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The story of this movie was cliche, but who the heck cared. It was entertaining and fun to watch. And it contained one of my favourite themes childhood love *swoon*.
Acting I gave it a 10. Moon Geun Young, that girl knows how to act. She played the 15 year old so well (when the movie was shot she was actually 17, I calculated it out of curiosity). Kim Sae Ron, he was soooooo funny in this movie. One of favourite part with him was when he confronted the guy that Boeun was dating, that was just LOL. OMG and the scenes involving them two, were just hilarious.
Music I gave it a 8 because seriously I wasn't paying attention to it. Though at the karaoke scene where the each leads sing a song was no coincidence. Production crew I see what you did there.
Overall I gave this movie a solid 10/10. And I would rewatch it again for sure.
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Now, after watching season one and patiently waiting for season two to be release soon. I regret judging the series from someone else's point of view because I really enjoyed watching it. It was hilarious, cute, and it had me going "WTF" from the first episode to the last. The original name of the series "What The *uck" really suits the show because the are lot of WTF moments that would leave you speechless. You know, the one that gets your fan-girl/boy heart melting down to the one that have you crying with tears.
Anyways, apart from that, the casting and music choice for this series was well thought out because everyone played their part perfectly. It was interesting to watch the relationship growth between the main couple and side couples. With every hug, fluff and kiss, my heart is at peace. I'm very happy to have given this series a try. The slow build and the cliffhanger at the end of the season is all worth it knowing season two is coming.
Please go try it out for yourself because you too will be going... WTF.
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Watch this show!
My first k-drama, and one I revisit periodically. The storyline is original - a man destined to continue living to atone for crimes in his past. I'd like to address the age difference - I can see why some people really had a problem with it, especially since she spent so much time in a high school uniform. However, the chemistry between Gong Yoo and Kim Go Eun was amazing. When watching Gong Yoo - his loneliness was almost palpable and was heartbreaking to see. Kim Go Eun was able to vacillate back and forth between her pitiful life and her vivacity as she gets to know Kim Shin (Yoo) better. The secondary love story between Lee Dong Wook and Eu In Na was lovely as well. There was a lot of humor (like when he told her his name was Kim Woo Bin!), but such sadness as well. The scenery is just beautiful when they are in Canada. The music is absolutely perfect. Each song fit perfectly where it was used and there was a haunting quality about a number of the songs. These songs are easily recognizable when you hear them outside of the show. But I think the thing that I love best about this show is the friendships between the characters, especially between Goblin and Reaper. If you look up the word Bromance in the dictionary, you should find their pictures there - what started out as hate, moved to grudging respect, and then finally brotherly love. Their scenes never failed to make me laugh. This is one of the few shows that I have watched multiple times, and have enjoyed it just as much each time.Was this review helpful to you?
This review may contain spoilers
Ok so i loved the story it was interested near the last two episode i was somewhat shock... i made a hypothesis in the beginning that all three boys know they were dating her but just pretended they didn’t and they choose to share so they don’t lose her but it turns out... Ya’ll know if you already watched it okay so here’s where the SPOILER is going to come! if this doesn’t make sense that means you didn’t watch it yet, come back and read this after you watch it! So at the end when she said “Why? You think you’ll be different?” Is actually dark to me because she wasn’t talking to gunwoo when she was saying that! She was talking to us viewer! That somewhat creeped me out lol but i still can’t be disgusted or angry with her! Cause knowing me i would’ve done that too... but i felt like i would’ve feel guilty from the beginning.. Anyways the ending and the whole story surprised me, more than feeling weird out or any negative emotions i actually felt amazed. Yeah that’s it i thought it was a great drama with beautiful casts. Was this review helpful to you?
Trash
I have no words left. Worst adaptation ever wait, no it’s not even close to an adaptation. It’s just a trash ugh. When the live action first was announced, I was so happy but the moment I saw the cast I lost the spark in my eyes it was DISASTER worse than my life tbh. I hoped atleast the plot would stay same but they changed everything. It just keep getting worse and worse. It’s completely different movie not our ORV.Please don’t waste your time watching it. Read the novel and manhwa. I genuinely hope this movie flops and disappears into the thin air. If you watch this movie this will be the worst experience ever in your life. Sorry my English is not good. Thank you!!
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This review may contain spoilers
Spoilers ahead about the Manhwa and the adaptation
After finishing Heesu in class 2 I think it was clear that the creators of this adaptation wanted to have the BL audience that were fans of the Manhwa without saying that they only took inspiration and without really wanting to commit to display the relationship between them until 5 min till the end feel like we were in the early KBL days with censorship.Clear example of this Chanyoung bisexuality was erased in the show and he was such a supportive friend to Hessu helping them getting together with Jiyu there was nothing romantic between them.
They completely changed the narrative and even changed the relationships between the characters my main grip with this is that they decided to adapt a BL manhwa where the romance was the focus of the story and decided to add a lot of unnecessary storylines to make things more complicated for the couple to get together because if they was not obstacles they would have to show them early being a couple and showing affection and I think they wanted to avoid this so the couple only got together in ep 10 last minute showing really minimal affection and I feel the same with the fact that Seungwon moms exists but we did not see them as a couple in the adaption same for their classmate who has a girlfriend they exist as a queer characters but the show do not want to make them visible.
If they wanted to make a serie that concentrate on coming out and the pain of being in the closet they could have done this as an orignal story but they decided to capitalized on this Manhwa because it was popular and made a completely lackluster serie even if they wanted to make this like an ensemble work the screen time for both couple was certainly not equal if they do this and people defend it they are going to keep picking BLs Manhwa and do this making it palatable for the GP which is really unfortunate when KBL come so far Lost in The Big City being the latest example of the evolution of the genre.
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A group of rich families live in a high-class residential neighborhood called "Sky Castle". Wives manage homes and children while husbands work as important surgeons in the same hospital. Their biggest concern is to ensure that their children excel at school and the ultimate goal of their life is to have them admitted to the most prestigious universities SK. Once again a South Korean drama that talks about the pressing SK school and working system.
So what makes it different from the others, so much to have won so many awards?
There are three strong elements of this drama: satire, mystery and acting.
The lives of these families are shaken up by a tragic unexpected event, shrouded in mystery, this event will immediately capture the viewer's attention. Because of this event, a new family moves into the neighborhood, a family that lives more modestly. This creates new complex relationships and compares life and priorities between high-class people and common people.
The first part of the drama is divinely written, the daily life of these families intertwines with each other and is told to us in a perfect way with a mix of tragic and satirical, the characters are many and complex, often contradictory. The viewer will often find himself hating some characters, and then sympathize with them a few seconds later and laugh with them a few minutes later. Perfect acting certainly helps this variety of emotions.
Why I am piss then? Simple, the initial mystery dissolves immediately, the characters don't learn anything from what happened and they continue undeterred to hammer their children by dumping on them all their dreams and unrealized ambitions. The topic has been widely discussed and after 9 episodes the story has nothing more to tell about it, too bad that the drama lasts 20 episodes. Therefore it needs fillers, which arrive in the form of makjang, secrets of birth, bad mother-in-law, school tutors who hide secrets and trope related to the classic power struggle in the workplace (hospital).
Satire and acting are not enough to make up for a plot that has turned into lazy writing. Seeing a well written plot expire in the usual clichés has been frustrating and depressing. In addition I didn't appreciate at all a few sub-plots, in particular all the drama created by the neighborhood, when one of them wanted to write a novel, about the mystery that happened. Useless and roughly managed sub-plots.
Nothing to say about the cast, good work. Excellent idea but overall they have not been able to dare, offering less episodes but all dedicated to the characters and the consequences that the pressing South Korean society has on people and families. Avoiding all the trope and clichés.
Honestly speaking, I have too many dramas to watch in order to waste my time with the same trope.
From episode 10 I skipped a lot the clichè parts. At the end the drama had finally shown some characters development and the evil turn out to be who I initially tought.
Overall, between all drama that dealt with this topic and between all makjang, I can't deny that this is one of the best written, acted and executed. But I also can't deny that the drama lost his charm along the way.
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1This review may contain spoilers
Hung on the Tree: How Goddess Bless You From Death Exposes Sacrificial Logic
Watching Goddess Bless You From Death as someone who loves horror BL, I didn’t end up with that fun “ooh, spooky lore” buzz at all. Especially once the finale hints that there might be multiple goddesses tangled up in this ritual, even the title starts to feel slippery. “Goddess Bless You From Death” sounds singular and almost comforting, but underneath it suggests this whole messy crowd of divine figures that can be invoked, misquoted, or even invented to excuse whatever people already want to do. Instead of cozy supernatural worldbuilding, it felt like the show was holding up a mirror and making me really look at what happens when belief becomes a cover for hurting people you’ve already decided are disposable.What really got under my skin is how Bom and Aisun aren’t doing anything conceptually new. They’re just taking a very old, very human logic, sacrifice a few so the chosen one lives longer, and turning the volume all the way up so we can’t pretend it’s anything but monstrous. The show lays it out plainly: the ritual is about life extension. Seven people die so one person can keep breathing. On the surface that sounds like pure fantasy, but it maps onto so many real situations where harm is justified “for someone’s good,” a family member, a leader, an idea of order. The math is always the same. Some lives count more. The people doing the math never put themselves in the lesser category.
The bodies are what really drive it home. Those stitched eyes and mouths, in both the old murders and the current cases, are not subtle. These victims are literally not allowed to see or speak, in life or after death. The shaman spells it out: the stitching pins the ghosts down so they can’t go looking for justice or come back to curse the people who killed them. So the ritual does two things at once. It kills people, and it tries to erase the moral fallout of killing them. It’s murder with a built-in gag order.
As I kept watching, I started to notice who actually gets chosen for sacrifice. It’s never the rich or the powerful. It’s always people who are vulnerable, inconvenient, or easy to write off, people whose deaths can be reframed as destiny or necessity. Bom and Aisun’s almost complete set of seven includes people like Darin and King, and then finally Thup, who is already marked as “other” because he can see ghosts. The show is making a quiet but brutal point: sacrificial systems are designed to land on the people whose complaints won’t be heard and whose suffering can be explained away.
Thup hurts the most in that context. His ability to see and talk to the dead gets described as a curse all the way through, this misfortune he just has to live with. But the ritual takes that ability, which really is a gift, the power to witness and carry the stories of the dead, and twists it into a reason he can be used up and thrown away. Instead of being valued as someone who connects worlds and advocates for the forgotten, he gets treated like another consumable resource. That flip makes the whole thing feel less like one bad guy’s evil plan and more like a pattern. Societies have always taken what’s strange or liminal about certain people and turned it into an excuse for violence.
One thing I really liked is that the show never says “belief in spirits is the problem.” From the very beginning, with the novel excerpts and the shaman’s explanations, it’s clear that honoring gods, ghosts, ancestors, local spirits is just part of daily life in this world. Incense at crossroads, ribbons on trees, little shrines in overgrown corners, all of that is shown as normal and even comforting. The horror doesn’t come from belief itself. It starts in that moment when someone decides their personal desperation matters more than everyone else’s right to exist.
Bom talks like a priest and carries himself with this careful piety, but the details of the ritual scream control, not devotion. The exact rules, seven bodies, specific preparations, stitching the dead shut, feel less like worship and more like a technology, a system for manipulating power, keeping some people “pure,” and locking dangerous others out of sight. By the time the finale suggests there might be multiple goddesses in the background, it doesn’t feel like “ah, new lore” so much as “of course there are many names you can grab when you want divine cover.” There isn’t one clear divine voice here. There’s a tangle of symbols that humans can bend to justify what they were already planning to do.
Coming at all this as a BL watcher, I really love that the show argues about faith and ethics through relationships, not sermons. The shaman tells Thup he’s going to see things he doesn’t want to see and hear things he doesn’t want to hear until this tragedy is resolved, which basically frames his whole life as an unwanted prophetic calling. But the thing that actually pushes back against Bom and Aisun’s fake religious framework isn’t a better ritual or a rival priest. It’s Singha simply refusing to accept that extending one life could ever be worth what’s being done to those bodies.
That’s where it feels like the show is poking at a certain BL comfort fantasy. In a lot of stories “love conquers all,” and we don’t look too closely at the systems underneath. Here, love doesn’t override ethics. It intensifies them. The more Thup and Singha care about each other and about the victims whose stories Thup carries, the more impossible and wrong the ritual feels. Their relationship doesn’t make the sacrifice beautiful or tragic in a romantic way. It exposes it as something that cannot be cleaned up, even if keeping quiet would be safer.
So watching the ritual play out left me in that strange space between fascination and disgust, and I’m still sitting with it. The worldbuilding is rich. The imagery is striking. But the show never really lets you relax into it. Under all the candles, the chanting, the arranged bodies, there’s a very simple question: are some people’s lives worth killing for, and who gets to decide that? With the finale’s hint of multiple goddesses in the background and a title that sounds singular on the surface, it almost feels like the series is side-eyeing how easy it is to package violence in a pretty religious phrase. In the end, it answers its own question not with big speeches but with where it puts its focus: whose pain it centers, whose voices it lets be heard, whose deaths it refuses to forget. That act of remembering and witnessing, of saying “this is not acceptable,” is what ends up feeling sacred in this story.
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One of the most underrated GLs of the year deserves more attention
Three episodes in and I'm already attached to these two.....I was anticipating the trope like " Human falls for a robot" but it is much more charming and deep. Its a story about loneliness and companionship where you let a special someone in your life. What hooked me is not only the AI concept but also the chemistry which is off the charts. We all have met someone like Gen who are awkward ,quiet and a little lost. Then Ai comes and literally changes her life into a more meaningful one. The series also does a nice job balancing comedy with emotional moments. One minute you're laughing because of Ai's innocent behavior, and the next you're thinking about Gen's loneliness. The pacing has also been solid though we only have 7 episodes...saddddd. Then we have Irene who is watching every move of Ai. She might fall in love with Gen through Ai's eyes....thats poetic lol.Of course, with only three episodes released, it's still too early to judge the overall story. The biggest challenge will be maintaining the quality and delivering a satisfying conclusion. However, based on what's been released so far, the series has exceeded my expectations like Love Beyond Dreams. Can we have a little cameo of Rann and P'Le pls.
If you're looking for a GL that's a little different from the usual college or office romances, I'd definitely tell u to give AI Girl a chance. It has heart, it's genuinely entertaining, and after only couple of episodes, I'm already invested in where this story is going.
Now comes the hardest part... waiting for next episodes.
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Encapsulates all the lovable aspects of Korean dramas
Into the Ring is built on the solid foundation of its excellent writing, and it endears itself to the viewer with each and every episode. Although it is missing the typical ingredients for commercial success (e.g. top-tier actors, veteran staff), Into the Ring continuously challenges us for our attention and respect, much like the Female Lead. There is just enough romance, comedy, and drama for a well-balanced drama viewing experience just shy of perfection.Story:
The award winning merit of the newcomer Moon Hyun Kyung’s screenplay is undeniable. The diverse characters and dynamic relationships are a highlight. Consider these two side characters - a manchild who earns his elected position with his daddy’s money and a working mother who refuses to “sacrifice” either her personal or professional life. The relationship between them and the main leads is hilarious (like when the FL turns the manchild into a whimpering puppy with her assertiveness).
Even the political setting delivers laughs as we witness the ridiculousness of each politician’s pettiness. ITR transitions from this comedy to heartwarming romance to drama seamlessly. Scenes are often layered with all three, which keeps the pace refreshing and the story engaging. The drama’s journey is consistently pleasant from beginning to end, and the careful and deliberate screenwriting is what makes it all possible.
Acting:
My mixed feelings about the main cast changed quickly with Into the Ring. For instance, I know Nana for her kpop career with After School rather than her filmography, and the general attitude towards idol-turned-actor is lukewarm. However, Nana exceeds expectations not just with her comedic timing and romantic chemistry but with her nuanced portrayal of empathy towards others. Park Sung Hoon actually appears with Nana in Justice, which I did not watch. I did watch Psychopath Diary where I found his acting uncannily funny. To see PSH in a completely different character is eye-opening and impressive.
Yoo Da In’s character is surprisingly nuanced for what some may consider a “side” character, but YDI’s acting ability is clearly at the level of “main role” actors. I remember Han Joon Woo from his great but small role in Be Melodramatic. Unfortunately, it is a similar case in ITR where he plays an interesting character which does not receive much screen time for a “main role”. Veteran actor Ahn Nae Sang adds another quality appearance to his long filmography.
Music:
Compared to the strengths of the story and cast, the music is not as critically noteworthy for Into the Ring. The subdued backing tracks are a safe choice, a mix of kpop and ballads. The music is actually a good parallel to the overall drama, which is excellent in its strengths but not quite a masterpiece in its entirety. (One last comment - I am a sucker for OSTs sung by main leads though)
Rewatch Value:
As I happily followed along with the weekly episodes of Into the Ring, I did not envision such a high overall rating because of a lack of some jaw dropping scene or enthralling plot line. Instead, ITR makes its appeal piece by piece, and its beauty is fully appreciated when considering the entirety of the drama. After 32 episodes, I can confidently recommend Into the Ring as a solid romcom in a relatively dry 2020.
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Director Leesong Hee knows how to film, the cinematography is exceptional with passages of intense colors for the happy moments and black and white for the sad one.
So please watch this film you will not be disappointed and do not pay to much attention to the previous bad reviews, because each of us has his own sensitivity regarding movies.
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second leads that are incapable of accepting rejection
Rainkissed Fate starts off quickly by thrusting you into the messy relationship of Yuchen and Bu Yan as the pair sign a marriage contract for three months. From the start this drama is chaotic and passionate. Bu Yan approaches Yuchen and practically forces him into the marriage contract and it is revealed very early that Bu Yan's insistence is because Yuchen is the unknowing father of her 5 year old twins and she needs to conceive another child in order to save her son who has cancer. Yuchen agrees to the marriage for money and because his sick mother wants him to settle down.From the premise I already had a bad taste in my mouth with the idea that she was conceiving another child only to save her first. While I liked that Bu Yan is strong, independent, and fiercely protective of her children I also did not understand the point in keeping the parentage a secret for 5 years and still so after going back to Yuchen. Yuchen was another strong character with a chip on his shoulder but soft innards and a sense of loyalty. He comes off as mean and avoidant but not for very long.
To be honest any enjoyment you can get out of this series is from the chemistry of the main pair. This is their third porject together and do very well. But the characters that are crafted in this drama make it incredibly painful to try and get through. Both main characters may be strong and sure of themselves but are so easily manipulated repeatedly that by the end of the series you are just as annoyed with their stupidity as the plot that kept using the same devices. The second female and male lead are insufferable from the first episode all the way to the last. There is nothing redeeming about either one and at no point did I enjoy seeing them on screen. The SFL is the typical obsessed woman in a small town that laid a claim on a man that has had absolutely no interest in her and yet she continues to try and force him to want her over and over again. The SML is the returned ex that realized he made a mistake and wants her back but she no longer wants him so he tries to force her to need him/
The drama is messy and driven only through the main pair being constantly manipulated by every insufferable person around them. I think I only managed to get all the way through this drama because it was a mini and each episode was 10 minutes but the further I got the more I skipped just to see how much worse the plot could get. Do yourself a favor and skip this one. The chemistry and visuals will not save this one. There are so many other mini dramas that your time would be better spent on.
I am giving this a 5 purely because the show is styled very well, the acting is good even though the characters are poorly written, and the music is nice. So kudos to the crew. However the plot is a total miss for me.
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The cast was pretty good, but I felt like a lot of talent was wasted. Nam Sang Mi and Kim Jae Won had decent chemistry, but the romance story became subdued and even dull once the story focused more on the melodrama. Jae Won played up the smiley nice guy role so much that his portrayal of Dr. Han Gang Woo seemed very one-note and even at times uninteresting to me. However, it's the character of Ji Eun Han that'supposed to drive this story, and Nam Sang Mi's performance wasn't strong enough for me to do that. Lee Shi Ah's performance felt much more exciting so the shift to a more subdued Nam Sang Mi was a dramatic change. It was almost as if Sang Mi was just too chill to play such an emotionally complicated role. Especially a role where the character has and makes such drastic and contradictory reactions and choices. Also, despite them trying to imply that they were similar, these two actresses were just too drastically different to be considered the same person at all. No plastic surgery in the world is that magical.
One talent in particular that felt wasted was Lee Mi Sook, who knows how to make the most out of a melodramatic character, especially this kind of mother role, but her performance felt more interesting than her character was written to be. Detective Kim was similarly underutilized, and the story was less interesting when he was less involved. Jo Hyun Jae was good as well, even when his actions were written in a way that made him more laughable than emotional. Also, Han Eun Jung did her best to play up the drama of her character, as written, but that made her character seem laughingly ridiculous by the end, and hard to take seriously. I also think the cute banter between Jung Jin Woon and Lee Ho Jung is worth mentioning as cute but wasted filler. Many of the minor characters, including the kids, were good even if their character wasn't written well.
That takes me to my main issue with this drama, which is the writing. It's not that the story doesn't make sense, but it's sensationalizes everything so much that I couldn't take anything too seriously, or emotionally connect at all. The drama surrounding a cell phone and a song lasted for so many episodes, which made the story drag. The music was often sinister giving even mundane conversations an extra dramatic feel. It made it seem like they were trying to force a suspenseful feeling at all times, which backfired on me. I did think the "Save Me" song was pretty, and although it also felt extra dramatic during certain scenes, was fitting.
I'm doubtful I would watch this again, but maybe I would be more forgiving with a second viewing since I now know what the story is really about. My high expectations at the beginning made me more disappointed at what it turned out to be. Lower expectations during a second viewing may make me see this drama differently, and see earlier scenes differently. Maybe it would be less likely to bore me if I binge watched instead of waiting each week for new episodes, which I lost interest in keeping up with.
Overall, if you are interested in this drama based on the romantic mystery sounding synopsis, know that this is actually a wealthy family secrets centered melodrama that takes on a serious theme in a very senationalized way. Romance may drive the story, but it isn't the focus, so don't expect that part of the story to be very exciting, especially with two calm and repressed characters. The action feel during the early episodes doesn't last either, and that slowed down the pace for me too. Every question that arises in the story is eventually answered, and there's is a satisfying ending, but I still had a hard time with the pace of the drama, and with the story continuously holding my interest. Don't expect clever twists, even though many parts of the story aren't what they seem to be initially. If you have patience with the story everything pays off, but I'm just not certain that it was worth the price of watching. For a drama about amnesia, it is pretty forgettable.
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1
1Outstanding under-rated C-drama Of 2025: What It Means to Protect
How does one summarise a powerful litany of experiences and ideas, well-paced and masterfully conveyed by gripping performances in an espionage thriller of skilfully engaging camerawork, enabling you to feel as if you must navigate and survive a maze of threats, risks and circumstances? 17 episodes flew by. Suspense, intrigue, humour, tenderness… The simplest interactions and occasions can rouse your heart, shove your heart in your mouth, keep you riveted! I include vital history in my review, as to why 35 episodes of narrative excellence and strong plot-points are bolstered through award-worthy performances anchored by three leads and a fine ensemble cast. I heartily recommend this for literary discourse and/or anyone wanting to learn/refine the nuances of acting.You do not need to know the background and settings of this Republican-era drama focused on espionage and the lives of spies intertwined with ordinary citizens, to enjoy this. Wars can be fought and lost or won with pen and numbers, moreso than guns and bombs. If you want to truly grasp the realism of this drama, here is the fundamental picture which affects how our characters make decisions throughout the drama:
In 1939, Shanghai’s International Settlement was an espionage hub for many powers such as the Japanese, Americans, British, Soviets, etc. The national government of China was the ruling party of Nationalist Kuo Min Tang (KMT) under the leadership of Chiang Kai-shek, recognised by Western powers. The KMT had an intelligence arm named Bureau of Intelligence and Statistics (BIS). In 1939, Wang Jingwei chose to establish a Japanese-backed KMT government in Nanking, deliberately splitting from Chiang Kai-shek’s government.
During this time, the second Sino-Japanese War was ongoing. The Second United Front was a fragile alliance of necessity formed between the Chinese Communist Party (led by Mao Zedong) and KMT to resist the Japanese, a collaboration marked by mistrust and conflict. Japan participated in World War II from 1939 to 1945, as a member of the Axis which also included Italy and Hitler's Germany. In the mid-1940s against the Japanese, the war of resistance was not going well. KMT armies could only hold them at bay for a period of time before being ordered to retreat, or they would be crushed. Due to Chiang Kai-shek ordering KMT forces to retreat from the frontline, Communists who typically engaged primarily in guerilla warfare had to step in and mobilise the population behind Japanese lines, becoming the only power to fight the Japanese invasion and thereby growing exponentially with influence and power amongst fellow citizens.
During World War II, many Japanese soldiers were cruel and condescending towards citizens of many of those countries they invaded, including countries of South-east Asia and also within East Asia. Being brutalised, humiliated, and enduring the likes of starvation was the norm. Entire families were ruined. Being strongly anti-Japanese to the point of calling Japanese people all sorts of names and hating anything Japanese during those times was unsurprising and understandable, in countries such as Malaysia and Singapore and South Korea. The trauma is so bad that some survivors today cannot bring themselves to eat Japanese food or enjoy anything Japanese:
https://www.straitstimes.com/life/food/i-still-can-t-bring-myself-to-eat-japanese-food-how-wwii-shaped-the-eating-habits-of-a-generation
https://www.lowyinstitute.org/the-interpreter/ghosts-japan-s-occupation-malaysia
Not understanding how reviled the Japanese were amongst many countries suffering under Japanese occupation during World War II is to ignore a vital major portion of history which affects how people make choices in any country, including China. Repelling the Japanese and driving them out was a key desire of ordinary people. KMT's history of mistakes during this time included the New Fourth Army incident, KMT forces blockading areas run by the Communists and making skirmishes against Communist guerillas instead of fully coordinating against the Japanese invaders. This understandably drove people of multiple areas and countries to choose the faction(s) which they viewed as willing and able to protect them and stand up for them and get rid of the Japanese invaders.
It is against this backdrop that Gu Yangshan of BIS seeks Joseph Lee (a fellow mathematician who graduated from Oxford with him) aiding the Japanese in a special cipher system and codes creating ongoing consequences affecting certain warfronts. Ding Yi lives with a theatre troupe and as someone who isn’t part of the primary cast nor given the roles he seeks, decides to do more for himself outside the troupe by agreeing to a certain role that has him interacting with the Japanese while earning extra money on the side.
Ignorance and Intelligence clash and mingle in the first episode, with unavoidable consequences. Gu Yangshan and Ding Yi have very different personalities. Their interactions are never boring. Elvis Han Dongjun and Zhang Yishan are electrifying onscreen as individuals or together, be it restraint or anguish or wittiness or a myriad of moods shifting so quickly and naturally that Ding Yi’s awakening, growth and changes for the sake of self and country are organically charismatic. When the leader of the theatre troupe Xian Biyun is forced to step in, the dynamic duo’s realistically bumpy path of co-operation and disagreements is further enhanced by Zhang Tian Ai’s commanding participation as a capable female actress hiding a lot more than she appears to be.
The BGM is a feast for the senses when employed, such as Violin Concerto No. 2 in G Minor ie "Summer" from Vivaldi to start episode 3, where Gu Yangshan steals the opening scenes of the situation. Music does not overwhelm or interrupt vital moments of this drama, allowing performances to be vividly entrenched within your senses. The supporting cast splendidly rises to the occasion whenever they come on-screen.
In episode 9, Kenichi Miura as Takeda-san is a terrific nuanced villain creating tension that truly catches you off-guard. In episode 10, an award-winning performance of subtlety deftly segueing into emotions and rawness between Zhang Tian Ai and Roy Wang is etched into my memory: https://kisskh.at/753455-shou-hu-zhe-men#comment-23624462
In episode 11, Li Bo Yao as Tian Hao caught me for multiple reasons: https://kisskh.at/753455-shou-hu-zhe-men#comment-23625206
In episode 12, the mood changes. Ding Yi and Gu Yangshan’s brotherhood is wonderfully endearing: https://kisskh.at/753455-shou-hu-zhe-men#comment-23674228
Hongyu. Old Gu. Luo Han. Long'er. You won’t forget their names. There are so many moments and incidents throughout this adventure across the episodes I want to highlight, but must restrain myself. All I can say is that I have never been so touched and emotionally manoeuvred into feeling for all the three leads and supporting cast characters. A birthday celebration. Taking a photograph together. A hug. A promise. Honouring sacrifices.
“Beloved” was an enthralling crime-thriller cemented with vital psychological issues. “This Thriving Land” carved an indelible mark into my consciousness. “The Guardians” will rob you of words and haunt you into seeking language for your story experiencing its depths of beauty and pain and joy. You may find yourself wanting to adapt traits or mannerisms of Charlie, Ding Yi’s evolving Li Yue Se, Xian Biyun’s careful blend of strengths utilising feminine finesse and flirtation and firmness, and more.
Directors Yang Wenjun, Shi Luan, Yuan Yuchen and the main screenwriter Zhang Ji deserve to be toasted with the finest wines. They should win at least one award from one of three prestigious award ceremonies, due to their skilful surgical precision and balance in script and directing to reel you in, hook your emotions and arrest your mind. Themes are revealed with precision, lessons nailed without mercy. Internal foes and external enemies are deadly. Underestimation is costly.
Zhang Yishan is an outstanding actor who sets the bar, Elvis Han Dongjun tops it, Zhang Tian Ai matches Elvis Han, and then Zhang Yishan surprises you again (and not just because he plays more than one character). All of them deserve more lead roles and exposure in other genres of C-dramas. These main leads complement each other very well, undeniably captivating when solo yet able to further elevate each other in shared scenes. Whether together or apart, you can feel their bonds. You will live, laugh and cry with them. You will not expect the ending.
I promise your heart will get a workout like no other, discovering an extensive vocabulary of emotions for many unexpected situations and people. A smile. A bullet fired. Amidst debris and joy, the bittersweetness of survival and winning while losing, and vice versa. Humbled. Aching. Relieved. Gut-wrenching. Uplifting. Negotiate and navigate, to survive. Impossible to let go.
This is a masterpiece comprising twists, turns and dialogue further augmenting the character portrayals prepared to unexpectedly stun you. Selected music used throughout this drama and not part of the OST are sadly not collected into an album. OP is excellent. ED embodies the setting and spirit of all who exist in this drama. Sterling efforts of cast and crew solidly ensure the three Cs of laudable camerawork, cinematography and chemistry are timelessly preserved.
As to thoughts of fellow MDL viewers, I’d like to share Alien’s feelings and observations: https://kisskh.at/753455-shou-hu-zhe-men#comment-23908494
Each lead carries growing burdens and responsibilities. They can make mistakes which others pay for. Each of them desires to make everything work, for those they value and those they want to keep safe. They do not want to lose themselves. And yet… Duty. Country. Circumstances shape choices and convictions. And sometimes, you choose because you must, not because you want to. You don't have to agree with their choices. You are here to understand how and why things start and end.
The historical backdrop I highlighted plays a significant part of this story realistically influencing decisions, especially if you watch this not understanding anything about the KMT and CCP and World War II, and hence ignorantly label this drama as "propaganda" when people wanted to live and save their loved ones and get rid of the Japanese invaders starving and humiliating them, and would naturally be affected by changing circumstances to choose the faction(s) that could achieve all those.
I usually do not like Republican-era dramas. When I finished episode 35, all I could think was: I'll have to figure out how to retrieve my heart another day. That song which plays at 13:56, the camerawork for Ding Yi and Gu Yangshan and flashbacks until 17:15.... Perfection. Then flowing again into the tension and flow of this drama... The acting of Zhang Yishan, Elvis Han and Zhang Tian Ai is fantastic. The dialogues in this episode are amazingly maintained, even with the supporting cast. And at the end... I'm not even sure how I'm going to write a review for what I have watched. What an experience. At this point, still my C-Drama of 2025.
The incredible unforgettable《無數》(Countless) by 薛之謙 (Joker Xue) is perfect for 13:56 to look back at everything (the translation matches the sentiment, and this is a great song) pertaining to the life of spies and/or patriots:
“There’s a place that’s real
With colours only some eyes can see
Where nobody has any pockets
No need to carry anger or sorrow
Please tell me you really exist
Crossing mountains and rivers to restart everything
Please grant me a life of freedom and ease
and end this goddamned trading game!
During countless times of sinking lives
Why does a ship still arrive from distant tides
Carrying a truth as simple as a child
Showing justice wrought with bare hands
In the countless times I have sunk
willing to bear the criminal names of courage
In all my countless failures
Why do you still journey through storms with me
In a parallel story I will never let you down
What can I use to prove I exist?”
You make a choice, you live your convictions, you save lives, and you change history.
Others will not know you exist.
But we will remember.
This is the story of such men and women: The Guardians.
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This review may contain spoilers
“But the eyes are blind. One must look with the heart.” (The Little Prince)
I must confess, my love for this series was not love at first sight. The first episode made me rather skeptical. Too slow, too overdramatic, the intro seemed to be taken directly from the 90s and then also the talking furniture.....Nevertheless, I gave this series a chance and experienced an unexpected masterpiece and a journey full of joy and tears because layer by layer the story as well as characters became deeper and more complex, showing this drama incredibly many facets and faces, be it a beautiful miracle, a deeply sad potrait about a dysfunctional family or a mystery story about an accident and deeply hidden secrets.
But most of all, it is the story of Nut, a struggling gay man in his late twenties. Punished with a homophobic and aggressive father, as well as a mentally ill mother who means well but doesn't have the strength in the past to support her son, it is his story that moves you deep inside like rarely before.
I have never been so close to a character, laughed with him, cried with him, been disgusted by him and then again wished him all the happiness in the world.
The story is not always nice and sweet and I can understand everyone who finds this drama too heavy and also the ending is more bitter sweet than happy.
But who finds the access to this story, will recognize behind all this suffering and pain true joy and beauty that makes you smile and believe in the good in humans.
All in all, Miracle of the Teddy bear is a milestone of an LGBT drama and shows without regret the heights and depths of a human life, with a power and an intimacy that I have never seen before and that will probably accompany me even longer
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