kim_chipz

Sure.
I see this story in stages 😂
1 Secret crush-high school 3 years
2 Gap years-10 years
3 Catalyst-plagiarism case
4 Initial phase- playing along not revealing the truth, lawyer-client relationship to ?friendship
5 Re-discovery phase- which starts when they realize the other person is flawed and human, not just the "golden" version from their memories
6 Confession

The secret crush story is shown as flashbacks (and not in sequence 😅) while the other stages are going on.
At episode 12, when the plagiarism case ends, she notices a 'change' in his demeanor to a more caring and gentle one when she gets sick.
She even thinks if he is "possessed"
This continues and gradually they pass the initial phase by the end of episode 14 going into episode 15.
At episode 19 they are in the re-discovery stage- their interactions in episodes 17, 18, 19 are indicative of their relationship building based on their current impression of each other.
She still doesn't know that their crush was mutual. I guess the final stage of confession will happen when she finds that out.

All this along with the sml track, besties story, lawyer colleague, ml sister and her classmate, mom/dad conflict.

So how realistic will it be if he suddenly arrives back in China and reveals everything. Will she fall for him then? How can she even trust him? Besides, it is shown that ML is not very good with expressing his feelings and hence outwardly he is seen as cold and aloof. Why would she even accept him when she could see through his schemes? How long does it take for someone to "know" the other?

It is not about a single confession or an apology or an explanation that will sort out the issues between them. It has to go through a process and hence the time.

Of course its a slow-burn. But that's what this kind of storytelling is all about.

Mangotv but needs paid subscription

I agree with you. I have been watching a few episodes together for continuity.

You are right!
Generally speaking, SML arc = pushy SML+Dumb FL
However in this story I see that the FL is setting some boundaries and is formal and friendly with him. She is "bound" by gratitude due to him taking on a blame which literally saved her reputation as an author while risking his career. Also she is unaware of his one sided love as he never really did anything to make her feel so since school days (he is two classes younger than her)
It's about the ML and SML and the sort of competition that they show to "win" her and SML's apparent unawareness of the FL feelings for ML. He knows from school days that ML had a crush on FL. He also knows that FL had a crush on ML. I wonder why he didn't make a move during these 10 years when ML was not around? I am still enjoying it as everything is shown in a funny hilarious way with an equally funny bgm not the emotional kind of arc.

This drama clicked with me!
I love the slow pace and the way the leads are reconnecting. All the places they have filmed like the Su City, Hang City, Shen'ao town are visually stunning especially Shen'ao town which is historical.
I am watching ONLY this drama right now and I am not in a hurried phase of life so I am not skipping or ff any scene hence able to appreciate the series in its entirety
I have not read the novel and hence unaware of the "what should have happened " and hence going with an open mind

Whoever wants to start this drama please note
Its a slooooow burn
Requires patience and a calm mindset to appreciate all the details
There is a SML arc which could annoy some viewers
There are extra clips at the end of episodes (not all) which are missing pieces to the story. Don't miss them!
The story goes back to flashbacks every now and then which can disrupt the pace and momentum and cause confusion for some viewers


Overall for me it's enjoyable.

Full interview translation

Over the past few years, he has steadily and diligently sought breakthroughs. This air sign describes himself as "someone who actively walks into a hurricane." This hurricane isn't noisy, but rather a signal that his life is moving from accumulation to a breakthrough. Between his dual roles as an actor and singer, and between exploring new roles and renewing himself, he has entered a more expansive phase.
He says "Over the past decade, I have been more like the trade winds, steadily accumulating enough energy and pressure differentials with a clear goal. Now, I feel a strong 'push-back' feeling, wanting to break some boundaries and explore some new areas."
Without any exaggeration, he seemed to be calmly describing some kind of inner change that had already occurred. This force, which was pushing him forward and was willing to move forward, came from Wei Zheming's deeper thirst for knowledge and exploration. He knew he was ready, so he was willing to let the wind carry him to new places, even if "this wind might be a bit challenging, and might even bring temporary discomfort."
"Riding the wind" is the ability he most hopes to learn in the future- to have the wind at his back, to recognize the wind, to hold the rudder firmly and not deviate from the track, and to see further.
When "The Splendid Youth" came to an end, Wei Zheming wrote a long letter to the character, a profound and warm farewell. In the letter, he described Liu Chang as "a character with a sense of pain and a tragic undertone," "wandering in the palm of fate," and a character he needed to peel back the surface of to truly understand in his performance. "No one has ever truly loved you unconditionally, or cared about your joys and sorrows..." he wrote, with a sense of reluctance and the emotional pull of an actor unable to completely detach himself from the role.
#Speaking about the role again, Wei Zheming said, "This flawed and contradictory character is very enjoyable and gives me creative passion." The tearing, shame, stubbornness and struggle in Liu Chang's character forced him to put aside his familiar methods and enter the character's inner world with a more open and sensitive attitude.
#In the long letter, he wrote: "That line, 'But I am no longer the Liu Chang of the past, foreshadows the dragon-slaying youth becoming the dragon himself, a declaration of tearing apart the past, and a prophecy of falling into the abyss..."
#Originally a summary of the character's fate, it also subtly confirmed his own transformation. When a role forces him to delve into deeper levels of emotion and humanity, he is no longer the Wei Zheming of the past. It was a breakthrough in his acting, and also a new direction that his heart was drawn to.
When faced with a script, Wei Zheming always starts by asking himself "whether he can get into the role".
##He's not in a rush to choose a genre, nor does he care about external labels; instead, he first needs to confirm whether the story can truly resonate with him. If he's not emotionally moved, he finds it hard to believe he can convince the audience. The same applies to characters; if the character's emotional logic doesn't hold up, he can't empathize with them, let alone find a way to connect with them.
##He calls this "path to entering the character's heart" the emotional fulcrum. It is an actor's most reliable foothold when getting close to a character, and also the first threshold for him to choose roles.
##At the same time, he also considers whether a role can open up a new dimension beyond his existing works.
When Wei Zheming talks about his three upcoming works, the words he uses almost all revolve around "breakthrough," "new perspective," and "variable." He says that even if the story types are similar, as long as the character can become the "variable that breaks the mold and brings surprises" in an ensemble cast, he is willing to get involved. Because that means an opportunity to break the audience's and even the industry's inherent expectations of him.
##In "You Are a Belated Joy," Xu Huaisong is a character whose emotions are tightly controlled. Rational, restrained, and clear-headed, many of his emotions are suppressed within subtle fluctuations. To achieve this, Wei Zheming focused on "eye contact" and "micro-expressions," allowing the character's emotions to be conveyed in minute details. He said that Xu Huaisong's "do more, say less" approach is somewhat similar to his own, thus making the rhythm of entering the role more natural.
##In "Fly to My Heart," the character's logic is completely different. Fu Mingyu initially possesses a sharp edge, but gradually softens later on. Wei Zheming highly values the reasons behind this change. In his view, "from arrogance and prejudice to deep affection" is not a sudden reversal of emotions, but rather the inevitable result of the accumulation of many small shifts. Therefore, he focuses not on the contrast in the character, but on the points at which the change occurs.
##In the historical drama "Mu Xu Ci," he faced a completely different kind of character. Yan Ke is elegant yet dangerous, with emotions deeply hidden; his "madness" often stems from his "calmness" itself. He aimed to control this sense of oppression on extremely subtle levels, allowing the audience to perceive the character's undercurrents not through grand gestures, but through subtle fluctuations in tone of voice, eyes, and facial expressions. Abandoning exaggeration was his primary focus; allowing the character's emotions to lie dormant beneath the surface is Yan Ke's true essence.
For Wei Zheming, music is a dream that sprouted long before acting. The subtleties and ambiguities that an actor's identity cannot fully contain can be expressed more directly through music.
##"Performing is about 'becoming someone else,' while music is about returning to oneself," Wei Zheming said. These are two completely different ways of getting closer.
##He described both as "two sides of the same coin in artistic expression." Whether acting with his body or singing with his voice, one thing he always cared about was whether he could truly touch the hearts of the viewers or listeners. Whether he could create an emotional resonance within the story, in a breath, or in a lyric.
##This is what he cares about most, and it is also his most basic belief in creation.
##He enjoys hiding within his roles. He shatters, lets go, and disappears, allowing all emotions-joy, anger, sorrow, and happiness-to belong to "him." It's an ultimate experience of self-forgetfulness.
In music, he must be open. When he sings a lyric or performs a movement on stage, those genuine emotions-sudden sadness, indescribable joy, or a memory buried deep in his heart-cannot be concealed and can emerge without reservation in a single note or breath.
The stage performance of "Breaking Through Thorns- Call me by fire- Season 3" rekindled his honesty about music.
When he is an actor, he is in a familiar film crew: familiar partners, familiar environment, and every scene could be adjusted repeatedly. By the time the audience saw it, it was already the result of "slow and meticulous work".
But the stage is different. Once lit, there is no turning back.
The moment he stepped onto the stage, he said he could clearly feel his heart racing. Every step, every breath, echoed the reactions from the audience; there was no turning back, no second chance. After the performance, the excitement and tension didn't dissipate immediately; instead, they lingered like residual heat, making it difficult for him to calm down for a long time.
It was this direct, authentic, and unpredictable energy that solidified the importance of music to him, and this power was first embodied in his EP "Whisper" released in the middle of this year. When he received his complete work, the emotion and gratitude he felt were genuine and profound. During the National Day music festival, he took to the stage for the first time, performing seven songs, three of which were dance tracks. The enthusiasm of the audience in close proximity filled him with confidence to continue pursuing his musical journey.
Although Wei Zheming admits that acting is still his primary focus right now, the satisfaction and novelty that music provides are another irreplaceable force. He is already preparing his second album, hoping to incorporate more musical elements he has never tried before, allowing his voice to continue to explore more possibilities.
The upcoming Year of the Horse is Wei Zheming's birth year.
He said he hopes to have "more courage to break with convention and challenge the unknown" this year. He doesn't want to set his goals too high or too far ahead; he prefers to focus on the present, do his current work thoroughly, and then decide how many steps he can take based on his available time and energy.
Wei Zheming already had some areas he wanted to explore, such as realistic and suspenseful films, and roles with higher emotional intensity and more complex psychological arcs. Musically, he also wanted to give his voice more freedom, experimenting with upbeat rhythms or different types of lyrical songs.
When asked what kind of person he hoped others would see him in three to five years, he left with this statement:
"I hope everyone can see Wei Zheming doing everything with his heart, being true to himself, and living up to the audience's expectations."
That was a steady force, and it was also the public's consistent impression of Wei Zheming.
He didn't seem in a hurry to answer how the wind changed direction or which way it blew. He listened to the wind's whisper, but was more concerned with each step he took-as long as he remained steadfast, he could continue moving forward.

I need a copy too 🤓
Seen the cover picture, want to know what's in there 🤓

Miles 💖

Wow Excelente musculo 💪💪
Miles you is the best. Actor dancer singer host . Fun and adorable warm charming 💜🔥💘🌱💫💓🍓🤗🍒🌹✨💯🥰