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A true matriarchal clan
First, credit where it's due. This is a true matriarchal clan and a genuinely women-driven story. Shanbao is a well-developed lead. Her philosophy, her lines, her duty to the clan, her balance of ruthlessness and mercy. The premise isn't decoration. The drama builds its world around it and stays loyal to it, and that alone earns a high rating from me.I liked a lot of what's here. The plots, the interactions, the sisters, the tea clan and the dynamics inside it. There's a real world on screen and I enjoyed spending time in it. But it could have been so much better, and that's what keeps nagging at me.
Where it falls short is the writing, and it falls short precisely where it matters most. Plot points get explained retroactively rather than set up. The schemes don't land because the outcome is never in doubt. Shanbao is never truly vulnerable, never close to losing. That leaves an emotional flatness I couldn't shake, and it's the main reason I'm not rating this higher.
Another issue is the romantic relationship between the leads. The romance has a structural problem. In a classical cdrama the ML usually holds both the power and the pining. He's above her and he wants her, and the pull comes from those sitting in the same person. Here they've been reversed improperly. The ML does all the wanting and has none of the power.
To be clear, Shanbao wants him too. You can feel the desire and the affection coming off the screen. But it's never tested. She never gives up anything for him, never has to choose between him and the clan in a way that costs her. Meanwhile the script keeps handing the ML yandere-adjacent declarations and threats, clearly meant to restore some of the old ML weight, and they don't take. Shanbao just laughs and smiles and nothing follows. He comes off unimpressive, and the romance comes off cold.
I forgive some of this, because the asymmetry is baked into the premise. Shanbao can't enter his patriarchal world, only he can enter hers, so the drama can't test her the way it would test a classical FL without breaking its own logic. But it could have found something. And I suspect the rest comes from the roles being flipped while the audience the drama is written for is not. The pining had to go somewhere, and it landed on the ML by default.
So I praise the show for its loyalty to the matriarchy, and I bemoan the lackluster romance it got in exchange.
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A Promising Omegaverse Romance Turned Into My Biggest Disappointment of 2026
I really tried my best to give this series a chance. As one of my most anticipated dramas of 2026, especially with the combination of the Chinese ABO Omegaverse genre and the reunion of Boat and Oat after My Stubborn, I went into this series with extremely high expectations. It honestly felt like it had everything I wanted: a unique concept, a strong pairing, and the potential to become one of the standout BLs of the year.The biggest highlight is definitely seeing Boat and Oat together again. They proved in My Stubborn how strong their chemistry could be, and they remain the strongest part of this series. Oat is great as Phatsa, while Boat perfectly captures Nakhun's commanding presence and cold personality, making him feel like a believable True Alpha.
The series also has many strengths. M Flow Entertainment continues to deliver impressive production quality. The visuals are beautiful, the cast looks fantastic on screen, and the soundtrack fits the emotional moments well.
However, after watching more than half of the series, I have to admit that the weak plot has become impossible for me to ignore. While the NC scenes and the chemistry between the leads are enjoyable, they cannot carry an entire series when the main storyline lacks depth and direction. The story introduces too many characters and side plots that do not add enough value, making the overall narrative feel messy and unfocused. Instead of building excitement, many episodes left me feeling confused and disconnected from the main story.
The biggest disappointment is that the Omegaverse element, which should have been one of the strongest parts of the series, does not feel satisfying enough. The build-up and emotional impact are not as powerful as I expected, especially considering the potential of the concept. The series had all the ingredients to create something intense and memorable, but the execution did not fully deliver.
And the PLOT was so stupid......
It just does not make sense that Phatsa grew up without knowing that alphas, betas and omegas existed, especially considering how vulnerable omegas are. Once an omega is bitten by an alpha, their life is changed forever.
Phatsa must have been living under a rock. How can someone grow up in an Omegaverse world without knowing something so important? Do they not learn about it at school? Did none of his friends ever mention it? What about his dad? Did he not want to protect his son? If I were his dad, I would have warned him to be careful instead of hiding such important information from him.
This plot would only make sense if Phatsa had been completely isolated from society or had amnesia and lost his memories. How could the director come up with such a ridiculous plot and expect us to believe it?
The intimate scenes were also a mixed experience for me. While I appreciate that the series is trying to embrace the ABO genre, some NC scenes felt more focused on being visually appealing rather than strengthening the emotional connection between the characters. Compared to My Stubborn, where Boat and Oat's chemistry felt much more natural and convincing, their relationship here has not reached the same emotional level for me.
After 6 episodes, I was already struggling to stay invested. By this point, I felt lost due to the number of characters and storylines, and the main plot no longer gave me enough reason to continue. It is disappointing because the potential was clearly there, and the combination of Boat, Oat, and the ABO concept could have created something truly special.
My rating gradually dropped from an initial 10/10 based on expectations, to 9, then 8.5, then 6.5, and finally 4.5/10 after giving the series more time to improve. Unfortunately, the strong production, world building, and great NC scenes were not enough to overcome the weak storytelling.
This has become my most disappointing drama of 2026. I really wanted to love this series, but after giving it my best chance, I have decided to drop it. I still appreciate the effort from the cast and production team, but for me, the story was not strong enough to continue.
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When Chaos Feels Like Home
I still remember the exact moment I finally decided to watch Vincenzo. It had been sitting in my playlist for a while, patiently waiting, and I kept finding reasons to put it off. Twenty episodes, each one running close to an hour and a half. That is a lot of commitment, and I will be honest, the length intimidated me. I was worried it would drag, that I would lose momentum halfway through, or that it simply would not live up to the hype. A Korean-Italian mafia consigliere returning to Seoul to recover hidden gold bars while battling a corrupt pharmaceutical empire? It sounded absurd, and honestly, it was. But it was also one of the most delightful, surprising, and genuinely moving viewing experiences I have ever had.Little did I know that when I finally pressed play, what a journey it would take me on. Instead of feeling the weight of that runtime, I found myself rationing episodes toward the end, not wanting the story to be over. Vincenzo is the kind of drama that sneaks up on you, wraps you in its chaotic warmth, and leaves you changed in ways you did not expect. It is a story about justice, yes, but it is also about found family, about the strange and beautiful ways people come together, and about how a man who spent his entire life running from connection finally finds a place to call home. I laughed until my stomach hurt. I gasped at twist after twist. And yes, I cried more than once. If you have been searching for a drama that feels like a warm hug delivered by someone wearing a very expensive Italian suit, let me tell you why Vincenzo might just be the perfect watch.
Let’s chat about the cast first, because this is where my obsession truly began. Vincenzo was my very first exposure to both Song Joong-ki and Jeon Yeo-been, and by the time the credits rolled on the final episode, I had already added half a dozen of their other works to my watchlist. Song Joong-ki plays Vincenzo Cassano, a Korean-born Italian lawyer who was adopted into a mafia family as a child and grew up as a consigliere. What struck me most about his performance was the sheer range he displayed. He could deliver a deadpan punchline that made me laugh out loud in one scene, then turn around and radiate such cold, terrifying fury in the next that I genuinely felt a chill run down my spine. There is a particular scene toward the end of the drama where Vincenzo confronts the group who has wronged him deeply, and the way Song Joong-ki transitions from calm to absolutely chilling is a masterclass in controlled intensity. I remember pausing the episode, turning to my screen, and whispering, “Did he just do that?” It was the kind of performance that makes you sit up straighter and pay closer attention, because you realize you are watching something special. The character’s dark edge never feels gratuitous; instead, it is tempered by moments of unexpected tenderness, especially in his interactions with the residents of Geumga Plaza and, of course, with Hong Cha-young.
Speaking of Hong Cha-young, Jeon Yeo-been is an absolute delight in this role. Her character oscillates between comedic, melancholy, and chaotic with a seamlessness that left me in awe. One moment she is throwing herself into a ridiculous scheme with the energy of a cartoon character, and the next she is sitting quietly, her eyes brimming with a sadness that feels deeply real. Jeon Yeo-been hits every single note perfectly, and it is impossible not to fall in love with her. What I appreciated most is that her character is never reduced to a love interest or a sidekick; she is a full, messy, complicated person with her own goals and her own pain. The chemistry between Song Joong-ki and Jeon Yeo-been is also absolutely delicious. It is the kind of chemistry that simmers quietly under the surface, never devolving into a sappy, overwrought romance. The show trusts its audience enough to let the relationship develop naturally, through shared glances, inside jokes, and a deep, unspoken understanding. As Jeon Yeo-been herself noted in an interview, the qualities that Cha-young lacks can be found in Vincenzo, and vice versa, and as the two gradually influence one another, their chemistry shines through even more. That is exactly how it felt to me as a viewer: two people who start as reluctant allies and slowly, inevitably, become something much more.
But Vincenzo would not be the masterpiece it is without its incredible ensemble of supporting characters. The residents of Geumga Plaza are the heart and soul of this drama, and each of them brings something irreplaceable to the table. They are a rich tapestry of personalities, and the show takes its time to let us get to know them, to laugh with them, and to care about them. Without these characters, the drama would lose much of its warmth and its humor. What I love most is how the show slowly reveals that these quirky, seemingly ordinary people are anything but. The Cassano family, as they come to be known, is a collection of hidden talents and unexpected pasts, and watching them rally around Vincenzo and Cha-young is one of the purest joys of the entire series.
Let me start with the pawnshop duo, because they are an absolute delight. Lee Cheol-wook, played by Yang Kyung-won, is a self-proclaimed martial arts master who is all talk and very little action, at least at first. His wife, Jang Yeon-jin, played by Seo Ye-hwa, is the real powerhouse of the pair. She may look sweet and unassuming, but she is a former national weightlifting champion with a fearless streak a mile wide. Their dynamic is endlessly entertaining, and the moment they truly prove their loyalty to Vincenzo, fighting off robbers in his apartment without a second thought, is when I knew this found family was going to be something special. Jang Yeon-jin even gives Vincenzo two packs of ramen afterward, a gesture so simple and yet so warm that it perfectly encapsulates the show’s ability to find tenderness in the most unexpected places.
Then there is Tak Hong-shik, played by Choi Deok-moon, who runs the dry cleaners. He is meticulous, strict, and initially quite cold toward Vincenzo. But beneath that gruff exterior is a man who cares deeply, and his sweet gestures, like offering free service to Vincenzo and Cha-young before their first trial, are quietly moving. He also turns out to be a former member of the Chung Ju Owl Gang known as “Lightning Scissors,” and the moment he reveals his skills is one of the show’s most satisfying surprises. The snack bar owner, Kwak Hee-soo, played by Lee Hang-na, is another standout. She is a former flyweight boxing champion who can knock out anyone who threatens her people, but she also makes the best tteokbokki in the plaza, and Vincenzo’s fondness for it becomes a recurring thread that quietly underscores his longing for a place to belong.
The Bye Bye Balloon duo, Park Seok-do and Jeon Soo-nam, played by Kim Young-woong and Lee Dal, initially appear as former loan sharks looking out for themselves. But they too undergo a change of heart, and Seok-do’s revelation that he is actually a surgical nurse, the “White Angel” of Geumga-dong, is a beautiful twist that underscores the show’s theme of hidden depths. Jeon Soo-nam is revealed to be Geumga-dong’s spiraea, a flower that symbolizes victory, and his loyalty to the family is cemented when he fights alongside the tenants to protect Vincenzo. The two monks at the Buddhist temple, Monk Chae-sin and Monk Jeok-ha, played by Kwon Seung-woo and Ri Woo-jin, are the calmest of the group, but they are more than ready to fight and protect the Jipuragi team when the moment calls for it.
Larry Kang, played by Kim Seol-jin, is the dance instructor who hides a past as a street fighter. His unique fighting style, which blends dance and combat, saves Vincenzo in episode nineteen, and it is a perfect example of how the show celebrates the unexpected skills of its characters. Seo Mi-ri, played by Kim Yoon-hye, is the piano instructor who is secretly a hacker and the main programmer of the plaza’s vault system. Her quiet intelligence and her subtle crush on Vincenzo add another comedic and narrative layer to the group dynamic. And then there is Ahn Gi-seok, played by Im Chul-soo, a National Intelligence Service agent who goes undercover as Chef Toto’s apprentice. His comical bromance with Vincenzo and his enthusiastic devotion, culminating in him starting a fan club called “Oh My Consigliere,” is pure joy. Each of these characters, no matter how small their screen time, contributes to the rich tapestry of the plaza, and it is impossible to imagine the show without them.
The villains are equally memorable, and they provide the perfect contrast to the warmth of the plaza family. Ok Taec-yeon as Jang Joon-woo is absolutely terrifying, especially once his true nature is revealed. He switches from a bumbling, fluffy-haired intern to a genuinely chilling antagonist with such ease that I found myself genuinely unsettled. There is a scene where he makes an entrance with fire raging behind him, and I remember thinking, “Well, that is a very extra way to announce yourself.” Kwak Dong-yeon as Jang Han-seo is another standout, bringing a complex mix of ambition, vulnerability, and menace to his role. And of course, Kim Yeo-jin as the ruthless prosecutor Choi Myung-hee is a delight to watch, a villain who is both formidable and strangely magnetic.
The plot of Vincenzo is a glorious, chaotic mess in the best possible way. At its core, it is a story about a man who returns to a country he barely remembers to retrieve a fortune in gold bars hidden beneath a crumbling plaza, only to find himself entangled in a battle against a corrupt pharmaceutical corporation called Babel Group. But that simple premise quickly spirals into something far more complex and far more absurd. The show swings wildly between genres, from tense thriller to slapstick comedy to genuinely heartwarming drama, and somehow it all works.
It is an amazing testament to the writing team that a twenty-episode drama with eighty-to-ninety-minute episodes never once felt dragging or bloated. The pacing is tight, the twists are genuinely shocking, and the emotional beats land with real weight. I found myself constantly surprised by where the story was going, and that is a rare and precious thing in television. The show also does a brilliant job of balancing its darker themes of corruption and revenge with moments of genuine levity. There is a running gag involving Vincenzo and Inzaghi, a pigeon, that never failed to make me smile, and the absurdity of some of the schemes the characters cook up is part of the charm. But beneath all the chaos, there is a sincere and heartfelt message about justice, about the power of community, and about what it means to fight for what is right even when the odds are stacked against you.
Visually and audibly, Vincenzo is a feast. The director uses mafia cinematic visual language to great effect: slow-motion shots, grand entrances, dramatic lighting, and a general sense of style that makes every scene feel like it belongs on a big screen. There are moments that feel lifted straight out of The Godfather, and the show wears those influences proudly on its sleeve. But what truly elevates the audio-visual experience is the music. The show makes brilliant use of Italian symphonies, particularly Lacrimosa and Nessun Dorma, which are deployed at key moments to create a sense of grandeur and emotional resonance.
Lacrimosa, performed by LA POEM, is used to stunning effect in several scenes, its haunting melody adding a layer of tragedy and beauty to the proceedings. Nessun Dorma, the famous aria from Puccini’s Turandot, is used in a way that feels both epic and deeply personal. And then there is the original soundtrack, which is just as memorable. Solar’s “Adrenaline” is an absolute banger that I still listen to regularly; it perfectly captures the chaotic, energetic spirit of the show. John Park’s “I’m Always by Your Side” is a beautiful, tender ballad that made me tear up more than once, and Aalia’s “Is This Love” is another standout that adds emotional depth to the romantic moments. The instrumental tracks, like “Night of Sicily” and “Mafia,” are also fantastic, and they do so much to establish the show’s unique tone, blending the sleek, dangerous vibe of a mafia film with the warmth and quirkiness of a kdrama.
So here is my verdict: Vincenzo is genuinely a fun, entertaining watch from start to finish. It has strong, unforgettable characters, amazing chemistry between its leads, a brilliant and unpredictable storyline, and tight pacing despite its twenty-episode length. It is, without exaggeration, one of the best examples of the peak of Korean storytelling that I have ever encountered. It is a drama that made me laugh, cry, gasp, and think, often all within the same episode.
What I did not expect was how rewarding the ending would feel. Some shows build and build and then fumble the landing, leaving you with a vague sense of disappointment and a lot of unanswered questions. Not this one. Vincenzo gave me exactly what I wanted from it: a big, coherent, ridiculous, emotionally satisfying finale that honored every thread the show had been weaving since episode one. The Dance of Fire and the Spear of Atonement were just the two cherries on top of an already decadent sundae. I sat there watching the final minutes with my heart in my throat, and when the credits rolled, I felt something I rarely feel after finishing a long drama: complete and utter satisfaction.
And here is the part that still makes me smile. I slept really well after the final episode. That might sound like a small thing, but it is not. So many intense dramas leave me wired, overstimulated, my brain buzzing with unresolved tension long after the screen goes dark. Vincenzo did not do that to me. My system apparently went through the full emotional equivalent of a roller coaster, sat down for fifteen minutes staring into the void to let the adrenaline settle, and then went to sleep like, “Excellent. That was good for us.” There is something deeply comforting about a story that takes you to the edge and then gently walks you back home.
I think Vincenzo lingers because it delighted me. That is the word I keep coming back to. It did not just entertain me or impress me; it delighted me. I got the joy of watching a character I adore become increasingly himself, shedding the careful masks he had worn for survival and stepping fully into who he was always meant to be. I got the ridiculous schemes that should not have worked but absolutely did. The opera. The black suit transformation. The consigliere coming back out. Cha-young’s chaos. Vincenzo’s deadpan reactions to that chaos. And then, after all that buildup, that enormous emotional release in the final stretch that made every single episode worth it. It is a rare thing to finish a show and feel like you got everything you came for and then some.
And now, if you will excuse me, I need to go check out other works by Jeon Yeo-been and Song Joong-ki, because I am ridiculously smitten with both of them and I am not even pretending otherwise.
Check out the full review and my other reviews on ByRei.ink
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It's a movie about two completely different mutants who collided with each other. On the one hand, there is a mutant in the form of a fish man. On the other hand, there is a mutant who looks like an ordinary person. And it was ordinary people who turned out to be scarier. Society.The title fully describes the ending. He decided to become a fish - not because he came to it himself. People and society pushed him to this. He wouldn't be able to be a man in the world with such a rotten society and people. He became a fish to find peace and tranquility.
The movie is not about a mutation. It's about how society jointly invents the fate of a person - uses it, throws it away, drives it into the water. And the worst thing here is not a monster with gills, but those who look at it and think they are normal.
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? MARRIED TO THE BOSS, PAID IN LOVE
OVERALL IMPRESSION🌟This was a lighthearted age-gap romantic comedy filled with playful chemistry, slapstick humour and plenty of satisfying face-slapping. The FL was loud, reckless and completely shameless, while the mature and composed ML was secretly a goofball whenever love was involved. He had loved her long before their marriage, so her unexpected arrival in his arms while he was choosing a bride gave him the perfect opportunity to keep her close.
WHAT I LIKED💖
• I loved the FL’s outspoken personality. She refused to suffer quietly, defended herself without hesitation and handed out slaps so naturally that she might as well have been professionally trained!
• Her bold and unpredictable nature was one of the reasons the ML loved her. Although he had admired her for a long time, he was pleasantly surprised when she accidentally fell into his arms at exactly the right moment.
• The FL and the ML’s niece were almost always together and causing trouble. Whether they were pretending to work, confronting villains or desperately trying to conceal their latest mischief, their chaotic friendship made the drama incredibly entertaining.
• The age-gap dynamic was one of the drama’s biggest attractions. The FL brought excitement into the ML’s controlled life, while he gave her the security, guidance and protection she had been missing.
• The ML was protective without constantly treating the FL as helpless. He trusted her to handle difficult situations and stepped in whenever she genuinely needed support. If she called, he was there—occasionally even arriving at a fight with a gun!
• I loved how he smiled whenever the FL caused trouble and then acted completely innocent. Instead of becoming angry, he usually looked amused and accepted her exactly as she was.
• The FL’s performance as a devoted wife gradually became more convincing, and I enjoyed watching the playful relationship between the leads naturally develop into something sincere.
• She also fitted comfortably into the ML’s generous family and was understandably delighted whenever they gave her money!
WHAT I DISLIKED⚠️
• I didn’t like that the FL concealed her marriage from her parents. More importantly, her secrecy hurt the ML because it made him question whether she considered their relationship genuine.
• The ex and SFL were perfectly suited to one another—and not in a flattering way! Both were greedy, spineless users who depended on others and cared very little about whom they hurt while pursuing what they wanted.
PRODUCTION AND PERFORMANCES🎭
• The leads shared lovely chemistry and handled both the romantic and comedic scenes well. The FL’s exaggerated voice, frantic attempts to hide her mischief and shameless expressions suited the slapstick style, while the ML balanced authority, protectiveness and romantic awkwardness.
• The pacing remained lively, and the entertaining partnership between the FL and his niece prevented the familiar storyline from becoming too serious or dragged out.
FINAL THOUGHTS💭
This was a cute and entertaining romance about a chaotic young woman finding someone dependable and trustworthy, while a serious older man finally won the woman he had quietly admired for so long. If you enjoy age-gap romance, mischievous friendships, protective MLs, face-slapping FLs and unapologetically silly comedy, this is well worth watching.
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Fun, Little Quirky, Cute 1.25X Drama
What a fun little experience this was. I was honestly a bit hesitant to start this drama because I had read some of the reviews beforehand, and most of them were pretty negative. But after watching it, I honestly don’t understand why.If there’s one thing I’ve learned, it’s to stop reading reviews before watching a drama. Everyone has different tastes, and sometimes other people’s opinions can affect your own experience. I had already read the reviews before starting this one, and it actually made it harder for me to enjoy the drama at first.
But once I stopped thinking about the reviews and just watched it for what it was, I had a lot of fun. There’s no overly complicated or heavy storyline here—just a simple, lighthearted story that’s easy to watch.
Sometimes, that’s all you need. Not every drama has to be deep or complicated. Sometimes you just want to sit back, watch, and have a good time.
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Class Crush Crisis — Cute, Light, and Easy to Forget
A cute and light school BL, but nothing really special or memorable. The story is simple, the production is good, and thankfully with only eight episodes it never overstays its welcome.I didn’t mind the lack of kissing scenes at all considering the actors’ ages. A cheek or forehead kiss was more than enough. The accidental “lip kiss” in the finale actually felt more cringe than romantic.
Some of the cast didn’t get enough material, but hopefully this is only the beginning for them. Several have good screen presence and a lot of potential.
Overall, it’s an easy, feel-good watch. You won’t miss much if you skip it, but if you want something cute, harmless and relaxing, it does the job.
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An atmospheric wuxia in the unforgiving desert of China's far northwest
Remnants of Gold revolves around 300,000 taels of gold suddenly appearing in the desert of Northwest China during the early years of the Ming Dynasty, with rumours saying that those seeking it become vengeful ghosts, killing each other. When the Zhang family's escort agency was wiped out overnight, the daughter ventured alone into the desert to seek revenge while an imperial investigator was sent to solve the crime, marking the starting point of a tale of revenge, greed, loyalty, brotherhood, friendship and justice in this far, desolate part of the jianghu.Gu Long (the novelist) and Xu Bing (the screenwriter and director) set the distinctive tone
This 13-episode drama is an adaptation of Gu Long's novel “Flying Eagle over the Great Land” (大地飞鹰 - Dàdì Fēiyīng.) by Xu Bing, who is also the director. These two aspects are important when it comes to Remnants of Gold, as both the style of the novelist and Xu Bing's strong signature in his dual role, impact the type of wuxia you see on screen.
Let's start with Gu Long. I haven’t read anything from him, but secondary sources in English, such as Wuxia Society, describe his style in its mature period as having a distinctive minimalist prose, with extensive dialogue like a script in a play, complex character psychology and Western literary influences, highlighting aspects of human life, intelligence, poetic philosophy and mysterious plots.
You can trace all the above in Remnants of Gold, where fight scenes are there but scattered and used more as a device to tell us something than as mere inevitable confrontations to showcase martial arts skills: unleashing the plot, revealing characters' positions and agendas, marking the climax both for the characters and the main story arcs.
But even when a fight isn’t narratively important, it still needs to be well filmed visually. Whether it’s a single punch or just one thrust, it has to look real and remain coherent with the atmosphere it’s inserted into. And the fight scenes in the drama were in general lacklustre, with few exceptions. I wasn’t expecting highly choreographed fights such as in Side Story of Fox Volant or Blades of the Guardians, but considering Xu Bing’s previous Eastern Heretic and Western Venom wuxia (2025) or Fearless Blood republican road trip (2023), they felt bland for his standards. As there were two adittional directors working with Xu Bing this time, it must be the case of the uneven result on the screen.
Xu Bing's style is also evident. This is the fourth drama I saw by him as screenwriter and director – the only one who managed to reach this achievement – and loved all of them. They're not for everyone's taste as they're full of personality, but they align with my sensibility.
Since the first episode of Remnants of Gold, a lot of things happen while apparently nothing is happening; the drama might feel slow sometimes but a lot is conveyed under this apparent pace. The story builds in arcs that increase the tension slowly until it explodes, then starts again from a slow pace to repeat the cycle but now with an evolved context and new characters, while the ending always leaves a bittersweet taste.
You could say that his usual big trademarks fit perfectly with Gu Long’s soul — those traits described earlier — , while also bringing his own flavour through subtle touches of dry humour, random characters showing up to distort plans, absurd situations that test your patience, simultaneously contrasting dynamic scenes in a sequence. All characters, even the smaller ones, are well fleshed out too, and all are entertaining and interesting in their own right.
The result is an atmospheric, moody drama which focuses on the characters' inner world and their interactions with each other, where the pursuit of gold is more of a test to reveal the real essence of those searching for it than a classic action-packed wuxia with heroes. If you like this combination, you’re in for a ride.
Production with Xu Bing is always very solid, although this time the other aspect that was underwhelming besides the fight sequences was the cinematography. To clarify, the drama has texture, but the combination of studio settings and real locations (Dunhuang’s Mingsha Mountain, Guazhou, and Aksai) downgrades the final result somehow in my opinion. I wrote about it already in other place, so I won't elaborate further now. I'll just say it wasn't a dealbreaker for me, as I was enthralled by the general mood, and after an initial adjustment, it became secondary to the whole experience.
The Gold and the Desert will test who you really are
Friendship, loyalty, justice, corruption, what's right and what is wrong are the underlying topics, as expected in all wuxias, but in this jianghu there's no hero, or at least the classic ones you could call such. The far desert land with its infinite sand, constant wind, desolate conditions, scorching sun and unbearable heat forgives nobody and pushes everybody to their limits: the decisions they make along the way will show who they've become and who they truly are, whether they like it or not. Some characters have more arc development than others, but they always remain coherent within their logic.
Every character can be defined by their relationship with gold: a tool for freedom and a life of pleasure, a tool to gain and have power, simple greed, those who don't care about it at all for several reasons, those who are bound to it due to loyalty and brotherhood, an excuse to accomplish revenge. But they're also defined by their relationships with others: the most important things are those that sometimes are kept unsaid, while other times are said directly; on other occasions, what is said opposes what is done,, and for others, both words and actions match.
The desert is the omnipresent character that determines everyone's fate, and from whom they can't escape: For some, it's a trap; for others, a choice; in other cases, it's part of who they are and what they value; it can even be freedom for a few.
I had fun with all the characters without exception, including endearing or remarkable smaller ones. Among the main ones, my favourite is the complex and conflicted Yu Hou. It's been a while since I liked a character so much, and it's definitely because of the writing and the excellent performance by Chen Kun, really fleshed out but restrained. And I also ended up liking Yu Ping quite a bit, played by my hit-and-miss Yin Fang - this time on the bright side. As for the secondary ones, I was particularly entertained by the coroner and the bandit Tie Futu – whose actor happened to be the director of Side Story of Fox Volant!.
For me, Remnants of Gold is a very engaging human study disguised as a gold treasure hunt in a far and harsh jianghu, with a very distinctive personality, well written, well executed, well acted. I was thrilled to have a wuxia with his flavour and this mood set in these desolate locations, a breath of fresh air I truly appreciate. Without doubt, it has cemented Xu Bing as one of my favourite cdrama screenwriter-directors for his latest projects.
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I´m leaving here for those interested, a paper translation of Gu Long’s own words about how he understood what wuxia should be (coinciding with my own reading of what I saw in this Xu Bing’s audiovisual adaptation). Author: Yan Wang Title: My translation of Prologue of Gu Long’s martial arts novel “End of the World, Bright Moon and The Blade (1974)” — Platform: Academia.edu
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This piece is about style and spirit — the traits non mandarin sources associate with Gu Long, and how I see them reflected in Xu Bing's writing and directing, not about how faithfully the drama follows the plot or the changes made from the source novel, which I don't discuss here. "Fits perfectly with Gu Long's soul" is shorthand, and a literary use of language, for those traits described earlier in the paragraph.
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This review may contain spoilers
Good chemistry and acting, but the plot was frustrating
This was a really mixed bag for me.On the positive side the show was a high budget, high quality production with a good casting of actors. The actors in general in the show all did very well in their roles and you cannot deny that Tee and Heng created some intense chemistry and tension together as Big Jane and Little Jane. In a dark/toxic romance series especially maintaining the suspension between the main pair plays a very important part, and this couple delivered. You really are kept nervous and questioning if Big Jane really is looking after and actually loving Little Jane or if he is actually manipulating him for his own benefit. The truth probably ending up somewhere between manipulation and obsessive love.
Unfortunately the chemistry and acting alone does not get a series trough full 12 episodes. The plot is frustratingly repetitive and without the dramatic accident and kidnapping happening in the last three episodes, the shows whole plot is basically just Little Jane going from "I can't stand him to I cannot live without him." In a toxic romance series this card can be used a few times, but not to the extent it was used majority of the show.
Second big issue I had was the lack of character development with Little Jane (okay we get some in the last ep, but it's too little too late). Almost the whole show Little Jane cannot set boundaries with the people around him, making him constantly vulnerable for not only Big Jane's manipulation, but to other people's similar behavior he comes across during the series. He's constantly the underdog and for some reason (which the series doesn't give answers to) he doesn't seem to have a concept what a healthy dating relationship should look like. When Big Jane's stalking altar room is revealed any other person should be running for the hills, but Little Jane just accepts this as something completely normal way of showing affection. There is some attempt of Little Jane trying to set limits with Big Jane's shady business practices, but even at the end that limit does not hold, because apparently love really is not only color blind, but blind in general with this series.
In conclusion yes this is a very high quality production, with some of the best actors in the industry and we get to see great chemistry and acting. However the plot is just too repetitive for a 12 episode production. If you can look pass the rather repetitive plot + three event intensive episodes at the end this is alright toxic/dark BL. Though it should be noted that the super natural element that was teased in the trailer, it doesn't exist in the show. In the end everything has "a human" explanation, so no demonic powers here. Even if Big Jane could still be described as such for everything he does during the series.
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One of the most accomplished historical dramas of the year.
The Road to Splendor gets so much right: the story, the performances, the production design and, most importantly, the absolutely insane chemistry between Deng Enxi and Ding Yuxi.Director Deng Ke's decision to film extensively on location is one of the drama's greatest strengths. The architecture and natural scenery aren't just beautiful; they become part of the storytelling. The spaces occupied by the leads constantly reflect their changing fortunes, both personally and at court. As they fall, struggle and eventually rise again, the architecture visually communicates their changing status, power and sense of freedom. When they lose everything, they are visually confined and diminished by the spaces around them; as they regain status and power, the world literally opens up. Even at court, architecture becomes a reminder of hierarchy, isolation and just how dangerous their new position can be.
Deng Enxi and Ding Yuxi are fantastic. Deng Enxi gives Fu Tingyun intelligence, resilience and vulnerability without turning her into an impossibly perfect heroine. Ding Yuxi brings plenty of charisma to Zhao Ling while still allowing his character's ambition, wounds and moral compromises to show. And their chemistry is insane.
It's not limited to romantic scenes. They have the kind of chemistry where a conversation, an argument or simply a look across the room can feel charged. More importantly, they feel like intellectual equals: two people who challenge, understand and occasionally frustrate each other. What makes their journey satisfying is that neither of them emerges unchanged from everything they endure. Their personal rise and their rise at court are intertwined, and Deng Ke's visual storytelling constantly reinforces that connection.
The entire cast deserves credit. The supporting characters feel like people with their own ambitions, loyalties and limitations rather than simply obstacles placed in the leads' path. And I particularly liked that the drama doesn't pretend everyone can make the journey with them. Some people are inevitably left behind when you choose a different road. The leads' rise comes with consequences, and losing relationships along the way is part of the reality of the lives they're building, not every departure needs to be turned into a villain's betrayal.
What I particularly loved is that the drama allows all the characters to make mistakes. Those who rise and those who fall, it isn't effortless and relationships have to adapt, compromise and learn from failures. This is a historical drama that feels considerably more thoughtful than its “rise to power” premise might suggest.
All of these, make The Road to Splendor one of the most accomplished dramas of the year.
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Great story that gets better with each episode.
I was pleasantly surprised by this drama. The storyline is great—it's about punishing the bad guys when the law can't do it. Yoo Bo-na is an ordinary office worker and mother who secretly works as a legendary sniper known as "Kingfisher," targeting criminals who slip through the justice system.I love the family relationship, and the love between Bo-na and her husband Kwon Tae-sung is amazing—they have great chemistry. Their dynamic adds so much tension and heart to the story. Tae-sung is a reporter who has no idea his wife is the assassin he's trying to uncover. I also love her team; they're like a family. Sales Team 3 is full of likeable characters with their own personalities, and they bring so much warmth to the show.
The drama gets better with each episode. I was glued to the screen, and the blend of action, comedy, and family drama kept me invested throughout. And I have to say—it's so unique that the police are actually capable in this drama. This time, I found myself wishing they were useless like they usually are in other shows, because they're just too good at their job here!
Overall, this was a really enjoyable watch. Great cast, great chemistry, and a fresh take on the vigilante justice genre.
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"You don't have to be perfect to be loved"
🌸 The Early Spring is such a beautiful and unforgettable drama. From the very beginning, I was completely drawn into the story. The chemistry between the leads is incredible—their emotions feel so natural and genuine that every interaction between them is captivating..I love love the chemistry of Jing Boran and SunQian. They fit so perfectly that having them on my screen for 2 weeks is really pleasing to look at and in awe of their compatibilities.
And the music deserves its own praise. The soundtrack fits the atmosphere perfectly and adds so much emotion to the story. Some scenes simply wouldn’t have had the same impact without the beautiful music accompanying them. 🎶 We have Luke's very own OST "HER", Flora's " This Moment" and when Luke&Flora, there are "Passing Sunshine" "You Should Know""You Are My Light"
The plot itself is engaging, emotional, with enough romance, drama, and meaningful moments to keep me invested throughout. It’s the kind of story that stays with you even after you finish watching.
Overall, The Early Spring is a must-watch for anyone who loves a well-written plot, amazing chemistry, talented casts, and a gorgeous soundtrack. Definitely one of those dramas that makes you laugh, ache, smile, and fall in love with the characters. 10/10! 💕🌸
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Okay show but not the best
I first saw the title, and it does not do this BL ANY favours.Show itself was fine.
I did like the age gap and how they portrayed it. I think that aspect was actually done very well.
It felt realistic.
Didn't come across as creepy, as there was a clear portrayel that it was 100% consensual.
I did like as well how they had the characters navigate both their developing feelings for each other, but also the age gap, and the insecurities and fears that can bring to a relationship.
Actors were good. Acted well without making it seem cringey. I liked the comedy parts. Added a nice funny light hearted element.
Steamy scenes where what I would call soft porn. They are steamy but soft NSFW.
Kisess have the added point of not being dead fish kissess which is always a must for any BL
Only reason it is so low is because honestly i didn't feel blown away by the story.
Main.is saved by love on a train, then sleeps with him. Goes to a interview to find out he is his boss.
Funny yes.
But not especially out there. Story honestly should have been fleshed out, and had more depth to it as it just seemed very basic to me. They cut out so many scenes. If you are not going to include them then whats the point. All those cut scenes I feel could have improved the show and given it more depth. It needed to have a much deeper more detailed story for sure.
All in all it was a nice, light hearted BL to watch when I needed to relax and chill but not one I feel I would have regretted dropping if i choose.
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All the romances around the main character are speed-running it. They see each other, say a couple of words, and then suddenly they are together. You really can't get invested in any of the characters because they don't get any real screen time outside Mob's observations. While I expected this to a degree, I prefer to not have this level of involvement with a character if they mean nothing to the plot. I don't really like shows that have no real characters outside the main character. Even the parents barely have any lines; they may as well be cardboard cutouts.
There are just too many nothing characters thrown in our face to show that everyone, but Mob, is literally pairing off.
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"Among all the sunsets, secrets and regrets, I glad I have you"
Watch this for JBR and it Worthing as the drama has good storylineCombination of serial murders and drug related crime
Jiang hangseng is really nice character play well by JBR, thig guy really can act. He made me feel so sorry for all the things he had to suffer and I glad he has a chance to get the happiness with zhou jin.
One scene that really made me cried when his teacher said how the murdered ruin his best student🥹🥹
Until the end I keep guessing who is the mole in the police, never though their own friends.
Zhou Jin is really rational and she know how to control herself. Even though it quite distracted when she wary with Jiang cheng but she still know who her priority
For jiang cheng, he also good and his story quite heartbreaking. He is good man and never forced zhou Jin
In overall this drama is good one and especially with Jiang hangseng encounter with the qiyan. Really like the physiological tension between them.
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