Reviews

A simple, feel-good drama that I wouldn't mind rewatching.

Aside from the provocative concept of a seat change-induced confession, there is nothing particularly remarkable about After Moving Seats (AMS) at the beginning - however, the steady, increasing growth of character personalities and dynamics allows the audience to build a connection with and form opinions on each aspect of the drama.

Mayama is presented as an overly accommodating, incredibly reserved individual (which we later find is due to his past entanglements with undesirable folks) - easily prioritising others over himself and refusing to take a stance that is overtly selfish. Asamiya, on the other hand, is the typical, stoic tsundere type - untouchable in a way that is reminiscent of many other drama semes (e.g. Watarai from School Trip and Kurosawa from Cherry Magic) mainly due to the duality between his appearance and the subsequent expectations others have of him.

Acting-wise, Konishi Eito has definitely improved from his previous role as Taishin in Takara's Treasure - with varied facial expressions and an evident comfort with enacting comedic scenes (at least, to me). (His scrunchy smiling expression is cute :)) Gennosuke initially appeared flat and expressionless, however, I am inclined to believe it was an overly stylistic choice considering his facial expressions became more varied and vibrant later on. I think he definitely could have conveyed Asamiya's frustration with being seen as a mere pretty face much better, though I definitely don't hate what he managed to portray as is. Both actors' chemistry is very good, too - not as awkward as I'd noticed in Konishi Eito's former role in Takara's Treasure - and believable enough to last in the watcher's mind as a good ship.

I really, really liked the side characters in this drama - I think both actors did a really good job of supporting the main actors in their characters' distinctive ways. On the surface, Sakaki appears to be the more lively, unrestrained one - though he has his thoughtful, considerate moments (both when internalising his own feelings and when providing advice to Mayama during a chance encounter midway through the summer holidays). Tsunekawata is the quieter, more level-headed friend who contrasts Sakaki's personality well, and the two work well as a dynamic duo (that final pan-shot to Tsunekawata from Sakaki's viewpoint after that second seating plan change left no doubt in my mind that Sakaki has feelings for Tsunekawata). I would love to see a second season (that doesn't fall flat from the first, of course) solely dedicated to the development of their relationship.

Side note: Iijima Hayate looks good with black lipstick

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nature vs nurture (long review)

honestly i loved hello monster/remember you to begin with. i’m not sure if others got the same vibe, but i could tell the writers were definitely trying to hit home the idea of “nature vs nurture,” which honestly gave the story SO much potential. might be a hot take, but i could find 민 redeemable. i’ll admit he was never innocent and made his own choices, but even through his crimes, there was still some humanity in him. 준영 shaped his life, controlled what he knew about 현, and treated people like experiments, but as 민 started confronting his reality and 준영 himself, you could notice that shift. 민 kept coming back to the same questions: “did 현 really abandon me?” and “did 현 purposefully leave me with 이준영?” THAT was his motivation. i think what made me pity him was how much his actions seemed tied to his need to understand why he was abandoned and what 준영 had done to his life, even if 민 thought that 준영 wasn’t the one responsible for his underlying nature but had only brought it out.

what also made me see some potential for redemption in 민 was that, towards the end, he seemed to TRY to do the right thing, even if he wasn’t completely free of 준영의 influence. you could still see that influence in how 민 thought about death and punishment, especially during the conversation about the planning officer with 현. the way he talked about what she deserved showed that 준영의 way of thinking hadn’t simply disappeared. but i think that’s what made 민의 choices behind the scenes more interesting. even while that way of thinking was still present, 민 was beginning to make choices that didn’t completely align with it. to me, that mattered. he didn’t have to suddenly become a good person or abandon everything 준영 had taught him for his choices to mean something. he could still be cruel, still have a deeply warped sense of justice, still believe that THAT was just his nature, and yet still be capable of choosing differently. obviously, that doesn’t excuse his crimes or erase the fact that he was responsible for his own choices, but i couldn’t help seeing the humanity in him alongside the cruelty. to me, THAT is what makes 민 so important to the “nature vs nurture” argument. his choices challenge 준영의 worldview by showing that, although our environment can shape us, it doesn’t necessarily determine who we become. 민의 attempt to do the right thing suggests that he could still question what 준영 had taught him, even when its influence remained. nurture can matter, but it doesn’t have to define us completely.

i know this review is already getting long, however, i also have some mixed feelings on 박보검의 acting. in the beginning, i could tell his performance felt a little awkward, and there were definitely moments where i felt as though i was watching 박보검 trying to act as 민, rather than 민 himself. his expressions felt surface level, and a lot of his performance came across as “i think this is what 민 would do” rather than “i KNOW this is how 민 would react.” it started out feeling like 박보검 was relying on basic expressions and mannerisms associated with “villainy” roles instead of conveying what was actually going on inside the character. i’m not discrediting his acting completely, though!! as the story progressed, i could notice a change in his performance. as 민 was given more emotional depth, 박보검 seemed to become more confident and comfortable expressing him. it reminded me of what the director of love in the moonlight had said about 박보검 struggling with the character early on, to the point where the first two episodes were reshot. 박보검 himself also spoke about how he initially lacked confidence in his acting. i can’t say the same thing happened here, but i did feel and see that progression through 박보검의 performance. again, i’m not saying he’s a horrible actor. i absolutely love his later work, and even some of his earlier work, but the insecurities and awkwardness that i feel have sometimes come through in 박보검의 acting seemed particularly noticeable in this role sadly. (he’s still in my top 5, i swear im not a 박보검 hater)

one of my biggest issues, however, is that the writing doesn’t always earn its emotional beats. towards the end, it felt like they tried to do the same with 준영 through his sudden desire for a “family.” who knows? maybe i missed something, and that was his motivation all along. however, when the show puts that much narrative weight on a character like him, only to treat him like some ordinary guy towards the end who just happened to “slip away,” it makes me irritated. the last episode especially felt rushed, dodged so many consequences, and left 민의 choice and 준영의 fate unresolved. i would’ve honestly accepted 민 surviving or dying, despite his huge role in my argument, but it almost felt like the writers did a complete 180 in the final stretch and abandoned their own story. this was especially noticeable when they started leaning more into the romance between 차지안 and 이현 after the time jump. the romance itself was fine, i’m not complaining about that, but it felt like the show was shifting its focus away from the conflicts that actually needed resolving. long story short, i loved analyzing this show for what it’s worth and the premise was amazing, don’t get me wrong, but it definitely deserved a much more satisfying conclusion imo. #love박보검

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I can’t believe I hesitated to start this show!

LOVE LOVE LOVED IT!!!ㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ

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Catalyst in Chief

Designated Survivor Sixty Days is essentially about Park Mu Jin, a professor of chemistry turned Minister of Environment, who is thrust into the role of Acting President for sixty days following a devastating bombing attack at the National Assembly. This unexpected catastrophe wipes out nearly the entire government leadership, forcing Mu Jin to accept a heavy new role, navigate treacherous political waters, and help chase down the conspirators behind the tragedy. It is a political thriller that proves surprisingly easy to digest, even for viewers who do not usually gravitate toward politics, largely because it explores how a deeply moral scientist navigates the messy side of power. Across its sixteen episodes, the writing and pacing remain tightly cohesive and logically sound, blending high stakes with relatable human conflicts that never feel overwhelming.

The narrative excels by integrating South Korean geopolitical tensions, domestic ethics, and regional dynamics into the overarching terrorist investigation, which elevates the stakes of every political maneuver. Although the characters often treat routine obstacles as massive hurdles, the solutions usually land in a way that makes sense despite occasional narrative convenience. One of the greatest strengths of the drama is how every single character is given room to breathe and shine, leaving a lasting impression even with limited screentime. The visual presentation matches this grounded approach by keeping cinematography simple and realistic, utilizing a warm golden brown and orange color grading that lifts the heavy mood and complements the natural, minimal makeup on the actors. Furthermore, the music score provides the exact right amount of support, effortlessly transitioning from intense suspense to lighthearted comedy without ever feeling out of place.

Park Mu Jin is brilliantly brought to life by Ji Jin Hee, whose righteous commanding presence and vulnerable charisma make him the ultimate embodiment of a good president. As an accidental leader with zero initial ambition for power, Mu Jin relies on empirical data, logic, and rational equations instead of traditional political instincts, which initially frustrates seasoned politicians but ultimately proves remarkably effective. His refusal to settle for conventional binary choices often surprises his staff, yet he consistently finds touching third alternatives that honor his dogmatic idealism. Ji Jin Hee captures this vulnerability and gradual character growth so convincingly that the actor truly becomes one with the role, allowing viewers to witness a man muster up the courage to want power out of pure duty rather than personal gain.

Surrounding the protagonist is a phenomenal ensemble cast where every secondary character leaves a memorable mark. Son Suk Ku delivers a superb performance as Cha Yeong Jin, serving as a fascinating foil who constantly counters Mu Jin only to be repeatedly surprised by the president choices, while his delightful chemistry with the other presidential secretaries provides a welcome breath of fresh air. Lee Jun Hyuk adds a potent layer of suspense and mystery as Oh Yeong Seok, keeping the audience second guessing his true nature, and the dynamic is further enriched by the friendly rivalry with Yoon Chan Kyung, along with stellar turns from Han Na Gyeong, Han Ju Seung, Seo Ji Won, and bodyguard Kang Dae Han. Every member of the cast executes their respective roles with total conviction, ensuring the ensemble feels vibrant and complete.

The series concludes with remarkable wisdom rather than resorting to a fairytale conclusion that forces a tidy positivity. Instead of predicting the distant future of his presidential term, the ending stays true to Mu Jin core character while honoring his growth, wrapping up neatly so the final lingering question is simply whether he will choose to run for office. It even offers a satisfying glimpse into his life after stepping away from the presidency, answering any curiosities about what awaits him if he decides to leave politics behind for good. Overall, this adaptation is just as captivating as the original American series and arguably even better, standing out as a tight, well written, and wonderfully digestible political drama that delivers on every front.

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Una OBRA DE ARTE

La verdad es que me encantó todo 🥹😭💖 me hicieron llorar y eso es justo lo que quería, la actuación, la historia, el ost TODO todo es perfecto 🥺 me encantaron los actores la verdad, son lindisimos y tienen una química increíble! Apenas terminé de verla hace poco y ya quiero verla de nuevo jaja 😭 es que se ven tan lindos juntos y los besos SON INCREÍBLES de los mejores besos que he visto en el BL honestamente.

Espero hagan mas series juntos, ME ENCANTÓ que belleza de BL la verdad 💖 Se los súper recomiendo, de los mejores bls de este año definitivamente 🥺

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No Absolute Villains: A Tragic Tale of Envy and Neglect

It started off really well. It demonstrates the different sides of envy and the extremes people would go to just to be or have what someone else has. But for me, Moon-jae always needed someone by his side after what happened with his parents; I feel like society failed him, and that ultimately turned him into what he is. I’m not saying that Moon-jae isn’t a criminal who stole Yu-min’s writings and did what he did to Min-yeong, but everything has a cause and effect. Many people might always want to look for the absolute villain of the story, but it's not always like that. How do they expect a child who lost his parents in such a way to cope all on his own? Everything is a consequence of no one being there for him when he needed it the most.

The story is great and it's narrated by Moon-jae, the main character, who isn't a reliable narrator because he struggles with mental health issues whose symptoms include "repressed memories." That's exactly what makes the series a must watch thriller, though it comes at the expense of absolute reality which, to me, is a double-edged sword.

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Don't miss this drama, atleast give it a try.

If the drama had one or two extra episode with showing ml and FL 's married life,living peacefully,spending family time together, flirting and sweet moments,The ratings or people's perception have been way better,maybe it would have a rating of 8.4/8.5.because they failed to properly execute that,this drama will remain underrated and people will judge this drama as bad.I agree that last 6 episodes were rushed and ml and FL barely had much screentime on that, editing was bad,there were lots of loopholes but at the same time I cannot deny that ep 1-24 were very good, It's not that last 6 episodes were bad,they were the most important episodes from the revenge pov.While going through censorship,they messed up.This drama suffered from poor production team, inexperienced director,editors etc and mostly the censorship ,they just cut the scenes very unsystematically,low budget etc,All the actors gives their best.They really wasted such an electrifying chemistry of xukai and Zhou ye,I hope they Collab again in the future,

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I honestly have zero clue what the creators were even trying to accomplish with this series! It feels like they just took random, recycled ideas from every successful school drama before it, mashed them together, and slapped on an absurdly long light-novel style title just to clickbait new viewers into watching.

I literally could not stop comparing this to School Trip the entire time. It is the exact same tired formula: the most popular guy in school suddenly falls head over heels for the quiet outcast over the most trivial, ridiculously simple interaction, and before you know it, he's hanging out with his popular friend group. The entire setup gave me total deja vu! And can we talk about the whole "sitting back-to-back in class" dynamic? It’s not fresh, it’s not innovative, and we’ve seen it done a hundred times already.

I hate to say this but, It was basically the final straw for me. Between the copy-pasted tropes and the lack of originality, I think I’ve officially hit my saturation point with Japanese series for now. I need a palate cleanser! I'm definitely putting J-dramas on pause for a bit and switching back to other Asian series to get some actually fresh storylines again.

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a beautiful blade, poorly forged

Spring of the Blade had been on my watchlist mainly for Zhou Ye and Xu Kai, so naturally, I had high hopes. Thankfully, their pairing delivered. Their chemistry is one of the drama’s greatest strengths—there is something wonderfully playful in the way Xie Qingyuan and Shen Run constantly test, tease, and outmanoeuvre one another. Zhou Ye also gave Xie Qingyuan a lovely sense of intelligence and strength; her character gradually unfolds into someone capable and decisive, and her past and motivations are given enough room to make her journey feel complete.

The revenge arc, which serves as the heart of the story, was also handled rather well. The secrets were revealed gradually, piece by piece, and I enjoyed watching the truth emerge beneath everything that had happened. My difficulty lies more in everything surrounding that central story. I have not read the novel, so I can only speak from the drama itself, but I often found myself wondering whether the story simply needed more time—or perhaps less of it. There are episodes filled with conversations and detours, yet some of the most important parts of the characters’ lives feel strangely absent. Shen Run is the clearest example. His family was massacred overnight after being accused of corruption and treason, leaving only him and his brother alive. From such a painful beginning, how did he eventually become a highly respected official, trusted and favoured by the new emperor? I wanted to understand that journey: how he survived, what shaped him, and what brought him to the person we meet in the story. Unfortunately, much of it remains only a shadow. I heard that some of Shen Run’s storyline may have been affected by production difficulties, and if so, I can only feel sorry that Xu Kai’s character was unable to receive the depth he deserved. The revenge may have reached its destination, but it could not entirely make up for the parts of Shen Run’s story we never had the chance to see.

The pacing becomes especially difficult in the latter half, when the story spends so much time around the Xie family that Shen Run sometimes feels almost like a supporting character in his own story. The final episodes were particularly frustrating, because our two leads received surprisingly little meaningful screen time. Even the political side of the story often feels distant: there is an emperor, there are ministers, accusations and impeachments, yet we rarely see the court itself or the confrontations that should give these events their weight. The Marquis’ death and sacrifice, for instance, are largely explained rather than experienced. I also had mixed feelings about Second Lady Xie’s ending. After everything she had done, I expected a more meaningful consequence. And Li Chongxin himself was such a quietly tragic character—betrayed by the people he trusted most, yet still gentle enough to want to help others. Perhaps that gentleness is also why he could never truly be the person Xie Qingyuan needed beside her.

Despite my reservations about the writing, I cannot deny that Spring of the Blade is a beautiful production. There are many lovely compositions, thoughtful camera angles, and moments where the directing captures the atmosphere beautifully, even if the focus occasionally felt somewhat misplaced. The soundtrack also complements the story well. I have heard that the production may have faced financial difficulties, and if that is true, perhaps it explains some of the limitations that become noticeable along the way. It is a little bittersweet to see such a promising production feel as though it had to make compromises.

In the end, I am grateful that I watched it for Zhou Ye and Xu Kai, because their chemistry was every bit as enjoyable as I had hoped. If you come for their quiet provocations, playful exchanges, and the pleasure of watching two clever people circle around one another, there is much to enjoy. The revenge story itself also keeps its promise and eventually brings its secrets to light. But for me, the drama leaves behind a lingering feeling of what could have been. The pieces were beautiful—the actors, the chemistry, the premise, the atmosphere—yet some of the most important pieces never quite found their place.

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Not Bad, Just Not Girl From Nowhere

As someone who watched the original "Girl From Nowhere", I went into "The Reset" with pretty high expectations. Overall, I’d give it a solid 7/10. The production quality was good, the actors were capable, and Becky did a decent job as Nanno. Kitty’s portrayal of Nanno is a very hard act to follow because Nanno needs a very specific presence: mysterious, dark, unpredictable, and almost impossible to read. Becky didn’t completely fill those shoes for me, but I still think she did a pretty good job with the character. My biggest issue was the writing. "Girl From Nowhere" is supposed to tackle real issues and bring karma to people who genuinely do wrong, but in "The Reset", some characters didn’t really do anything deserving of the consequences they received. Some storylines also felt like they were building toward something that never actually happened. Sky is a perfect example. He clearly had feelings for Nanno, and there seemed to be some kind of mutual tension, but his storyline ultimately went nowhere, and then he just died, which felt pointless. The same goes for the 100-Year Building episode. I understood why the man responsible for the corruption faced consequences, but I didn’t understand why the principal had to die when she seemingly had no idea the building was unsafe. That made the “karma” feel inconsistent.

Another thing I really missed was the atmosphere of the original. Girl From Nowhere had this dark, unsettling, thriller-like feeling where you were constantly waiting for something insane to happen. The Reset felt much more like a mystery of “What is Nanno going to do next?” than an actual thriller. Episode 4 was definitely the standout for me and probably the best-written story of the series, with Episode 1 also being one of my favorites. The rest weren’t necessarily bad, but I honestly think some of them could have been written much better or didn’t need to be episodes at all. The Reset had potential, and I enjoyed watching it, but compared to what made the original Girl From Nowhere so memorable, it just didn’t hit as hard.

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I here to see The Queen before she was Queen! ❤️

I came upon this drama post Perfect Crown to see Debemama’s work. The reviews overall made this kdrama underwhelming comments which set the bar low for me initially. This is an underrated slice of life drama with healing stories that put a smile on your face. This isn’t the perfect kdrama but it was entertaining and enjoyable for me. The substitute traveler made for off angle storyline with sub endings that made me smile. I enjoyed each situation from the golden retriever to a young couple that reconnected because of personal circumstances…The cast is well known from other kdramas and looking forward to S2😊

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All That Drama and I Still Felt Dehydrated

I really wanted to love this because I enjoyed Yanxi Palace so much. Unfortunately, Princess Adventures never gave me the same feeling.

My biggest issue is the writing. There are plenty of ideas here, but everything feels squeezed into only six episodes. The romance, the conflicts, the character relationships, and the drama itself needed more time to breathe. Instead, I often felt like I was watching things happen without having enough time to become emotionally invested in them.

The romantic love triangle had potential, but I never felt enough chemistry or development between the characters. I wanted to understand what drew them to one another and why their relationships mattered so much. Too often, I was simply told that the feelings were important rather than actually feeling them myself.

Wangduoji, in particular, didn't work for me. He's calm and composed, which can be appealing, but I found him too emotionally dry. His acting felt just as restrained. There were moments when I expected at least some emotional reaction, but instead I was left thinking, “That's it?

Zhaohua also didn't impress me as much as I expected. Being Yingluo's daughter naturally made me expect some of her mother's sharpness and strategic thinking. But while Zhaohua can be clever, her personality often felt impulsive, spoiled, and overly dramatic.

And that's where I kept comparing her to Yingluo.
With Yingluo, I often found myself thinking, “Wow, she has already thought several steps ahead."
With Zhaohua, I sometimes found myself thinking, “Girl... what are you doing?"

Kang'an was probably the character I found most interesting because his connection to the original series gave him more emotional baggage and complexity. But even his storyline didn't feel substantial enough to make me think a whole sequel was necessary.

Overall, Princess Adventures was okay—but the more I watched, the more I realized I didn't really need it.
I don't regret watching it. There were entertaining moments, interesting ideas, and enough palace drama to keep me going. But when I reached the end, I was left with more questions than attachment to the characters. I never found myself as emotionally or intellectually invested as I was with Yanxi Palace.

It feels less like a sequel I desperately needed, and more like a little extra tucked behind the original. And after watching it, I think I'm perfectly happy leaving the real Yanxi magic where it began.

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