Tanky Toon

She chased fate. He chased dreams. The drama chased its plot.

I almost dropped this drama after watching the first episode, because I’m not really a fan where the ending is at the beginning of the drama. It’s not that I don’t want to know what happens, and let’s face it, romcoms typically end with a Happy-Ever-After. It won’t veer from this formula, but I’m already resigned to this fate without even giving me the chance of speculation. 

After delaying it for months, I finally got around to watching it. I was mildly surprised I didn’t hate it as much as I expected. Maybe this is also due to me failing to recognize Lu Yu Xiao from her Antagonist role in “My Journey to You.” Here, she’s a perfect fit as Lin Xi, neither too clingy, nor over-bearing. Although I almost ditched this drama for another reason: I misunderstood her intentions in approaching Ji Jun Xing at the start. Thinking that she would be one of those females chasing the man around with no self-respect. ISWAK really traumatized me in that regard.  

For his part, Wu Jun Ting is convincing as the aloof Ji Jun Xing, but later warms up to those friends who became part of his inner circle, mostly thanks to the efforts of Lin Xi. Jun Xing and Lin Xi’s journey from strangers to friends to lovers, was really heart-warming to watch. Their romance was a natural progression.  

In contrast, Yi Mian’s and Xie Ang’s on-and-off relationship gave me a whiplash. They break up at the slightest disagreement and get back together when they miss each other. After the nth time they did this, I couldn’t care less whether or not they end up together.  

As for the third pairing, we all know that they are not really your typical type of friendship. There are plenty of hints that there is more going on between Gao Yun Lang and Chen Mo than meets the eye. But alas, we have to play to the hetero-normative construct in order to pass the censors, so we are just presented with the “Socialist brotherhood” that seems acceptable. 

The rest of the characters were not as memorable, except maybe for Qin Kai. He wasn’t a strong enough of match for Lin Xi, that I didn’t feel any second-lead syndrome at all. But he served his purpose, as well as the rest of the cast.  

The pacing was well-maintained in the beginning until the tail end, where all the time skips happened. I wanted the drama’s second half to address or at least include a few things. One being: where were all the parents after their high school days? Somehow, all of them disappeared from the scene, only to be reunited at the end during their wedding. I would have liked to see more of their interaction, especially since Lin Xi and Jin Xing’s family were supposed to be distant relatives. At least, I would have imagined them eating at each other’s house more often when they became a couple.  

Also, after all that effort of making the heart-monitoring bracelet, I thought they would show Jin Xing’s brother making use of it. After all, it was for his sake that the idea came to fruition. He, along with the parents, seemed to vanish into thin air once they went to university.  

Instead, we get a high school reunion of people we hardly saw in the drama, as if I would remember who they were in high school. I’m not convinced that all their classmates will take part in the surprise marriage proposal that Jin Xing meticulously prepared for, but there’s dramaland for you.  

Aside from those things, this drama is decent enough to pass muster. It mainly talks about how people are fated to be together, and how important it is to chase your dreams.

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Politics over passion. Survival over sentiment. One viewing is all you need.

I think it’s the first time I’ve seen either of the leads in a show, so I have no expectations whatsoever about going into this drama, but I can say that both acted remarkably well. As the stoic general who can fight everyone else but his mother, Wallace Chung brings his serious demeanor on the table when he is supposed to be aloof, and his playful smirk when he is being mischievous. Contrasting him is Tan Song Yan as the cunning concubine’s daughter, who is level-headed even when facing problematic obstacles and who is quite cheeky when dealing with people who try to manipulate her or the situation.

The rest of the cast gave commendable performances as members of the Xu or Ou households, and the actors cast as villains were so despicable that you wanted to gouge their eyes out—they truly embodied their characters. Although the plot is solid and has a lot of interesting narratives, the pacing, however, is quite tepid and slow. There are scenes that are unnecessary and bring little to the drama progression except for filling time.

I ended up not watching this for the romance, but only to see how Tan Song Yun maneuvers herself around sticky situations. I was rooting for her much of the drama except I felt betrayed during one instance. This is where she did not put the same trust in her husband as he did for her. I get it: she was suspicious of the Xu family in the beginning, but I thought after all that time and all the things that Ling Yi did for her, would convince her otherwise. Even when the evidence was stacked against her, he chose to believe his wife. Why not offer the same consideration for him? It’s only right for him to be mad at her for not trusting him.

In several instances in the drama, I believed that if her mother hadn’t been murdered on the day of her planned escape from the arranged marriage, Yi Niang would have ended up with Shi Xian. Although Ou’s family were vile characters, at least Yan Xing is not.

A lot of the comments I see are those hating on the Mother-in-Law, but I think I’m just so used to seeing more despicable characters that she was tame in comparison. On the other hand, I could not stand Lian Fang a bit. If I had nails, it would be on her face, so good riddance to her. What also pissed me off is the supposed redemption arc of Er Niang. I still don’t think she deserved any type of forgiveness because she was complicit in a lot of inflicting pain against her sister.

Anyway, this is a drama where once is enough. I don’t need to go through it again to know that there are as many shitty people in the world as there are survivors.

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She hears lies. He hides truths. Romance hit mute.

What can I say about this show is that it’s unremarkable. I wanted to watch it because of Hwang Min Hyun, who was great in “Alchemy of Souls,” and the premise of someone who can hear through people’s lies, piked my interest. But the execution fell short, perhaps due to the flimsy source material, budget constraints, lack of inspiration, or whatever ailed this sad excuse of a drama that could have been great, but settled for mediocrity.  

As individual actors, Kim So Hyun and Hwang Min Hyun were not too shabby. As Mok Sol Hee, she was spunky and conflicted at the same time because of her supernatural ability to detect lies. It’s no surprise that she has trust issues, which explained her backstory with her previous fiancee.  

On the other hand, the male lead was as mysterious as he gets, hiding his identity from almost everyone because of a past incident that pegged him as a suspect in a murder case. Because of this intrigue that I kept watching this drama, to see how it unfolds. The first half of the drama was decent until it lost steam. Speaking of which, there’s not even a semblance of heat between the two main characters to justify a romance. Not even a tiny spark to light a fire. But you know who has chemistry? Mok Sol Hyun and Lee Kang Min. So much so that I wished they gave Do Ha’s role to Seo Ji Hoon instead. I would have rooted for this ship, hands down.  

As for the secondary characters, they are even less memorable, except perhaps for Yun Ji On, who plays a complex character. I was really impressed by his portrayal of Jo Deuk Chan, the ML’s best friend, who happily plays second fiddle. But the rest of the cast were technically just props, perhaps to fill a body count, and move around to make the drama look substantial when it’s not.  

Then the plot twist and the whole fake-out at the end was disappointing. And coupled this with the fact that two of the female characters here used emotional blackmail as manipulation is very unsavory for me. I’m not really one to justify this, but in the end, this is not a romance story or even a murder mystery, but a drama about obsession, whether it’s for a one-sided love or a love lost, for misplaced justice, for a twisted truth or for greed of money. So while there’s a semblance of a message is there, it failed to deliver.

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A drama light on depth but heavy on queen energy

Perhaps if I hadn’t watched Mr. Queen, I would have given this drama a higher rating. I’m not saying these dramas are related, but this drama gave me the same vibe. Both dramas feature strong female leads as rulers of their kingdom, both had gender-bending or swapping as themes, and both have comedic elements. Basically, this drama is like a cross between Mr. Queen and The King’s Affection.  

While I was impressed with both aforementioned titles, My Uncanny Destiny perhaps has a less intricate plot and less developed secondary characters. I would say that though the comedic timing of the show is on–point, I believe this is due to the lead actress’ delivery and performance. Zhang Yue Nan’s solid portrayal as the formidable Lord of Mu Xi City is very convincing. This made me enjoy the character more, especially when she switches between Zhao Nan and San Mei, and yet still displays that same wiliness in her demeanor. The amazing dialogue helps a lot too. It looked like the writers sure invested a lot of thought into the FL’s lines that they perhaps forgot everyone else’s.  

Although adorable, Yan Zi Xian was disserviced by a FL so strong, that his character paled in comparison. Though he tries to hold on his own, he could not catch up. The rest of the characters were not as memorable as Qi Meng/Hui Rou, and it is for the wrong reasons. She’s just like a nasty bug that wouldn’t die, no matter how many times you try to kill it.  

Otherwise, if you have time for some light drama, this may be a decent show to watch.

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Blindness isn’t the plot device—determination is.

At first I thought this would be one of those shows tackling disability as if it was a plot device to keep a relationship going, but while it may have started as how Yukiko and Morio know of each other, it wasn’t a show to gratify the condition.

Whereas other dramas might fail in undertaking the topic of blindness, this one succeeds. This drama does not give you a chance to feel pity for Yukiko, because you see her determination to overcome her inability to see like others. She uses the resources available to her, and where it is lacking, she creates and looks for opportunities to improve.

Instead of feeling sad for Yukiko, I ended up rooting for her like how Morio did in the show. His belief in her strength and tenacity was adorable. And while I appreciate how he supports his girlfriend, it only highlighted the time he has on his hands, that I forget he had a part-time job only after he met Yukiko. Nevertheless, Morio’s redemption arc from delinquent to dependable is to be noted.

Speaking of redemption arcs, I have a beef with the second leads. I cannot fathom how Shishio, who used to fight Morio all the time, ends up being actually in love with him? Logic not computing, but also makes sense. Is this like: boys who bully girls, secretly have a crush on the girl? He gives Morio a job at his grandmother’s store, helps him be his wingman, and later becomes his potential brother-in-law even though he’s gay? What in the fantasy world is this? Meanwhile Izumi, who is Yukiko’s sister, has poor taste in men. She’s also overprotective of her sister, and yet she seems to be the weaker of the two. And because everyone needs a partner, they just lump these two incompatible characters with each other.

Aside from its flaws, this show is a decent watch, especially when they included the educational snippets from Hamada Yutaro, a blind comedian whose jokes flew over my head because I don’t have cued-canned laughter.

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Forget romance—this kitchen serves equality with a side of soy sauce

I have mixed feelings about this drama, not because of the large age gap between the two main characters, but how it’s being presented.

We learn that, in order to save their restaurant, Ichika’s family arranged a marriage of convenience for one of the daughters. In the beginning, it was Ichika’s younger sister who was supposed to enter that marriage, but at the last minute, she backed out because 1) she was also older than the groom 2) she did not want to be stuck in a loveless marriage 3) somebody else who liked her proposed to her. All good reasons NOT to agree to a contract marriage.

But then we see Ichika agreeing to this contract marriage because of her outdated (and perhaps believable) concepts compared to her younger sister, who had a more idealistic view of the world. Being a widow in 50s Japan, Ichika basically consigned herself to a lesser role in the kitchen despite her excellent culinary skills. Her belief that a woman in a patriarchal society will never amount to being a head chef, let alone operate a business, is one that is valid considering what is the norm at that time. However, just because society has traditionally accepted a certain thought does not mean it couldn’t be changed for the better. And this is where Amane, her new husband, comes in.

Despite his young age, Amane is very sensible and has the business acumen to support Ichika in her dreams of managing her own cuisine. He quietly does things for his new wife without her awareness. Amane’s contribution to Ichika’s efforts later came to fruition when she finally salvages her family restaurant from ruin.

If you are expecting romance from this drama, don’t. This show is mostly about the food and how one woman’s dreams came true despite the obstacles in her way. Amane’s growing affection for Ichika looks very one-sided to me. I am not sure if it’s because of how the characters are written or the lack of chemistry between the two actors is the reason for this. The most I can see between Ichika and Amane is like how a big sister dotes on her much younger brother.

This drama is more like a PSA for food or for feminism, or both.

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From fake dating to trauma dumping in ten episodes or less.

Just by the premise alone, you can tell that this drama will be full of tropes, including, but not limited to: Rich Man/Poor Woman, Boss/Employee, Fake Relationship, Contract Marriage, etc. So, going in, I already expected that it would be a show filled with cliches, and probably have ill-timed laughter that serves no purpose except to be adorable. And this show just does that in the beginning.

We are presented with a female lead who had to grapple with so many false accusations because of her looks. It was one problem that is supposedly plaguing someone so pretty that you are supposed to feel sorry for her, and thus a young, handsome man (not to mention rich) falls on her lap to solve all her issues. It’s all fine and dandy until the latter half of the show.

Here, the drama tried to incorporate heavier topics like the implication of infidelity, implied abuse and other conflicts that came out of left field, that I wonder whether even if it’s the same story we are dealing with. We also see Ayaka's family being supportive of her despite their financial struggles. My only gripe here is that they seem to be happy despite their dire situation, with so many mouths to feed and a baby on the way. Haven’t they ever heard of condoms?

Nevertheless, it is a decent effort by the production crew, especially by the main leads who carried most of the drama weight on their shoulders.

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Romance, chaos, and one-night stands—served with kimchi and regret

If you like "Sex and City" type's realistic take on dating in the 21st century, then this series is for you. It certainly is more risque than your average Korean rom-com (of course it is still considered tame compared to Western shows), and gives you a candid peek on the romantic and sex lives of 30+ Korean city gals without the fluff. Finally some real HOT action. Choices that some characters made can be questionable but that is the appeal of this drama - that life is not neatly compartmentalized into A or B packages...and it is the journey and not the end that matters.

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The office drama where no one works, yet hostile takeovers happen daily

I usually avoid dramas where one or both of the main characters has a child, because of my own peculiar reason since childhood, but both instances, including this drama, surprised me as this is the second time where the kid stole the show.

Like in “Unforgettable Love,” the child actor was so precocious and lovely as he became the catalyst where the two leads get together. I couldn’t believe that Cui Yi Xin was only around 6 or 7 yrs old when this drama was filmed. Quan Quan seemed more mature than his young age and perhaps because he had to go through a lot due to his heart condition.

The leads were not too shabby, even though it’s the first time I’ve seen either of them. In the beginning, Wang Yu Wen came across as bland and lacking personality, especially in contrast with Ma Xin Rui’s character, Cao Mu, who is spunky as Min Hui is dry. But throughout the show, she develops a backbone as she fights the injustices of sexual harassment and other political games that people were playing against her.

On the other hand, Wang Zi Qi balances the jilted ex-lover Xin Qi who misunderstood Min Hui’s intentions, and the protective boyfriend he later became to be. Although, at some point, he turned into a bit of a stalker, following Min Hui around the city to get into her good graces, while finding intel on her non-consequential blind dates. Some might get put off with this, but the drama defends this behavior as permissible since there was no malice behind it.

Speaking of which, I find it really laughable that Xin Qi spends most of the drama pursuing Min Hui that I wonder when he actually works as a CEO of a large company. Ru Ji mocks this trope in one of his later conversations with Zi Zhu, that only in a drama world, where a character can be with their beloved 24/7. There’s also a lot of contrived instances I found disbelieving. For instance, Quan Quan had multiple run-ins with Xin Qi because he had the freedom to roam the halls of the hospital or wait outside alone. He was also asked a few times not to open doors to strangers while his mother was out running errands. It was fortunate that all these encounters were with Xin Qi, who he later discovered to be his father, otherwise I would have been terrified by the thought of him being taken away by an unscrupulous person.

There’s also that coincidence where Cao Mu’s boyfriend, happens to be the brother of Min Hui’s acquaintance, who happens to live at the same orphanage as Xin Qi. Talk about a small (drama) world. Talking about Cao Mu and her boyfriend, it was cute in the beginning until it wasn’t. But their pairing was better than Ru Ji’s and Zi Zhu’s, despite Ru Ji’s insistence to the contrary, that no, Zi Zhu isn’t a replacement. I lost interest in these four people after they coupled up and their chemistry fizzled.

Although the business back story provided the characters with material to work with, it didn’t captivate me as much as I anticipated. The Be Agile tech company serves only as a platform to showcase Min Hui’s intelligence, and the hostile takeover was only a way to bring the antagonist Qi Rang back into the fold. The drama started strong, and the ending was solid, but was mostly soft in the middle.

The absence of Quan Quan in the back half of the drama was palpable. I kept wondering, who is babysitting the child? Where is he and who is he staying with? The drama tried to cram so many things in the last few episodes, like we finally see Xin Qi working until he collapses because of exhaustion. Then besides all this, the villains did not get their just desserts, or at least, it wasn’t satisfactory to my taste. Are we supposed to forgive Xi Yue for all the things that she has done to destroy Min Hui? And how about Qi Rang? Yes, authorities arrested and convicted him for the sexual harassment he committed against Min Hui years ago, but what about his illegal dealings? Also, Xin Di’s absence in the main couple’s wedding is a glaring omission. The two secretaries were there, why not her?

But all in all, a decent drama about second chances.

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Brotherhood, betrayal, and brilliant sword fights—romance sold separately

I had to do a double-take when I watched the first few episodes. I thought it was Cheng Yi playing Xiao Se until I realized it wasn’t. (I don’t check the actor list before watching a drama). Anyway, though Cheng Yi remains a favorite, Li Hong Yi deserves praise for his portrayal for the cheeky and cunning Xiao Se, who is as removed from the Marial Arts world he used to dominate, as he is much embroiled with it because of his real identity.

Also, upping up their games are Liu Xue Yi as Wu Xin and Li Xin Ze as Tang Lian. I’ve seen both of them mostly in support roles, and I finally got to see them shining in their major roles. Not to be outdone, Ao Rui Peng easily portrays the happy-go-lucky Wu Jie, whose naivete is endearing. As for the two other female characters, unfortunately, I find them a little lacklustre. I do not know if it’s intentional or not, but these female characters seemed weaker than their male counterparts, and I am unsure if it’s due to the acting or the writing. Since Ruo Yi had a backstory of being a sickly child, it’s understandable that her martial arts prowess wasn’t as advanced as the others. But for a supposedly skilled fighter such as Si Kong Qian Luo, I am not sure why production forced a love line on her with Xiao Se, when there’s none to be found. They look more like a pair of siblings than a romantic couple. I don’t understand why production forced a love line on Si Kong Qian Luo and Xiao Se when there is no chemistry between them. Removing it would not impact the plot.

The rest of the characters were multi-dimensional and well-portrayed. There’s an abundance of personalities to keep the side-quests intriguing. The main plot itself is rich and intricate, without being too convoluted. I enjoyed the backstories, especially those of the martial art masters and immortal deities who predated the younger generation.

Speaking of the young ones, I admire the camaraderie among the group, especially the unusual bond between Xiao Se and Wu Xin. They are total opposites of each other, in terms of personality, upbringing and identity, and yet they are very in tune with each other’s thoughts and motivation. They may disagree sometimes, but they have the utmost respect for each other. Also along their journey, the team built a bond of trust where they can rely on each other to do their own parts. And it is their journey that I found entertaining, and it’s all kudos to the scriptwriters and the production crew. Also to be commended are the expertly choreographed fights, the carefully-thought-out strategies, the intricate costumes made by the production company.

Overall, this is such a great watch, even if they didn’t incorporate romantic elements. It was so hard for me to even decide where to put this in my top 20 list as China has been producing a lot of amazing Wuxia/Xanxia in the last five years but this one is certainly in my top 5 Historical Chinese dramas (as of this writing).

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Story: It's predominantly about a sheltered, young man who strives to meet his parent's expectations but also wants to live a life for himself. So when Francis reconnects with Tommy, he follows the latter around town, neglecting his studies and piano lessons.

Acting: Decent enough to portray the relationship between two boys just hanging out.

Music: Nothing to write home about.

Rewatch Value: Once is enough.

Overall Impression: When I searched for other reviews of this short to serve as comparison, there's hardly anything that could be found. Instead another HK film of the same name, the one that uses the 2019 HK protests as a backdrop, was the one usually featured. So it made sense to me, that this particular short, barely registered on the radar. And so is my opinion of the film.

The only pivotal scene that I could commend is the one where Francis finally had his outburst in the final moments. He finally snapped after being subjected to other pursuits he really does not have any interest in. For his mother to profess to care about Francis, she did not do a good job of understanding where he is coming from nor what he really wants in life.

But even with this statement, I wasn't quite sold on what the film was trying to portray, aside from the reality of gay teens living in the shadows of their true nature.

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Story: It's about a boy telling a story about two boys to another boy. In the boy's story, the two boys are best friends. But wouldn't you know it: the boy telling the story is also the best friend of the boy who is listening to this story. What a coincidence! And that the boy telling the story, is planning to do a movie about this story. Or at least, that's what he said he was doing.

Acting: Good enough for two people sitting at a coffee shop.

Music: Barely noticed.

Rewatch Value: Short and adorable enough to repeat.

Overall Impression: What an ingenious concept for a confession. At least Dong Young is self-aware enough not to expect much from his best friend aside from maintaining their friendship. And it's a healthy reaction from Jung Min, accepting his best friends feelings without indulging in it. Nobody died, it's a win for me.

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This drama is about two best friends suddenly being tasked with hosting a podcast about love and sex. Neither are really in a capacity to give professional advice, but they do lend a listening ear. On one hand, Mi Na only dallies with casual hook-ups, and is not looking for anybody for more than a romp in the hay. Meanwhile, Hee Jee is stuck in a boring rut with her longtime boyfriend, who cares more about what’s on screen than carrying an actual conversation with his girlfriend. Though neither of them feels jealous of each other’s situation, sometimes they wish to improve their love and sex lives.

In the eight brief episodes, we see both women grappling with the idea that there is more to life than just having meaningless sex, and comparatively, that they are not obligated to stay with one person just because it is easy and convenient. Change is a thing; yes, it could be scary, but the braver you are to explore what you truly want, the more rewarding your life experience will be.

Both Ahn Hee Yeon and Bae Woo Hee’s portrayal of these women come across as natural. The two male leads are not too shabby as well. I find the drama very refreshing as it tackles mature topics with candidness. I love how both female characters developed as individuals when exploring relationships outside of their comfort zone. The drama fearlessly delves into different perspectives on romance and sexual relationships that may not align with conventional values or beliefs, but are not deemed wrong or right, nonetheless.

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This drama started out slow, but after a few episodes, the story picked up and became more interesting as it went. I like the juxtaposition of characters and I’ve seen both leads in other works and they’ve already proven their acting prowess there, especially when I have viewed four of Zhang Ling He’s works before I watched this one. So I knew what I was expecting. Who surprised me though is Ryan Cheng. I didn’t realize he was also the main in “A Familiar Stranger,” but maybe it’s because his character there wasn’t as flushed out as Gong Shang Jue’s.

The characters in this drama are multi-dimensional, that they are not necessarily “all good” or “all evil.” Despite what has been portrayed, most of them have the freedom of choice, whether to follow along the path that was created for them, or carve out one for themselves. This is why I admire Yun Wei Shan’s character and Yu Shu Xin’s portrayal of a skilled assassin. She cleverly integrated herself into the Gong family and made her own judgment, not solely relying on what had been fed to her, while also following the edicts of her organization.

Gong Zi Yu, for his part, turned from a playboy to a love-struck fool, from a supposedly incompetent “spare” to become the new Sword Wielder. Throughout his journey through the trials, Gong Zi Yu has proven himself to be more than a sitting duck everyone assumes him to be. His ingeniousness, coupled with his compassion for the people, made him a formidable leader.

I find myself second-guessing the true nature of the characters, which is rare for me as I have usually found them predictable in other shows. Even I find the pairing of Gong Zi Shang (Zi Yu’s sister) and Jin Fan (Zi Yu’s guard) hilarious. Perhaps the only person I truly detested here is Shangguan Qian. I really have no tolerance for her type of character, through no fault of the actress.

As for other aspects, the production, cinematography and the costumes were breathtaking. Likewise, the plot here is also intricate and engaging. Everything here in this drama is smoke and mirrors, and it is up to these characters to decipher the truth from all of it.

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Story: A collection of erotic shorts about men fantasizing about other men in uniforms.

Acting: No better than amateur porn stars.

Music: Maybe the sound of beeping horns can even lull you to sleep.

Rewatch Value: Not bored enough to do so again.

Overall Impression: This feature is actually just glorified porn trying to pass as avant-garde film. The stream of consciousness monologuing may impart some life truths that may seem profound, but they are overly gratuitous. I will not totally give this a zero though, but maybe an F for F-fort.

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