Reviews

SERIES OF THE YEAR ALREADY!

From the very first episode, this series feels like the show of the year! Perth and Santa's acting is simply top-notch, and the directing is also amazing: the visuals, color correction, and dialogue are stunning! I experienced so many emotions during the first episode; I cried several times, laughed countless times. It's been a long time since the industry has seen such a well-crafted, vibrant, and heartwarming series, one that makes you believe in the characters' true and powerful love and affection!

I want to say something. A huge problem with many romantic series is that the director and actors are rarely able to convey the true affection and love of the characters. For example, you're watching a series, two characters do crazy things for each other because they "love" each other, and you (the viewer) sit and don't understand where this "enormous" love came from; it's not fully explored! In this series, from the very first episode, the characters' CRAZY affection and love for each other is clear, along with the fear of losing each other, the fear of not being there. They managed to show in the first episode what many can't do throughout the entire series. Moreover, the theme of the series is SERIOUS! Yes, there is comedy, but the psychological theme itself is very significant here! Superficial viewers won't immediately see and understand it; some need a lot explained and put into their mouths, but here everything is crystal clear: Pobmek's character has been deeply traumatized since childhood by his own mother, and Solar is the only one who understands him, accepts him, and loves him without any "buts." And then Solar suddenly suffers psychological trauma (beware, this isn't something a basic doctor, not a psychiatrist, would notice). Pobmek is panicking, he's scared, and Perth really captured this fear of "losing" him. There's so much here... I'm really curious what awaits us next!

I hope this series becomes incredibly popular!

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nothingburger

For a show with food names+ food on the poster + a chef as the lead, this had too few cooking montages.

I went in kind of expecting a show about food, different culture and how ppl are different yet all the same, and this show did have the material for that. An animater fmc from korea who is living in japan and a chef mmc who was born and brought up in japan....the perfect ingredients to a dish that was never cooked.

The only cultural thing they touched was them having different expectations on how dating looks like, other than that they did not touch this topic at all.

Pretty much nothing happens in this show. We have one conflict which is quickly solved and then an abrupt ending.

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Lovely chemistry ~

I binge watched this one only because of the lovely chemistry between the leads, they were cute.
Kim Jae Yeong's perf was good, really liked how he protayed his character's emotions. I don't usually watch Choi SooYoung's drama cause I never enjoyed her acting but here she was quite lovely.

In term of storyline and plot, I wasn't that invested to be honest. The writing was barely decent, the dialogues were poor, the storytelling could've been easily better.
The mystery did get my attention but at some point I lowkey didn't care that much... and it turned out bland af + the last episode was worthless.

The directing was nice and the chemistry lovely. Will I rewatch it? Nah.

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Sect Happens

Generation to Generation throws us straight into the deep end of the martial world. Cai Zhao, a spirited girl destined to become a so called witch, is forced to enter the prestigious Qingque Sect. There she meets Chang Ning, a sickly and aloof young man who survived the massacre of his family and carries an air of mystery that practically screams “there’s more to this guy.” As Cai Zhao navigates the rigid hierarchy of the sect and the politics between righteous and demonic factions, the two grow closer while uncovering secrets buried across generations. The deeper they dig, the clearer it becomes that Chang Ning’s true identity might change everything.

From the very first episode, this drama wastes absolutely no time. Conflict, lore, characters, sect politics, generational grudges, everything is thrown into the pot and stirred like a hot pot on maximum heat. It honestly felt like I had to pause and rewind several times just to remember who was who. The first episode flew by at lightning speed, but despite the chaos, one thing immediately stood out to me. Cai Zhao. She is easily one of the most charming female leads I’ve seen in a while. She is skilled in martial arts yet never flaunts it, laidback yet observant, cute yet charismatic. Bao Shang En really sold this duality. Visually she looks soft and girly, but the way she carries herself gives Cai Zhao a confident, grounded charm. Her family dynamic also deserves a shoutout. The Cai family is warm, righteous, and genuinely supportive of each other. In a genre where families are often plotting against each other like it’s Game of Thrones: Wuxia Edition, their sincerity felt refreshing.

Then we have Chang Ning, played by Zhou Yi Ran, who appears sickly, mysterious, and emotionally guarded. The actor is very much in his element here. Zhou Yi Ran has always been good at portraying characters with hidden depths, and Chang Ning fits that perfectly. His deep voice and aloof demeanor really elevate the character, though I must confess I absolutely hated his sickly hairstyle. The dry, messy hair covering his face annoyed me more than it should have.

Aside from our leads, the ensemble cast is huge. And when I say huge, I mean huge. We meet Qi Yun Ke, the Lord of Qingque Sect, who initially presents himself as righteous but gives off suspicious vibes from the start. His wife Yin Su Lian clearly wears the pants in the household, which was a surprise. Their daughter Qi Ling Bo, unfortunately, turns out to be a spoiled brat who seems to enjoy bullying others. Her constant high pitched “Yu Zhi gege” nearly drove me up the wall. Song Yu Zhi, the third disciple and Qi Ling Bo’s fiancé, is a quieter presence but surprisingly charming. He is the kind of calm, reliable guy you would want by your side during a storm. Meanwhile Dai Feng Chi, the second disciple, mostly acts as Qi Ling Bo’s silent bodyguard but quietly leaves the impression that he might have more depth later. Fan Xiang Jia, played by Bian Tian Yang, appears briefly with his casual personality but remains something of a mystery.

While the characters are interesting, the production side unfortunately starts showing cracks early on. The CGI and 3D rendering in the early episodes are not exactly convincing. The bridge scene where Cai Zhao stands looks so thin it feels like it was designed by someone who has never seen gravity before. Scene transitions are also rough. There are obvious cuts where it feels like entire scenes were removed, leaving the story jumping awkwardly from one moment to another.

Episode two doubles down on the information overload. Dialogue heavy exposition pours in nonstop, and again I found myself pausing just to keep up. The story itself is interesting though. Cai Zhao quickly grows suspicious of Chang Ning and calls him out when she notices him subtly stirring conflict between her and Qi Ling Bo. I appreciated that Cai Zhao isn’t written as a naive heroine. Beneath her soft appearance is a sharp and perceptive mind. Unfortunately, the editing once again sabotages the flow. One moment Chang Ning is bedridden, the next he is suddenly in a healing pool dramatically slipping into the water. The camera then gives us a full visual glamour shot of him rising from the water like a Kpop ending fairy. I cringed so hard. Even worse, the scene immediately cuts away without showing Cai Zhao’s reaction.

As the story continues, the drama becomes both more engaging and more chaotic. The plot keeps introducing new subplots and characters at an almost alarming rate. Face swapping plots appear, new factions enter the stage, hidden identities unravel, and by episode six we finally learn Chang Ning’s true identity as Mu Qing Yan, the son of the Demon Sect’s leader. I actually appreciated this reveal happening relatively early. It prevents the usual endless misunderstanding arc.

Mu Qing Yan’s relationship with Cai Zhao is… exhausting. At first it carries the classic star crossed lovers vibe. Think Romeo and Juliet but with more swords and sect politics. Their clans have centuries of hostility between them, yet they are clearly drawn to each other. The problem is that their relationship quickly becomes a rollercoaster of manipulation, guilt, emotional push and pull, and questionable decision making. Mu Qing Yan is the kind of character who would burn the world for the woman he loves. Usually that trope can be very appealing. Here though, it often crosses into red flag territory. He manipulates situations, fakes illness, and even gambles with Cai Zhao’s feelings to achieve his goals. Meanwhile Cai Zhao, despite being strong and intelligent, sometimes feels frustratingly indecisive. She pushes him away one moment and runs back to him the next. Watching them together sometimes felt less like romance and more like emotional cardio.

Still, I cannot deny that the two leads look fantastic together. Both Bao Shang En and Zhou Yi Ran are visually stunning and move gracefully in their action scenes. One highlight for me was Cai Zhao’s rescue of Song Yu Zhi. Her movements were swift and charismatic, though I do wish the camera had focused more on her martial choreography.

The drama continues piling on twists. Generational grudges, hidden identities, family secrets, conspiracies inside Qingque Sect. By episode fifteen the pacing finally slows down slightly, allowing subplots to breathe. That breathing room actually helps the story feel more engaging.

However, the editing issues never fully disappear. There are moments where major events seemingly happen off screen, only for the next episode to jump straight into the aftermath with zero explanation. At one point a villain suddenly appears captured without us ever seeing how it happened. I genuinely wondered if I had accidentally skipped an episode. Cinematography also becomes a bit of a running joke. The director clearly loves dramatic front facing shots where characters deliver dialogue directly toward the camera with wind blowing through their hair like they are filming a shampoo commercial. Used sparingly it might have been effective. Here it happens so often that it becomes unintentionally funny.

Despite all the chaos, I remained oddly invested. The premise of a story that unfolds across generations is genuinely intriguing. The drama tries to show how past grudges, love stories, and betrayals ripple through time and affect the present generation. Unfortunately the execution often feels messy.

By the time we reach the final arc, the drama leans heavily into melodrama. The grand final battles are filled with dramatic speeches, slow motion wind effects, and characters vomiting alarming amounts of blood. Ironically there is often more talking than fighting. The supposed epic showdown sometimes feels less intense than earlier side conflicts. Even so, there are moments that land well. Song Yu Zhi quietly caring for Cai Zhao during her recovery was warm and comforting. In fact, I sometimes felt that Cai Zhao would have lived a calmer and more stable life with him. Their relationship would not have been fiery, but it would have been peaceful.

As for the ending, the drama wraps things up rather quickly. The final episode rushes through the fates of many characters with some awkward transitions. Mu Qing Yan ultimately becomes a matrilocal husband in Cai Zhao’s family, which was unexpected. It does soften his once domineering character, though the idea takes some getting used to. Still, the ending suggests a healthier relationship where he finally allows Cai Zhao the freedom she values. One thing I genuinely appreciated was Bao Shang En’s voice work. Unlike many costume dramas where female characters are dubbed with extremely high pitched voices, Cai Zhao’s voice here sounds deeper and more composed. It adds to her charisma and maturity.

In the end, Generation to Generation is a drama with an interesting premise but messy execution. The story spanning generations, the large cast of visually appealing actors, and the central romance all had strong potential. Unfortunately the overwhelming amount of characters, rushed storytelling, rough editing, and overly dramatic cinematography often make the viewing experience chaotic.

Still, if you enjoy complex wuxia stories filled with sect rivalries, generational grudges, and a romance that screams “we are toxic but we are pretty,” this drama might still entertain you. Just be prepared to pause, rewind, and occasionally laugh at scenes that feel like they escaped from a Kpop music video.

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Perfect! Hands down! the best C-drama I’ve seen in 2026

This is hands down the best C-drama I’ve seen in 2026! The cast is phenomenal, and the main character absolutely shines—especially with their co-lead, who together have unmatched chemistry. They are easily the best on-screen couple of the year. The director’s work is top-tier, with action scenes that are incredibly well-executed and visually stunning. The cinematography is flawless, making every episode a treat to watch. Each episode keeps getting better, and the action continues to impress. I also appreciate the fast-paced storyline. This drama sets a new standard for the genre!

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I don't want China to stop making BLs

The amount of butterflies I got in my stomach while watching this drama was insane. The main attractiveness of this drama is The POWER BOTTOM ? Ohhh yeah the characters are so handsome that sometimes I forgot to breathe . What a beautiful storyline ! What a beautiful acting ! Woah . The slow burn is S L O W B U R N I N G . And one the most beautiful part is the cinematography. It's really awesome.

I love it when two polar opposite people start to like each other. And the 1980s theme made it more special.

If the starting of 2026 is like this then I can wait for it every year . Go and try it , you will definitely like this drama a lot . 10/10 recommended.

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A Beautiful Story That Deserved a Better Ending

I think it was a really well-made series. The chemistry between the characters felt very natural, and the emotional moments between them were portrayed in a beautiful and subtle way. The story slowly builds their connection, and that made it very engaging to watch. I really enjoyed the small interactions and the way the series focused on feelings rather then just dramatic events.

However, the ending disappointed me a lot. It felt unfinished, almost like the story suddenly stopped instead of reaching a real conclusion. After all the buildup between the characters, I was hoping to see them finally come together and spend more time as a couple. Seeing more moments of them actually being together would have made the ending much more satisfying.

Overall, it was a very enjoyable and touching series with great chemistry between the leads. I just wish the ending had given the story a proper conclusion instead of leaving it feeling incomplete.

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7 years later...

I can finally put into words what this show meant to me. I am leaving a review after having watched it when it first premiered and all i can say is that I have rewatched so many times it's almost ungodly. Everything about this show has been an amazing experience and I always envy ppl watching it for their first time becuz I still get shivers and the feeling of putting my hands over my mouth becuz I almost cannot believe the work that went into this. The acting, research, cinematography, and of course the scene that I always anticipate when i rewatch "Fan Xian drunk and reciting poems".

I do not think any reviews can ever do it justice becuz i think this one needs you to sit down and give it all your attention. The humor, the wit, the depth of each character no matter how small their role might be. This was an amazing journey.

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INTELLECTUAL FEAST WITH MORAL POISON – PART 2/2

Due to the word limit I had to divide the review in two parts. Before reading the following, please get acquainted with Part 1 (published under Season 1).

LOVE AS A NON-LINEAR PROCESS
Many works treat love as fate, or a momentary decision of the heart or the mind, or a steady progress. Here we have a very complex process: turmoil, reversal, denial. An excruciating mixture of soul-searching & risk-calculation, filled with fear of the unknown, with doubt as predominant force.

The relationship between Xiao Yao & Tushan Jing starts with contemptuous indifference, as she throws a stone at him lying wounded in the bush & leaves (though a doctor, she evinces as little empathy as the snake demon would). She acknowledges his humanity only on noticing their similarity, when he reaches for a flower like she did once. She becomes aware of his masculinity when he is able to stand up. Later he would again be supine many times (wounded, unconscious, floating) but she would never cease to respect him as a man, her yearning would grow. Many times she regresses to stoicism or brutality, e.g. she steps on his piece of bread, calls him names, urges him not to follow her etc. Human body has no mysteries for her as a doctor, neither in terms of beauty nor ugliness; thus, for them the experience of gradually discovering each other physically is lost forever. As a compensation from the fate, Tushan Jing receives certainty of the woman’s acceptance of his appearance. Sadly & alarmingly, later her mirror contains “photos” only of Xiang Liu, not a single one of Tushan Jing. Their personalities differ, she is more productive & proactive, has a talent for archery (like Xiang Liu) rather than music. It is much later that they find a passion to share – the medicine encyclopaedia. However, they develop a feeling based on their perseverance to remain non-evil. It is the small gestures, the chores, the furtive smiles that build up with time as an unshakeable edifice of mature love.

The hesitation takes maximum momentum in the relationship between Xiao Yao & Xiang Liu. She is unwilling to own how difficult it is to extricate herself from this introvert’s attention. Apart from a humane wish to help a person in need, she discerns in his mute expression something that makes him worth more goodness than many non-evils. When she decides to free herself from the connecting bug, it is not just out of concern for her safety, but also to spare his integrity. Her desperate act of piercing him with an arrow, then missing the next hit, then deliberately cutting her veins for him thrice – all within one minute – show the state of utmost emotional disarray. Still, no love is possible between them because of the ‘formation’ inflicted to her heart & mind by years of torture.

HUMAN SHORTCOMINGS
Xiao Yao shows an astonishing level of blindness to feelings: with Cang Xuan almost fainting of desire next to her face, towards the end of the series, she still fails to notice & understand the nature & intensity of this feeling. All the love radiating silently from Xiang Liu’s body & face gets lost on her, too. Being healed in his shell, her detached spirit starts acting weirdly childish. It gets worse with the passage of years & her increasing boredom. The barking at the casino is one more example of infantile behaviour.

Cang Xuan fails to recognise his sister, which makes me doubt if he loves her & if he is perceptive enough to be a ruler of people. He also fails to deal with shortage of grains. Another issue is the young king’s susceptibility to intoxication. He takes drugs that would naturally impair his body, soul & intellect. He also keeps drinking before serious events, knowing he would act & speak irresponsibly. Please pay attention to the Grand King’s face, as he hears Cang Xuan’s drunken confessions: an expression of regret for having appointed such a weak man, lacking self-control, as his throne successor.

NEGLECT OF CONTACT
Xiao Yao is open-minded & expressive, longing for interactions & a steady relationship. Though a princess, she never excludes demons, foreign officials or veterans, other clans form being close to her & communicating with her. Surprisingly though, she would not visit her adoptive family till most of them die of age, never inquires about them, has no idea Ye Shi Qi pays them visits every couple of years. She lingers to go to Li Rong Ji, as well as to start a quest for her biological father. Unforgivably, she strengthens A Nian’s complex of inferiority in wit.

Cang Xuan was once a hostage & so was Chenrong Shin Yue. However, they do not get to share their experiences & remain married strangers.

Both cousins have a much too pompous attitude towards themselves & underline their martyrdom in speech, gestures & mimicry, including even an unjust blame towards their parents. Compared to them, Xiang Liu is notorious for concealing his feelings, suffering, merits, unwilling to use it in his rhetoric for any goal. This makes him more trustworthy. Yet also this gets him abandoned, killed & forgotten.

The king of Xiyan does not read crucial letters or reports prior to making a decision that affects future generations. Having spoken with Cang Xuan only few times, he makes him new king without delay. Later, as a retired king, he presents himself as a perfectly communicative individual, sharing wisdom abundantly.

The village storyteller takes great care to deliver accurate information, but as it is with old legends, much of it gets warped with time.

OBJECTIFICATION OF MEN
This omnipresent C-drama flaw is also here. The impressive number of suitors is a well-known tool to present the heroine as an exceptionally worthy individual. So is Tushan Jing’s attitude or the face-painting challenge.

QUALITY OF ACTING
The invaded sitting together with invaders, victims commiserating with harassers, love rivals helping each other, fated siblings consuming poisoned flowers in unison – the pace slows down to make us believe we also belong to the realm of deities with thousands of years at disposal. The conflicts between sentient beings are never wild. They are like negotiations.

Performance is proficient with no exceptions. The actors have even managed to soften the Freudian air to make their characters more lifelike & lovable, to mention Xiang Liu’s soft song as well. Praiseworthy are support roles too, such as the epic one-to-one battle between A Nian & Yu Jiang, or Li Rong Chang’s picturesque 'phew!'s.

This C-drama excels in conveying messages in a subtle way, e.g. when Chishui Feng Long visits Xiao Yao, he seems reluctant to leave the Go game, afraid to face her lest he gets rejected. Equally subtle is Grand King’s reaction: he stops playing, as if he wanted to encourage him to stand up & approach her.

Deng Wei seems to be taking deeply into consideration viewers’ feedback. Once he got reproached for outshining main actors & in the next drama we saw him modestly withdrawn. He got praised for that & in the next series (the present one) he moved even more to the shadow, for which he received the heaviest backlash. Then he would reappear in a 2025 drama “Love of the Divine Tree” and behold – he is a churning rocket furnace there, earning viewers’ applause.

In China, there is a culture of self-improvement & a demand to know one’s own place, to contribute to the society just the right amount & quality. Therefore we, non-Asians, must be extra cautious with evaluation. If it is not perfectly honest or precisely formulated, it may unnecessarily hurt & misguide.

Let me submit my evaluation of Deng Wei’s acting skills. It will be my first review entirely in Chinese. Here it goes: 好.

GLITCHES & FLAWS
As Cang Xuan admits metaphorically regarding his harem, he has brought too many flowers to the garden, but the one he needs is absent. Yet also literally, there are superfluous references to many flower species:
- flower of Ruomu, a tree on which the sun rests every evening, symbol of balance between heavenly order & human intervention, meant to be given by Cang Xuan to his future love,
- pointiana tree (mistaken for phoenix tree), symbolic of female royal power, present in all places where Cang Xuan expects his sister to root in,
- tree peony or Rejuvenating Flower on Xiao Yao’s forehead, corresponding to the one planted & given to her by Tushan Jing, stands for female beauty, love, wealth & status,
- plum vs mulberry wine, i.e. Tushan Jing & Cang Xuan competing for Xiao Yao’s favour,
- peach tree, planted by Chi Chen whenever he missed Xiling Heng, grows abundantly on Mount Jade,
- divine tree on Mount Dushuo, used in tea for realistic karma hallucinations,
- reef flowers opening at Xiang Liu’s touch,
- recurring proverbs about trees,
- Xiao Yao’s flower-eating habit – sweet memory of childhood, but also ability to make do in hard times before fruit is available.

Haoling supposedly did not participate in wars for ten thousand years, but in the same episode we learn that it joined the battle between Xiyang & Chenrong. The daughter of the king has never heard.

Xiao Yao is in excruciating pain after her husband has been killed, but Xiang Liu does not feel it in spite of the connecting bug.

The demon who imprisoned Xiao Yao in childhood was a face-changing children-devouring nine-tailed fox. I was actually expecting Tushan Jing to confess he were the one.

Some curtains & fabrics are machine-embroidered.

APPEAL
This drama should make us realise how important it is for the soul to keep the face intact. As usual, let me implore everyone who can turn the direction in which C-drama as a genre evolves to discourage unnecessary permanent or harmful interference in actor’s and actresses’ faces: plastic surgery, tweakments, toxic substances in make-up. Let the Western culture promote insincerity if it must, while the Eastern may serve as a refuge for authenticity-seekers.

Written by a nationless spirit confined in the decaying Mid-Europe.

EDIT 19.03.26. Tried singing the OST. High vixen howlability factor. Raised the grade to 9.5.

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Proof that the simplest love stories can be the most unforgettable ❤️

This drama felt so warm and comforting from start to finish. The story is simple, but the way it’s told makes it really special. It captures the struggles and everyday life of that time so beautifully, and the romance develops in such a natural and heartfelt way.

The ML was amazing. His character was calm, dependable, and quietly loving. The way he supported the FL and stood by her through everything made their relationship feel so genuine. You could really feel his sincerity in every scene.

The FL was just as wonderful. She portrayed her character with so much strength and warmth. I loved how she balanced being resilient while still showing vulnerability. Her chemistry with the ML was so natural that their love story felt very real and easy to root for.

Another thing I absolutely loved was the family dynamics. The families didn’t feel like side characters at all — they added so much heart to the story. The way they supported, worried about, and cared for each other made the drama feel very realistic and emotional.

Overall, this drama is touching, nostalgic, and full of heart. It’s the kind of story that makes you smile, feel emotional, and appreciate the small moments in life. Definitely one of the most comforting dramas I’ve watched.

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I'TS A ROMCOM DRAMA FOR GOD'S SAKE!

I've read top reviews of this drama and i wonder... am i the only one who would apply a different standard for different genres? While reading some of the reviews, i kept thinking... do these people really expected the same logical accuracy for lovely runner the same as they did drama like signal just because of the same time-travel plot? even great sci-fi movies like interstellar still has plot-holes, but y'all expected a romcom to be precisely right in it's time-travel logic? y'all need a logical explanation for how sunjae's watch turn into a time machine? you want to know what 19 y.o sol was doing while 30 y.o sol occupied her body? you want the villain backstory of the taxi driver? you wannna know what's up with sol's grandma? you want sol to take care of her family more than focusing on sunjae? you want sol to be such a perfect strong female lead who would make all the right decisions regarding sunjae's death?

well, then the main genres would be mistery fantasy coming-of-age romance lol

and some of you could not even catch the subtext in her grandmas dialogues.

to each their own, yes. but i swear to god these people just so determined to be different that they automatically pick apart every little mistakes, but then overlook or downplay every positive sides. and i definitely would side-eyed every reviews who think that sol-sunjae chemistry is any less than beautiful, when that chemistry is the sole reason why many viewers (incl. me) could overlook some of the plot-holes and bad acting. when you went after their chemistry, then you're just being despicable at that point.

just want to remind people that lovely runner will give you what they have promised, which is a ROMANTIC COMEDY!

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Left me speechless

Listen, this review will be heavily influenced by the ending. Major spoiler for ending at the end.

When i first watched this, i didn't have high expectations for the plot to be mind blowing or special cause of the title alone. It gives slice of life, simple and chill type of plot and so it was. I tuned in for Hyewon ofc.

I loved the warm aesthetics, pretty cinematography and the good chemistry between Taiga and Rin (they made me giggle of cuteness idc what anyone says). It was somewhat a healing show to me. The plot was light, predictable and easy to watch for me. Although, I lowkey didn't like that they jumped straight into a relationship because the potential to make it a cute fluff or a slow burn was there. I wish 'them starting to date', had more story/depth, but it was fine ig. Midway, the two characters started to become abit annoying but was still tolerable to me. Cultural differences, personality clashes which I wish they had more time to explore or resolve deeper.

It was not horrible but I stuck through cause i loved Rin and Taiga so much, idk a softer pair than these two. I personally adore Taiga's softness for Rin and how Rin gives Taiga confidence and brightness in his quite unsure, uncertain persona. Other good points of the drama that I loved, was how they changed each other from being stuck in a rut or being depressed about life, it was cute to see them motivate each other and slowly become more confident in their own dreams.

But then, the final episode came. It was the worst ending i've ever experienced. I've watched a gazillion of shows btw. I hated it not because of the sad ending. At least not entirely. But it was soooo abrupt i was taken aback. After all the happy ending baiting, of course i'd expect a happy ending. But they just hit me with a 40 second scene (which is extremely vague) that they broke up and that's the end??? Not a single explanation whatsoever. I'm upset and angry at the writer for ruining this show for me LOL. It left such a bitter feeling in me. I feel like some explanation of what happened would've made me less bitter but nah here's 'they broke up at last and a black screen'. It felt so anti climatic sigh. It feels like i wasted my time i don't know how to process the ending i wanna cry.

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INTELLECTUAL FEAST WITH MORAL POISON - PART 1/2

Let me share the booty of a theme-hunting trek to the bottom of the C-drama “Lost You Forever.”

TODAY’S CIVILISATIONAL CRISIS AS THE KEY
A possible key to understanding this drama comes from today’s civilisational crisis. The war is not evil vs good. It is evil against non-evil. Evil is offensive, uses good as a disguise. Non-evil is in self-defence, without masks. Fascination with evil is characteristic of inexperienced persons who have yet to learn the hard way how foul the evil actually is. Once you experience the pain of physical or mental torture, you cannot imagine embracing it willingly. No matter if the person inflicting the pain evinces positive traits, noble objectives, kinship.

From EP1, this series was bound to divide viewers into opposing camps: those who got captivated by the nine-headed snake demon & those who appreciated the nine-tailed deity fox. In Chinese mythology, the snake brings flood, mire, infertility; the fox – life & family; it turns female (refined from the roughness of masculinity) after 15 years.

When Xiao Yao prefers to drown rather than let Xiang Liu kiss her, this rejection works on her subconscious layer. When she stands alone at the altar, vowing eternal love to the missing Tushan Jing, her consciousness has consolidated the decision.

Cang Xuan’s attempt to draw her away from that altar is like bereaving her of her maturity, ripping out of her the essence of her lifelong experience, acquired through blood & tears. Separating her from her icon of non-evil would be like killing them. Indulging in obsession, the young king develops resemblance to Chenrong Xin Yue…

ATROCITY – DEPICTION OR GLORIFICATION?
Brutality is evident in this drama. It permeates not only throne disputes, but also love, friendship, leisure, evident even in the awfully graphic depiction of meat dishes. I acknowledge that the story has impressive depth & you can bask in subtlety with no detriment to dignity, but there is also this gloomy side that covers the bright one.

It is decisive if the aim is to show to what extent atrocity is potentially present in life, or to glorify it to bewilder the viewers, stimulate crudest instincts, intimidate the non-evil. The intention is crucial.

The story did influence us morally. It tore a cleft between a few quiet observers (e.g. Hyperborea) & many acknowledged reviewers virtually devouring Tushan Jing (& the innocent actor), teaming up to find a fault on him, to mob him, to bereave him of his merit, exploiting his desolate state, wounds, damaged meridians. Moreover, though it was expressed explicitly that his renunciation of vengeance is deliberate, with awareness of the risk & price, it has obstinately been misinterpreted as one more weakness, to hit him yet harder & directly compromise Xiao Yao’s core wisdom.

I feel exasperated among so many Tushan Hous & Fangfeng Yi Yings…

My rewatch value will be 5: arithmetic average of 10 for the intellectual value but 0 for the misuse of violence.

Down with the glorification & relativisation of evil, justification of abuse, trivialisation of hurt!

TAOISM VS FREUDIANISM
On one hand, this work is rich in references to the Chinese heritage. There are quotations or phrases that follow the spirit of Taoism (naturalness), Confucianism (human coexistence), Buddhism (suffering vs desire).

Examples:
- “What is gained cannot make up for what is lost” from the ancient “Records of the Three Kingdoms,”
- Xiao Yao on maturing – “The broader the sky, the narrower the paths people can take,”
- Grand King on empathy – “My pain makes me relate to others who are in pain,”
- Xiang Liu on self-knowledge – “People need to evaluate their happiness or misery only by comparison with others” (similar to the proverb “Comparisons among men often kill those who compare”),
- Xiang Liu on love – “Parasol trees grow old together,”
- Tushan Jing on talent – “A tall tree is bound to attract phoenixes” (as in proverb: “When a tree is tall, phoenixes will come,”
- Xiao Yao on endurance – “Waiting is like putting the heart on top of a knife” – the Chinese word for patience is made of two elements: heart & knife. Xiao Yao is young but feels as if she were approaching the end of her life. Moving forward is her strategy of survival. She admits we cannot control two most important things: life & death.

On the other hand, the drama’s cosmology is marred with analogies to the Freudian vision. Id, ego, superego – respectively: Xiang Liu, Cang Xuan, Tushan Jing – are the drives here. The first one subconscious, unspoken, beastly. The second – self-assured & self-promoting, conscious of the reality, utilitarian. The last one – the wisest, transcending them all, self-sacrificing. Reactions of both orphans are Freudian too: they are haunted by alleged betrayal by mothers who died. Xiao Yao remembers feeling abandoned. For her, heroism is irresponsibility. Cang Xuan feels jealous that his mother chose to live for his father, not for him.

The creators evidently have a solid knowledge of modern psychology. Unfortunately, they seem to be focusing on aberrations rather that processes & mechanisms. We witness results of the unresolved trauma, sado-masochism, cannibalism, schizophrenia, depression, self-mutilation, suicidal tendencies, extreme introversion, Stockholm syndrome, obsessive-compulsive disorder for numbers (15, 37, 300, 400), germs (early A Nian) or flower-eating.

Dissociative identity disorder manifests itself in the lacking or shifting face: Xiao Yao, Xiang Liu, the nine-tailed fox, Xiling Heng (face burnt & replicated as A Nian’s mother), Tushan Hou’s warriors, Zuo Er (ear), Cang Xuan (visit to Haoling during war). Dyed hair, impersonation or changing names are also sources or signs of instability of identity.

Proclivity to incest: in ancient China marriages between cousins were discouraged, esp. when the fathers were brothers. During the Ming dynasty they were even banned (but judging from the hanfus & insistence on Confucian world-view, this drama is a fantasy on the Song times). Regardless of the gender of the parents who are siblings, marriages between cousins are likely to give offspring prone to congenital defects, esp. in families with the history of such close marriages. Cang Xuan’s obsession with his cousin may reflect his inner desire to have everything in this world available to him, under his control. Also Xiang Liu has an unclear relationship with Chi Cheng: he pays respect at that demon’s grave, Li Rong Ji mistakes the one for the other. I was expecting Xiang Liu to turn out to be Xiao Yao’s half-brother.

ARE EVIL & NON-EVIL REALLY SEPARATE?
We might be satisfied with a clean division of characters into evil & non-evil ones. Yet this drama features mostly complex characters with inner fight. Xiang Liu has nine heads but only one heart. He takes without consent, boosts misery, misinterprets fearful obedience as willing participation. If you try to assume that his blood-sucking act is symbolic of a yearning for the physical closeness, I must disappoint you – watch him discard her casually each time after that act is complete. But then that look…

To evaluate the Machiavellian Cang Xuan’s decision to raid neighbouring countries, including his Master’s, we need an answer to the question: does the country need a war? In China’s history, consolidation was seen necessary to bring favourable development. But Cang Xuan’s employment of propagandists & calculated crypto-altruistic help to the civilians to deal with the flood are reminiscent of globalisation & ‘peace missions.’ Cang Xuan sees war as na ‘effort,’ human losses as justifiable. Calculating approach to life is also a post-trauma life strategy.

Tushan Jing says his heart is too small to contain the whole world, only one person. He has an inner strength of forgiving, a discerning eye which knows whom to love & support. He stands for the civilisation-making force that gets cast away by brute force. Many viewers have been tricked into believing that this paragon of meekness has no dark side. Yet his vice is demonstrated explicitly. Even Xiao Yao fails to notice it, though Xiang Liu takes her twice to a place…

At the underground arena where gladiators kill to survive, Xiao Yao is overjoyed when Zuo Er wins. But she does not take a larger perspective: Zuo Er’s victory equals the death of 40+ gladiators. It is the Tushan family who rents the casino & the perfectly likeable Li Rong Chang is the one who runs it. If you have any hope that only Tushan Hou knows about the den, in S2 we see his brother calmly observe the illegal underground business he profits from. The glass is like a TV screen; Jing is as indifferent as a Sunday Netflix watcher.

His shipping agency is also shady. He delivers any shipment to or from Xiang Liu without inquiring what is inside. Let alone his populistic military advice.

The careless ‘woof-woof’ pronounced by Xiao Yao during both visits to the casino is her subconscious denial of the fact that though Tushan Jing is her private harbour of mildness, he is responsible for exploitation & loss of many innocent lives traded for sadistic fun of his clients.

Tushan Jing & Xiao Yao change identities & devote themselves to medicine. However, by leaving Tian as the family chief, they ruin the chance of saving the orphan from inheriting the infamous casino.

So where is the dividing line between characters lovable & those worth contempt? It lies in their readiness for introspection & remorse. Observe that everybody who matters for the plot feels bad about him/herself: guilty, unfulfilled, limited. Both siblings admit having an overall negative personality. Xiang Liu will not contain any notion of not being ‘a villain.’ Tushan Jing expresses himself as an ‘unfaithful scoundrel’ & ‘rogue.’ Conversely, inveterate villains, like the 5th & 7th uncles, the Matroness Tushan, Fangfeng Yi Ying or Tushan Hou, do not feel a need for self-evaluation.

End of Part 1. Please follow Part 2 (published under Season 2).

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