roddib

Buzz overseas is not needed given the sheer size of the domestic audience.

In the western hemisphere, the standards and rules are equally mandatory: minority representation and inclusion.

Minority Representation Norms for Oscars and TV Awards:
Oscar Minority Representation & Inclusion Standards (Best Picture Eligibility)
A film must meet at least two of the four standards (A, B, C, D).
Standard A — On-Screen Representation, Themes & Narratives
- A1: At least one lead or major supporting actor from an underrepresented racial or ethnic group.
- A2: At least 30% of secondary roles from underrepresented groups (women, racial/ethnic minorities, LGBTQ+, people with disabilities).
- A3: Storyline centered on underrepresented groups.
Standard B — Creative Leadership & Project Team
- B1: At least two major creative roles from underrepresented groups, with at least one from an underrepresented racial/ethnic group.
- B2/B3: Diverse crew composition.
Standard C — Industry Access & Opportunities
- Paid internships, apprenticeships, or training for underrepresented groups.
Standard D — Audience Development
- Diverse representation in marketing, publicity, and distribution teams.
TV Awards Diversity Requirements
Emmys (United States)
- No mandatory diversity or minority-representation standards for eligibility.
BAFTA Television Awards (United Kingdom)
- Uses BFI Diversity Standards.

In the western hemisphere, the standards and rules are equally mandatory: minority representation and inclusion.

Minority Representation Norms for Oscars and TV Awards:
Oscar Minority Representation & Inclusion Standards (Best Picture Eligibility)
A film must meet at least two of the four standards (A, B, C, D).
Standard A — On-Screen Representation, Themes & Narratives
- A1: At least one lead or major supporting actor from an underrepresented racial or ethnic group.
- A2: At least 30% of secondary roles from underrepresented groups (women, racial/ethnic minorities, LGBTQ+, people with disabilities).
- A3: Storyline centered on underrepresented groups.
Standard B — Creative Leadership & Project Team
- B1: At least two major creative roles from underrepresented groups, with at least one from an underrepresented racial/ethnic group.
- B2/B3: Diverse crew composition.
Standard C — Industry Access & Opportunities
- Paid internships, apprenticeships, or training for underrepresented groups.
Standard D — Audience Development
- Diverse representation in marketing, publicity, and distribution teams.
TV Awards Diversity Requirements
Emmys (United States)
- No mandatory diversity or minority-representation standards for eligibility.
BAFTA Television Awards (United Kingdom)
- Uses BFI Diversity Standards.

All the magnificent dramas that follow the guidelines and are domestically appreciated each tend to have less than 1000 viewers in MDL. Is it a pity or a blessing? I guess more of a blessing. It's good that c-dramas don't seek to attract the international audience. Domestic success and viewership is enough. That is not likely to change; anything said here in MDL is inconsequential (just hot air, and mostly based on deep ignorance about Chinese culture & society, then and now). There's nothing new here in the sense that the basic standards and values, and encouragement for experimention and artistic ambition have already been set in the current guidelines for review (effective January 1 2026). Saying that the industry needs to be less competitive in relying in star power and face cards makes no difference in terms of review (what people like to call censorship). The domestic audience understands that there is a pretty clear difference between idol dramas and those that seek depth. Highly ambitious dramas tend to engage veteran actors such as Qin Hao, Hu Yun, Yu He Wei, Zhang Yi, Cheng Tai Shen, as "trademarks". If someone wonders what on earth am I talking about, dramas that are deeply gripping and soul cleansing and portray ordinary greatness and/or sad sack stories, visit my page. (But only if actually, truly interested).

I was asking for you to block me, not for others to block you. I find it disturbing, always, when I see someone attacking any critical comment on the drama and you're even asking whether they dare to rate´after dropping. Respecting others' opinions requires that you leave comments you disagree with alone, and write your own interpretation comment in your own line.

I mostly only watch psychological noir dramas but my realism is different from your realism, should be obvious.

Thanks to fellow MDLers who reported these users. My blocking quota is full. Pls, if you recognise yourself from these comments, block me. I fought hard to get that little text up there (please be kind and civil).

This page has the most shocking insults against other MDL users I've ever seen ("low IQ" "insane" "obese", "offended by reality", "hysterical"....)

I love how stressless this is.
Random comment: would have been great to see real Teresa Li playing Teresa Li.

this is like Beloved, a noir drama where we get really close to the characters and their emotions; no action scenes.

Ep 15 was very touching, almost cried. This drama is very good. I guess we don't find out about the corpse until the last episodes. (Also anticipating for the intensity to keep growing)

pls people, report this - my blocking quota is full

I don't understand why Bai Shu still lives with her as an adult, and why she lets her take care of her adopted daughter. I guess we'll find out.

3, Netflix

Dramas always start with low ratings bc the number of ratings affect the rating. Most people only rate after finishing the drama. (But yeah, let's just spew insults, so much fun ain't it).

Let's report (my blocking quota is full)

Pleasant surprise, a well written dark thriller. Mystery solving cold case drama. I watched the first 4 episodes in one sitting. FL is mature and intelligent (in case you can't stand babyface or babyvoice FLs like me). I guess there will be a lot of flashbacks to school days though (something I have a hard time with).

people on mdl with a superiority complex

Very true. Criminals in c-noir dramas are almost always morally grey and wholly human people who we feel strong empathy for. I love that. Can't stand black psycho villains or dramas with no one to root for.
I made a list https://kisskh.at/list/Lp6QvXR4

Maybe, but it's not something I would care to watch.

I normally never watch makjang but I thought (based on ep 1) that this was going to be a noir thriller. Ep 1 was quite good.
Now after ep 2 I realize that this has women tearing each others' hairs and it's something I absolutely can't stand in dramas. Also the chaebol family infighting is the same old, same old.
Not sure whether I'll stick around. But so far this is entertaining and the mysteries (possible murders) presented are intriguing. But as others have noted, all of the characters here seem to be absolutely awful people. Having to watch unpleasant people tends to kill my interest. 1-2 is okay but a bunch of them is too much.

The reflection of Xie Cheng in the horse's eye during the saving of Ning! The attention to detail is awesome. Cinematographers truly have been given free hands to use their artistic talents! I've never been going back and forth to rewatch scenes before this drama!