😉

But I remain positive. Our time also has many advantages, especially access to information — which means access to education if we have the desire to learn!!
If we change our perspective, we can see that today we have access to knowledge and culture from different countries. We can enrich our minds much more easily if we want to, whereas in the past this was mostly possible only for the elite or for kings.
So the important thing is to learn how to use these tools wisely.
Perhaps the future for our children will be very difficult, in a context where humans might be completely replaced. I hope we never reach that point.
And we should keep what is very characteristic of human beings: the ability to dream, to be curious, and to be imaginative and love :))

What you are writing about, I know perfectly well. It is exactly as you describe — it is something I have experienced myself. What is interesting is that it is the same problem everywhere, although I do not know which country you are in. That suggests it is a global phenomenon.

Regarding art, I always say that it is similar to craftsmanship. It requires time to create and a lot of daily effort. But as I already said, if people no longer want to devote time to it — or simply cannot — then no miracle will happen and nothing meaningful will come out of it. In the past, everyone knew this, and only a few people practiced art while accepting this “contract.” Today it has become democratized (which is positive in principle), but it is completely unrealistic to say that everyone can succeed by practicing five minutes a day — at best.

The same applies to misleading YouTube videos that present everything as spontaneous, amateur, and improvised. In reality, there is almost always a real production process behind each video supposedly made “in someone’s bedroom.” Yet many people believe that results can be achieved so easily. Of course, it does not work that way, and it often leads to discouragement — even depression for some.

If we return to the entertainment industry, whether in classical music or elsewhere, it is also a very exhausting system. Take the example of C-drama productions: more and more young actors are caught in beauty standards that often involve cosmetic surgery, strict weight expectations, and other toxic psychological pressures. All of this is done to deliver a spectacle — usually a series of about thirty episodes, often filmed twice a year at minimum for an actor. On top of that comes everything else: marketing, communication, and many other demands.

Emotionally, if actors truly invest themselves in their roles, there is also a heavy emotional cost — sometimes even sentimental. Imagine having to play romantic relationships almost every year with different partners. It is enormous pressure. When I criticize their work from behind my screen, I sometimes feel sorry for them. At the same time, I tell myself that if criticism is constructive, it might help them slow down.

Actors ultimately have quite short careers, and this is becoming even more true today — especially for actresses. The same is also true in music: the number of concerts, tours, the pressure, and the financial stakes. It is very different from what existed at the beginning of the 20th century.

However, the demand for entertainment also comes from the public. We live in an era where, in theory, we have more leisure time. The hard labor of our ancestors has largely been delegated to machines and robots. So we mainly watch, consume, and buy. But this creates a vicious circle: we think we have more time, yet we fill it with so many useless things and unnecessary information that, in the end, we sometimes have less real time than our ancestors — who lived shorter lives and had harder work overall.

Exactly — I could not have said it better myself. However, I wanted to emphasize that this issue does not concern only this particular drama, or Chinese dramas in general. It is a global phenomenon that exists across cultures and nations. In many ways, it reflects the spirit of our time.

As an artist, I can also say that it is simply impossible to produce truly meaningful and high-quality work every week. Creating something of real value requires time. Yet we, as viewers, have gradually developed the habit — a rather unfortunate one — of constant consumption. And this often happens at the expense of quality.

In the end, very little remains with us. If I have watched two hundred series, only a handful truly stay in my memory.

This constant search for immediate experience — this simulation of emotion — sometimes feels almost like a kind of addiction. I can feel it myself. The more quantity there is, the less sensitive we become, and the more stimulation we need. More violence, more blood, more romance — always more of everything — simply to feel something again.

You touched a sensitive chord. I also believe that it is sometimes our role, as artists, to take a militant stance in relation to our time.

As you rightly observed, we no longer have the time to take our time. Everything has become ephemeral, swept along by a constant flow that appears and disappears almost instantly. The possibilities multiply endlessly, and paradoxically this abundance makes choice even more difficult. On the one hand, one would need to be a truly discerning connoisseur to sort through this immense stream of works—some remarkable, others more questionable—which requires both time and a real openness of mind. On the other hand, many people end up relying on algorithms or on the taste of a few influencers.

Both of the points you mentioned resonate deeply with me. We are constantly redefining our cultural references, and this becomes even easier to manipulate when knowledge and critical thinking weaken—whether through lack of information or through the fear of diverging from the opinion of the majority.

If there are no longer any militant voices, then sooner or later everyone becomes easier to manipulate. Why? Because it is precisely art and literature that shape critical thinking. They are also what allow science to progress and the world to evolve.

Marketing has always existed. Leonardo da Vinci himself sold his paintings. But what distinguished artists was their ability to preserve their creative freedom despite demand. During the Renaissance, there was even a distinction between painters who were considered “artists” and those regarded as mere “craftsmen.” True artists proposed what they themselves wanted to show to the world. In this way the public discovered, criticized, learned, integrated, and analyzed—and the world moved forward.

Before the Impressionists, no one paid much attention to the morning mists of Parisian landscapes. Yet after their paintings, people’s perception changed. Suddenly everyone began to admire this atmosphere in nature—a beauty that had always existed but had not yet been recognized as such. People began to say, “Paris is beautiful with its grey tones.”

It is a small example, but it shows how deeply art can transform the way we see the world. And what if the Impressionists had continued painting like Rubens simply because that style had worked for so long?

It seems that Yi Ran has a project on hold called Wo Jiao Mo Dou Er. From what I understood, it might have a similar tone and tell the story of a group of marginalized street boys in the 1980s–1990s and their lives and struggles.

If I’m not mistaken, it could have a vibe a bit like Once Upon a Time in America, focusing on friendship, survival, and growing up on the margins of society.

Is that actually true? Does anyone have more information about this project?