Reviews

A powerful drama that undermined itself with over-sentimentality

This is a great drama, and there is so much in there to enjoy, but…

There are decisions to be made when telling a story. Who to focus on and how. What to tell and what not to tell. Although I totally agreed with many of the decisions the director and screenwriter took, there were a bunch of others that, in my opinion, directly undermined all that good work and turned this from an outstanding drama into just a good one. Now before I get stuck in, there’s a debt of gratitude to be acknowledged here, to VIII (Lo_ok) for conversations that helped to clarify my thoughts. Cheers mate!

First let me get the gripes off my chest, then I’ll do the praises and leave you on a high note.

This drama is primarily about the use and abuse of power, and the ways in which it can be counteracted and its worst abuses ameliorated. It is a very modern take set in a historical context to strengthen its impact. In a world where royal and aristocratic power struggles mean life and death to the pawns who are compulsorily involved, it is about how those without visible, worldly power can survive. A story about how only respect, trust and equality can lead to meaningful love. And primarily it is about women.

But these powerful themes are watered down by a too sweet romantic overlay. The female lead, Lan Xiang, is specifically articulated (in the story of the eagle) to rate romantic love as fleeting and insubstantial, and the male lead, Jin Qi, should be the representative of the abuse of power. But his characterisation is dumbed down to accommodate an overly romanticised interpretation. This not only grossly undervalues and disempowers the courage and determination shown by Lan Xiang in the circumstances, but it also minimises the transformation that Jin Qi needs to go through to fulfil the storyline.

Stories which in the past could have been told in a much bolder and more powerful way are now being whitewashed and blandified to accommodate sentimental romance instead of the much more meaningful mature love. Basically they did not have the courage to tell the story effectively. Whether that was because of funding conditions or even worse, decisions made by the director and actors, is unknown.

The negative impact really becomes apparent from the mid-twenties episodes onwards after Jin Qi forces marriage onto Lan Xiang. For instance, when she wakes on the boat after being drugged, the director made the choice to play romantic music over the top of this crucial scene. This moment should have been about delusion and courageous determination, not cutesy cajoling. It was totally misjudged imo.

Also they ruined the final stages of the character development for Jin Qi when he decides to leave the court. Through the previous episodes the ground is thoroughly prepared, but the viewer is catapulted through his transition, not giving time for a satisfying release of the expectation so skilfully built up beforehand. Nor were we party to Lan Xiang’s final decision to go willingly to his bed. Which is critical in terms of the love story and her finally surrendering and allowing herself to trust him. Why you would pass up the opportunity for such satisfying scenes is a puzzle to me.

This fragmentation through time-jumps continues to the end and I feel the last six or so episodes add very little of value and could actually be better used to fill out those missing important steps outlined above.

Okay, gripe over.

The best of the drama is the first half and there is plenty to praise in the nuanced direction and cinematography. You really get a sense of the danger in every move. The suspense is always there, and it manages, like a novel, to have the very distinct point of view of the female lead. For instance, in the scene in episode 8 about 14 mins in, where we see Zhao Tang’s back as she stops walking with Lan Xiang following her. As the audience we, like Lan Xiang, don’t know what Zhao Tang is thinking, but absolutely palpably feel the threat of imminent danger. And I really liked the fight scene choreography where the focus is on Lan Xiang and her visible fear in the midst of the violence.

These days, if plot and characterisation is well constructed and well paced it will almost invariably be taken from a novel. The careful unfolding of Jin Qi and Lan Xiang’s relationship and the self realisations necessary to move the story forward were very well constructed. No papering over deep resentment with a sweet smile. The creating of respect requires so much more than that and this drama shows this beautifully. The scene where they are both honest for the first time is not followed by rapid trust but more self reflection and shouldering of responsibility, which is the solid foundation of trust.

And this was not just the case for the leads, there was some excellent touches in the supporting stories. For instance, the storyline of how Lin Xiu Ru decides to marry is beautifully laid out through a series of close ups that slowly reveal her motive and thought process without specifically telling us what she is thinking.

This was an ensemble piece where all the significant characters had depth and there were some great performances. Tan Song Yun did very well as Lan Xiang. However, I wasn’t so convinced by Liu Xue Yi. He has also played this type of morally grey character in the past, in The Princess’s Gambit. But on both occasions he failed in my opinion to have the grit needed to play these mixed characters. His performance had too much of a romantic lead trying to please in it. Deng Kai however, had all the nerve and conviction to be truly black in Pursuit of Jade, and I think he could have probably brought out the darker side of the character quite successfully.

There is too much that is excellent in this drama not to recommend it.

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We should never ever normalize the use of AI where it does not make sense!

This is another CBL which makes use of lot's of AI - meaning, it takes jobs away from humans. It's not that humans are necessarily more expensive than AI. In conventional datacenters it consumes astronomical amounts of energy and water (and we have enough droughts as it is). The whole soundtrack except the title-track is made by AI. Why? It's not that a whole orchestra can't be created by software anyways. Of course they used AI also for arial shots and you can see it.

The story has some massive problems: We have the killer and the naive young man, nothing new in the world of BL. But when they finally got together Lin Zai brakes up because he is an coward. He used a lot of hurtful words to A Leh and when he is saved A Leh says "Baby, I'm here for you"... WTF? Where is the argument? That makes no sense at all.

The second problem is the predictablitiy of the story. It begins with the cannibals. We all know at first glance that family is not a friendly one. And this continues. They use stereotypical cliché characters and the story evolves in stereotypical patterns. Of course nobody would trust that crooked doctor when he did turn on the first time.

And then we have the Zombies... In literature, movies, video games, they are slow as hell, but not here. In movies, video games there are some special types like the runners - who are fast, but here all Zombies are fast which is not what I would expect and which I felt silly.

I can't fault the acting or the chemisty, but I lost interest in the series quite soon, because when you know what will happen next, it's not interesting anymore. They could have left out the cannibal family and could have just made it a fight against the evil corporation, but maybe that would have been too close to Resident Evil. So from me it's a big "no no" for such a series.

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china dares to give us what other’s can’t

It took me a long time to think if i’m going to start this drama because i’m a huge fan of Apocalypse danmei and i was afraid i’d get disappointed but DAMN i’m so happy i chose to watch it!!! this drama has set the bar high for apocalypse BLd to me, well, i’m sorry for future apocalypse dramas!!


let’s start off with the Story: although there are few minor plotholes especially nearing the end, the show never lacked giving us what makes sense, they never sugarcoated anything and everything that happened in this drama just all make sense to me!!!

Acting: DON’t even kid me with this one!!! Minghao and his cute dimples!! also the way he nails every expression in his role as A-Leh is just so amazing!! i understood his character more than others in the series!! although chen liang might have some scenes that really didn’t resonate with me, his acting is not bad for a first timer!! the way he delivers his dialogues are amazing as well!!! the 2nd CP did incredible as well, he yao successfully managed to get in my nerves LOL

Music: i like how they didn’t put loud asf music in NC scenes, i honestly don’t like watching zombie drama because i was traumatized by Train To Busan so the background music for the scenes with zombies distracted me successfully and made it less scary!!

Overall, this series is a must watch for people who loves something connected to apocalyptic universes. if you love apocalypse danmei, i’d recommend you watch this! though low budget, it exceeded my expectations as an avid reader and i know yours will too!!

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great pilitical thriller and stellar acting...season 2 did not disapoint!

The second season of Made in Korea did not disappoint—it holds the same high standard as the first. The cast is outstanding, and the way they bring their characters to life is remarkable. The production design and the 1970s atmosphere are immersive, pulling you into a world of political intrigue and moral ambiguity.

We see Baek Ki-tae (Hyun Bin) once again face his enemy Jang Geon-yeong (Jung Woo-sung) and fight for his survival. I found myself rooting for Baek Ki-tae, even though he is undeniably a bad guy. But let's be honest—were the rest of the politicians or generals any better than him? If someone wants power, they will not stop and will do anything they have to do to get it. That was Jang's realisation at the end: even if he got what he wanted, did the world really change? No, it is still the same.

It was fascinating to watch Baek Ki-hyeon (Woo Do-hwan) grapple with his dilemma—whether to side with his brother or follow orders from above. Who was the real villain when everyone wanted a piece of the pie? The line between good and evil blurs constantly, and that's what makes the story so compelling.

I am so excited that there is talk about a third season. The ending was realistic, and it also left you wondering whether it really happened, as they did not show it.

Final Verdict: A gripping sequel that expands on the first season's themes of power, corruption, and survival. If you enjoyed the first season, this is a must-watch. Highly recommended for fans of political thrillers and stellar acting.

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There are films that construct a mystery in order to reveal its solution. Fusa chooses a more difficult path: it presents an enigma, allows it to transform the lives of its characters, and ultimately leaves it unexplained. What matters is not discovering where this woman came from, but understanding the emptiness left by her passage.
Seishiro Hiramatsu is a young samurai whose orderly life and future have already been decided. His marriage to Tomoe, the daughter of an important family in the domain, is being arranged when an unknown woman appears at his house. Disoriented and without her memory, she cannot say who she is, where she came from, or why she arrived there. The only information she can offer is Seishiro's name, although he has never seen her before.
The young woman is given the name Fusa and remains under the protection of the household. What begins with suspicion gradually becomes affection. Seishiro abandons his arranged marriage, confronts the conventions of his position, and chooses this woman without a past, even though her former identity may return at any moment and destroy the life they are beginning to build.
Based on a story by Shugoro Yamamoto, the film could easily have become either a romantic melodrama or a supernatural tale. Kon Ichikawa avoids both of these obvious paths. The relationship develops through small gestures, silences, domestic chores, and apparently ordinary conversations. There are no grand declarations and no music demanding an emotional response. Love emerges almost without being announced, as though Fusa had always belonged in that house.
This delicacy also makes the situation unsettling. The happier Fusa appears in her new life, the more threatening the fragments of memory that begin to reach her become: a path through bamboo, a garden, and a wooden gate that no one else can see. That gate, referenced in the original Japanese title, becomes a boundary between two existences. On one side stands the woman who found Seishiro; on the other is someone whom even she can no longer recognize.
The most painful detail is that Seishiro does not merely love a woman without a past. He loves the identity created by the absence of that past. When he realizes that her returning memories may take her away, his first impulse is not to help her discover who she was, but to preserve the person she has become beside him. The film does not condemn him for this. It understands the deeply human fear of losing someone when that person recovers a part of herself that never belonged to us.
Yuko Asano plays Fusa with a presence that is difficult to define. There is vulnerability in her confusion, but also something distant, as though part of her were still walking through another place. Kiichi Nakai moves in the opposite direction: his Seishiro begins as rigid and suspicious, but is gradually and quietly disarmed. The excellent supporting cast, particularly Kyoko Kishida as Mura, keeps the story grounded in everyday life and prevents its mysterious atmosphere from becoming explicit fantasy.
Ichikawa films this world with great visual precision. Doors, corridors, partitions, and internal frames frequently separate the characters. The compositions reinforce a story about people who share the same house but can never completely cross the distance between them. Even during its happiest moments, there remains a sense that Fusa is only passing through.
Produced in 1993 for Fuji Television using Japan's then-new high-definition technology, Fusa remained one of Ichikawa's least-seen works for years and did not receive a Japanese theatrical release until 2008. The technical experiment never becomes a flashy spectacle. Ichikawa uses the image to create a serene, almost unreal beauty, perfectly suited to a narrative suspended between memory and dream.
Although dressed as a jidaigeki, Fusa is not a film about duels, warfare, or political intrigue. It is an intimate story about memory, identity, and the impossibility of knowing completely the people we love. It is also a story about chance: an entire life can begin with a door apparently chosen by mistake.
Ichikawa refuses to solve the mystery because solving it would diminish the film. To explain Fusa would be to reduce her to an origin, an illness, or a supernatural revelation. By allowing her to escape all these definitions, the director preserves what Seishiro experienced with her: something true, even if it can never be fully understood.
Fusa is a film of quiet beauty and persistent sadness. When it ends, the viewer may still not know who this woman really was. Yet we understand perfectly what her passage meant in Seishiro's life. That is the only answer the film truly wishes to provide.

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Two girls who choose love over hate.

"Won't you let me try living my own life for once?"

This has to be one of the very good GL series out there, driven by a deeply compelling narrative. The series masterfully explores the tension between personal desire and duty to one's family heritage, asking whether love can survive when loyalty demands hatred. The intense rivalry between the Monchaitrakul and Khongpurim families delivers a phenomenal forbidden romance between Blue and Tokyo that keeps you gripped the entire time. It is thrilling and engaging to uncover the hidden secrets and the root of their deadly cycle of revenge.

MingMing is an incredibly talented crier; her performance as Tokyo stands out the most. Meanwhile, Nepjune as Blue feels like a refreshing spring in the middle of a summer. Their enemies-to-lovers plot is beautifully executed. While a longer 'chasing' phase before their confession would have been ideal—as someone who loves to see characters chase each other before finally falling in love—the relatively fast pace of their blooming love does not diminish the overall quality of the show. It is also poignant to see Tokyo's early struggle to find her own dream and purpose.

"With a strong purpose in your heart, you can find out who you want to be wherever you are."

The series brings immense emotion through its empowering soundtrack! I love how the music plays a key role along with the modern, high-stakes visual aesthetic. It really increases the intensity of the emotional and physical dangers faced by the characters. And it is a gorgeous, exhilarating reimagining of Shakespeare’s Romeo and Juliet in a modern provincial Thai setting.

"We don't get to choose who we fall in love with. But we do get to choose what we're willing to give up for what we want to hold on to."

It wasn't exactly the consequences of the revenge and bad blood that invested me the most, but rather how it captured the struggle of young heirs to define their own identities against the weight of parental expectations and societal norms. Tokyo felt completely imprisoned, initially unable to even aim to live abroad. Similarly, Yi would have never known what he truly wanted because his father mapped out his entire life. I liked Yi a lot as a brother; despite his violent, forged upbringing, he tried to make a way for his sister to create her own path. And don't remind me how bad I felt for Big, the dismissed middle child. Even at the end, after Yi's death and Tokyo's departure, his father never once looked at him, acknowledged his aspirations, or saw him for who he was.

For some reason, I didn't like Blue's mother much. She just gave me a bad feeling even if she didn't actively do anything wrong. Blue's father, however, was the ultimate frustration, vexing me with his expressionless, 'know-it-all' attitude and unearned main-character ego.

And I was almost taken aback by Tokyo when she actually pulled the trigger and shot Blue—only to realize it was all a fake act! It almost got me there. ;)

Overall, the true heart of the story lies in how these two characters marvel at their escape from inherited hatred. The series beautifully captures what freedom smells like—the cool breeze cradling their hair as the waves crash against the wind by the sea, their eyes full of hope for a dream that is no longer dictated by their parents' malice.

I just wish this amazing series had a few more episodes. It has a great script and very well-performing actors!

P.S. I absolutely loved the cameo of DaouOffroad! ><

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it was so underrated deserves more attention

Can I just appreciate how amazing Juliet Juliet was 👏 when i saw teaser ik it will be good but worried about girls acting considering I never seen them but they gave me such a BOP how precious tokyoblue is I cant explain in few words their communication how they face problems together how they never gave up I love it a lot thanks to OneD for giving this masterpiece thanks to mingnep for giving tokyoblue they deserves lot of attention and support story, execution, acting, communication, plot twists smooth like butter every ep felt so interesting I was kinda worried about ending but im so happy my pookies got the happy ending they deserves i definitely miss them a lot that paradox OST so addictive i got tears in my eyes when i saw them getting married and telling each other to never break up such precious series 🥹❤️

"there are three things in life we should never let ourselves lose. and they are... faith, hope and love" - what a beautiful line my fav

Juliet Juliet GL of the year for me

This year high school series such a bangers excited for Oxytoxin too 🤧

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็Hundreds of millions should be a matter of life and death; the drama is too mild.

I think the intensity and stakes of the conflict are far too low, which makes it boring to watch. Honestly, it could easily justify murder. If the female lead had died first, her husband would have been her heir—though not to the father's inheritance. But if the father died first followed by her, the husband, along with her mother, would be an heir.

On top of the plot being too tame, there's also the issue of adultery. She could have easily sued the mistress for compensation, and I don't get why she didn't, considering she was genuinely deceived and the infidelity actually happened.

When a series takes itself seriously but lacks realism, it just feels unnatural. In the end, he scammed people and basically ruined his own family, only to walk away with far less than expected. I just don't understand the point of doing all that.

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AI RUINED THE DRAMA FOR ME

This series was doing well on its own but they just have to ruin it by including ai, and a cartoony ones at that! I mean, if they were actually mindful about exposing child to such terrible scenes, they could have just go with telling the story instead of describing it with ai, like old times.

Although the ai put me off, I think the actors deserves praises for their performances. I really liked their characters and this push and pull things going on between them. They are so flirty too, I especially like the expressions in Kingston’s eyes. His eyes are smiling and when he tease the ml, his eyes got even more expressive.

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Daddy Issues

It is an engaging modern take on Romeo and Juliet, carried by the strong chemistry between its two female leads. Blue and Tokyo’s relationship is developing from an entertaining enemies-like dynamic into a surprisingly heartfelt romance. Their emotional and intimate moments are handled well.

The family feud, driven by their ruthless and increasingly antagonistic fathers, provides a constant sense of danger and gives the romance much higher stakes. While their fathers themselves barely show any development or willingness to change, the series does a good job of developing and focusing on several side characters rather than focusing entirely on the leads, while strong editing and solid production quality help sell both the romantic and dramatic moments.

However, the story becomes increasingly convoluted as more secrets, betrayals, and mysteries are introduced. Some character developments happen too quickly or lack sufficient explanation, and especially toward the finale, certain plot developments feel more constructed and convenient than natural.

Still, the series rarely loses sight of what works best: Blue and Tokyo themselves. Their chemistry, romance, and determination to choose their own path make it an enjoyable and emotionally engaging drama, even when the increasingly messy family plot doesn’t always hold together.

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Where the Patience Ends

The premise had me hooked. A snobbish, entitled woman whose psychopathic tendencies are enabled by a family who are willing to help her get away with anything..even murder.... forces her look-alike to take her place and marry her mortally wounded fiancé. Except, the man survives, and now the lady ,who thinks everyons owes her, wants her place back.

The first arc revolves around the question of "Who is Who"??!!, and there's plenty of potential in that setup. Unfortunately, the execution doesn't live up to it. The episodes start with intensity, end on cliffhangers, and fill the space in between with very little that actually moves the plot forward at a decent pace. The result.... A draggy, repetitive arc that stretches its premise far longer than it needs to.

And whatever remains after that appears to be, what is a usual C-drama fare: the ML investigating who colluded with the enemy and caused his severe injuries, while chasing after the FL. Nothing particularly compelling to keep me invested anymore.

The actors have done their part extremely well, TXW stands out innher dual role and especially as Jundai. Some of her scenes as Jundai genuinely scared me.Li Yu Ning singing the opening OST makes it hard to skip the intro...The costumes are well designed... but the sets and colour palette are another matter. They're too gaudy and harsh, and the scenes often feel so crowded that they end up spoiling the viewing experience.


Dropped at episode 17. The premise was interesting, but the execution lost me.

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