I have to start this out by laughing.This drama is hilarious from the first episode i got caught.
The main actor was excellent one of his best. This really showed his ability and diversity in acting when compared to his previous drama. His acting was flawless. My love for Lee Dong Wook has grown tremendously.
The main actress...........Lee Si Young was amazing.(nods) I have to give her her props she got the whole tomboy tough-girl bodyguard role perfectly even her gestures were right on target, even when she had to show her weak side it was just amazing.
The plot i must say was very good,and the climax was a nice twist.I also looked forward to the smaller stories of the supporting characters, each of which really added to the essence of the whole thing. It was the first time I seeing Kang Dong-Ho in a drama but he really caught my attention.And as a plus there were a lot of eye-candy in the is drama. lol I grade you with an A+++.
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Not for the culturally feint hearted, the complex plot and obscure cultural touchstones make this wonderful little film a genuine effort as I have previously stated, but if you have the time and a willing heart, you won't be disappointed.
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While the director deserves acknowledgment of his dedication to this story and in bringing it to the spotlight, there are areas of the film where there was need for a more skilled, tighter hand. Nonlinear storytelling and an unreliable protagonists causes some confusion for viewers, especially those who might not be a native Korean speaker. Yet the overall moody and haunting atmosphere highlighted by a skilled use of light and music accentuates the ultimate tragedy of the film.
This is not a film that most people would rewatch; pre-knowledge of Gong Ju's story leaves the audience emotionally wracked and exhausted even before the first few minutes of the film. However, it is an important film all the same.
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This review may contain spoilers
"Never Risk Your Future in a Man's Heart" (Song Bei Jing, English sub)
I was interested in watching this drama when I saw the trailer and read the synopsis. Once you pass the quirky sentence of the synopsis: "Song Mi Duo who's been single since birth..." (and she is only 18 turns 19, lol), the phrase "unique sleeping arrangement" will definitely catch your attention. So the start sounds promising with unique plot and catchy trailer... not so for the content of the drama though, and I definitely blame it on the directing and editing. Overall it is a light-hearted romcom without paying attention to the quality of production.Like:
- The why and how the 'unique sleeping arrangement' happen are actually pretty reasonable once you watch a few beginning episodes to understand.
- Prologues of in the beginning of next episodes explain what actually happen during the previous episodes
- The strong friendship between Mi Do, Xiao Mi, and Yi You is one to be envied for, as they go through thick and thin with Mi Do relating to the famous Xi Song.
- The drama does not end with the girl following the boy. I love Mi Do's parents objection and advice to their daughter (hence the title of my review above).
- I am satisfied with the 'fate' written for the supporting characters (Xiao Mi, Yi You, and Su Li).
- Xi Song giving house keys to Mi Do symbolizes trust in relationship
- Good acting of actress Chen Yi Xin as the cutie pie and childish Song Mi Do. Despite dislike comment on her appearance, I think red curly hair is quite rare for Asian female movie/drama roles but it's unique and fits very well with Mi Do.
- Good acting of actor Wang Zi Xin as the aloof yet sincere Xi Song. You may think Zi Xin act is stiff, but it fits the role he played. Once you know about Xi Song's background and condition, you understand his childlike traits and why he does not have the amenities other people do. Also, the same reasons why Liang Ge and the housekeeper overprotect him.
- Good acting of both actress Yang Ke as sassy Xiao Mi with big sister heart, and actor Xue Cheng as the lovelorn yet loyal Yi You.
- Great acting of Mi Do's parents. The chemistry between Xi Song and Mi Do is good, but the chemistry between Mi Do's parents is sizzling! Her parents are hilarious and shows PDA everywhere. The actor/actress who play the parents acted comfortably with each other, probably due to them having more experiences in acting than the young cast.
- Mi Do's gorgeous mom
- Mi Do's cute accessories and stuffed animals
Dislike:
- Bad directing and editing as I mentioned above. Probably bad screen writing too, but I cannot really tell due the the English sub
- For a modern day drama has unrealistic scenes that may make you cringe, just give you some examples:
1) A famous pianist is treated like a pop/rock idol star by the young college kids and public??? Not that I look down on classical music or classical musician's fame, but Xi Song is treated as some sort of deity to worship that Mi Do is harassed and bullied because of him.
2) Mi Do's parents do not care at all on their daughter's whereabouts after her birthday party??? Despite her best friend Yi You urging them to call the police. And Mi Do's does not call her parents informing that she will be late...
3) Xi Song's dad pinches Mi Do's cheek at their first meeting??? While she and her parents does not know who he is and the housekeeper does not even greet him...
- Some draggy conversations and filler scenes, typical Chinese dramas.
- The drama does not tell you about Mi Do's accomplishment in writing novel, only a brief mentioning during Xi Song and Mi Do's conversation in the last episode.
- The choice of wardrobe for Xi Song ( martial art-type of clothing)
Lastly, kudo to Yulia Chan from Youtube for completely subbed this drama. Although Mandarin and English are not her native languages, her sub is not bad as we get to understand the story-line and she took time to make a praise-worthy effort.
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Clichéd But Hilarious, Sweet and Delightful
This drama is by no means revolutionary or original, but having said that, it is also light-hearted, somewhat "modernised", and comforting. It's a given that the main leads would end up together, but despite knowing the obvious, I couldn't stop watching, plus the laughs and pinching heartaches I felt (in a good way) were incredibly addicting.STORY
This is a story about a manhua character, Xia Yu Bing, changing the lives of other manhua characters in her world through maintaining high readership ratings and preventing the manhua from getting axed (thus preserving her own life). She does this by employing various familiar business models that are frequently used in the real, modern world. The manhua artist's initial story had a dark beginning, but as she made changes to her storyline, Xia Yu Bing also independently changed her fate in her world. Everything about the drama is riddled with traditional tropes - corny fall-and-catch shoujo moments, the obligatory rain scene (lots), show-your-love-through-cooking, including the initial dislike the main leads had for each other before eventually falling in love, and yet the joy encompassed is in all of these things. What is a romance drama without some villainous plot and angst? Other than romance and friendship (Xu Zi Yan and Ye Wen Zhao are best friends), I also love the dynamic Xu Zi Yan had with his father, Xu Guang Ling. The scenes of this father and son pair were definitely some of my favourite. Xu Senior is not only loving father to his son, but also to his daughter-in-law. Each time father and son bicker playfully with each other, knowing they both care deeply for the other gave me a warm and fuzzy feeling. Plot holes notwithstanding, all of that still makes for an entertaining watch and I could ignore the implausibility of certain parts in the script. Lastly, although the official Viki synopsis says the male lead was "determined to wipe her (female lead) out and conduct experiments on her body", this is grossly misleading and inaccurate.
MUSIC
I love the songs they selected for this drama. The non-vocal OP is upbeat, catchy and suits the overall theme of the drama. The ED theme, 人生一回合, translated as "One Round of Life" is sung by Ye Wen Zhao's actor in the drama, Xu Bing Chao. The other song used during interludes, the more romantic 落雨纷, translated as "The Scattering Falling Rain" is sung by Qing Sang. This song is my favourite.
ACTING
What I say may sound generic, but it's true. Everyone did a wonderful job in this drama. Dong Si Yi was wonderful to watch. She was funny, expressive, smart, girly, and cute as Xia Yu Bing. I especially love whenever she behaved coquettishly towards Xu Zi Yan. Watching him crumble under her charms was really rewarding for me. I can't imagine anyone but her in this role. I was quite surprised by Lee Ge Yang's performance, seeing that he's relatively green in the industry. While his character, Xu Zi Yan, didn't have much room for expressive navigations at first for being the cold, emotionless genius, he nevertheless performed quite well at portraying the desperation and despair Xu Zi Yan felt in the later half of the series.
OVERALL
I started this drama with zero expectations, as I only happened to see it aired on the day of its release. Suddenly, I found myself marathoning this throughout the night, and the next two days after. And after finishing the series, I looked up on videos and short interviews the main leads gave soon after the show. In one clip, when asked to describe their characters, Lee Ge Yang called Xu Zi Yan a medical genius who is a "wife-doting maniac", but Dong Si Yi responded, "He's okay..." in a slightly dead-panned manner lol. This exchange just made me feel they're really perfectly cast as the characters they played. The drama overall has left me with nothing but a lasting good impression - and I will surely watch this again for the comedy and romance.
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The Gray Area
Crime Crackdown (扫黑风暴) is a crime drama, where the narrative revolves around Li Chengyang (Sun Honglei). Li Chengyang was a policeman, however, he was accused of taking bribes, therefore his reputation was ruined and he was expelled from the police force. After being expelled from the police force, he then becomes involved in the mafia group. The drama then continues on with a group of officials who were sent to Lv Teng to clean up the mess in Lv Teng (crimes that have been in Lv Teng for years - such as illegal gambling, high loans, and so forth). Then cold cases started to get cracked and so on, which will lead to the big ultimate case.What made this drama particularly appealing is the stellar cast and the directing. The cast of this drama is outstanding! For people who have been watching Chinese drama for a long time, I'm sure that you'll be familiar with the faces in this drama. With all the amazing casts, the acting is perfect!! From the main role to the supporting role, every character is portrayed very well done. And Lay did a really outstanding job in this drama, he had a huge improvement in his acting! Secondly, this drama is directed by Wu Bai, I loved his directing in Evil Minds, therefore, I was particularly looking forward to this drama.
The crime cases in this drama are okay. Some were interesting as several cases shown in this drama are based on real-life cases that happened in China. This drama is kinda draggy and it's a slow burn drama - it hints at you about the main goal from the smaller achievements they achieved. However, the small details are not attractive enough to keep you watch it and you might get kinda exhausted in the middle of watching it. In the middle of the drama, you might feel that you are not going anywhere, the story is stagnant. Therefore, it might be kinda taxing to watch it.
This drama production is not the best, but not the worst too. I really enjoyed the colour scheme and grading, with it's prominent shadows and textures. However, the cinematography, directing and editing is just average, there is nothing new and appealing.
As a crime drama, Crime Crackdown is a very good drama in terms of its acting and production. However, the weak and slow-burning narrative makes this drama fall short.
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Set in a mental institution, this movie doesn't hold back on the crazy. The cast of characters is so delightfully nuts. Don't get me wrong, I don't take insanity lightly. There is always a sad undercurrent to insanity because the reality is the reason behind a person's mental breakdown. Those reasons usually being a horrible event or events from one's past or the unfortunate breakdown of the intricate workings of the mind or a chemical imbalance in the human brain. I have a close connection with someone with Schizophrenia and I can't imagine the struggle, the fight, the torture that goes on inside their own mind.
But this movie isn't really about the reality or the clinical aspect of mental illness. It's about the characters and their point of view of the world, how they cope and survive. Off kilter is an understatement. But at the same time it can be delightful. Especially the fantastical sequences that literally put you in the mind of the characters. You get to see what they think and feel; usually through their particular idiosyncracy. The one thing I took away from this movie was the Will to Survive.
Also I loved the way the two leads came together in their own crazy way. The way they sought out ways to accept each other. They weren't portrayed as stupid. They simply saw the world in a different way than you or I. I loved the way Il Soon protected Young Goon and made an effort to learn how she thought so he could keep her safe. He may have been crazy but so wise within that context. I loved that.
I am recommending this movie but really for those who have a great capacity for whimsy. Who may like a little weird with a side of fantasy and looking to watch something very different.
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A good drama enjoy it alot
A really good drama. I expected to be all about esports but there was sort of a sci-fi mystery and thriller to it as well. One thing that really hit me was all of the emotional scenes in this drama. I had tears in my eyes during many part of this drama. It was a good balance between bromance and romance too. I also like how each side character had a chance to tell their stories and we get to understand them as well. Glad they didn't went overboard with the romance so that was a plus too. The big brother little brother relationship was great. They both have their own female love interest though.Was this review helpful to you?
In 1998, Fang Mu is an arrogant but brilliant student who can profile a criminal in a few minutes without hesitation. But when we move to 2001, he is not the same self-confident guy anymore, he has built a barrier to defend himself from the past, from something that happened three years before. We don't know what made him change, we find our answers slowly, as we go on with the story.
Each murder case is brutal but well-designed. You find yourself absorbed in the story and when you finish the puzzle, you notice how the pieces fit together perfectly.
What grasps the attention is also the inner struggle that Fang Mu has to fight. "If you gaze long into an abyss, the abyss also gazes into you".
As I said before, Evil Minds is a dark drama but it's also beautiful. With "beautiful" I mean the artistic quality of the filming, the quality of the scriptwriting and the choice of the soundtrack (especially the ending song, "Flying Horse" by Luo Er).
The acting is very good, especially because they aren't veteran actors. (And Chen Ruo Xuan is really cute ehm ehm XD).
I feel indebted to Evil Minds, so I recommend to give a chance to this great drama that has gone unnoticed.
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1
1
1Outstanding! A KDrama that somehow satisfyingly feeds the human heart.
The KDrama "Our Blues" unfolds a distinctive magic that gently stretches its silken net around the hearts of the viewers and thus spreads warmth. Big KDrama!Re. musical genre: the blues is a kind of lament, sad in nature and born of pain. In "Our Blues" it's not the lamentations of slaves on the plantations, but those of several very average people living where South Koreans prefer to go for vacation: Jeju Island. The protagonists´ lifes are in no way spectacular. They are rather normal for their age and the place. They work hard for their income, live simply and often on what the land (and in this case the sea) offers them. From the buzz of these individual and yet so normal lamentations, a sense of unity grows, that even transcends the screen - because many can sympathize with it and identify with their painful and often humiliating experiences in their own way. That makes it "OUR" blues in several ways. It reaches out from the world of the KDrama into the world of the audience and brings us as people from all over the world a bit closer to each other.
"Our Blues" fondly tells a dozen stories about disappointments and unhealed mental wounds that many people know in one way or another and may have experienced themselves. Most of the protagonists (all wonderful first-class cast!) have known each other more or less since childhood. They form a community of colleagues, friends, family and family of choice. Although Jeju-do is South Korea's largest island, it is relatively small at 73 km x 31 km. At its center, South Korea's highest mountain - the dormant Hallasan Volcano - divides the island into the northern area around the city of Jeju and the southern area around the city of Seogwipo. Seogwipo has an urban center with the harbor and then there is urban sprawl with village structures along the coast. This city characterizes the living environment of the characters. As audience, we accompany some of them in a kind of latent mental process of molting.
Some say there is no such thing as a storyline in "Our Blues". In fact, it is more of a composition, or rather a kaleidoscope of independent lamentations. At the core of each lies an ancient pain. What's magnificent about "Our Blues" is that (and how) these songs are finally being sung and thus make space for light and love. For far too long, the protagonists have kept their pain deeply hidden within. They tried to live with it neatly packed away, instead of 'giving' it some space. Yet, sooner or later, the old pain just 'takes' its space... for 20 episodes...
I would´t call it healing, rather transformation, because the painful experience of the past is and remains what it was. However, the potential of what is possible in the future is changing. When the pain in the heart is finally allowed to find space and show itself, it can be witnessed and receive the recognition it deserves. The spasm dissolves and energy is released. Thus new experiences are now possible in the future.
Wanting to spare oneself or others, or wanting to avoid conflict and confrontation, has ultimately never really worked or done any good. Actually, emotional pain and psychological suffering have something to offer: they are the key to opening a portal to a new dimension of truthfulness. The recipe is quite simple: friction (in a deliberately tangible sense of rubbing) facilitates closeness. The problem that prevents this potential for closeness is very human: fear. Because the prerequisite is that I have to honestly show myself as I am (e.g. with my feelings). In doing so, I make myself vulnerable. But only then someone dear to me can reach out and touch me for real. And only in this way true encounter between me and the world becomes possible. Self-assured. Aware of myself. Straightforward. Straight. Upright.
In this KDrama lamentations are ´sung´ and ´heard´. Deep down they are sad, true enough. Yet, it makes you happy, that they are sung at last. And it is just beautiful the way those stories are told: The variety of stories about friendship dynamics, unrequited love and sensitive family relationships are affectionately interwoven in many layers and gain in radiance. We repeatedly encounter individual protagonists in several contexts. One person after the other ... we can´t help to grow fond of them. Ultimately, besides the very human blues that life inevitably offers as a portal to become who we are, the constants in all time, here, there and everywhere, are the sea around us and the sky above. Jeju-do as location for this KDama just hits the spot!
A KDrama that somehow satisfyingly feeds the human heart.
(By the way: "Our Blues" has become one of the highest-rated series on South Korean cable television. Viewer ratings have doubled from episode 1 to 20. (As I said, you grow fond of it over time...)
----------------- SIDE NOTE: --- Haenyeo = sea women or daughters of the sea ---
Jeju-do is famous not only as a tourist hotspot with boardwalks and hotels for honeymooners (Jeju International Airport is the third largest in the country), but also for its volcanic landscape, which is now a World Heritage Site. Yet, furthermore, characteristic of the island's tradition are the Haenyeos, who have been diving for centuries without oxygen tanks for abalone (or sea snails) and other sea food. Especially abalone is plentiful on the seabed around the island. However, these are not so easy to harvest by conventional fishing industry.
To this day, the archaic way of free diving is the only proven one: hold your breath, dive down with a hook, a weight belt and a small net, and then skilfully scrape the seafood off the rocks at the bottom. Today, wetsuits, diving goggles and fins help. A buoy marks the 'area'. Not everyone can do that. Apparently women are particularly good at it. Often families practice this craft for many generations already. The technique of holding your breath for around 3 minutes at high underwater pressure, even at a water temperature of 8 °C, is usually passed on to the daughter. (Actually, in these circles the birth of a daughter is finally empathically praised and extensively celebrated.)
The income of the sought-after Haenyeo has become quite respectable. They are economically independent by now. These days, however, there is shadow to it, too. Being able to finance university studies for their offspring, the young generation nowadays prefers to move to the mainland for higher education and more comfortable jobs. Accordingly, the Haenyeos could soon become extinct. Nevertheless, once you are a Haenyeo, you stay with the diving until old age.
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The story, first of all, what the heck is it? Like it doesn’t make any sense. The idea was interesting, but the execution is plain bad and boring. There’s no logic to some of the characters actions and what they say, and I’m like what. And this is noted as a rom-com, yet the romance isn’t the greatest in terms of buildup, it just kinda happens. So the chemistry felt off the entire time. And the comedy is the most forced thing ever with many supporting characters just overacting. I feel like the writer should have focused more on the leads slowly functioning in society and a better love story, you know. But whatever, I guess.
Also the characters aren’t memorable.
Dongchan is like bread. White bread. The plain and dry kind. He’s flat out boring and Changwook could’ve done so much better. Though, I do have to say, Miran does have a more interesting personality and she’s got her goals, but I’m still amazed in how she fell in love with Dongchan. Tsk, tsk. What did she see in him???? Probably his handsome face, because same.
The supporting characters were mostly boring, annoying, or hold nothing to the plot. From the villain to the producer to Miran’s ex.
Some scenes I liked though, were some heartwarming moments like Namtae and Miran reuniting. And the transition from the older to younger counterpart.
But my emotional connection with any major character was nonexistent.
I knew I shouldn’t trust this writer considering a certain disaster I disliked. I’m sad to see this as Changwook’s comeback drama. Such a waste of talent of this cast. Ugh. But maybe watch it if you like the actor/actress A LOT, the kisses, the uhh.. Uhhhh… uh.
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This review may contain spoilers
Entertaining & Good Chemistry Ongoing Review (Happy Ending Answer)
SLOW START:I am amazed that the drama follows the book's slow pace in the first 4 episodes. I was expecting less development of the CSS's family. The first 20+chapters of the book are boring so I thought they would just sum it up quickly, but they did drag it out a bit in slow motion. This will discourage some people who are used to quick-paced dramas. If you don't like wordplay or family (in this case females) bickering, then the first episodes will be painfully slow. However, the drama doesn't need to be abandoned because the later episodes will be better after the "main" characters come out. That being said, I have a feeling that the drama will be developed in a similar way.
It's a slow beginning, but they did try to make it entertaining. I think it's worth giving it a chance to develop the narrative (which although slow, is well-acted and filmed). The cinematography looks amazing so far.
If needed, you can skip the first 4 episodes: they are about a girl who was left behind as a baby because her family had to go to war. She was abused by her aunt and grandma. The story begins as her family returns home to find her grown up without education and fine manners.
The ML LBY came out in the first episode. He "met" CSS's hand. And the face-to-face meeting doesn't happen until episode 6.
PLOT EXPECTATION:
What this story is not about: politics & war (there is some, but it is about 1/4 of the story ... the other 3/4 is about women's and family drama). So it's always good to keep your expectation consistent with the perspective that this novel is about a girl, who is the main character; she has 3 suitors; her character matures as she makes her choices.
For those who expect a quick meeting of the main leads and a fast-paced romance, this isn't the drama. They don't "meet" right away. It's going to take time for her to like him. If you have seen The Story of Minglan, it's the similar vibe in terms of family drama. The focus will move from CSS's family drama to another family drama (the emperor's).
ACTING:
So far I really like the acting and funny moments (including the wordplay). It's a different type of drama. It feels like an artistic rendition rather than the typical C-dramas. If you like ZLS, this is a drama in which she shines because she can act in different stages of growth. LW's acting is not shabby either.
As you watch the drama, look out for the details in the words between the characters. The beauty of this novel/drama lies in the details and words and the interaction between people.
CHEMISTRY:
All the MLs have chemistry with ZLS. The looks (eyes) between them and her show how much they like her.
ENDING:
Happy Ending in the Novel. They didn't get married only talked about it in the epilogue. No actual ceremony. Let's hope the drama will script it in.
EPISODE REVIEW:
ep1:
The old lady who came to fetch CSS said, "If your parents love you, why did they leave you?" - This is the same question that CSS must have asked many times: it makes her feel unloved and orphaned.
When LBY heard the uncle say that CSS was without parents all her life, he must have already felt connected with her through their shared background: both grew up without parents.
ep 1-4
Not as good as could have been because of the excessive bickering. It sets up the storyline. Can skip over the high-pitched overdramatized bickering if you don't enjoy it.
Just finished ep6:
Amazing! They changed the novel. I love the change! It's more exciting/entertaining and makes more sense that she met all 3 on the same night! She still hasn't seen his face clearly, but he saw hers.
7-8
Episodes 7-8 didn't disappoint. Again, the script deviated from the novel, but it's all positive. VERY entertaining. I thought the cinematography and storyline had a Disneyesque quality: the filming of LBY with the black cape (a repetition from previous scenes) from low to the high angle from the back makes him look like a Disney character: intimidating, intriguing, and foreshadowing. The real voice of FL added to the fun and childish scenes. I feel she made it very believable and entertaining to watch.
TBH, I enjoy watching this drama more than reading the book. Although I laughed sometimes while reading, the drama brought out more of the comic element by providing not just the regular rom-com but also sophisticated irony, contrast, etc ... The director gave it a vibe of Disney's Cinderella and "Sense and Sensibility".
EPS 15-6
Again, I am impressed with the screen adaptation and the director of this drama.
An excellent screen adaptation of the novel to include more interactions among the male leads. I love that they are more central to the story and being shown at the same time so the audience can see how they treat her and how she reacts to their perspectives.
Jane Austen's vibe is obvious and consistent as the actors curtsy to each other and politely nod their heads. The director is able to get the actors to perform their roles perfectly. It's funny but not to the point of being ridiculous. The humor has a tasteful vibe. When the grandma's dramatic role is not being overplayed as in eps 1-4, she also has the vibe of JA's old dames.
I also love that ZLS can bring out the little girl vibe. Although she is young (but not that young), she brought out the innocence of a 14-year-old at times and makes you feel like yeh, I could believe in her silliness, idealism, and audacity. I think her real voice and acting make the role so believable even though she doesn't look 14 years old.
17-18
If I were reading Episodes 17-18, I would be fast-forwarding them to the next best parts. It's so painfully slow to wait for next week's episodes! I guess the story is not moving fast enough because it's still evolving around similar plot lines and conflicts: engagement, family fighting, LBY's unrequited love, CSS still needs to fight for herself without getting new skills.
It's like a video game level: she's not getting any extra skills or new conflicts to move on to the next level.
However, it's fun to see the dynamics of different families.
In these episodes, we can see that she's going to have a tough battle against the Lou family. Everyone can see it except CSS. Why? In her insecurity (worrying about not being able to find a suitable husband - Lou is the only one who asked her to be his wife), CSS thinks this is as good as it's going to get for her. She's a young teen. She's full of insecurities due to abandonment and lack of love. She doesn't know what love is. She is only concerned about having independence through being married to an easy-to-manipulate husband who will support her projects. But she doesn't realize that behind the husband is actually a formidable family.
These episodes are fun to watch to see the dynamics of Chinese families. The princes showed up in episode 18 in which you can see the contrast between the crown prince and the 3rd prince. It's foreshadowing who will rule at the end.
The next episodes will be more fun when she becomes engaged to LBY. It's a new plot line involving a new mentor (empress) and a matchmaker (emperor). It will be less frustrating to watch because CSS is getting new skills and love from her mentor. She has a stronger fiancé who supports her.
19-20
Breaking up is hard to do so CSS refuses to accept the verdict that she has to give her fiance, Yao, to the He daughter. Yao and CSS promised to stand against the world. Here we see that Yao actually has a backbone. His relationship with CSS has matured him and inspired a devotion that stands against the bullying of his family. It's a foreshadowing of a decent man and friend that he will become at the end of the story.
In this episode, we see that the relationship between mother and daughter is progressing ... also more disclosures about LBY's past.
One thing I noticed about this director is his use of repetition to emphasize the point: My favorite part about these 2 episodes is the last scene: LBY said, "No need to fear. I am here!" This is a repetition of what he said when he rescued her before. It just emphasizes his devotion to her.
21-22
Finally, the plot moves on! I felt too much time was spent on the first engagement. I would like to see more time spent on CSS and LBY's story. At least now, we are heading in the right direction!
She breaks her engagement with Yao. From here on, LBY will become the main man in her life. This marks the beginning of her exposure to life in the palace.
She overheard a conversation about overthrowing the crown prince. LBY saves her and starts to become involved in her life.
Overall, the plot is moving on. I wish they would not drag on with the grandma's scenes. At this point, I tend to get impatient and fast forward her scenes.
The emperor, on the other hand, is a lot more humorous. His involvement in LBY's love life is hilarious... the scene was fun to read too.
23-24
The script modified the story but it sounds reasonable. Here is where the LBY asks the Emperor to represent his parents and ask for CCS's hand in marriage. She took a chance and said yes. Why? She was touched by his sincere declaration that she is a special lady who is fit to be his wife. No other will do.
25-26
Excellent job in both scripting and directing. Really loved these two episodes, especially the humorous ending of 26! This was not in the book but the script again exceeded my expectation. I loved the way the director showed humor, not just through words but also through the filming angles and the closeup of movements!
In episode 25, CSS had to deal with the gossip and LBY helped her to silence the vicious girls. She realized then that she is solely dependent on him to give her power. And by relying on him, she loses her independence.
27
The hilarious episode shows LBY taking over Cheng's family in a military style.
28
Love doesn't conquer all ... Adjustments and compromises are required. I find this scenario to be very realistic. Romantic love is balanced with conflicts and character development. I like how smoothly the script transition the story to the Palace.
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Trolley
68 people found this review helpful
This review may contain spoilers
Its empathic. Powerful. Yet, beware: it is rather slow & actually not on the bright side of life
"Trolley" is a SBS production for South Korean TV first of all, even it is promptly running on Netflix, too. One could say that the KDrama is about a politician's wife, who is caught up in an emotionally draining past and overtaken by an extremely unpleasant present. One could say that it is about an ambitious politician with a promising career, who is in the middle of the national assembly election campaign and will give everything for it. One could say that it is about the classic moral trolley dilemma, which is running through the story like a key note – should one intervene in the unstoppable, catastrophic events and sacrifice one human life in the process, or let things take their course, the but then (in the case of the trolley dilemma) will claim several victims? With respect to each of these varying aspects, the story delivers suspense, depth and emotional intensity, enriched with complex details until the end.
"Trolley" is like a large patchwork quilt made up of many colorful, isolated, fateful pieces of the jigsaw puzzle that becomes a whole while increasing in suspense episode by episode. And this spectacular whole is what I particularly appreciate about this KDrama. Because the production is dedicated to a sensitive issue in South Korea society: the devaluation, harassment, oppression, contempt, discrediting, defamation, exploitation, sexualization of women and widespread physical violence against them.
The KDrama articulates a quiet howl calling for change. This howl, which has been rather mute for the longest time, wants a voice. This howl of pain wants to be heard. One voice should become many. Laws protecting women (and victims of abuse in general) would be all well and good. But even more so (and above all) there is a need for courageous role-models of women (and men) who lead the way. (Or for a start: KDramas and their e.g. female protagonists...) Role models are needed, who stand up for themselves, for their lives, for what happened to them, and for their rights as human beings. Tangible role models are needed embodying what lies at the heart of (these much-needed) laws: the non-debatable dignity inherent in every human being, regardless of gender, creed, birth, or ability. Paragraphs alone are not enough. They must be filled with life. With people who dare to actually venture out of the familiar swamp with their heads held high. And that's (for women) still easier said than done in South Korea 2023. "Trolley" embodies these circumstances in an impressive way. In fact, this is more than overdue. This TV production also places this message with some force and spreads it worldwide, too, so it cannot be overheard. Can it? May the message get through and encourage … women, young people, … and men too.
However, the spotlight is not directed at one or 'the' man as such, but at society as a whole, in which women structurally function (or supposed to function) well; in which they themselves participate in the premises - as mothers, as classmates, as part of a bullying, via public and Social media easy to manipulate crowd. The poisonous social thorn is so deeply rooted within women themselves: a systematically and consistently cultivated, inferior attitude towards their life. The the circumstances usually aren´t even seriously questioned because: that's the way it is… has been… (will be?)
Practically all of the women in this KDrama represent a self-esteem that has been deeply hurt and thus weakened as a result of private and public devaluation or even physical violence. They all somehow learned to live with it. They are battered, wounded and scarred, and they suffer from their feeling of inferiority that weakens them into old age. The worst thing about it: that they are still standing there alone, because nobody really can/wants to acknowledge their suffering and justified anger. Women have had to learn to live with the fact that there are no witnesses, no advocate, no encouragement, no attention, no consolation for them and their traumatic experience of harassment. No one is standing in their corner. The social message: You didn't deserve anything else. You´re to blame. 'Submissive, quiet, tame and silenced, everyone can do whatever they want.' Such is fate as a daughter. As an unwanted daughter. As the first daughter. As a daughter-in-law. As a wife. As a divorced woman. As an illegitimate mother. That something, which has remained deeply in these women, now shows impact, too: so that they either secretly and quietly devalue and question themselves, alternatively devalue others on their behalf, or let others devalue them on principle. This painful experience has not been redeemed to this day and should not be redeemed (from the social point of view of some). It is the ingrained yet invisible mark that South Korean society brands its women with. With "Trolley" it is out in the open. In multiple ways. Options for change are discussed, and the difficulties involved are also explored.
A strong portrait of society, cleverly prepared and seriously presented, yet in an entertaining manner. The KDrama meets a red-hot zeitgeist that calls for winds of change. The story courageously challenges the conservative, patriarchal attitude, which by nature denies women the right to be fully acknowledged human beings with the same rights. In the course of the last year, blood boiled high in South Korea after President Yoon declared 'structural sexism' being no longer existent in the Republic and wanted to abolish the Ministry for Equality and Family (or move it to other departments). In these times (see also the side note below), "Trolley" is a courageous and important production, because it tells a different story - that of devalued, sexualized, abused women in a self-satisfied man's world. Respect!
Its empathic. Powerful. Yet, beware: it is rather slow and actually not on the bright side of life.
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SIDE NOTE: --- Always burning topical: violence against women in South Korea ---
If you compare the crime statistics in (i.e.) Germany and South Korea, South Korea is clearly the safer country. Seoul is arguably one of the safest cities in the world. But not for women...
Overall, violence in South Korea may be limited. But against women it is alarmingly widespread. Of the violent crimes recorded in South Korea, about 80 percent of the victims are women. In 2020, more than 58 incidents of sexual violence, including rape, were recorded among 100,000 residents in South Korea. (There were 12 in Germany for comparison). There have been newspaper reports of brutal femicides almost weekly in recent years. In a national survey conducted by the Ministry for Gender Equality and Family in the summer of 2021 (the ministry still existed then), 57.8 percent (!) of women stated that they felt threatened by misogynistic violence.
But the current political line is different. President Yoon stands for the values of the so-called "New Men's Solidarity". Behind this is a deeply patriarchal, conservative thinking that denies women to be full human beings with the same rights. Accordingly, the official line tends to go backwards: the penalties for false allegations of sexual assault are increased and the politicians rather argue with classic perpetrator-victim reversal: the women provoked the men by not doing what the men want them to do . Courts rarely judge in the interests of women. On the contrary. The outcome might be: victims of sexual violence are punished more severely than the perpetrators. Law against defamation of sex offenses is far stricter than that on sex offenses. It allows victims of sexual violence to be sentenced to up to 3 years in prison – even if it is proven that their publicly disclosed allegations are true. In the actual cases of sexual offenses, the verdicts against the perpetrators, however, are mostly merciful, with a mild sentence for crimes against women, as soon as there is one or the other weakening reason or an impeccable good reputation. Lax investigations and re-traumatizing behavior towards female victims in police and judicial authorities make matters worse.
All in all, it is very difficult for women to effectively defend themselves against the violence they might have experienced. Headwind blows from almost everywhere. Here we are again with the deeply patriarchal, conservative basic attitude of a society that denies women as a matter of course that they are full human beings with the same rights. This 'self-evidence' needs to be questioned and confronted. Resistance works best when women unite and at least start to stop this structural mutual devaluation among themselves. Speak, talk, share, cry, console... You don't need laws for that. Supporting one another, acknowledging injustice as such, comfort and compassion would be soothing ointments on the wounds of countless women that could heal a little bit better that way.
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The drama that never was. A fiery and promising start that died out too quickly.
This drama was absolutely brilliant in the first three episodes but lost its spark with each one, and after episode 24, it completely went to the trash bin. We were promised: a red-flag male lead, a badass assassin female lead, enemies-to-lovers, bloody revenge, and intricate politics. What we got: fail, fail, fail. This drama turned out to be a typical historical story about domestic love, sibling rivalry, and simple court politics.POSITIVES:
- The main leads. They had amazing on-screen presence and brilliant acting.
- Enjoyable OST. At least that one sad song stayed stuck in my head.
- Story wise, an ok watch till episode 24.
NEGATIVES:
- The male lead starts off as a badass, unhinged red flag Gege but after episode 4, he’s reduced to a green flag, vulnerable, broken Gege. Worse, by the end, he’s mostly just a moping, lovesick boy, with the only charming quality felt being his handsome face.
- The female lead is supposedly a deadly assassin who’s spent ten years training for her revenge, and yet she never actually takes it. Worse, she’s off-screen when it finally happens! Aside from a few cool fight scenes, she’s basically reduced to a damsel in distress.
- Enemies-to-what-now. The sexy fire between the leads dies down quickly and their village arc is mostly domestic fluff.
- Village arc. Pure filler for me, It added next to nothing as the leads were interacting almost the same way as they did at the start (after episode 4, since episodes 1-3 feel like a fever dream).
- Meh side characters. A bunch of nothingness really. Ain’t nobody cared about the second love interest (the Prince). The Princess was cute but her getting pregnant by the Grandfather was totally disgusting and literally nobody wanted to see that. The second male lead was just there, doing his best but ultimately forgettable. The second female lead was the epitome of expressionless, and her metamorphosis of being in love with the male lead to suddenly loving the second lead was bizarre.
- Plot. Nothing groundbreaking aside from the plot holes that were definitely there. It was a simple revenge with zero plot twists or surprises. The biggest fail for me is that the writers decide to literally reveal everything, including all the mysteries, in the first three episodes. The main focus was the love story, which felt boring. There were some nice parts where you could see the main leads were healing their traumas together but the domestic and cutesy romance fluff never really hit me.
- The ending. For me, the story ended at episode 24 when the main conflict was resolved and the villain defeated. Everything afterwards was a total waste with a ridiculous breakup and pointless love triangle. I literally ff/skipped through the last eight episodes and still understood the whole story.
- The true ending. Episode 32’s ending was surprisingly well done, emotional and thoughtful. It actually touched me, considering that I didn’t care much about the characters or the story at that point.
OVERALL:
The premise and trailer promised murderous, sexy and angsty vibes with sickly, scheming prince + his vindictive female assassin, and yet the drama delivered NOTHING. It’s like the writers had this grandiose idea, wrote the script for the first three episodes and then scratched it and decided it was ‘better’ to continue with a typical historical cdrama about domestic love, sibling rivalry and simple court politics. Kill Me Love Me? More like Kill Me Snooze Me (to death).
FAVOURITE QUOTE:
"Once a dead chess piece becomes alive, the game has changed."
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1The Art of Strategic Retreat
Immortal Ascension is the long-awaited live-action adaptation of the hit xianxia web-novel A Record of a Mortal's Journey to Immortality by Wang Yu (忘语), a defining work of the "mortal cultivation" sub-genre. While the novel chronicles protagonist Han Li's thousand-year journey over a sprawling 2,400 chapters, this ambitious adaptation condenses the first 200 years into 30 episodes. It is set in a brutal, realistic immortal world where might makes right. The Heavenly Dao (天道) is indifferent to concepts of "good" or "evil"; the path to immortality isn't about grand morality or predestined genius, but about raw power and survival. Here, cunning, alchemy, and artifacts can trump sheer talent.Three borrowed bowls of flour for flatbread. That is why an ordinary village boy, Han Li, stumbles on to a thousand year path to immortality. It isn't a profound or carefully considered decision or even a conscious choice on his part —just survival instinct, pure and simple. It begins in Shenshou Valley, a place that opens his eyes to a world beyond his wildest imagination and offers his first chilling glimpse into the callous utilitarianism and transactional nature of cultivation relationships. He picks up the underappreciated skill of gardening and chances upon his most invaluable artifact. From his first mentor, Physician Mo, Han Li learns the core secret to immortality: live to fight another day. He is the master of the art of strategic retreat—my lips would twitch every time he began stealthily backing away at the slightest hint of hostility.
Han Li is an unconventional protagonist. He isn't motivated by naive heroism and chooses a path that is ultimately selfish and solitary. Often underestimated, he prevails through cautious pragmatism and resourcefulness, relying on methodical long-term planning, deception, and fleeing unwinnable conflicts. Despite the running gag that Han Li is very plain, Yang Yang is perfectly cast. His immaculate appearance and radiant, ageless glow convey the aura of a character who is ultimately unattainable. I've never been a fan of his acting, but this is by far his best role. His portrayal is exquisite: the careful circumspection in his movements, the nuanced flicker in his eyes, the micro-expressions that signal he is always watchful and calculating; that fraught stillness when sensing danger; and the intense, cold-blooded ruthlessness in combat. Yang Yang's power, grace, and natural athleticism are on full display. Instead of just standing around uselessly waving a fan (Who Rules the World), he delivers multiple thrilling, intense, and brilliantly choreographed action sequences that showcase Han Li's ability to think on his feet, using his cunning and resources to level the playing field. The visual effects, however, are a bit dated and at times overwhelm the impressive stunt work, detracting from how flawlessly Yang Yang executes difficult mid-air acrobatics while staying completely in character.
I love the decision to shoot mostly on location—it vividly reinforces the vastness, timelessness, and solitude of Han Li's journey. It may have made lighting and framing more difficult to control, but it's far superior to the typical fake, over-lit, and stagnant xianxia set. The plot feels condensed, and the pacing is uneven, alternating rapidly between character introductions, heavy world-building via dialogue, and high-octane action. Some important characters—Physician Mo, Mo Caihuan, and a few of Han Li's Yellow Maple Valley mentors—are fleshed out, but too many others zip by cursorily. While Wang Duo plays the villain with great relish and humor, Wang Chan's character is a cardboard cutout, because Han Li's greatest antagonist is truly the indifferent universe—and Han Li himself, and the humanity he must leave behind.
At times, this feels like a video game, but it is actually a quite sad and profound story. The narrative tone doesn't indulge in sadness; Han Li's moments of temptation and regret are subtle and transient: a pause, a concealed glance behind lowered eyelids, the slightest hesitation, the moment he gives in to a brief hug. It's all in the subtext, in how he regularly shouts out to Li Feiyu, recalling his last mortal friend. Han Li is not a relatable protagonist; it's hard to feel sorry for him, as he does not feel sorry for himself or for the people he coldly leaves behind.
Fittingly, at the end of this first phase, we come full circle to a precious piece of flatbread that Nangong Wan casually snatches from him. Ms. Mo would never have done that. It's why she is not the endgame; she isn't ruthless or selfish enough to accompany him on his journey. While this is not a romantic story, the character who moved me most was Ms. Mo. It is with his first love and final obsession that Han Li almost allows himself to be mortal.
I don't know how to feel about this kind of story or Han Li's path. It is inspiring as a tale of how an ordinary person can become extraordinary. And a sobering lesson about at what price. It is a story that has stayed with me. I have to rate it 9/10.
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