Reviews

I had a hard time finishing this series! Apart from the very very cute kids, the show is a lame Mr. and Mrs. Smith with a bunch of plot holes and loose ends. It would have been more interesting to see the family and their interaction since it's a comedy afterall! Why complicate things when you don't want to explain anything in the end. The couple didn't have any proper talk among each other after they discovered the truth about one another. I'd rather watch more Minseo and Boseok! It would have been fun to watch that rather feeling that it was a task to be done with.

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FLUFFY VAMPIRES

I never thought id say this but this is probably the fluffiest vampire romance ever . If you want an easy to watch, easy to finish romance then this is for you.

This is an 8 - 16minutes episodes (which is really about 14 if you cut out the cheesy opening and closing credits) series with nothing but cute guys and fluffiness. Seriously. before watching the finale i had to rewatch the first episodes because i forgot about the events in them. Its a story about a vampire "family" living together with a normal human.

I love fluffy and light shows and i really iiked the series, however, to be quite honest, there is so much to be desired storywise. The vampire lore was so thin i wondered why they have to be vampires. I almost always ask why, for the love of god, does Koresn BL industry insist on being this short - the limited screentime allowed very little story and character development. It may have been better if it was released as a binge or compiled as a movie but i still think the plot is too thin to really make an impact.

Its pretty obvious the entire series has limited budget and that its possible the entire series may have been shot on a day or two.

The saving grace of the series are the main actors - Yu SIn and Park Dong Ju are real cuties and they did really well as Ju Won and Dong Ha considering the fact that they are almost brand new to acting and what limited material they have. I already loved Lee Tae Hyung from Match Play and its really good to see him in another BL i just hoped the series used him more. I specially loved the acting in the end of episode 7 between Ju Won and Seon Jay, with that alone id say Yu SIn has a pretty bright acting future ahead.

The other couple is mostly used for comedic relief and their kiss at the last episode was so fake i wonder why the series felt the need to add it to the story.

So would i recommend? Definitely. Would i rewatch? Im not entirely sure. Its a good and light series but its also quite forgetable i dont think id remember it after a month. Overall im giving it a strong 8 mostly for the cast and the entertainment value.

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I didn't really want to take note of this drama but it seemed unfair of me to not put my thoughts into it since I did waste 16 hours on it.

Why do I say waste? Because the story line was pretty annoying. I don't know what the writers were thinking when they started brewing up the plot. It had a weak start and a weak ending. The main character was a superb actor, we all know that but the story didn't give justice to his acting skills at all.

Though I would have to admit that there were times where I laughed my ass out to some scenes but that wasn't enough for me to go on rambling and recommending the drama. It will only be a waste of time. So I'm posting it to say that this is one of those drama's which people should avoid watching. Even the music did not give color to the loose story line.

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Stalkery Makjang MESS

This Drama is billed as being about a strong capable woman. It STARTS that way, but, like so many TW Dramas, melts into a makjang mess. Here's a quick synopsis of why I gave it 3/10 (I could have gone lower)

1. STALKING IS NOT ROMANTIC - For the first 11 episodes, the ML is not only an utterly self-absorbed whiny spoiled manchild, he's also actively stalking the FL with a tracking app she is unaware of. This is creepy, disgusting and criminal, not romantic, but apart from her slamming the door on him in one scene he basically gets a free pass from her in part because

2. MAKJANG MELTDOWN - ML's father dies, and older half-brother peels off the Scooby Doo mask to reveal a full-blown psycho nutjob underneath. At the same time as he goes on a murderous rampage, the FLs protege goes on her own descent into diabolical double-dealing, for why? BECAUSE SHE CAN"T GET A MAN. For a Drama that supposedly celebrates a powerful, independent woman, to see her deputy turn "evil" for no reason other than jealousy that the man she's crushing on has a crush for the FL is major head-desking material.

I was impressed with the actor playing the female lead, and will be looking out for her again. But my advice to anyone who doesn't find masochistic delight in watching promising potential destroyed by makjang mysognist melodrama is simple: AVOID THIS DRAMA

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Whaaaaat?

Let's get straight into it.
BNW is a big pile of doodoo. Whatever they're trying to achieve is lost in a stale and inconsistent storyline. Now the only interesting things were the mind reading and existence of the alternate world. There were factors that spoiled what could've been a unique story. Factors being bad acting, unrealized plot and irritating main and side characters.

Noeul has not grown as an actor. Like the LITA cast, they are stuck at that level with no maturity besides the added years. Noeul is basically acting the same role - innocent and clueless. Boss being the exception was the only reason to reach this far. They do nc scenes well which is a poor selling point as actors who are not in the porn industry. Admittedly, there is a level of comfort between them that some others don't have. Side characters aside, Noeul's delivery of his lines are part of his character but really irritating to hear. Phu slept with Cir twice before running away confused about his feelings which only resolves after Cir got in an accident. One word, boring. What was this incessant need to keep repeating their names? The tally of this might account for half the script.

Cir, in the alternate world (dream world unconsciousness) meets the previous version of himself and learns the reason of the past lives. Their endings have not been happy. He's trapped there until Phu cries out his deep love for him and only then is he returned to his physical body. Here's where it gets tricky. The Cir that Noeul loves has a scar on forehead. The other Cir does not. So does the scar disappear and materialize depending on which version of Cir's consciousness inhabits the body? Make it make sense. Even at the end there is no explanation for this inconsistency.

It is revealed that Cir has been his protector and stalker for a few years which leaves to beg, why the pretense? Phu seems to be a kind hearted gentle neurotic soul and would have accepted him, so why the pretense. If this is to protect from his mother, why did he eventually contact him? The deal with his mother was one final year of freedom before joining the company. Why contact Phu when the relationship had a deadline? To confuse him more?

Phu meets Cir's unwanted fiancé, gets slapped, is saved by Cir who rebuffs all the parties that caused their meeting and is taken away to safety. Directly after, whilst sitting in the apartment, Phu asks Cir if he has met with the fiancé and how did it go? 😳 My confusion level had me thinking that I probably napped here. Was Cir not next to him when the fiancé show down happened, so what is he asking here? Was there a telepathic meeting the viewer didn't see? Inconsistent and poor editing. Throughout the series there have been other repetitive nonsensical conversations, but this being the most glaring.

Genuine question here, do all female side characters have to sound like harpies? Why can't they be seen as even tempered beautiful women? They are either physically aggressive, delusional or erratic. Can't this be banished and more multilayered characters be written? This would be a welcomed change. Though it was great to see his Phu's friends so protective of him except that one idiot.

Now to the mind reading. Unless I've missed it, it's not clear how Jin acquired the ability to do so. It is interesting and since meeting Wim, he has liked him and still was able to use it. When he confesses to him, it's suddenly lost. So verbalizing his thoughts took them away and he is like everyone else, guessing his way through the relationship. Wim, the most polarizing character with his incessant need to speak, doesn't believe him. Upon confirmation from Cir, he is willing to be let Jin in. Honestly, their story would have been more entertaining that what this was. Nine episodes of lies, and one full of repetitive declarations.

Cir's mother is displayed as deranged and despicable. Now, we see why Cir needs an alternate universe to survive. The solution to her wanting to trade one property for another is not met with a white padded room and restraints but entertained. The fiancé, what was her motive to marry someone who clearly despised her? Money? On meeting her intended mother in law, any sane person would refuse. Conclusion: they all need the white padded room and restraints.

This series left me wanting more than just great nc scenes. The plot needed to be tightened, the acting upgraded and the characters likeable. This was 10 episodes of boring, unimaginative lies and unlikeable characters save Jin and Ramil. Will not be re-watching. Once is more than enough.

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Reality? Overrated. Bring on the Boyfriends!

What do you do when reality feels like a snooze-fest? If you’re Seo Mi Rae, you dive headfirst into Boyfriend on Demand, a virtual dating product with hundreds of boyfriends to choose from. And let me tell you, watching Mi Rae escape reality is like escaping from the same old rom-com formula we’ve all seen a million times. It’s fresh, it’s chaotic, and it’s ridiculously fun.

From saving a hotel heir to running into a Joseon assassin, Mi Rae’s virtual adventures are a wild mix of rom-com chaos and action-packed drama. The real magic, though, is watching her hilariously roast every cheesy line and over-the-top trope along the way—it’s like she’s in on the joke, and we’re all laughing with her.

And let’s talk about Mi Rae’s flirting. In the virtual world, she throws caution to the wind and embraces her inner rom-com diva. Whether it’s a dramatic hair flip or accidentally dropping her pen to get noticed, her antics are so over-the-top they’re impossible not to love. It’s pure, silly escapism at its best.

And let’s not forget Yun Song (the Webtoon writer) and her BFF Lee Ji Yeon, who also dive into the virtual dating world. Their shared-but-different experiences are comedy gold. I mean, who wouldn’t laugh at Lee Ji Yeon asking for the hotel instead of the necklace? Priorities, people.

But then, Mi Rae decides to return to reality, and while it’s necessary to connect her with the male lead, the spark fizzles. The vibrant chaos of the virtual world is replaced with a reality that feels, well, a little too real—and not nearly as fun.

Ji Soo as Seo Mi Rae brings the character to life with a bubbly personality that fits the role, making Mi Rae’s escapades feel believable and fun, even if it’s not the kind of performance that screams award-winning. Seo In Guk portrays Park Gyeong Nam competently, but let’s be real—the character isn’t exactly thrilling. It’s clear they were going for a contrast between reality and imagination, but the execution just didn’t hit the mark.

Now, let’s talk about the cameos. The lineup of actors playing the virtual boyfriends is chef’s kiss. Some of their stories and settings are so intriguing, I found myself wishing they had more screen time. And no complaints about Seo Kang Jun as our university senior Seo Eun Ho—he’s not just convincing, he’s oh-so-dreamy in this role. Honestly, for a moment, I almost wished he was the main lead.

In the end, this drama is a mixed bag. The virtual dating chaos is a blast, but the return to reality, while necessary, feels a bit underwhelming. Still, if you’re looking for something fun, witty, and a little out of the box, this drama is worth a watch—just don’t expect the same magic once Mi Rae logs out.

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SURELY TOMORROW

I am so glad I found this thread because for all twelve episodes, I felt like I was being gaslighted into thinking that the FL and the ML are not inside a toxic, emotionally abusive relationsship.

I mean broken FLs are mostly adorable but to make this FL depressed, abused child, druggie, suicidal, got married to a random drug addict, and ghosts the ML for the stupidest reasons and then comes back when it's convenient, does not give the ML anything but only recieves, letting the ML suspend his life just to help her with all her problems? Now they're trying to redeem the woman in an episode or two?

I mean what kind of person leaves a man twice with the shallowest excuses. And the writer really thought ahe would still be loveable. Most of the audiences are women and more than half of them had been trapped in abusive relationships that they worked so hard to get out of.

And to use the talented Park Seo Jun to gaslight the audience into thinking that this is a fated and healthy relationship. I mean PSJ, I know his character in Gyeongseong creature effectively longed for the FL for 75 years but it was an effin fantasy. This one is supposed to be built on reality. What with all the celibate MLs?

And please don't say that Gyeongdo chose to be a virgin since college because that's what the show has inferred. Is it biplogically, physically, emotionally possible for any man to do that?

And don't get me started with the FL, where is the damn shame? Leaving a man crying his heart out with alcoholism. And she didn't know it will affect him when she left just when he needed her while his father is in the hospital? She's the poster girl for emotional abuse and I don't like that she is the heroine of thia story, not the villain who the ML needs to move on from to find his true love.

And to add insult to injury, she is now the one pining and chasing on the ML right after she got dumped. Typical manipulative moves of a narciccist when her supply tries to leave her.

I mean, does the writer even read up about narcs and abusive behaviour? Surely she is well-read. And surely she researched this character.

I mean Gyeongdo was doing fine in Malaga and has no plans to return just yet. The writer then k*lls off the friend who stayed with the ML all those years he was recovering from the stonewalling he got from the FL. Mind you, Choi Woo Shik is the name of Park Seo Jun's best friend in real life. No wonder PSJ's acting was personal in the funeral scene. This writer is demented.

The friends and parents are all enablers for letting their loved one still have a relationshop with this FL. Even in the ending, Gyeongdo agreed when the FL said he might not want kids because he is afraid they will end up like her.

I am uncontrollably irked right now at the sheer st*upidity of the story. And how unbelievable PSJ accepted the script. Is the FL the kind of woman you want your friend or family to end up with? I hope not. All his other characters were kick-ass.

FL sucks the life out of Gyeongdo and when she's around Gyeongdo loses his dreams. His Malaga scenes looked really good even if he is practically a broke waiter because there is no FL baggage that he is suspending his life for. It is the FLs dramas he had to take a break from not his own.

What I am mad about is for the FLs behaviour to be dismissed as cute and healthy. Isn't kdrama supposed to give us life lessons? She is a glaring example of narciccism, c'mon.

I really hope PSJ learns from this and become more discerning of the scripts he chooses. Right now people are calling his character a door mat, and the more he sacrifices for the FL, the more it is interpreted negatively. Not all sacrificial love are healthy. Some are toxic and harmful.

Whenever I see the FL pouting on screen because she didn't get her way, I want to go punch a wall. All her struggles are mostly self-inflicted. She makes decisions without even caring what Gyeongdo will feel because he will still be there when she gets back anyway.

I hope instead this kdrama becomes a warning to women and also to men to learn how to recognize abuse when they see it, detach, and move on accordingly with a healthy partner.

Seo Ji Woo had no business getting into a relationship when what she needed was therapy.

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Whispers of Fate: The Roar of the Water Dragon transforms Destiny and C-Drama history

An eerie elaborate palanquin silently soars through the night sky beneath cold gaze of a gigantic full moon, as wedding festivities at the Hao Residence will soon experience unfinished karma.

After at least thirty years of watching mandarin dramas and movies as a child, I felt like a kid in a candy store rediscovering our constellations through the Hubble telescope across 40 episodes and after rewatching again: Excited, bright-eyed and soothed by an epic high fantasy xuanxia adventure richly imbued with history and art of various dynasties within Chinese civilisation.

An unusual protagonist with key themes of brotherhood, camaraderie and conflict are buoyed by a delicately-woven map of Taoism and Buddhism philosophy studded with Confucian elements. A solid layered emotional core tethering 40 episodes for profound exploration of human nature and identity inadvertently recalls certain Hong Kong movies of 80s and 90s, bolstered with doses of well-timed humour.

Understanding an official poster for Whispers of Fate on this MDL page is to realise micro-attention to details and the drama ending from the creative team, fundamental details about our leading protagonist Tang Lici, and his choices.

Loosely utilising Teng Ping’s novel “Enduring A Thousand Tribulations” is the unfolding mystery of Tang Lici: He must retrieve his memories and fully comprehend the seven emotions mentioned in Buddhism, truly realise and determine the meaning of his existence, and comprehend the goals of hostilities relentlessly pursuing him, to protect everyone dear to him.

From understanding nothing about emotions until he loses the only home he knows, memories score him with wounds he must learn to heal. Tang Lici must grow further and also learn to master keys of love, grievances, loss, relationships, mortality, plus realise how to embrace himself.

Tang Lici in episode 1 symbolises the drama’s unique screenplay unfolding a complex conspiracy which he is confidently capable of countering as a chess master and best martial arts warrior of the world ie Shenzhou, unlike many protagonists in typical C-dramas who must cultivate and slowly go through trials to develop capability.

With this approach, the central plot focuses on plans and developments increasingly cementing crucial necessity and evolving symbolism of his adventures and existence, via numerous subplots. Viewers are primarily engaged in figuring out finer details and plans from antagonists versus the philosophical enigma of Tang Lici knowing his cues, instead of typical tropes for a weak still-developing protagonist. Our protagonist strategically carves and maps his way through schemes aiming to crush him, kill him and ruin his name forever, but comes to discover vulnerability he had never considered, while he decides whether he wants to be a hero and save the pugilistic world alongside countless lives.

Why Tang Lici changes is not a religious study thesis or conscientious philosophical dissection of Fang Zhou's teachings. He comes to it in the same way as you, the viewer: You need mistakes, happiness, and this journey of myriad experiences interacting with different people to realise flaws and misunderstandings created, due to how you want to appear versus what you truly want to portray, which lies in the fundamental essence of acknowledging your true heart and values to yourself, finally becoming comfortable to openly share it with someone else without fear.

Tang Lici’s posturing hides his denial of certain facts while needing truths he is also unaware of. Through interactions with the likes of Physician of Miracles Shui Duopo, he learns that if you want a stranger to listen to you and truly hear you for what you are, they will maintain their standards and values despite any differences, but they must also empty their cup for you to allow true understanding and correction of previous assumptions and biases and ignorance. Will you do the same for them?

Light and shadows within past and present must be understood as yin and yang, not one to vanquish the other. Path to this awareness coming full circle in episode 40 is a group effort of cast and crew purposefully unveiling a richly sumptuous tapestry of integral details for you.

Lighting and camera angles for set arrangements institute a three-dimensional feel of depth and atmosphere contrasting foreground versus middle ground and background. Implications of theatre and opera struck me within thirty seconds of the introduction, heavily anchored within five minutes of Episode 1. Whether a wide-angled shot or an intimate space containing two or several characters, the frame composition is precisely symmetrical or deliberately asymmetrical to preserve the theatre of it all. Stanley Kubrick’s 1968 movie “2001: A Space Odyssey” is an apt example.

Theatrical deliberation is further strengthened via Peking operatic elements rendered more distinct for the villainous characters, in costumes and role delivery and speech patterns.

This drama can be divided into a prologue with four acts of an innovative groundbreaking zaju (杂剧) altered from a modern perspective to correspond with Western theatrical arcs of a five-act structure, akin to pivotal significance of Gui Mudan in episode 14 blending Peking Opera with Sichuan Opera while performing certain lines of Cui Yingying from a Yuan zaju. Of all dynasties within Chinese civilisation, Yuan drama reached the profound pinnacle of elevating ancient narratives in Chinese literature to a distinct matured brilliance while emphasising cultural significance, where music melding with unique storytelling by scholars produced numerous talented playwrights.

Wang Shifu studied and adapted successful traits of different art forms, broke the rules of usual zaju and modified artistic means to more-effectively convey dramatic conflicts while refining delicateness of characterisations. “Romance of the Western Chamber” by Wang Shifu is one of the most iconic representative works of Yuan Opera literature in linguistics, lessons and narrative performance.

The creative team behind Whispers of Fate has employed similar fundamental traits of the best Yuan Dynasty dramatists and their individual trademarks, aptly-exemplified in Wang Shifu’s talents when evaluating this drama.

Decisively wielding flute and pipa unlike lost music of Yuan zaju, uncompromising clashes of love and hate between Tang Lici and Liu Yan determine the main melody of consequences impacting everyone. Rhythm of time and actions at each destination explored by Tang Lici is stealthily guided by clappers of a puppet master controlled by drumming from a mastermind.

Episode 1 is the prologue (楔子), with episodes 2 to 9 as exposition (Act 1). Chi Yun and Zhong Chunji clash and become allies. The Abbot of Gold Leaf Temple shares a rare conversation during a weiqi exchange with Tang Lici. Bound by intense emotions to Fang Zhou and Liu Yan whose roles and significance cannot be pigeonholed in the heart and mind of Tang Lici, he seeks to correct the past.

However, what Tang Lici did with Fang Zhou is fundamentally misunderstood by Liu Yan, whose beliefs as a practitioner in Traditional Chinese Medicine will naturally interpret unthinkably drastic measures as intentions of a monster murdering and desecrating a benefactor’s body, someone who is the kindest teacher and compass of justice in the pugilistic world.

Episodes 10 to 25 (Act 2) sees the series of events intensify, setting the stage for the rest of the conflicts to unfold as key villains make presences felt.

Episodes 26 to 32 (Act 3) is when tensions hit a new high, the mastermind emerges, and Tang Lici makes irreversible decisions affecting Shenzhou and the pugilistic world.

Episodes 33 to 38 (Act 4) magnifies the path of the main conflict, when Tang Lici finally perceives the roots of it all. Seeking an overarching solution, he returns to his origins during the Five Declines of the Celestial Realm and learns the most precious truths, meeting the most important woman in his life. Xifang Tao’s cunning manoeuvres for leadership in the pugilistic world creates irrevocable mutual hostility.

Episodes 39 and 40 (Act 5) reach inevitable resolutions. Tang Lici comes to terms with manipulation in a plot he could not fully anticipate, while overcoming bitterness of mistakes and costs and betrayals, converging at the Sea of Reincarnation. Highs and lows schooling Tang Lici to gain full understanding of seven emotions is also the path of gaining insights to actively understand Shūnyatā.

Within Mahāyāna Buddhism predominant in China, shūnyatā (emptiness of self) and compassion are closely intertwined. Shūnyatā realises all unnecessary boundaries between living beings such as you and I being illusions, in order to transcend rigid self-concepts of self, and nurture true compassion for all beings.

The journey of actively learning and enriching oneself in interplay of shūnyatā and karuna (natural expression of compassion due to understanding shūnyatā) naturally enables Tang Lici to gain a perfect spiritual body and fulfil his full potential, completely embodying the opening song of this drama.

Balancing divinity, chivalry and arrogance, Tang Lici’s journey via the narrative process of this drama matching specific camerawork is aptly-reflected within the Four Noble Truths of Buddhism from multiple angles and aspects, but how he learns to understand and value different people is the key catalyst for his transformation.

In kindness and insightful words of an assassin he wanted to buy, he gains an older brother. Influenced by unflinching protectiveness of selective eloquence, he learns to cherish a mischievous stubborn younger brother he never had. In turn, other people help him realise how to truly touch them. Xiao Shunyao and Ao Ziyi as Shen Langhun and Chi Yun are individual charismatic warriors forming a dynamic trio with Luo Yunxi as Tang Lici. Their interactions will leave you wanting more.

Jeremy Tsu and Luo Yunxi are outstanding. Gui Mudan is the most iconic C-drama villain in decades. Facets and moods of our flawed hero elevating and generating chemistry with everyone else can only be utterly personified by Luo Yunxi, one of China’s finest living cultural performers mastering stage and screen due to his extensive background in ballet, stunt training, and classical arts. Be it with Shao Yanping drinking tea, confiding his wishes for Fang Zhou to Shui Duopo, or multiple riveting exchanges with Zhong Chunji and Puzhu, Luo Yunxi demonstrates finesse, firmness, teasing, kindness and vulnerability in many unforgettable shades.

Superb performances from Chen Yao and Fang Yilun intend to push buttons as multi-faceted scheming wrong-doers gifted with abundant mercy from Tang Lici and Puzhu hoping they can change. Alen Fang's ability to maximise tension and menace with a co-star (see him menacing Riley Wang as Fang Pingzhai) or something more indefinable with Hong-guniang, is electrifying. Jiang Zhen Yu's portrayal as Xiao Hong is sensuously mesmerising. Bao Shang En’s efforts in the technically-exacting role of Zhong Chunji is laudable. Bai Shu and Ai Mi’s chemistry as bickering friends deftly switching between comedy and seriousness makes me want a spin-off general xianxia parody.

From a rural temple to headquarters of Central Plains Sword Alliance, enjoying a meal in an inn and journeying to the Palace of Fallen Jade, episodes 1 to 20 builds a chessboard and plants chess pieces for unavoidable battles, guiding you through China’s beautifully diverse natural vistas.

A set needing 18 months to construct, various scenes comprising seven-thousand square metres over 144 days and 164 outdoor locations results in amazingly detailed grandeur. Be it the Floating Abyss, Tang Lici’s Ship of Ten Thousand Apertures, Sword King City or the Celestial Realm, vibrant textured luminosity with ethereal or eerie haunting loveliness utilising an evocative organic colour palette of specific rock pigments is cemented via Yancai technique from Tang-era Dunhuang murals by Art Director Zheng Chen (Lost You Forever), Director Chen Zhoufei (won 55th Golden Horse Award for Best Cinematography of Zhang Yimou’s movie “Shadow”) and Zhang Zhi Bin. Set designs, set arrangements and cinematography is superior to "Till The End Of The Moon", due to technicalities combined with intensive traditional artistic techniques which I have mentioned.

847 costume sets reflect personality, states of growth or mindset or status, clothwork and beading designs rich in heritage from various dynasties. Weapons and accessories are rigorously-detailed works of art. Photos and details should be collated in a book, released in multiple languages. Art forms of music, opera, sculptures and history from museums, artworks plus ancient Chinese literature all gloriously spring to life, nods to 1980s media references skilfully acknowledged through a specific Chinese cultural lens. Ming Dynasty literature utilising Three Schools of Thought formed the basis of many weapon designs and concepts, especially sonic techniques of Tang Lici and Liu Yan. Shen Langhun’s serrated whipblades exuding chilling sonority of bronze chimes is inspired by《武備志 》(Treatise on Military Preparedness) from Mao Yuanyi.

Tang Lici’s golden armour hails its roots in the Four Buddhist Kings found within Chinese Buddhist temples, while recalling “Saint Seiya”. Qiaoyi Qiankun’s mechanical Qilin possibly inspires a rewatch of “Beast King Go-Lion” which “Voltron” is based on. In one dusty episode, the Tattooine desert from second instalment of Star Wars franchise inspires a chuckle-worthy homage.

Majority of battles with CGI are superbly choreographed and emotion-driven, episodes 8 to 12 of Tang Lici with Puzhu inspiring me to craft an episode summary of trivia, Buddhist concepts and novel details.

Tang Lici’s journey of perfecting himself through mastery of seven imperfections while growing in Buddhism from start to end (and most-clearly cemented in mandarin words he uses in episode 40) is a refreshing subversive masterpiece melding contemporary sensibilities and mythological traditions. Every age has its literature. This drama’s unique media-fusion narrative is a treasure map to rewatch, reflect and question your beliefs about heroism, judgement and compassion.

Execution is commendably enjoyable but certain secondary storylines, pacing and editing are affected due to too many characters while indulging aesthetics over plot arrangements at times, resulting in certain characterisations and at least two subplots being uneven. The Celestial Realm grounded in Buddhism needed an extra episode with proper backstories of Bai Nanzhu, Ye Mo, and Xifang Tao, to strengthen parallel lessons between Tang Lici and Ye Mo.

My analysis of these flaws: Reorganise and reduce flashbacks + alter or remove details in specific sections/subplots of certain episodes + second more-effective approach removing two characters (Bai Suche and A-Shui) =

https://kisskh.at/755725-shui-long-yin#comment-24390346

Viewers with extensive gaming and/or anime backgrounds, movie buffs of 70s/80s/90s and Buddhist philosophy aficionados will enjoy exploring timelines, emotional bonds and themes. End credits with lyrics are flowing visual media equivalent of the infamous painting “A Thousand Li of Rivers and Mountains” utilising completely different colour palette and figures.

Underpinning it all is this observation from《道德經 》:

「故有無相生，難易相成，長短相較，高下相傾，音聲相和，前後相隨。」

Be it a wooden carving or a move in weiqi, bonus details here:

https://kisskh.at/profile/Xiang83/review/519762#comment-24487066

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Loved it, Loved it Loved it! I could end my review there, but there is so much more about this series that I want to say. Spoiler restrictions prevent me from saying about 80% of what I, otherwise, would write, so I will comply. It's a story about hard times that, through a stroke of good luck, ill will, nefarious dealings, buckle-down hard work and even wilder twists on a well-worn theme, eventually turns out to be a morality tale that we all can be edified by.

Our Hero strives to survive under the harsh circumstance of misfortune due to his unknown parentage through hard work in the street-stall marketplace among the merchants who have adopted him as one among their 'family'. This allows him to escape the certainty of a life of crime which would have inevitably lead to his early demise. At a time he thought he had shaken the grip of the street's vicious hand, a calamity, which had nothing to do with him becomes at once the opening of a whole new world of wealth and power, as well as, a slippery path leading to his own destruction. Any lesser man would have succumbed early to the lure set before him to facilitate his fall, but not our Hero.

Love interests in conflict with his self-realized moral code, traps laid by apparent benefactors, breaches of trust at every turn and plot twists (just to keep the storyline moving) incite, invigorate and initiate --cue the fanfare-- his own unrelenting will to overcome, succeed and thrive. The odds stacked against him were indeed overwhelming, but for him, 1% is enough of a formidable alternative to the 99% of certain doom and becomes the underdog's best case scenario. Our Hero comes through with flying colors; bloody but unbowed, battered but unbroken, bruised but unbeaten.

'Big Man' reminds me of dramas I've seen before, but the portrayal the lead Actor puts in, blows ALL the others away. This was running as a currently scheduled program airing at the time I first came across it. But, as is my habit, I refused to watch until most of the episodes were posted at my favorite streaming drama venue so that I could marathon it. This is the best way to consume a series of this length so that the ep-to-ep continuity goes uninterrupted.

Action, drama, comedy, Love story, big business intrigue, seedy underworld criminal perfidy, this one has it all and never skimps on any constituent ingredient. Watch 'Big Man' and you'll agree with me, walking away after the final credits roll, saying,"Loved it, Loved it, Loved it!"; At which time, you may quote me on that...

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I'm still learning english ! I know it sucks ! please bear with me ;-)

Hey guys, a friend of mine recommended the korean movie Concubine of King and I thought i give it a shot. The movie contains a lot of sex scenes and what you get to see is comparable to any softporn. So I wasn’t sure if this movie is really good. Usually movies which contain erotic of this level are low budget productions and I thought this is another one. I was mistaken (again). The movie is high-class and is anything but trashy which amazed me. But there is one thing which confuses me I thought established actresses with a good carrier wouldn’t play such a role. I mean you get to see Jo Yeo Jung stark naked (which isn’t bad - she is beautiful). But then I found out that she starred in similar roles before (including being naked - “The Servant”)

“The film proved her fine taste in roles when, despite the hype, it was well-made and critically praised. Jo says that most of all, she wants to be seen as an adventurous and intriguing actress.” http://en.wikipedia.org/wiki/Jo_Yeo-jeong


Now I want to write something about the story. It’s basically about a king who has no say. The King is in love with the queen who was married to his brother (who was poisoned) But the queen is in love with someone else. A love triangle comes into being. The story is anything but innovative. I’m certain there are at least 20 movies with a similar story line. Just the end of the movie confuses me (the last scene). I’m sure everyone who watched this movie knows what I mean.

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Simplistic symbolism and how being a teenager is actually hard.

A rare case when my brain sees all the flaws, but my heart says: I don’t care. The whole show has a great juvenile charm to it, and the sloppy storytelling and in your face symbolism just adds to it. Sure, I strongly believe that with a few different directing choices this could easily become one of the best BL shows up to date, but even as it is right now, it’s truly enjoyable.

Yes, the setup on the surface is painfully stupid. We are sold the story of this abusive authoritarian school and students fighting for their rights, but what is presented is 3 students not wanting to wear uniforms. Is it that simple? No. It was never about uniforms, it was about self expression and more accurately sexuality.

The uniforms and the rules were supposed to represent the norm in terms of sexuality. Following the rules in school meant following social norms. Suppressing your sexuality to fit with what was established and deemed as "normal". The whole show is a commentary on the conservative and outdated ideas and how they harm the youth. It’s a great subject with a idea on how to present it, but not as good of an execution.

The storytelling was not detailed enough. We are presented with a wall of rules that were established, yet we actually know about only two. What are the others? No idea. What consequences are the students facing if they break the rules? No idea. There is the curse, but that’s it. Where are the parents? The whole adult side of the show is ridiculously unbelievable.

On the other hand, it made perfect sense why the teens were being “overdramatic” - they are teens. Suppression of individuality at the time when it's most crucial to figure yourself out is not really a small thing. The Eclipse did a great job to make me sympathize with the issues these kids were facing and how big of an impact it has on them. From the point of view of an adult, my initial reaction was: why are they so dramatic? Just be patient for the next few months, graduate and move on. But that type of thinking is the issue - if they are told to follow the rules and not question anything now, how will they learn to fight for their rights later? Their actions as teens will shape their behavior, motivations, personalities later on. Nothing really changes as you grow up. First you are told to do what your teachers say, later you are told to listen to your professors. Then you need to follow your bosses instructions. That’s why it’s so important for the youth to ask questions, debate, reflect on the problems and issues and not just do what adults tell them.

For the characters, the leads were phenomenal - both in the writing and portrayal. Seeking validation and purpose. Sticking to the role one obsesses over, because it feels like it's the only thing that defines who we are. The fear of being seen as disappointment. The drama also touches on the subjects of depression and suicide. How we should not judge one’s struggles based on our own standards. How we should be patient with others, because we cannot know and truly understand what they are going through.

What I appreciated the most was the takes on coming out and accepting your sexuality. It’s not the “I don’t like guys, I only like you”. It’s not “everyone is either gay or loves gay”. None of the unrealistic scenarios here. It often takes time to figure yourself out, it takes time to accept what you find, it takes time to then admit it to others. In that aspect I could not like the relationship between Akk and Ayan more. Not to mention one of the best on screen chemistry I have seen in ages.

For the acting, I've been a fan of Khaotung for some time. Realistically speaking, he is one of the best that Thai BLs can offer. I rewatched some scenes simply because of his performance. Thank god First was cast as his co-star, also delivering a solid portrayal.

Production wise I don’t really have complaints. I think some of the setup and directing ideas were too big for the production team, which led to a few questionable and ridiculous takes, but damn the show was pretty.

Overall, I liked it a lot. Yes, the setup and the way they decided to present some serious issues was questionable, but I still believe it was better than the majority of BLs out there. The biggest problem was the transition from rules at school being the issues, to how they relate to the overall social norms and homophobia - it was too jarring. You get the idea behind it all, but you still feel like it’s a bit too disconnected from each other.

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MASTERPIECE

What a masterpiece this drama is. The character developments shown in this drama is so amazing. I cried, I laughed and I even got goosebumps while watching this drama. Usually, there are fewer dramas with morals, and this drama has clearly shown us the reality check with such great morals. I love this drama for what it is. The plot twist and storyline are sooooooo great. And each character that was being portrayed was too good. The character Hyun Su was portrayed so realistically and its character development is beyond perfection. I reallyyyyy loved the aesthetics used in this drama. I highly recommend this drama not because it is good or something(ofc it is) but this drama should be watched by everyone. The one and only drama I watched so far with zero loopholes. Perfection!

So I gave my ratings everything 10 because I think this drama is beyond perfections. I never heard of any story like this and I want deep and meaningful dramas like this. The story is very meaningful so I give it a 10. It taught me many lessons about life.
I gave the Acting 10 because they portrayed their character really well. I can feel their emotions and realistic of their actings. I gave the music 10 because the music vibe fits perfectly with everything in this drama. The music makes the drama even better. When the music was played, I can feel the warmth of it. For rewatch value, I gave it a 10 because I still can't get over the FL and ML's chemistry. I have rewatched this and I don't know about anyone but I still get suspicious, laugh, and cry over again. Overall, I don't think I will find any better drama than this. Again, this drama is beyond perfection!

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What a powerful and touching drama - I love Prince Sado now <3

Story: Based on the true story of King Yeongju & Prince Sado - a powerful display of rulers who think differently - The king cherishes power and authority over humanity and the Prince desires equality for everyone - from children of traitors, slaves, concubines and commoners. We see him come head to head with his father countless times - and I'd cheer him on every time. If you read the history of these two (which I recommend you don't) then you'll know it will be a bittersweet end. But even so, even if I did cry a bucket of tears, the end still left me hopeful of a better future to come ;)

Cast: Prince Sado (Lee Je Hoon) the son of King Yeongju (Han Seok Kyu) a honest and righteous prince with enduring principals - if he believed something was wrong he wouldn't ignore it - He has my respect for that, when some people would cave - he never did, he stood his ground even if he had to suffer immensely for it - he earned trust of his "followers" and the viewers <3 Plus he is handsome to boot^^ His eyes would captivate me when he'd speak - and the emotions displayed there were magical <3 King Yeongju a political terror if I may say so - he didn't blink if he killed someone or did wrong things - he fought tooth and nail with his son throughout the entire drama - he'd make me really mad most all the time and sometimes his discussions early on drove me up the wall - but the actor really did well in displaying his love/hate for his son. Seo Ji Dam (Kim Yoo Jung) I liked her while she lasted for 13 episodes (the older version I could care less about so I won't even mention her) she was great when she was Sado's sidekick and helped him out. When she's "older" she's just kind of there... Lady Hye Gyeong (Park Eun Bin) I didn't like her when the drama started but as time passed she grew on me and I could see the love she had for Sado (even though her love for power would sometimes speak louder). Shin Heung Bok (Seo Jun Yeong) he had a guest role when the drama started but he became the reason Sado & his father came head to head with each other - even though his time was short - he left a deep impact. The rest of the cast did a splendid job in their roles too ;)

Music: "Erase and Erase" by The One (my favorite) & ??? by Block B

Re-watch Value: 8/10 It's very political but really draws you in - so I will re-watch this again someday - even if only to see Lee Je Hoon (Prince Sado)'s eyes <3 I LOVED his deep dark eyes - they pulled me in every time ;D

I highly recommend anyone who likes historical or political dramas to check this one out - you won't regret it ;)

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