1) Were senior and Zit in a relationship? (or they just simply met during the hospital?)2) Whom did the senior…
Initially I also thought that Zit and Senior were dating based on the fact that there's even things that Chien Yu didn't know about his best friend.
But later, I'm more leaning towards the thought that Zit and Senior's relationship was that of camaraderie, as in both of them have things in common. Both of them gay and also have unrequited feelings for other people. So I could imagine Zit and Senior chatting over coffee about their crushes.
As for the second part, Senior admits that he joined the club because of Chien Yu's brother, strongly suggesting of his affections for the brother, but most likely he found out that the brother is dating the teacher, that's why he was not surprised when they both showed up at the movie theater together.
Most likely the Senior abandoned his crush on the brother because of this and later got closer to Chien Yu when he asked for help in sign language. The Senior showing up wherever Chien Yu appears do indicate that he does like Chien Yu romantically. (Also Zit's jealousy upon their close proximity indicates that there could be something going on between the two).
Though the Senior didn't explicitly refer to Chien Yu when he admitted that his reason for being in the sign language club changed, we can directly infer this based on his actions. Especially when he switched to sign language during this particular conversation, as if he wants to say something but afraid to communicate it out loud.
I think the kiss that Chien Yu planted on the Senior after that silent dialogue, is to let the Senior know that he understood what he was trying to say.
Do you know where to watch this other than on gagaoolala ?
It is sad though because Chien Yu didn't care about the rumors, because he still hang out with his bestie, and I believe that even if Chih Pang confessed his feelings, Chien Yu wouldn't abandon Zit. We already saw in a flashback where they were in the beach and Zit kissed Chien Yu and he didn't say anything. I also believe that Chein Yu could have returned Zit's feelings; and even if not, there was no reason for Zit to assume that he is a burden to Chien Yu when all Yu's actions suggest otherwise.
I'm not too crazy about the ending though despite the high rating, if I did not see the last 10 minutes, I probably would have rated this higher. My review for this would almost be similar to what I wrote for Vigilante.
I went into this drama with zero expectations. The MDL summary read like a shrug, and the mid-tier rating didn’t…
This drama isn’t pretending to be a sweeping epic or a masterpiece of any kind, and that’s exactly why it works. It’s entertaining, light, and surprisingly heartfelt. Fei Yang’s character — the so-called “useless” happy-go-lucky nobody — is the kind of underdog you can’t help rooting for. Everyone writes him off, but he’s got tricks, heart, and a moral compass that quietly humbles the arrogant around him. He’s also accidentally engaged to three women because his brothers die in the first ten minutes (yes, really). The romance angle is more “are we, aren’t we engaged” than swoonfest, but it works.
Pan Lu Yu’s performance deserves its own applause — not because it’s award-worthy, but because it’s just plain fun. His facial expressions alone deserve a highlight reel. He embodies Fei Yang with such gusto that I found myself grinning through entire scenes. The fight choreography was surprisingly solid, but what really hit was the emotional payoff.
Fei Yang doesn’t flaunt his strength for the sake of it. He’s not stingy, not performative. If someone genuinely needs something more than he does, and he sees that they’re worthy, he gives it without asking for credit. Not because it’s easy, but because it’s right. His strength isn’t just in what he can do, but in what he’s willing to share. That generosity, that quiet justice, is what makes him compelling. He doesn’t hoard power — he redistributes it with emotional logic.
Between the scrappy fight scenes, the moments of unexpected sincerity, and the theme that kindness doesn’t mean weakness, Be Yourself turned out to be an absolute blast. I can’t wait for the next installment — this goofy gem deserves a sequel.
I went into this drama with zero expectations. The MDL summary read like a shrug, and the mid-tier rating didn’t exactly scream “hidden gem.” But curiosity (and a slow afternoon) got the better of me — and next thing I knew, I was five episodes deep, skipping lunch, and fully hooked.
One of my favorite actors, Wang Xing Yue— paired with a sharp, calculating female lead out for revenge? I was…
Visually, this drama was a feast. The fight scenes were crisp, the costumes regal, and the attention to detail was stunning. I practically swooned at the elegance of it all — until the infamous Qin competition scene between Jiang Li and Ruo Yao happened — and suddenly we’re summoning divine birds, celestial fields, and heaven’s gates mid-performance. What was that? A spiritual concert? A god-tier jam session? I nearly choked on my admiration and checked to see if I was still watching the same drama. And while the cinematography was often breathtaking; occasionally it felt like someone taped a GoPro to a spinning top—especially those endless circular shots that made me think I had vertigo.
Then the second half hit, and things started to fray. Not because Princess Wanning stopped being formidable — she was still the untouchable mastermind we were promised — but because she went from strategic to straight-up unhinged. Every move was precise, yet dripping with vindictive rage. I gave it grace — “let’s see where this goes” — but the narrative started ghosting its own side characters. Jiang Li’s loyal crew from the first half? Vanished like they’d never existed, only to make their reappearance in the final episodes, like suddenly the crew remembered they had been waiting in the sidelines for the obligatory reunion. And Tong’er’s death? Painful but narratively sound. But instead of metabolizing that loss, the show turned resurrection into a pastime, like the drama had a character quota to maintain. Kill one, revive another—what is this, drama whack-a-mole?
And don’t get me started on Shen Yu Rong. The same person who spent 30 episodes in strategic paralysis suddenly grows a spine in the final act? If he could kill Wanning all along, why wait until the final episode? Strategic genius, my foot. Some of the the villains’ endings were also disappointingly flat — like Ji Shuran just gets to... live? What if she Pretends madness forever? Sure, that’s justice. And the final battle? The math wasn’t mathing. Two of the most skilled fighters die while Duke Xu magically survives surrounded by enemies? Be for real. I would’ve preferred a vague, bittersweet ending instead of this chaotic mess.
Still, if I mentally snip off the last fifteen minutes, The Double remains a wildly entertaining, emotionally charged drama — stunningly crafted, beautifully acted, and almost perfect... until it tripped over its own brilliance right before the finish line.
One of my favorite actors, Wang Xing Yue— paired with a sharp, calculating female lead out for revenge? I was sold before the first episode even ended. This drama had everything I wanted on paper: intricate politics, smart writing, and a heroine who actually uses her brain instead of crying into the void. Halfway through, I was ready to throw this straight into my top 10 list with a perfect score. The plotting was tight, the characters layered, and the female lead’s cleverness was borderline addictive. Sure, I had to suspend disbelief that no one realized she wasn’t Jiang Li (apparently, face recognition didn’t exist in ancient times), but fine — I was willing to roll with it.
Did you finish watching it? She is young, spoiled but as she got older her character developed more mature
Yeah I've put it on hold for now. I don't like forcing myself to watch something that could be not to my taste rather than watch, get pissed, and rate it low because of my disillusionment.
maybe because of shifting tastes?? according to this:https://www.koreaboo.com/stories/k-dramas-c-dramas-korean-chinese-best-worst-2025/
Haven't watched Squid Game, not my cup of tea, so I can't comment. But I do agree with the most of the comments in that article though, that when it comes to historical dramas, I do prefer C-dramas. For modern dramas, I am fine with either.
I also found that it depends on the shifting tastes for me over the decades. When I was younger (pre- 2000), I was watching mostly Hong Kong dramas, then from around 2000 to 2010, I was watching mostly Taiwan and Japanese dramas, then from around 2010 to 2020 I was mostly watching Korean dramas , then from 2020 on wards I was mostly watching C-dramas. For me I am assigning my preference based on genre popularity, accessibility to these titles and on production quality as well. Let's say if in the next decade, Thai Lakorns become more accessible, popular or have better production quality than C-dramas, I may switch to Th-dramas.
Just started watching and I don't know why the guy just froze and sat there in the middle of the street instead of picking up the child and run when a bus was careening towards them, but the next minute he was able to move like superman and carry the guy out of the burning bus??????? 🤦🤦🤦
Of course subject to change once I watch more titles, (newer titles from 2024/2025 most likely not included because I am still catching up....I'm still on 2023 --- when it comes to Chinese standard dramas. I am behind 2 years hahaha)
This drama tried to sell me slow-burn romance and tender pining, and honestly, I was ready to buy. But the female…
Then she meets a guy who briefly helps her out and vanishes—only for fate to shove them back together. Sure, they had the same music taste when they first met, but the odds of her ending up in the same place? Drama logic strikes again. Turns out, Oto and Soramame both get scooped up by the same landlady like stray kittens, and suddenly they’re overnight successes.
Soramame lands a fashion gig with nothing but a few doodles, and Oto—who’d been middling at best—suddenly earns recognition because a girl with a nice voice sings his song while wearing Soramame’s designs. Sure, it sounds poetic, but let’s be real: the buzz was mostly because the original singer slated to pair with Oto was part of a famous duo. The talent was decent; the timing was pure drama math. What are the odds? No, seriously—what are the odds?
Then after huffing off in a storm—justifiably furious that her boss stole her ideas—Soramame turns to the mother she swore she hated, just because she needed someone to fund her fashion show. And suddenly, everything’s fine? No tirade, no reckoning, no emotional fallout. The abandonment, the nightmares, the resentment—all swept under the rug like a bad sketch. Then she goes to Paris Fashion Week thanks to her famous designer mom, only to come home a few years later because she got bored. Bored. Like her talent was a hobby she could pick up and drop at will. People would kill for her genius, and she treats it like a mood swing.
And don’t even get me started on the love triangle, which felt less like emotional complexity and more like narrative whiplash. At first, Seira is fake-dating Oto as part of a scam—a classic setup that could’ve gone somewhere juicy—but instead of developing any tension there, the drama veers off and suddenly she’s in love with Soramame. Blink and you’ll miss the pivot. I’m all for fluid feelings, but this felt like the writers changed ships mid-episode and hoped no one would notice. Oto, for his part, looked perpetually dazed, like even he couldn’t keep track of who was supposed to love whom. Unpopular opinion: I think Seira suited Oto far better—he and Soramame felt more like siblings forced into romance by the script.
By the end, I only finished it out of stubborn loyalty—and for Oto, who deserved a story not buried under contrivances. This drama wanted to be poetic and bittersweet, but it ended up feeling like a slow burn that forgot to ignite.
This drama tried to sell me slow-burn romance and tender pining, and honestly, I was ready to buy. But the female lead? She made me want a refund. I get that she’s a “country bumpkin,” but reckless doesn’t even begin to cover it. Heartbroken or not, spending all her money on one night in a luxury hotel and a grand feast isn’t romantic; it’s financial self-destruction. I could empathize with heartbreak, but not with poor life decisions disguised as spontaneity.
After two failed attempts, Zhao Yi Qin finally managed to hold my attention in Provoke. Third time’s the charm,…
And audacious it is. Hidden identities? Check. But not just one—both leads are masquerading as someone else. He’s pretending to be the son, she’s pretending to be the mistress of the same man. I mean, either that guy was incredibly gullible, or they were counting on everyone around them being too confused to ask questions. Suspension of disbelief? Hanging by a thread.
Then there are the moments that border on parody. One man fending off a dozen attackers because his sidekick took too long to fetch help—apparently from men who won’t throw a punch unless they’re in fedoras and three-piece suits. The dry-cleaning bill alone could fund a sequel. And let’s not forget Susu (now Jingyi) pulling off a full-on Houdini act—escaping from a sack buried underground when she was a mere child. I’ve seen zombies come back with less determination.
Even the hospital hideout scenes had me raising an eyebrow. Secret doors in operating rooms? Sure, the patients won’t notice—they’re probably too busy being unconscious. Amid all the clever ploys, it’s hard not to think our leads survived mostly through dumb luck. Their tension was delicious, but I half-expected a “brother” slip-up to kill the mood, which might explain the suspicious lack of smooches.
The grand finale, though? Less a bang, more a whimper. I wanted Susu to rise and reclaim everything, not ride off on a train like she missed her stop. Still, I’ll give this drama credit where it’s due: beneath the melodrama, the redemption arcs of Wan Yi and Bao Qi were surprisingly thoughtful. Messy, absurd, but oddly satisfying—kind of like the drama itself.
After two failed attempts, Zhao Yi Qin finally managed to hold my attention in Provoke. Third time’s the charm, I guess. Something about his performance here—measured, sharp, and simmering—finally worked. Maybe it’s the noir-esque tone, maybe it’s the chemistry, or maybe I was just too entertained by the sheer audacity of this plot to look away.
I knew she was going to land main role in the future but not this young. Remembered her from Who Rules the World and The Blood of Youth when she was probably around 13.
She captivated the screen even with her presence even when she was only support or guest roles like in Maiden Holmes or Novoland Pearl Eclipse, and she was younger than.
2 
But later, I'm more leaning towards the thought that Zit and Senior's relationship was that of camaraderie, as in both of them have things in common. Both of them gay and also have unrequited feelings for other people. So I could imagine Zit and Senior chatting over coffee about their crushes.
As for the second part, Senior admits that he joined the club because of Chien Yu's brother, strongly suggesting of his affections for the brother, but most likely he found out that the brother is dating the teacher, that's why he was not surprised when they both showed up at the movie theater together.
Most likely the Senior abandoned his crush on the brother because of this and later got closer to Chien Yu when he asked for help in sign language. The Senior showing up wherever Chien Yu appears do indicate that he does like Chien Yu romantically. (Also Zit's jealousy upon their close proximity indicates that there could be something going on between the two).
Though the Senior didn't explicitly refer to Chien Yu when he admitted that his reason for being in the sign language club changed, we can directly infer this based on his actions. Especially when he switched to sign language during this particular conversation, as if he wants to say something but afraid to communicate it out loud.
I think the kiss that Chien Yu planted on the Senior after that silent dialogue, is to let the Senior know that he understood what he was trying to say.
Pan Lu Yu’s performance deserves its own applause — not because it’s award-worthy, but because it’s just plain fun. His facial expressions alone deserve a highlight reel. He embodies Fei Yang with such gusto that I found myself grinning through entire scenes. The fight choreography was surprisingly solid, but what really hit was the emotional payoff.
Fei Yang doesn’t flaunt his strength for the sake of it. He’s not stingy, not performative. If someone genuinely needs something more than he does, and he sees that they’re worthy, he gives it without asking for credit. Not because it’s easy, but because it’s right. His strength isn’t just in what he can do, but in what he’s willing to share. That generosity, that quiet justice, is what makes him compelling. He doesn’t hoard power — he redistributes it with emotional logic.
Between the scrappy fight scenes, the moments of unexpected sincerity, and the theme that kindness doesn’t mean weakness, Be Yourself turned out to be an absolute blast. I can’t wait for the next installment — this goofy gem deserves a sequel.
Full review in the spoiler below:
Then the second half hit, and things started to fray. Not because Princess Wanning stopped being formidable — she was still the untouchable mastermind we were promised — but because she went from strategic to straight-up unhinged. Every move was precise, yet dripping with vindictive rage. I gave it grace — “let’s see where this goes” — but the narrative started ghosting its own side characters. Jiang Li’s loyal crew from the first half? Vanished like they’d never existed, only to make their reappearance in the final episodes, like suddenly the crew remembered they had been waiting in the sidelines for the obligatory reunion. And Tong’er’s death? Painful but narratively sound. But instead of metabolizing that loss, the show turned resurrection into a pastime, like the drama had a character quota to maintain. Kill one, revive another—what is this, drama whack-a-mole?
And don’t get me started on Shen Yu Rong. The same person who spent 30 episodes in strategic paralysis suddenly grows a spine in the final act? If he could kill Wanning all along, why wait until the final episode? Strategic genius, my foot. Some of the the villains’ endings were also disappointingly flat — like Ji Shuran just gets to... live? What if she Pretends madness forever? Sure, that’s justice. And the final battle? The math wasn’t mathing. Two of the most skilled fighters die while Duke Xu magically survives surrounded by enemies? Be for real. I would’ve preferred a vague, bittersweet ending instead of this chaotic mess.
Still, if I mentally snip off the last fifteen minutes, The Double remains a wildly entertaining, emotionally charged drama — stunningly crafted, beautifully acted, and almost perfect... until it tripped over its own brilliance right before the finish line.
Full review in the spoiler below:
I also found that it depends on the shifting tastes for me over the decades. When I was younger (pre- 2000), I was watching mostly Hong Kong dramas, then from around 2000 to 2010, I was watching mostly Taiwan and Japanese dramas, then from around 2010 to 2020 I was mostly watching Korean dramas , then from 2020 on wards I was mostly watching C-dramas. For me I am assigning my preference based on genre popularity, accessibility to these titles and on production quality as well. Let's say if in the next decade, Thai Lakorns become more accessible, popular or have better production quality than C-dramas, I may switch to Th-dramas.
https://www.koreaboo.com/stories/k-dramas-c-dramas-korean-chinese-best-worst-2025/
For Modern Chinese, Hidden Love, Justice in the Dark, Falling into You. Complete list here: https://kisskh.at/list/1xrQmED3
Of course subject to change once I watch more titles, (newer titles from 2024/2025 most likely not included because I am still catching up....I'm still on 2023 --- when it comes to Chinese standard dramas. I am behind 2 years hahaha)
Soramame lands a fashion gig with nothing but a few doodles, and Oto—who’d been middling at best—suddenly earns recognition because a girl with a nice voice sings his song while wearing Soramame’s designs. Sure, it sounds poetic, but let’s be real: the buzz was mostly because the original singer slated to pair with Oto was part of a famous duo. The talent was decent; the timing was pure drama math. What are the odds? No, seriously—what are the odds?
Then after huffing off in a storm—justifiably furious that her boss stole her ideas—Soramame turns to the mother she swore she hated, just because she needed someone to fund her fashion show. And suddenly, everything’s fine? No tirade, no reckoning, no emotional fallout. The abandonment, the nightmares, the resentment—all swept under the rug like a bad sketch. Then she goes to Paris Fashion Week thanks to her famous designer mom, only to come home a few years later because she got bored. Bored. Like her talent was a hobby she could pick up and drop at will. People would kill for her genius, and she treats it like a mood swing.
And don’t even get me started on the love triangle, which felt less like emotional complexity and more like narrative whiplash. At first, Seira is fake-dating Oto as part of a scam—a classic setup that could’ve gone somewhere juicy—but instead of developing any tension there, the drama veers off and suddenly she’s in love with Soramame. Blink and you’ll miss the pivot. I’m all for fluid feelings, but this felt like the writers changed ships mid-episode and hoped no one would notice. Oto, for his part, looked perpetually dazed, like even he couldn’t keep track of who was supposed to love whom. Unpopular opinion: I think Seira suited Oto far better—he and Soramame felt more like siblings forced into romance by the script.
By the end, I only finished it out of stubborn loyalty—and for Oto, who deserved a story not buried under contrivances. This drama wanted to be poetic and bittersweet, but it ended up feeling like a slow burn that forgot to ignite.
Full Review in the spoiler below:
Then there are the moments that border on parody. One man fending off a dozen attackers because his sidekick took too long to fetch help—apparently from men who won’t throw a punch unless they’re in fedoras and three-piece suits. The dry-cleaning bill alone could fund a sequel. And let’s not forget Susu (now Jingyi) pulling off a full-on Houdini act—escaping from a sack buried underground when she was a mere child. I’ve seen zombies come back with less determination.
Even the hospital hideout scenes had me raising an eyebrow. Secret doors in operating rooms? Sure, the patients won’t notice—they’re probably too busy being unconscious. Amid all the clever ploys, it’s hard not to think our leads survived mostly through dumb luck. Their tension was delicious, but I half-expected a “brother” slip-up to kill the mood, which might explain the suspicious lack of smooches.
The grand finale, though? Less a bang, more a whimper. I wanted Susu to rise and reclaim everything, not ride off on a train like she missed her stop. Still, I’ll give this drama credit where it’s due: beneath the melodrama, the redemption arcs of Wan Yi and Bao Qi were surprisingly thoughtful. Messy, absurd, but oddly satisfying—kind of like the drama itself.
Full review in the spoiler below:
She captivated the screen even with her presence even when she was only support or guest roles like in Maiden Holmes or Novoland Pearl Eclipse, and she was younger than.
Congratulations and may your star keep rising!