Reviews

A Mature and Powerful Story Led by Strong Performances

This is a grand and serious historical drama led by Zhang Ziyi and Zhou Yiwei. From the first episode, the drama stands out because of its high production quality. The costumes are elegant and detailed, the palace sets and landscapes look rich and realistic, and the cinematography gives the drama an epic and cinematic feeling. The story takes its time and does not rush important moments. War scenes are intense and well-choreographed, while the political parts are serious and easy to follow, even if they feel slow at times. This drama feels more focused on life choices, duty, and power rather than fast romance or light entertainment.

Zhang Ziyi plays Wang Xuan with grace and maturity, showing her growth in a very calm and controlled way. Zhou Yiwei is perfectly cast as General Xiao Qi, bringing strength, warmth, and quiet confidence to the role. Their relationship is built on trust, respect, and understanding instead of constant romantic scenes, which makes it feel more realistic and mature. The romance is subtle but meaningful, and both leads feel like equals.

Some parts of the story can feel repetitive, a bit stretched or emotionally distant, but the overall journey is strong and memorable.

This drama is best for viewers who enjoy serious historical stories with strong characters and rich visuals.

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Cotton candy with a Buddhist veneer

I was in the mood for a dreamy fantasy, and the first episode of THE UNCLOUDED SOUL looked like it might do the trick. But by episode 2, I began to realize it had turned into a children’s flic with cute little pixies, a demon school for newbies, and a menagerie of talking animals and plants. The meanie demons (not the nice ones) were always dressed in black–so you could tell who the bad guys were. The decor reminded me of Snow White, Cinderella, Peter Pan or even the Wizard of Oz with a dash of Harry Potter thrown in.

At first, Demonland ( Valley of Ten Thousand Demons) had a feel-good glow. As for the plot–there were enough contradictions to confuse a quantum physicist. When the FL accidentally tied the match-making red thread around her own wrist and that of the ML, he told her that from now on the two of them would never be separated. They would forever have to stay thisclose to each other. Two scenes later, the FL is back in class with the other kids (her demon besties), but the ML is off doing grown-up demon stuff.

There’s a school “test,” which is described by the “teacher” as having two goals 1) steal a pillow, and 2) make a human child cry. The pillows are duly stolen, but...make a child cry? Really? I was hoping for Darth Vader, but these folks have all the menacing gravitas of a group of trick-or-treaters on Halloween.

The FL learns a spell to make silver, but seems to have totally lost this ability in a later episode when she needs a couple of ingots to pay a merchant. A certain character, supposedly an immortal, is stabbed to death. Other “immortals” are also killable. Little things like this had me grinding my teeth.

On the other hand, the FL is cute and spunky. The ML, in spite of being a demon, is the perfect boyfriend: handsome, protective, warm, and sensitive. He even learns to cook the FL’s favorite foods for her birthday.There’s something sweet and poignant in their relationship that kept me hanging in there. Then there’s the dashing captain whose only flaw is that he takes himself way too seriously – and that he’s a little too bonded with his sword, who is also his sister (don’t ask).

A group of human women (including the FL) are sent to a mysterious island ruled over by a a beautiful immortal who has kidnapped the ML and injected him with poison, in an attempt to break his spirit. These women are forced to cook and clean and dodge magic manifestations in a series of degrading competitions, meant to bring out their greed and selfishness – all for a chance to become immortal. Mixed in with this display of sappy banality is a haunting atmosphere of tragedy and gloom that hangs over everything like a pall.

In short, this series doesn’t seem to know what it wants to be. Is it a children’s story? A romance? A tragedy? A Buddhist morality play? I felt pulled in a dozen different directions at once.
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What a Masterpiece!!

This is the most cool, dramatic, traumatic and toxic bl in a one frame ever. It's not peaceful, but heartbreaking story that i'm really invest. This story is so fresh that i really never watch kinda this series before. This will make you crazy, like really because it's contained toxicity and betrayal but in a toxic and good way. Idk but i love everything about this, the ost, the actors, the acting, the story, the pace or everything that contain like it's soo wonderful yet so toxic. Love every second of it and never ever skipped even 1 millisecond.

10/10 from me, i'm soo recommended it to y'all, it's wholesome story.

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The best Chinese period piece

After watching this series three times all the way through, I think it is one of the best period pieces I have ever scene. Zhao Lu Si makes me cry every time as her character struggles to hold onto her own values. Leo Wu is good at everything in this drama--action scenes, character depth, and ML romance scenes. The cinematography is so beautiful and well done that it is worth rewatching just to catch new views! The emperor is lovable, which is unusual for these dramas, and there is no inner palace drama between the Empress and the favorite consort. Both are extremely likeable, and that is also refreshing for a period piece. The relationships between all the characters continually evolve throughout the series in a way that leaves none of them one dimensional. I found myself hating and then loving a character or vice versa. It is a touching tale that humanizes the plight of the royal, noble, and top military families in the nation. I highly recommend this series.

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Speed and Love don't mix

I'll start with...Speed and Love just don't mix. Once the action, pretty cars and dreamy Thai setting was gone so was most of my attention.

They had the tools and the cast to make a better story but the first half they focused on the action, rather than consistency with the plot. Then the 2nd half they did a 180* and focused solely on the lead's emotional journeys. As a viewer, I never recovered from the whiplash. I guess reading the novel would help here but the drama as a stand alone story was frustrating. My main beef being that it takes the whole show for Jin Zhao to learn how to respect and trust Jiang Mu enough to allow her into his life. He also has no problem asking their family and friends to lie to her face...for years! And they all agree to it. Both of her parents are terrible people as well. Her father ignored her for years, became a drunk, and really only took an interest in Jin Zhao's life. Her mother hid the fact that Jin Zhao had been trying to call her when they were children when they separated. And then hid her illness from her until the most inconvenient time to reveal it arose. I was unimpressed with how manipulative, needy and unrealistic Jiang Mu's character was in the beginning. But after Jin Zhao's accident she grew on me. Mostly because I felt bad for her. Almost everyone in her life lied to her and never took her seriously, including the man she loved. But bless her heart, she forgave every single one of them.

The side characters were interactive scenery at best. No one really gets their own separate story and I was fine with that. I really liked San Lai as a brother type for MuMu until he agreed to lie to her for Jin Zhao. I liked Lin Sui too. I want him to make me a drink out of his Ferrari 😂 then give me a ride. NaNa, Wan Qing , Feng Zi and the other racing people didn't get enough screen time for me to care about them. Both of MuMu's step parents and step sister were sweet though.

But at least where my mind wasn't pleased, my eyes were. The physical chemistry between Yu Shu Xin and He Yu was electric. Whenever they were in the same room it was fireworks and butterflies.

And as a car enthusiast I enjoyed that part of the first half. They did their research and most of what Jin Zhao, Lin Sui and Jin Qiang said wasn't complete nonsense.

The acting also wasn't bad. If you're not a fan of YSX's babyish characters she's pretty toned down here and did well in the emotional scenes. And for playing a man of few words, He Yu managed to make me tear up a few times. That intense stare of his gives me chills...in a good way.

Happy to be done. I highly doubt I would ever rewatch this but if I did I would stop at ep 19 for sure.

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Lovely Drama with Lovely Main Leads

I regretted by not watching this too soon. It was warmth and slice-of-life drama.

The growth progress in FL are quite wonderful for being not favorable despite her achievement by her family until she make big decision by marrying ML. Gong Fang Ni is one of rare actress that make cute character are not artificial and overacts. FL friend is her sole support beside ML.
ML is self aware when he know he was sleeping with her student, which is rare male character moment in short drama. Charon is definitely work on his specialized green flag character. The romance is perfect for every part of it the phase when they are communicating about their concern. The chemistry was too lovely to see and it gives real reaction about how older man/young woman couple are usually do.

Highlight to this drama by implicating misogyny attitude by FL family neglecting their daughter despite her wonderful achievement over their son always being pampered despite being loser in real life. ML family reaction when they know their son got shotgun marriage with younger student is too relatable.

Recommended to watch.

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Love the friendship/family bond.

It’s been a really fun journey with Twinkling Watermelon, and I enjoyed it a lot. I especially loved the father-son(???xD)/friendship bond between the two male leads - it’s easily one of the best parts of the drama. I also really liked Yoon Cheong Ah as a character and her connection with both male leads.

I think Seol In Ah did a good job portraying Eun Yu, but I didn’t really like the character herself. She gets a lot of screen time, yet something feels missing about her story/character development/purpose. It feels like the writer didn’t quite do her character justice.

My favorite character is Ha Yi Chan - aside from his first-love stubbornness, which was a bit frustrating at times xD. Choi Hyun Wook did an absolutely amazing job bringing him to life; honestly, I can’t imagine anyone else pulling it off better. He makes Ha Yi Chan the soul of this drama for me.

Ryeoun also did a good job as Ha Eun Gyeol. He looks and feels completely different here compared to Weak Hero Class 2, so props to him for that range.

I loved almost everything about this drama except for the ending. It felt like it needed more episodes and a different direction. That said, it’s still a great drama despite some small holes here and there.

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The moon has never disappeared; it is simply that the Earth has never ceased to turn.

No one can know what lies on the far side of the moon; we only know that when humans look up at the sky, the moon they see is in its most radiant state. And it will not cease to shine, whether on this side or the other.

This is a magnificent film in terms of the art of storytelling. Even if there are still imperfections within the movie, the narrative technique and storytelling alone deserve a perfect ten, easily placing "Shine" at the top of my personal rankings. Almost all philosophical messages and ideologies are conveyed through the first or second-person perspectives of the characters. The mere fact that the script strips away preachy, expository dialogue while still allowing the viewer to read the ideological subtext behind the details is a major plus worthy of praise. I love how the film tells its story through every detail—using a "show don't tell" approach that is indirect yet surprisingly frank, blunt, and even nakedly honest. The narration is gentle and sophisticated, like a caress, yet it crashes down like a wave to topple established values. It is a description very much like love. Before even touching on the content, "Shine" reached me through this art of suggestive yet direct narration. And truly, human spoken language is never enough to fully express any soul; that is why we need soliloquies in diaries, dialogues through letters, journalism, music, cinema, body language, and physical touch. Humans crave connection and communication as a primal instinct for survival. We always harbor a desire to converse with one another at a level deeper and further than the surface. And we are never satisfied, even when speaking, seeing, or touching with our own sensory organs. We find every way to communicate—with others, with the world around us, with the depths of the soul, with the universe, and with all things unknowable.

"Shine" opens by introducing an event that marks humanity's new step toward objects they have never known but always yearned to know. Armstrong’s first steps marked humanity's need to explore the world and the universe, the need to grasp and understand the unknown, even if it is mysterious, potentially dangerous, and full of uncertainty. But at the same time, it is a temptation, the light for a swarm of moths. Humans fear what they cannot see clearly, yet they cannot stop themselves from diving headfirst into it. Humans stepped on the moon, and then they asked what lay on the other side. Like a persistent thirst, they are never satisfied; facing the moon, the universe, others, and themselves, they want to understand it all, but they are never content and never stop asking for more. Because they will never fully understand. Unintentionally, that is how the world operates; just as the Earth orbits the sun and rotates on its own axis, human thirst will never be quenched. Does this mean humanity spends its entire existence seeking an answer that never appears, and that the search leads nowhere? Then what is the meaning of living if we cannot find our destination?

At the beginning, "Shine" poses the question about the far side of the moon, only to spend its entire remaining runtime answering it. By the end, we learn that the answer to this riddle is a philosophy that has existed for ages: Life has never told us what is on the other side of the moon. But the act of daring to step over and look is the most beautiful part of living. Just like every choice we make—no choice is guaranteed to lead us down the right path, because essentially no question has only one answer. The important thing is that we chose something rather than nothing at all. It is like a matchstick that has struck a flame; even if it burns out, at least it burned, rather than lying dormant in the box. The matchstick burns itself up and shines because of it.

And that is the beauty of living.

Although the film dedicates the majority of its plot and runtime to history, politics, uprisings, the dirty tricks of the ruling class behind the curtain, and how people overthrow them, the ultimate ideological issue posed at the end is not a lesson in military strategy or history. Ultimately, the core issue remains a human one—a voice for humanity, both in the abstract and the specific.

The world of "Shine" is a world of countless colors, countless paths, and countless individuals. I encountered romanticism interwoven with realism, primarily shown through the two central characters. While Trin, an economist, represents those who dare to look deep into reality to reform it, Thanwa is a man of romance, of flow, moving from escapism to facing reality and embracing it. But romance and realism are not strictly separated; they can exist simultaneously within anyone, in any aspect of life. Victor carries the ideals of a student with a liberal, liberating philosophy, wanting to save himself and society from the gears of a long-rotten system; he is a man of ambition and dreams, using his actions, and even his life, to realize those dreams. Yet, simultaneously, he holds a negative and rigid view of people. Krailert is a Lieutenant serving in the army, forced to use a pseudonym, using the piano and the pen to speak for his personal self, so that at the very end, when he dares to voice the faint thoughts in his head, however late, it is just in time—it is the moment he truly lives. And Naran, a journalist with the true mission of reflecting society, a loudspeaker for the people. Rather than a mere reporter, Naran seems more like a revolutionary, a stubborn soul who never submits, fighting with his pen—only for us to see his sole moment of helplessness in the face of his forbidden love. In short, the characters appear as representatives of every stratum of Thai society during a chaotic wartime period under oppression, yet they remain individuals with their own existential pains, worries, flaws, and sins. Each story told carries its own hue, like an oil painting reflecting every shade—incomplete, perhaps, but creating a picture as beautiful as a legend, however chaotic and mad.

Beside these universal human themes, love, fortunately, does not slip away or get pushed to the margins of a film laden with meaning. Without needing to dig too deep, love is actually expressed quite directly and frankly. Viewers can clearly see and feel the current of love between the characters; it is not hidden but appears clearly, affirmed by every language within the film. Like Sarasawadee's final words: although no question has only one answer, in the end, love is never the wrong answer. One cannot stop waves with one's hands, for how can tangible matter block a force many times more powerful than human strength? Ultimately, while reason and responsibility can separate two people, they cannot force them to stop loving each other.

A massive bright spot in the romantic storyline lies with the Lieutenant and the Journalist—two artists who used art to speak for their hearts. Of course, the main couple has their own color—an "opposites attract," enlightening, healing love that guides one to be more human, almost opposing mirrors illuminating each other. It is interesting, but I still felt it lacked something. Perhaps a bit of naturalness, a deeper sense of connection and empathy. Conversely, Krailert and Naran gave me everything I need and hope for in any romance. Words of love were never spoken aloud, yet no one could mistake what was between them for anything but love. The feeling of intense passion seemed to spill out of the frame, yet flowed silently underneath like an undercurrent. Love was transmitted through music, through letters to readers in the newspaper columns, through codes only the two of them understood, through quotes about love from library books, through the piano keys that allowed Krailert to find his voice, and similarly through Naran's typewriter... All combined to create a secret world for just the two of them. A space continuously screaming the word "romance" and shouting the name of "love," even though neither ever let the word pass their lips. I was obsessed with the sensation of electric sparks flying—the madness, the push and pull, the suppression, the lingering torment, the fleeting glances when two people crash into each other in the dark, the stimulating ambiguity between them. Even a single look searching for the other's silhouette in a crowd was enough to make me exclaim—this is an affection too intense to bear. And God, though I am not religious, their first kiss in the early episodes contained everything I needed and wanted to see in a scene of physical intimacy, so much so that I had to rewind it more than three times for its sheer perfection. The lighting, the context, the characters, the breath, the camera angle, the sound of silence—all created one of the most beautiful kisses on screen. It held hatred, hesitant conflict, yearning desire, and the helpless surrender of reason to love. Ah, they wanted to devour each other alive, to embed the other into their flesh and blood, to be together in the most complete way. Additionally, there was the fleeting forbidden love of Veera and his mistress, or Victor's unrequited love—a sentiment I respect deeply: blunt, clear, bordering on admiration and worship. Though unreciprocated, I believe that whether or not we call it romantic love, that feeling had a certain impact on everyone around it (making Victor look handsomer and creating some great chemistry scenes for the viewers, for instance).

And finally, I want to talk about the "revolutionary" ideals of the characters, or rather a whole class of people in the film—a pivotal element. It has been years since I watched a film with revolutionary elements that addressed politics so directly, specifically since "Not Me"—one of my highly-rated favorites. The rebellion, the image of burning torches, the cheers on the streets, the protest posters never cease to evoke in me a sense of poignancy, nostalgia, and emotion. Because they evoke a sense of bravery, showing the extraordinary within a small human being trying to rise up against a force infinitely stronger than himself. Undeniably, he does not stand up to fight for profit, except that his "profit" is to satisfy his own illusory ideal. "The people who are crazy enough to think they can change the world are the ones who do." In a dark society, there will always be those who light torches. A torch may not illuminate the whole forest, it may be extinguished, but as long as it creates a spark, leaves a lingering ember, one day the forest will burn in its place and light up the sky. Victor's death was one I did not foresee, despite my suspicions. But ultimately, that death was the turning point that made me view the film through different eyes. I didn't know if "Shine" would end as a film about naked reality as it is, or if it would carry the romantic, optimistic tone it always aimed for. In the end, it remains an oil painting.

"Shine" does not change history; the film only retells history, romanticizing it to reflect and contemplate. There were indeed bloody scenes, there was pain, there were infinite regrets, people who fell, things that could not be undone, loves buried deep in the hearts of lovers, but all were directed toward the future. Just as Thanwa rewrote the ending for his mother's story, just as the box no longer opened to emptiness but was filled with hope. The film's ending is not about two lovers ending up together, but about life going on. Even when people thought it was the end, the apocalypse, the living continued to live, year after year. The Earth keeps turning, and the moon remains there, whether it is this side or that; all experience both day and night, receiving both light and darkness, just like every other planet orbiting the sun, carrying mysteries that humanity will forever yearn to explore.

Indeed, "Shine" is a film worthy of its reputation—a quality production compared to the general standard of the genre, to the point where people often call it an LGBTQ+ film rather than a BL film with old tropes serving fan demands. It is true that the film is incredibly invested in visuals, cinematography, polished in creating a historical atmosphere, recreating the context of Thailand in that era, and effectively conveying messages with depth. The actors fulfilled their roles, embodying their characters and shedding their off-screen personas; the shift in positions within the couple also emphasized free will.

However, there are still some very clear minus points that prevent the film from receiving a perfect score from me. The first six episodes were not truly effective for me—especially regarding the main couple; I couldn't deeply feel their love. Sometimes I thought the film had two main CPs because the screentime for the secondary couple was very fitting, fluid, and natural, with superb chemistry that somewhat overshadowed the main pair. The arrangement of Apo as Krailert's nephew was a bit hard to accept at first, and I liked Victor too, resulting in a bit of "Second Lead Syndrome." Because the main couple didn't resonate with me effectively, I wasn't swept along by the plot initially. Even though the color grading and setting suited my taste, my emotions weren't too intense, almost entirely focused on the secondary couple. Later, as their connection deepened, it improved, but Mile's character truly felt somewhat detached from the main narrative track of the film.

Another regret is that while the spirit of resistance—progressive and future-oriented—was very clear, especially with the youth and students striving to debate and care for the country, the film's revolutionary atmosphere didn't truly reach a "peak." It wasn't until the final episodes before Victor's death that I caught a glimpse of this feeling. Compared to "Not Me," clearly, this film didn't delve as deeply into this issue, perhaps because people in this era were still confused and finding their way, their revolutionary consciousness not yet clearly defined. They seemed to oppose capitalism to ensure benefits for the people and uphold democracy, but hadn't determined specific steps for the future—everything stopped at resisting the government and villains. Therefore, instead of being specific and micro, the film expanded to a macro level of upholding humanity. Meanwhile, the pioneers were still struggling to find the path. Of course, the avant-garde and rebellious quality was still very clear, but it didn't create a distinct revolutionary atmosphere (not necessarily a communist revolution, but class revolution in general). The final regret is Dhevi's ending. After everything she and Moira did to prove the role of women in history, ultimately, this character still became a villain dependent on her family. I expected better development for the female characters.

In general, "Shine" is a film meticulously invested in every aspect: setting, characters, script, message... Everything shows that the filmmakers truly put their heart into the movie. The soundtrack, editing, lighting, and imagery are crucial prerequisites that create the sophistication and detail of the film, allowing viewers to feel its depth. Most notable is the art of narration and storytelling, threading the story from beginning to end (the corresponding beginning-and-end structure creates a great lingering effect). Despite some regrets, the film truly "shone" and fulfilled its mission well. A final word of praise for BOC: keep up this form and continue making films with depth, on unique, distinctive topics with your own style—intense, liberal, dark, but always striving for the light.

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Perfect Tandem!!!!!!

Age gap? What age gap? All I see is incredible chemistry! Nam Ji-hyun’s track record for picking amazing dramas remains flawless, and Moon Sang-min was born to play Prince Yeol. I’m obsessed with the story and the OST—definitely looking forward to the next episode!"

Nam Ji-hyun’s track record for choosing projects remains flawless; she is brilliant as a physician who doubles as a thief at night, portraying both sides of her character with such skill. Moon Sang-min is the perfect Prince Yeol, and with a gorgeous second lead and an amazing supporting cast, the show is top-tier. Between the captivating story and the OST, this has officially become my favorite weekend binge.

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Absolutely loved it

I started watching because I saw a clip of Namyeon disarming the bomb at the bus station and the comment section was saying how everyone is with military backgrounds so it caught my attention. Was honestly expecting light, comedy no nonsense because the main characters are not young lol but surprisingly it felt like watching a legit action-focused drama.

I love how the drama portrayed them as a very close-knit neighbourhood and everyone just knows everyone. It felt very heartwarming. Although the friendship between the five of them doesn't feel much, probably since it's more of a protectiveness towards their neighbourhood instead of the normal friendships between young people, but I especially like the hint of close friendship between Kang and Byeongnam. Besides Byeongnam's playful attitude, he cared about Kang and despite Kang showing like he wasn't listening to Byeongnam, he did follow Byeongnam's advice.

I was thinking maybe Jeonghwan would join them because he was Minseo's tutor and he just happened to be around the uncles (and aunt) at the right time. When I realized he would join them because Myeongo would die of an explosion, I was PRAYING for him to not die. The way Lee Jungha expressed his quiet despair over losing his close friend, only started crying when he was home alone, HURT my heart.

I know it was for the plot but it annoyed me to death that Doyeon had no stranger danger awareness lol. I want to criticize her so bad but she's a literal child so it's honestly just the reality on how children would act. But the fact that she took the ice cream by Sullivan JUST BECAUSE he said it was from Kang? Girl you could've been poisoned. And Kang or Yonghui are the ones who usually pick her up from school. WHY WOULD YOU GO WITH OLIVIA. Anyway.

One thing I hated is that, this is one of the dramas/movies that make you feel bad for hating the villain. It's one of the "he wasn't born a villain, the world just made him one" kind of thing. It's true though. I get why he did what he did. But I don't agree with his methods. He could have targeted only the people involved. But instead, he started bombings in a neighbourhood, which I still don't get why he chose Kiyun-si. The fact that he was adopted from a church in Kiyun-si made his choice even questionable because it's not like he has a grudge for the neighbourhood or anything. And why would he specifically target Kang? He claimed that he thought Kang would understood what he did. But by kidnapping Kang's daughter, did he not think that Kang would do anything to get her back? Just like what Sullivan would do anything for Charlotte.

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7 reasons to like a drama

This drama is a perfect example of why I enjoy chinese series most among other asian shows nowadays:
- realistic plot without major irritating twists that make you doubt screenwriters live in a modern world.
- keeps your interest by introducing an interesting subject: in this case — sport
- portrays healthy, kind and caring relationships both in friendship, parenthood and romance (This one in particular: leads show so much care for each other, esp for young college kids — it's heartwarming).
- humorous and relatively angst-free
- conflicts and misunderstandings are short-lived and not dragged out
- characters are unique and their growth is obvious and portrayed well — even the not so good (anti-hero) characters
- and finally and most importantly for me — it stays true to its genre. It keeps your interest by smart writing rather than twists, where its either misunderstandings and breakups, or a lunatic murderous character inserted just to keep the watcher engaged. Those I dislike the most. (If its a romantic comedy - why change it to a melodrama or a thriller in the last episodes?!) And this chinese series is none of those — angst-free and loyal to its intent from start to finish.
Special kudos to An Yu and Zu Er — they were super cute and showed so much warmth and kindness through their characters. Love both.

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