Reviews

Transmigration turned into entertainment, drama, and romance without inhibitions.

I confess that I came to “How Dare You?” without having read the novel, the manhua, or seen the donghua and minidrama. And perhaps because of that, because I had no expectations or comparisons to make, I was treated to one of the most pleasant surprises of the year. This drama is, quite simply, a delight from start to finish.

The cast is impeccable. Wang Chu Ran and Cheng Lei not only have chemistry, but they carry the credibility of a crazy premise on their shoulders and make it work. She shines in the duality of being a modern woman trapped in the body of a seductive consort; he, as the tyrant Zhang San (Xiahou Dan), manages to be terrifying, ridiculous, vulnerable, and adorable in a matter of seconds. Their evolution within the book, especially his considering he lived a long time trapped in that reality, is one of the emotional pillars of the story.

What I liked most is how the drama takes the cliché of “entering the book” and revitalizes it. The protagonists do not leave their modern humanity behind: their 21st-century essence constantly clashes with the rules of the ancient world, creating hilarious situations but also interesting dilemmas. The premise is simple but effective: they have to survive by playing the tyrant and the seductive consort while trying to change the destiny written in the book. And they do so with intelligence, humor, and a lot of romantic tension.

The drama strikes an enviable balance between comedy, romance, drama, and intrigue. There are moments of genuine laughter, scenes that quicken the pulse, and others that tug at the heartstrings. The funny moments are not mere comic relief, but an essential part of the characters' personalities and their way of coping with a world that is not their own.

The villain, Prince Duan, is another success. He is human, truly evil, and above all, consistent: he will never love anyone but himself, and the drama does not attempt to falsely redeem him. The secondary characters are also well drawn; there are several that you end up growing fond of, which enriches the journey.

If I have to find a fault (and that's why I'm not giving it a 10), it's the ending. Not because it's bad—it's happy and satisfying—but because of that device so typical of transmigration dramas: the scene where they meet in the real world and look at each other. I admit, it bothers me. I would have loved to see more exploration of their adaptation to modernity, especially in the case of Zhang San, who spent so much time inside the book. A few specials showing his life in the present, with its conflicts and culture shock, would have been the perfect finishing touch.

Conclusion:
“How Dare You?” is a drama that embraces its absurd premise and turns it into gold. With charismatic performances, a brisk pace, well-constructed characters, and an enviable balance between genres, it becomes an addictive and hugely enjoyable experience. Yes, the ending plays with a cliché that I personally don't like, but the journey is so fun, intense, and romantic that I forgive everything. I loved it, and I loved it a lot.

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Loved, loved, loved their chemistry ❣️

When I heard that we would get to see these two boys in a series together again after ten years, I was incredibly moved. I knew before the premiere that it wouldn’t be their story after Addicted, since they didn’t get the rights from the author, so I was expecting something different.

The first four episodes was overall good. Even though it was clear from the start that the series had a fairly low budget, the shots throughout were beautiful and the chemistry between the two leads might be some of the best I’ve ever seen. That chemistry was honestly what kept me watching until the end.

The script, however, had holes from the very beginning, and the direction didn’t help at all. Aside from the gorgeous cinematography and the main couple’s chemistry, I didn’t find much else interesting. Each episode felt worse than the one before, and the writing became almost nonsensical in the final episodes. For such a short series, there were far too many filler scenes. I won’t even comment on the second couple.

Despite all that, I finished it, mostly for emotional reasons and out of respect for these two amazing actors, who kept the promise they made to their fans even ten years later.

I can’t give it more than 7 out of 10, and even that seems pretty generous overall.

Still, I really hope to see them together again in another project with a tighter script, their chemistry is absolutely chef’s kiss. 🤌

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Bizarre

So bizarre that my first thought was that I was watching a J-drama. I double-checked the next spoken sentence and ascertained it was, indeed, a Chinese drama. It's dark, dangerous, and deviated from the average drama.

The leads were adorable together. He's the boy your parents warned you about: the bad boy. But not your typical bad boy who did poorly in school and hung out with the wrong crowd. This boy was smart, menacing tall, feral, and definitely detrimental to the well being of those around him. She, on the other hand, was tiny. The ML often picked her up around the waist with one arm and carried her like his own personal Barbie doll with a curtain of glossy black hair. She was kind, brave, and resourceful and an absolute addiction of the bad boy.

The mood was black, and it seemed it was only night in their world. The visuals were striking: the ML and FL fell from the dark sky into a heart-shaped pile of pink balloons (please don't ask why the balloons were there, as logic has no place in this drama, and I'd have to explain the leads landed, miraculously unharmed, on their feet next to a tank containing a murderous mutant octopus with huge ears which was mind controlled by a zombie, at which point the explanation about the balloons hardly matters, right?). Do I care that the plot is ridiculous? Not a bit, because I'm not bored. And the OST was as wild as the action.

I thought I'd picked a tiny filler to watch between the longer dramas, as Viki only showed six episodes. I realize now it has 40 (but only 18 minutes each), which Viki will mete out on a weekly (?) basis. Bah, humbug. Here's hoping the drama keeps its frantic pace, phenomenal weirdness, and ends well.

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Without the Last 2 Episodes, It Could Be 9/10

This drama started so good I originally gave it a 9/10. It felt like a combination of True Beauty and Lovely Runner. Interesting plot, adorable main couple. Even the plot with Bong-su didn't disturb me at first — I actually enjoyed this character, and the actor was great at playing the double role. His performance was really nice, with the immediate difference when switching between the two characters.
I felt like this until episode 10. Then something changed and I actually don't understand what happened. By the end of the drama I stopped paying attention and just waited for it to finish to learn the final outcome. I feel like it could be much better if they kept the original idea with the young shaman trying to find her true self and trying to reconcile it with love.
Also, just my personal opinion: how can one person (ML) be that affected by so many bad things happening in his life? I know it's a drama and so on, but it doesn't sit right with me. Maybe I just have too strong a sense of justice. It just felt like too many things happening to a high schooler. Screenwriters really love torturing their characters with the plot. 😩

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Rich, layered, beautiful tapestry of a production

I am smitten by the landscapes, direction and cinematography with such subtle angles that there is a movie like quality which only Chinese cinema can deliver. When you get the right acting talent who are not only both gorgeous to look at, but also pack a solid punch both as actors and as characters in the story, there is no doubt the drama is off to a fantastic start!! I am personally disturbed by the butchering parts of it but grin and bear it by covering my eyes as it is a significant part of FL's character design and lends heavily to her extraordinary skills, as one may discover in the first 7 episodes. Xi Wei has a strong presence. Meanwhile, ML is all demure and mysterious, yes please we have been waiting to see ZLH on screen again for a very long time so Hell yeah!!!! Both are well matched, so hats off to the casting as well! Highly recommend.

Drama aesthetics and actor face cards 💯
Use of the colour White - snow, falcon, robes 🤍🪟❄️
Landscape wide shots, close ups, ethereal transitions ✨🏔️
Fight choreography 🗡️⚔️🗡️

I was not satisfied with ZLH's limited screen time and one dimensional portrayal of the character in the script, what with him being more of a supportive role than a lead. I for one started watching POJ only because Zhang Ling He is in it, everything else that is good was a bonus like the FL is written so well, there are some new talents like Deng Kai and Lin Muran to watch out for, there are some really cool aesthetic shots and a cinematic softness that the director brings. But at the end, it can be disappointing if you are only here for Zhang Ling He! I think last 10 episodes have tried to make up for it but it was not enough for me personally.

P.S I don't think it would have been THAT much of a joy ride had I not read the novel , but it certainly dimmed the golden halo the Director built in the first 6 episodes. Ah, the pre novel aura!!


*******
Early post leak bad subs check-in***

After the initial high, POJ has been dwindling on a stretched storyline and editing going slightly off-key. I prefer to see consistent momentum in a drama like this which has really good source material in its novel. Overall, production quality remains above average but story telling has been faltering and not quite building creatively either the political aspects nor able to keep the romance progressively flourishing.
A little disappointed by the way the story is unfolding, scenes are almost standalone with little transition fluidity.
9.2 is too high, it should sit comfortably between 8.5 to 8.8, no more.

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My favorite movie by far

There are few films that have left such a mark on me as this one. First, through its colors, the incredible use of space and framing within sets that enclose both the spectators and the actors in moments of tension, and then open up (sometimes so much that you feel omniscient) in moments of common beauty. This is cinematography in its most beautiful form. Of course, both the actors are divine. This is a film that haunts you—just a single image lost on Instagram, and you immediately know what it’s about, all the feelings it evoked in you that evening. But it’s not a film that tells you everything; you need to feel it, sense the undertones.

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When Love Becomes a Subscription

In an era where technology influences almost every part of our lives, the Korean drama Boyfriend on Demand explores a fascinating question: What if love could be downloaded like an app? Blending romance, comedy, and a touch of science fiction, the drama offers a playful yet thought-provoking look at modern relationships in a digital world.
The story follows Seo Mi-rae, a hardworking webtoon producer who finds herself constantly overwhelmed by work and personal disappointments. Like many people struggling with real-life relationships, she turns to a new service that promises something extraordinary — a virtual boyfriend experience. Through the app, Mi-rae can choose from a variety of ideal partners, each designed to perfectly match her preferences and emotions. These AI-generated boyfriends are attentive, understanding, and always know exactly what to say.
At first, the idea seems like the perfect escape. The virtual dates are dreamy and flawless, offering Mi-rae a sense of romance that feels almost too good to be true. However, as she spends more time in this artificial world, the line between fantasy and reality begins to blur.
At the same time, Mi-rae’s real life becomes more complicated when she interacts with her colleague and rival, played by Seo In-guk. Unlike the perfectly programmed AI partners, he is imperfect, unpredictable, and sometimes frustrating. Yet, his genuine emotions slowly begin to challenge Mi-rae’s idea of what love truly means.
Opposite him, Jisoo brings Mi-rae to life with a soft and charming presence. Her character represents the modern individual caught between convenience and authenticity — someone who enjoys the comfort of a perfect digital relationship but still longs for something real.
What makes Boyfriend on Demand interesting is not just its romantic storyline but its underlying theme. The drama subtly questions whether perfect love is truly fulfilling if it lacks real emotions, flaws, and unpredictability. The AI boyfriends provide everything Mi-rae thinks she wants, yet something always feels missing.
Visually, the series is colorful and stylish. The virtual dates are designed like fantasy sequences, filled with beautiful settings and romantic moments that feel almost like scenes from a dream. This contrast between the glamorous digital world and Mi-rae’s ordinary daily life highlights the emotional conflict at the center of the story.
However, while the concept is unique and engaging, the drama sometimes struggles to fully explore its deeper themes. Some parts of the story feel repetitive as Mi-rae continues trying different virtual partners. The narrative occasionally focuses more on the entertaining scenarios than on developing the emotional complexity of the characters.
Despite these shortcomings, Boyfriend on Demand remains a light and enjoyable watch. It combines humor, romance, and a modern technological twist that makes the story feel relevant to today’s audience. For viewers who enjoy romantic comedies with a creative premise, the drama offers plenty of charming moments and entertaining interactions.
In the end, the drama leaves viewers with a simple yet meaningful question: Is love about perfection, or is it about the imperfect moments that make relationships real? Boyfriend on Demand suggests that while technology can simulate affection, genuine connection is something that can only exist between real people.

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Updated Review: My apologies to Li Qin.

One of my favorite actresses, Li Qin, shines as the female lead, delivering a performance filled with strength, vulnerability, and emotional depth. The male lead, Chen Zhe Yuan, complements her perfectly — their chemistry and shared storyline were excellent from start to finish.

The main plot was engaging and well-paced, with one of my favorite elements being the amnesia arc. That storyline added suspense, emotional tension, and plenty of action, keeping the drama interesting and layered rather than predictable.

One aspect I did not enjoy — and this is important to mention — was the mental and emotional abuse portrayed toward one of the secondary female characters (not Li Qin’s character). Her father, the emperor, arranged her marriage to unite two provinces, only for her husband (not Chen Zhe Yuan’s character) to emotionally neglect and ignore her. That situation became a painful and unnecessary mess, and while historically such dynamics existed, it was difficult to watch.

That said, the main lead’s storyline more than carried the drama. The production quality was outstanding — the sets, costumes, and background music were all perfectly suited to the historical period and added richness and authenticity to the story.

Overall, Fated Hearts is a compelling historical drama with strong performances, emotional depth, and beautiful production values. Despite one troubling subplot, the central story and lead actors made this a memorable and highly enjoyable watch.

NOTE: I had Bai Lu on my mind being upset about Mo Li not being shown until April.

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What to add...?

This probably won't be for many viewers who like youthful-looking BL actors and are used to "more lively" à la fish kisses at the end of the series, and therefore I rather don't recommend it. And not even for many local users who take this piece seriously.
Miniseroš exactly matches the character of East Asian production. Either projects predominate, often affected, heartless for the "Western" viewer (but we, who know Asia, can do it) with maximum fish kisses in sex, or the complete opposite, oraz, a bold, unconventional project. I don't even know of anything "in between" that would be produced (I still mean East Asia).
Kamasutra (I write it without diacritics on purpose) like a stitched one. In many cases, young gentlemen did it to their pubic bone, hip or thigh and I was rolling around laughing. Other times, on the contrary, everything was precise, as it should be.
Meaning? It made sense to me, simply Therapy! South Korea ...
I admire both actors. The therapist for the stony face behind the mask that I felt him trying to "perform" during the thrusts so that he didn't smile, and the other one - the client for the heckling (he heckled the most when the therapist was doing it to his bladder or kidney). I won't even get into the debate here about whether it's soft or something else, it definitely belongs here, the pubic area was not visible even from a distance, like in some projects where it's teeming with songbirds or sometimes even big eagles. I will definitely be in the minority here that gives a high rating, because for me it made sense, SYMBOLISM, from all my above observations and also with the emphasis on the very end of the series and also what is very Asian: "I, the client, am just straight and I expected a young girl as a therapist ..."
And now seriously. Nice fantasy of the one who invented it, wrote it, directed it. Only the music was horrible in some passages, like at a funeral, sometimes it was bearable, but it didn't suit me. Only at the very end of the last episode did the music finally hit the theme, because there... everything changed.

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A Great Idea That Slowly Loses Its Courage

To be honest, I started watching this drama mainly because of Seo In-guk. I’ve always liked his work, so he was the biggest reason I decided to give the series a chance. At first, the concept itself also caught my attention. A romance built around AI-generated boyfriends sounded unusual and surprisingly modern for a K-drama.

What if you could date someone who never disappoints you? Someone who always says the right thing, remembers every important moment, understands your emotions perfectly, and never argues with you? Boyfriend on Demand builds its entire premise around this tempting idea. At first glance, it feels like a concept that could bring something genuinely fresh to K-drama romance.

The story follows Seo Mi-rae, a webtoon producer whose life is an exhausting cycle of deadlines, caffeine, and emotional burnout. She barely has time for herself, let alone a relationship. So when she is offered access to a platform that creates AI-generated boyfriends designed specifically for her personality, she accepts almost immediately. And honestly, who wouldn’t?

The early episodes are easily the strongest part of the drama. Mi-rae’s encounters with different AI boyfriends unfold in playful fantasy scenarios that experiment with various romantic archetypes. These moments are creative, sometimes ridiculous in a fun way, and genuinely entertaining. For a while, the show captures the fantasy perfectly: romance without misunderstandings, emotional baggage, or awkward silence.

Unfortunately, this promising idea doesn’t develop as much as it should. Around the midpoint, the story starts losing momentum. Mi-rae continues cycling through different virtual boyfriend scenarios, but the narrative doesn’t really evolve beyond that pattern. Personally, this is where the drama began to feel repetitive.

Instead of exploring the deeper psychological or ethical questions behind digital romance, the show slowly moves away from its own concept. Gradually, the virtual dating premise fades into the background. What replaces it is something far more familiar: a workplace romantic comedy between two coworkers who constantly argue but are clearly destined to fall in love. There’s nothing wrong with this trope, but it does make the original premise feel underused.

The performances, however, are solid. Jisoo brings warmth and relatability to Seo Mi-rae. Even when the writing pushes the character into moments that feel slightly immature or unprofessional, she still manages to keep the character sympathetic. Meanwhile, Seo In-guk delivers a calm and confident performance as Park Gyeong-nam. His screen presence adds stability to the story, even if the script doesn’t fully develop the emotional depth of the relationship.

And that’s really the main issue here. The actors are not the problem; the writing is. Although the leads have occasional sparks of chemistry, the drama rarely explores their relationship deeply enough to make it truly memorable. Several emotional moments feel rushed, and the story seems hesitant to fully commit to the themes it introduces.

In the end, Boyfriend on Demand isn’t a bad drama. It’s watchable, sometimes charming, and occasionally quite fun. But it also feels like a missed opportunity. The concept had the potential to explore modern loneliness, the comfort of curated intimacy, and how technology might reshape romantic relationships. Instead, the series eventually settles into the safe territory of a conventional romantic comedy.

Watching it feels a bit like ordering an experimental dish at a restaurant, only to realize halfway through that it tastes very similar to something you’ve eaten many times before, just presented with a slightly futuristic twist.

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Nostalgia.

Just finished watching Mutelu: Hi by My Luck, and honestly it was so, so, so good. I have already watched it three times, and I still feel like watching it again. It’s one of those short series that leaves a really warm and nostalgic feeling.

For me, Mawin’s character, played by Sea, is probably the best role he has played so far. There was something very natural and charming about his performance. The way he expressed the emotions of Mawin made the character feel real and relatable. I honestly can’t even fully explain how much I loved his portrayal.

And of course, Keen is amazing as always. No matter what role he plays, he always manages to make the character memorable. In this series too, he did a wonderful job. The chemistry between the two leads felt comfortable and genuine, which made their scenes very enjoyable to watch.

Considering their age and the theme of the story, the roles suited them perfectly. The characters felt believable, and the emotions matched the stage of life the story was portraying. It didn’t feel forced at all.

Another thing I really appreciated was that even the side characters did their job very well. Every supporting character added something to the story, and none of them felt unnecessary. The whole cast worked together nicely to create a fun and heartwarming atmosphere.

My only complaint is that the series is too short. With only four episodes, it ended so quickly that it left me wanting more. Honestly, I could easily watch 10–12 episodes of this story without getting bored.

What I loved the most is how the series reminds us of our school days — the innocent feelings, small moments, and memories that stay with us for a long time. It really brings back the nostalgia of school life in a very sweet way.

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"We're family"

The title Swordswomen Three was false advertising as there were rarely 3 women on the screen at the same time. Director Shen Chiang preferred to focus on the male characters. Lo Lieh and Essie Lin Chia carried this film on their backs.

Ambitious Chu Tien Hsing repeatedly challenges the master of the Xiude Martial Arts Academy to a duel. Chu is upset that the school is named #1 after winning a contest held every decade. The son, Hsu Chin Wu, finally agrees to fight Chu and then defeats him. Chu decides if he can’t win with his sword skills, he’ll steal the famous Mighty Steel Sword from his fiancée’s family.

First things first. If you are going to title a film, Swordswomen Three, then the swordswomen should be featured. Shen Yi as Ruo Lan was engaged to Chu and spent most of her time fretting what to do. Sister Hsiao Lien (Pan Ying Zi) had almost nothing to do. Neither was the sharpest knife in the drawer. Pan’s character was sidelined with an injury for much of the film which wasn’t a bad thing because she was a drip. Later, wishy washy Ruo Lan was injured and mostly off screen. The eldest sister, Ju Mei, was fierce and intelligent. Essie did a great job with the role she was given. Sadly, she was undercover wearing a hood for part of the film (or her stunt double). If the other heroes had listened to her the evil Chu would have been defeated earlier.

Shen Chiang’s direction and writing were sorely lacking, with too many scenes feeling redundant and also changing pertinent info about the sisters’ connection to the Xiude Academy midway. He also had the sisters make some of the dumbest and most illogical decisions to try and push the story along or gum it up.

Another dull knife was Chang Yi’s Hsu Chin Wu. Watching him play this dull good guy was like watching paint dry, grass grow, or any other tedious task you could think of. After Ju Mei survived all sorts of tortures with her wits and fighting skills, she actually asked Hsu to come up with a plan to defeat Chu. Seriously? She was the sharpest sword. I would have had qualms about asking Hsu for directions to the best restaurant nearby. Essie’s only equal in this film was Lo Lieh’s Chu. Chu acknowledged he wasn’t the best fighter, but with the Mighty Steel Sword he felt he would be invincible. One side could cut through anything. The other side was magnetic and could disarm opponents. Enticing and able to pour on the sexy charm when needed, I could see why Ruo Lan was conflicted. However, the villain shouldn’t be the most, if not only, captivating character on screen. Lo, like Essie had to do some heavy lifting to elevate their characters above the script. And the good guys shouldn’t be utterly inept, with the exclusion of Ju Mei. And mild spoiler alert, it was not Ju Mei or the three sisters who were given the final assault on Chu, it was of course, Hsu.

Most of the fight choreography was competent as it should have been with Tang Chia and my personal fave, Lau Kar Leung, as the martial arts directors. Although there was a hilarious moment in a scene where older actor Lee Wan Chung had an oopsie with the wire work. The final fight in a bamboo forest was bloody and violent as expected, yet disappointing without the SWORDSWOMEN THREE taking part in it. I would love to have had a movie with Lo Lieh and Essie Lin Chia locking swords together in a one of these old films. They both had a spark that came through the screen. Unfortunately, they were surrounded by wet blankets (have I used up all my boring idioms?) that dragged the film down. Not the worst film, but disappointing all the same. Rated on a curve.

6 March 2026
Trigger warning: One of the other interesting characters was Master Mei, the hooded thief and assassin. She blinded a maid with daggers upon seeing her face. Ick. Several impalements.

Musical Note: The James Bond riff was used several times.

Life Lesson Note: Beware of any boss who says, “We’re all family here.” They are the likeliest to overwork you and stab you in the back. In this film, that was literally.

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