I'm episode 19. I don't know why I don't like it? Why does everyone like it?
You realized until ep 19 that you don't like it? I usually can gauge within the first 2 or 3 episodes whether I willl continue or not. I will tolerate maximum 25% of the show to call it quits but with like 90% watched, might as well finish.
I'm struggling to like it and contemplating of dropping it. Not sure yet.
I’ll admit it — I was hesitant to “listen” to An Ancient Love Song. After being burned by a few overhyped…
The balance between past and future was masterfully done — complex enough to be engaging without spiraling into a convoluted mess. Each timeline carried its own ache, its own emotional weight. Shen Bu Yan and Lu Yuan’s love story was quietly devastating, echoing across lifetimes without losing clarity. Even though the ending was shown at the start, the journey still managed to surprise me — not with twists, but with sincerity. It’s the kind of emotional payoff that sneaks up on you, then lingers.
What truly sets this drama apart is its precision. No filler. No fluff. Every scene matters. The lore, the pacing, the cinematography,, the acting — all chef’s kiss. Even the secondary couple’s arc left a bruise. It’s proof that perspective, not budget, makes a story resonate. It’s a rare short-form drama that punches far above its runtime, delivering more emotional payoff than some 40-episode epics. I almost overlooked it out of cynicism—and that would’ve been a mistake.
If I had one tiny caveat, it’s the ending. Personally, I’d have stopped at the museum reunion. The final scene with middle-aged Shen Bu Yan meeting child Lu Yuan, while poetically intended, lands in slightly murky territory. It’s not a dealbreaker—just an eyebrow-raiser.
Final Verdict: This is how dramas should be done — concise, heartfelt, and crafted with care. A rare gem that proves emotional resonance doesn’t need runtime bloat or flashy tricks. Just intention. And this one had it in spades.
I’ll admit it — I was hesitant to “listen” to An Ancient Love Song. After being burned by a few overhyped short-length C-dramas, my guard was up. Add the umpteenth time-travel premise on top of that, and I was fully prepared to half-watch this one on 2x speed while folding laundry. But lo and behold, this drama had the audacity to earn my full attention. The concept may sound familiar, but the execution? Surprisingly convincing — a rare case where time travel doesn’t feel like a gimmick, but a bridge between two fully realized worlds.
I picked this one up because I’ve been trying to bulk up my historical K-drama watchlist — hoping to stumble…
The first half had promise - the world felt alive, the ensemble cast had depth, and even the villains were written with nuance. It wasn’t revolutionary, but it worked. Then somewhere around the midpoint, it’s like the writers clocked out and handed the script to interns. The story slowed to a crawl, buried under endless flashbacks and déjà vu dialogue. Every time I thought, “Finally, some progress,” we’d cut back to yet another memory montage.
And don’t even get me started on Cheon Ki. I wanted to root for her, I really did. But watching her charge headfirst into every situation like common sense was an optional skill was exhausting. Every time someone told her to stay put, she did the exact opposite — and not in a brave or clever way, just catastrophically dumb. When even your friends say “we almost died because of you,” maybe take the hint. Watching her blow up everyone’s sacrifices was like watching someone trip the alarm in a heist movie — over and over again.
Meanwhile, secrets in this show had the shelf life of a tweet. Apparently, in this universe, “don’t tell anyone” translates to “please broadcast this immediately.” By the finale, every secret had been spilled, and I couldn’t tell if it was poor writing or just comedic timing.
By the end, even the gods seemed to have given up. Samshin and Hyo Ryeong waited until the last possible minute to lift a finger against Ma Wang, letting everyone suffer just for dramatic effect. Still, I’ll give credit where it’s due — the cinematography was gorgeous, the art sequences beautifully rendered, and the royal portrait subplot was genuinely mesmerizing. Prince Lee Yul deserves a special mention — a second lead with grace, depth, and enough emotional maturity to step back without turning into a sulky shadow. We love a man with dignity.
Final Verdict: This drama is not a total flop, but definitely more Lovers of the Red Flags than Lovers of the Red Sky.
I picked this one up because I’ve been trying to bulk up my historical K-drama watchlist — hoping to stumble upon another gem to add to the favorites pile. On paper, Lovers of the Red Sky had everything: fantasy elements, palace politics, and Ahn Hyo Seop looking devastatingly good as Ha Ram – the astrologer with red eyes needing some Visine drops. And for a while, that was enough to keep me watching.
Why is the rating low? A work of art like this deserves a 9.1.
Because Line TV doesn't have as many rabid fans like that other, more. Popular network to rate the show 10s across the board even though the show doesn't justify the scoring. They can have a mediocre show with a popular ship, and still have a high rating above 8.5 as long as they are from that network.
Also having NC scenes help in securing high ratings, because for a lot of people a moving story with great acting isn't enough anymore.
And what could also happen is that fans of that other network down rate titles not from their network to lift theirs up to the top of lists.
Without taking away the screentime of the 1st couple in the last episode, they could have removed that scene from the restaurant with GT's father, and certainly they spent TOO much time on SWL knocking on GT's door and even having those Cop Extras trying to tranquilize SWL.....These scenes could have been better utilized as passing commentary and just the time spent on those unnecessary scenes into more scenes after the time jump between GT and SWL. What they did instead was the opposite and made commentary about the end without closure.
If you don't intend to make GT and SWL a major secondary couple, then do not put them in main roles, do not build up their story since the beginning as if they were a major part of the drama, and just treat them as secondary characters like other dramas with secondary plot lines. At least, we would have lowered our expectations.
I love slow burn romance. Give me longing glances, emotional repression, even years of unresolved tension if it…
Well I did say it was slow 🤔 And yes I admit they are cute together. But I can't run on sugar alone. On the bright side, at least it's not on EP 25 or 26. ,😅
This is my first drama featuring Hou Ming Hao, and honestly, I get the hype now. He’s one of the top three most…
The first half of the drama had all the ingredients I love: rich world-building, quirky side plots, and Bai Xiao Sheng’s matchmaking antics that added humor and charm. Even the villain—who I absolutely loathed—was layered and interesting. It felt like a fantasy with personality, not just pretty visuals. The tone was light but not shallow, humorous but still emotionally grounded. For a while, it looked like this drama was going to be one of those rare fantasy romances that actually balances charm, character, and chaos.
Then came the second half, and it felt like someone drained the story’s lifeblood. The multi-dimensional characters flattened into plot devices, existing merely to move scenes forward instead of evolving. Only Yan Hui’s growth felt genuine—she gained nuance while everyone else lost theirs. The tone shifted from captivating to mechanical, like hot tea left to go cold. The second half also suffered from an overload of micro love plots involving tertiary characters I couldn’t bring myself to care about. Random couples were introduced, given a few scenes, and then either killed off or married off like narrative afterthoughts.
And don’t even get me started on the ending. The reunion felt like an obligatory ribbon slapped on an almost-finished gift—technically complete but emotionally hollow. Back from the Brink had all the makings of a great fantasy romance: stellar leads, beautiful visuals, and a promising start. But it never quite delivered the emotional payoff it built up to. If it had maintained the energy and tight storytelling of its first half—or trimmed the filler—it might’ve cracked my top 10. Without emotional payoff, all the pretty dragon scales in the world can’t save it. As it stands, this one hovers just below my favorite list—a beautiful near-miss that lost its fire halfway through.
This is my first drama featuring Hou Ming Hao, and honestly, I get the hype now. He’s one of the top three most beloved actors on MDL for a reason. His chemistry with Zhou Ye was disarmingly sweet—natural enough that it didn’t feel forced or sugary. In the first half, his portrayal of the cold, aloof dragon had real magnetism; he radiated that untouchable energy that pulls you in. But once the script flipped into lovestruck mode, the magic dimmed a little. Still, I’ll give him this—he rocked that white wig like Legolas' long-lost cousin from the Elven realm.
This is one of those dramas that quietly nudges the boundaries of mainstream Japanese television. Asia is still…
That said, Shison Jun’s performance as Ogawa Mikio genuinely surprised me. He completely disappeared into the role—I didn’t even recognize him, despite having seen him in Fermat’s Cuisine and Glass Heart with Machida Keita. His portrayal was sincere and convincing, and while the drama doesn’t push hard on emotional depth, it doesn’t trivialize it either. I don’t hold Japanese dramas to Western standards when it comes to LGBTQ+ storytelling, so I gave this a passable score — not because it’s flawless, but because at least it’s trying.
The drama does acknowledge that bias runs deep in traditional societies, and ironically, just as much in cities that claim to be progressive. But Miki’s avoidance of confrontation—especially when asked if she’s a man and she says yes—felt like a narrative betrayal. After all the emotional effort of transitioning, why default to a label that contradicts her identity? She’s not a cross-dresser. She’s a woman. That moment undercut a lot of the empathy the story had built.
For me, the saving grace was Miki’s relationship with Goto. Their dynamic felt genuine, but I couldn’t shake the suspicion that his loyalty had strings— maybe practicality more than pure kindness. His defense of her, while admirable, might not be entirely selfless – he relied on Miki for shelter, after all. Still, the one truly redemptive moment came from Miki’s father, whose quiet wish for his child’s happiness landed with sincerity. It was a small, heartfelt gesture in a drama that means well but never quite finds its emotional fluency.
This is one of those dramas that quietly nudges the boundaries of mainstream Japanese television. Asia is still behind when it comes to trans representation, so seeing a story centered on a lesbian trans woman felt quietly groundbreaking. But if you’re looking for raw, emotionally honest portrayals of gender dysphoria, this isn’t the place to find it. For that, you’ll need to dig into indie films or smaller projects that aren’t afraid to be messy, vulnerable, and unfiltered.
2 
I'm struggling to like it and contemplating of dropping it. Not sure yet.
What truly sets this drama apart is its precision. No filler. No fluff. Every scene matters. The lore, the pacing, the cinematography,, the acting — all chef’s kiss. Even the secondary couple’s arc left a bruise. It’s proof that perspective, not budget, makes a story resonate. It’s a rare short-form drama that punches far above its runtime, delivering more emotional payoff than some 40-episode epics. I almost overlooked it out of cynicism—and that would’ve been a mistake.
If I had one tiny caveat, it’s the ending. Personally, I’d have stopped at the museum reunion. The final scene with middle-aged Shen Bu Yan meeting child Lu Yuan, while poetically intended, lands in slightly murky territory. It’s not a dealbreaker—just an eyebrow-raiser.
Final Verdict: This is how dramas should be done — concise, heartfelt, and crafted with care. A rare gem that proves emotional resonance doesn’t need runtime bloat or flashy tricks. Just intention. And this one had it in spades.
Full review in the spoiler below:
And don’t even get me started on Cheon Ki. I wanted to root for her, I really did. But watching her charge headfirst into every situation like common sense was an optional skill was exhausting. Every time someone told her to stay put, she did the exact opposite — and not in a brave or clever way, just catastrophically dumb. When even your friends say “we almost died because of you,” maybe take the hint. Watching her blow up everyone’s sacrifices was like watching someone trip the alarm in a heist movie — over and over again.
Meanwhile, secrets in this show had the shelf life of a tweet. Apparently, in this universe, “don’t tell anyone” translates to “please broadcast this immediately.” By the finale, every secret had been spilled, and I couldn’t tell if it was poor writing or just comedic timing.
By the end, even the gods seemed to have given up. Samshin and Hyo Ryeong waited until the last possible minute to lift a finger against Ma Wang, letting everyone suffer just for dramatic effect. Still, I’ll give credit where it’s due — the cinematography was gorgeous, the art sequences beautifully rendered, and the royal portrait subplot was genuinely mesmerizing. Prince Lee Yul deserves a special mention — a second lead with grace, depth, and enough emotional maturity to step back without turning into a sulky shadow. We love a man with dignity.
Final Verdict: This drama is not a total flop, but definitely more Lovers of the Red Flags than Lovers of the Red Sky.
Full Review in the spoiler below:
If he sleeps with sponsors, he gets into a scandal = career ruined; if he doesn't sleep with sponsors, they get "blacklisted" = no career.
Seems to me very limited choices.
Also having NC scenes help in securing high ratings, because for a lot of people a moving story with great acting isn't enough anymore.
And what could also happen is that fans of that other network down rate titles not from their network to lift theirs up to the top of lists.
If you don't intend to make GT and SWL a major secondary couple, then do not put them in main roles, do not build up their story since the beginning as if they were a major part of the drama, and just treat them as secondary characters like other dramas with secondary plot lines. At least, we would have lowered our expectations.
Then came the second half, and it felt like someone drained the story’s lifeblood. The multi-dimensional characters flattened into plot devices, existing merely to move scenes forward instead of evolving. Only Yan Hui’s growth felt genuine—she gained nuance while everyone else lost theirs. The tone shifted from captivating to mechanical, like hot tea left to go cold. The second half also suffered from an overload of micro love plots involving tertiary characters I couldn’t bring myself to care about. Random couples were introduced, given a few scenes, and then either killed off or married off like narrative afterthoughts.
And don’t even get me started on the ending. The reunion felt like an obligatory ribbon slapped on an almost-finished gift—technically complete but emotionally hollow. Back from the Brink had all the makings of a great fantasy romance: stellar leads, beautiful visuals, and a promising start. But it never quite delivered the emotional payoff it built up to. If it had maintained the energy and tight storytelling of its first half—or trimmed the filler—it might’ve cracked my top 10. Without emotional payoff, all the pretty dragon scales in the world can’t save it. As it stands, this one hovers just below my favorite list—a beautiful near-miss that lost its fire halfway through.
Full review in the Spoiler below:
The drama does acknowledge that bias runs deep in traditional societies, and ironically, just as much in cities that claim to be progressive. But Miki’s avoidance of confrontation—especially when asked if she’s a man and she says yes—felt like a narrative betrayal. After all the emotional effort of transitioning, why default to a label that contradicts her identity? She’s not a cross-dresser. She’s a woman. That moment undercut a lot of the empathy the story had built.
For me, the saving grace was Miki’s relationship with Goto. Their dynamic felt genuine, but I couldn’t shake the suspicion that his loyalty had strings— maybe practicality more than pure kindness. His defense of her, while admirable, might not be entirely selfless – he relied on Miki for shelter, after all. Still, the one truly redemptive moment came from Miki’s father, whose quiet wish for his child’s happiness landed with sincerity. It was a small, heartfelt gesture in a drama that means well but never quite finds its emotional fluency.
Full Review in the spoiler below.