Reviews

It was below expectation.

I remember i want to watch this drama last year and finally got proper subtitle on drama apps. For my expectation, this is on below so I am slightly disappointed with the result.

Aside from a lot of verbal sparring, this script is generally quite enjoyable, so even with a less-than-stellar performance, it's watchable. This adaptation is mediocre, with about 40% verbal sparring.. A few comedic scenes are added, which I think is a major flaw, conflicting with the main theme about revenge.

Han Yutong, stills nailing her acting in here. Cheng Cheng also quite good at playing scumbag ex-husband. Zhang Tingrui in here seemed more like a supporting character instead of Cheng Cheng, he is just wall-flower in this drama. The costumes and props were also quite well done, especially the grand scene of the princess returning to court.

I didn't feel any satisfaction after watch this, just an insult to my spare time.

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It's not just about a crossdressing female, it's more than that.

As a girly who read the novel, it was justified but there's some scenes that I wished they showed it in the drama. Nevertheless, it was really good to the point that I had a c-drama slump after watching this 😭

I love how He Yan never deviated to her goal, to reclaim her rightful place and establish who she really is. Not just her being He Rufei, but her being He Yan and can do whatever a man can do, and the best at it at that. Xiao Jue? THAT GUY IS ON TOP BECAUSE WHAT DO YOU MEAN HE RESPECTS HER, VALUE HER, AND WON'T LET ANYONE SLANDER HER? SHE GRACES HIS EYES, OCCUPIES HIS MIND, AND CLAIMS HIS HEART? AHHHHHHHH GIRLLL HE YEARNS 😩😩😩

The actors? I LOVE THEIR CHEMISTRY ON AND OFF SCREEN THEY'RE SO ADORABLE!!!

THE MUSIC? GIRL DENG SHIN YUE DAW YING NI SHIN CHE FAN HUWA LUWO MEY YANNN (I'm sorry I don't speak chinese but I love the song please bear with me) ✨✨✨

Will definitely re-watch for my sanity 🙂‍↕️🙂‍↕️🙂‍↕️

PS. There's so much more in the novel that I can't explain huhu you definitely need to read it!!!

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Not bittersweet but i don't fond with leads acting.

I watched two other versions. I enjoyed every single one. In the first version, the male and female leads' looks, costumes, and props were a bit lacking, but their acting was excellent. In this version, both the male and female leads are slightly like wood, In the third version, the female lead was too beautiful. I didn't like the male lead's looks at first, but I gradually found him very handsome. The mother became a good person, and the ending was the sweetest in this version.

The second version has less of the bittersweet tension of the first, and the acting is a bit wooden. There are more kisses, and the kisses happen earlier. Several potentially sweet moments were cut—ML applying sunscreen to the female lead, ML worrying about her getting cold sitting on the ground after their argument—all gone. The production team was also a bit on budget; the pet dog was replaced with a potted plant…Everyone become more dramatic, and FL's mother is also more sharp-tongued, leading to the FL cutting ties with her. ML lacked the roguish charm of the previous version; he looked too innocent. He needs to work on his acting.

For three version this is my least of the version.

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Excessive, at times chaotic, but also intense, magnetic, and emotionally honest at its best

The Wicked Game enters the Thai BL landscape as a risky invitation: trading the comfort of light romance for a dive into a corporate drama shaped by violence, revenge, and family ties eaten away by ambition. Instead of sunny campuses or shy first dates, the series places its focus on boardrooms, power struggles, and a past that refuses to stay buried. It is a bold and imperfect choice, but one that often results in something gripping and deeply engaging.

The story centers on Pheem, the rejected heir of a hospital empire whose childhood was brutally shattered by family betrayal. His return is driven not by longing, but by reckoning. What could have been just another revenge plot gains weight as each episode reveals how greed can turn siblings into enemies and parents into executioners. There is an almost tragic echo here, reminiscent of classic tales about dynasties that destroy themselves in the pursuit of power, and this heavy atmosphere carries much of the show’s emotional impact.

The series’ greatest strength lies in the way Pheem is written and portrayed. Offroad delivers a layered performance, shaping a character who is both cruel and deeply wounded. Every silence speaks as loudly as his most calculated attacks. Trauma is not merely mentioned; it shapes his gestures, his gaze, and his choices. Pheem is hard to love, yet impossible to ignore, and the show understands this well, using his coldness as a shield rather than an empty pose.

It is on this unstable ground that Than appears, played by Daou, as an almost luminous counterbalance. A former police officer, honest and emotionally open, he serves as the moral axis of the story and the viewer’s emotional anchor. The chemistry between Daou and Offroad is undeniable and perhaps the most consistent element of the series. Even when the script falters, the relationship between Than and Pheem keeps the narrative alive, fueled by tension, desire, and a constant sense of emotional danger. The romance is not comfortable, nor should it be, and that is precisely why it stands out.

The supporting cast also strengthens this web of conflict. Thanet, the father, embodies a toxic and cruel patriarchy, the kind that provokes instant discomfort because it feels painfully real. Risa and Chet move between victimhood and villainy, showing how the hunger for recognition can easily turn into cruelty. Even secondary characters, such as Jason or Chet’s bodyguard, carry a tension that suggests more depth than the script sometimes fully explores.

Not everything, however, works with the same precision. The series leans too heavily on gun violence, with frequent shootouts and an internal logic that stretches believability. Characters are shot, fall, and return almost unharmed, while the police seem to exist only as background figures. Uneven CGI and certain directorial choices weaken scenes that needed stronger impact. The ten-episode format also weighs heavily, as some characters and conflicts clearly needed more time to breathe.

The finale gathers many of these weaknesses. While it brings closure to the main arcs, it feels rushed and less emotionally charged than it promises. Some reunions call for more silence, more collapse, more release. Even so, the ending preserves the story’s tragic core, reinforcing the idea that wicked games rarely allow truly happy conclusions.

Taken as a whole, The Wicked Game is not an easy BL, nor a polished or perfectly balanced one. It is excessive, at times chaotic, but also intense, magnetic, and emotionally honest at its best. Carried by strong performances and a central chemistry that cuts through technical flaws, the series proves that the genre can flirt with darkness without losing its power to captivate. Imperfect yet memorable, it is the kind of story that leaves you exhausted at the end and, strangely enough, wanting to remember it.

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It's cliche but hear me out ?

First of all, this kind of storyline is we already know it. From your local dramas to international ones, we all know it. But the way the actors expressed this? Their emotions? Their way of portraying their characters? GIRL, I THOUGHT THIS HAPPENED TO THEM IN REAL LIFE STOPPPP

And the scenes? THE SCENIC SCENES? STOP WHO IS THE CREATIVE DIRECTOR OR SOMETHING WHO IS IT? They didn't spare any penny; they literally justified the common storyline and served us great backgrounds, not just CGIs or backdrops or studio-built settings. For me, this was the cream, the cherry, the apple to my pie y'all.

The music is so cute, fitting to the scenes played ✨ (𝘓𝘰𝘷𝘪𝘯𝘨 𝘺𝘰𝘶 𝘭𝘰𝘷𝘪𝘯𝘨 𝘺𝘰𝘶 𝘪𝘴 𝘵𝘩𝘦 𝘣𝘦𝘴𝘵 𝘵𝘩𝘪𝘯𝘨 𝘐'𝘭𝘭 𝘦𝘷𝘦𝘳 𝘥𝘰 ~)

Will definitely re-watch after a heartbreaking Xianxia 🙂‍↕️🙂‍↕️🙂‍↕️

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When the parody becomes what it's mocking

I came into this drama with somewhat high expectactions due to the high rating it was receiving in the review section, I've heard of stories like this where the FL ends up in another world and tries to seduce ML while making fun of the genre that it's supposed to be.

This was supposed to be a parody of romance genre with generic FL and MLs, overdrawn plots with plot armors as we see when Xiao-En makes fun of the bullying schemes and White Lotus FL, even making some great reference to Crash Landing Into You, Meteor Garden and other famous dramas.

The issue with this drama is that it became exactly what it was making fun of. The 'real life' plot was ridiculous and boring, Evil sister was interesting for a character but I kept thinking "Plot armor, how else is she getting away with this? Will she grow as a character" I even found myself wishing there was a side romance story with her. Very quickly it's easy to see who the actual master mind is which made me roll my eyes. I had hope for Blondie and honestly found him adorable but it was like the script writer or author forgot what they had established before....so that came crashing down too.

In the 'novel' world, I could understand why Ao-Ran was so unlikeable, he's supposed to be the overbearing CEO, that's how they act. I found it hilarious at first, fell in love with second ML QingFeng, I was more interested by his story then all the others, I also found myself wishing, since Xiao-En knows all about romance novel, she's an editor for one, she recognized that he was the 2nd ML and she should know about the "Second-Male Lead syndrome" that she'd choose him but no, it's like she starts becoming the same thing she had been mocking with us, each episode she slowly becomes more useless.

I had hope for the 'novel' world but that plot also came crashing down and became cliche with villains coming out of nowhere that made no sense.

The acting was great although I do feel that Vivian Sung and SnowBaby acting was weaker, I couldn't lose myself in it, instead I found myself thinking "Yup, she's trying to do this in her acting to lead to this" It just fell a bit flat for me but I also think that it had to do with the writing and not the actresses themselves.

My favorites were Qing Feng and QiuTian, they quickly became my two favorite characters. I also appreciated and loved the used of English words, when Ao-Ran was like "I am not a stalker" in English, I lost it and found myself laughing hard. Sadly by the end of episode 11, after seeing what was going to happen in episode 12, I had to throw my hands up and surrender.

Rewatch value? 0, this became exactly what it was making fun of, a romantic cliche trainwreck.

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Found Family and Emotional Healing

I just finished watching this drama. I did not realize what an emotional rollercoaster it was going to take me on. I saw random funny clips and thought it was going to be lighthearted, but I could not have been more wrong. This drama touches on mental health, and I wish they had focused more on how to face mental health challenges. I actually enjoyed the beginning of the drama before the time skip, probably because it was lighter and more innocent.

I felt the cast was perfect. Any drama that has a loving and supportive family or circle of friends really does something for me. I especially loved Li Jian Jian and Qi Ming Yue’s dynamic. I felt Li Jian Jian was the person who helped Ming Yue break out of her shell. Ming Yue was extremely timid at first, but eventually she finds her voice. I really enjoyed her growth and character development.

There are many emotional scenes, but I cried during the scene in episode five when they were celebrating He Zi Qiu’s birthday. His biological aunt was constantly nitpicking his behavior, saying he was not mannered and making other hurtful comments. Li Jian Jian’s father had pent up emotions that had accumulated over the years due to people’s offhanded remarks, constantly reminding him that Ling Xiao and He Zi Qiu were not his biological sons even though he viewed them as his own. Li Jian Jian’s father was extremely loving and compassionate, which were the two things the boys needed most.

I really like how accurately Ling Xiao was written. Everything he has gone through, he has deep inner issues. He is very reserved and only allows a small circle of people into his life, making his world quite small. He appears to have everything together, but it turns out he is not mentally healthy. In the scene where he tells Li Jian Jian that he only has her and that the thought of a future with her is the only thing that kept him going, she realizes just how unwell he truly is. I felt the writers dropped the ball on this part of the story. They could have explored more of how Ling Xiao deals with his mental health, but it just seems like the writers just swept this under the rug.

I’m also not sure if I missed something, but did we ever truly find out why Li Jian Jian liked Ling Xiao? Ling Xiao questioned whether her feelings were genuine when he asked, “If I didn’t force you to accept me, would you have picked me?” To be honest, that was a valid question. Several times, Ling Xiao clearly expressed that he had romantic feelings for her and didn’t see her as a little sister, yet she rejected him. Eventually, Li Jian Jian agreed to “test the waters,” and then suddenly she had feelings for him. I wish the writers had shown us more clearly why she fell in love with him.

The actress Yang Tong Shu, who played the role that betrayed Ling Xiao’s mother, Chen Ting, did an absolutely great job. Honestly, her scenes reminded me of a former friend who reacted in similar ways, though not as severely. You are constantly walking on eggshells, afraid that anything you say or do will trigger a negative reaction. It is extremely taxing. I could not watch many of her scenes because they were triggering for me, but the actress definitely did the character justice.

I feel Tan Song Yun thrives in comedic roles, so it was no surprise that she did such a great job.

I gave the drama an 8 rating for the story because it felt like a few major issues were swept under the rug. I will not spoil it, but something significant happens and, for some reason, Ling Xiao appears to have forgiven his mother, and his mother also seems to have gotten better. The only person who truly faced his issues and achieved the closure he needed was He Zi Qiu.

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Comedy turn forced sentimental.

I watch this when i want to see more Li Li Zai works and this works is....mess.

FL transmigrates into a book. The system's mission is that if the male protagonist kills him, she can return to the modern world. The female protagonist begins to seduce the male protagonist to make him want to killed her. But everything she wished is backward. ML always dotting on FL. Plot gets a bit out of control. FL accidentally discovers that the empress dowager plays mahjong, and that the MLt's secret chamber contains a television, a phonograph presented as tribute from a foreign land, bubble drink. And the plot twist just giving meh effect.

The beginning is purely comedic, while the later parts are more sentimental but ML lacks of longing feeling is not making this drama better. Li Li Zai shows her lack of acting skill especially for sad scene make it painful to watch.

Perhaps Li Li Zai fans could enjoy this drama.

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Century of Love and the charm of being deliberately old-fashioned

There is something deliberately old-fashioned about Century of Love, and precisely for that reason deeply appealing. In a landscape crowded with school and university BLs, the Thai series chooses a romance that stretches across a century, flavored with mysticism, melodrama, and a generous dose of lakorn-style excess. The premise is both simple and grand. San, a man condemned to live for one hundred years while waiting for the reincarnation of his lost great love, sees his fate unravel when that love returns not as a woman, but as a young man named Wee. From there, the series unfolds as a story about time, loss, and the difficult art of learning how to live in the present.

The opening is, without a doubt, one of the narrative’s strongest elements. The foundational tragedy, which includes an interrupted love, a pact with the goddess, and prolonged suffering, is presented with emotional clarity and dramatic weight that immediately draws the viewer in. There is an almost antiquated romanticism in the idea of someone waiting a hundred years for another person, and the series embraces this concept without irony. San’s pain feels believable. He is a man hardened by time, surrounded by memories and by the certainty that love, for him, has always meant loss.

Daou builds this protagonist with an intriguing mix of rigidity and vulnerability. His San is cold, gruff, and often morally outdated, which makes sense for someone shaped by values from another century. The series could have explored the internal conflicts created by this clash between past and present more deeply, especially regarding sexuality, but there is still a clear arc of transformation. When San begins to open up, it is not because the script demands it, but because the weight of solitude becomes unbearable. Offroad, in contrast, brings a completely different energy to Wee. He is bright, impulsive, sometimes overly naive, yet essential in breaking down San’s emotional defenses. The chemistry between them is undeniable and carries much of the series, even when the writing falters.

The central relationship, however, is also where some of the show’s weaknesses emerge. The development of the romance shifts between moments of strong emotional tension and hurried narrative leaps. At times, San moves from rejection to attachment too quickly, as if important moments of shared experience were left offscreen. In other instances, once the couple is finally established, the story seems more interested in rituals, chases, and external threats than in allowing the relationship to breathe. Even so, when the series gets it right, through glances, silences, and restrained intimacy, it delivers genuinely touching scenes.

If romance is the heart of the story, the supporting characters are its warm soul. San’s found family, especially Ju, Chu, and the ever-present Tao, brings humor, affection, and humanity. They prevent the series from sinking entirely into melodrama and add lightness to its heaviest moments. The female characters, in particular, avoid easy stereotypes. They are not merely romantic obstacles, but complex figures who are practical, ambiguous, sometimes selfish, and sometimes unexpectedly supportive. Even when they cause chaos, they are rarely disposable.

The antagonists, on the other hand, represent the weakest point of the script. Overly caricatured, underdeveloped, and at times unintentionally comical, they function more as narrative devices than as real threats. They lack depth and clear motivation, while convenience often takes their place. The same can be said of some worldbuilding elements. Mystical rules appear and disappear as the episode requires, coincidences accumulate, and important questions are left unanswered. The series openly asks the viewer to suspend logic, and those who accept this pact are likely to enjoy it more.

Visually and technically, Century of Love is uneven. There are strong aesthetic ideas, especially in the past sequences and sacred spaces, but the execution suffers from limited CGI, overuse of slow motion, and a soundtrack that does not always match the tone of the scene. Still, the pacing rarely drags. Even when it leans too heavily on repetition, particularly flashbacks, the series maintains a sense of emotional urgency that encourages viewers to keep watching.

In the end, Century of Love is neither polished nor narratively flawless. It is chaotic, excessive, and at times illogical. Yet it is also sincere in its ambition to speak about love that endures through time, the burden of living trapped in the past, and the courage required to choose the present. Between unexpected laughter, genuine tears, and questionable decisions, the series finds its charm precisely in its imperfections. It does not portray an idealized love, but a stubborn, noisy, deeply human one, and perhaps that is why, despite everything, it lingers.

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Is it really a happy ending? (；′⌒`)

It's been a year since this has been released, and I just finished watching it. And why did I keep putting off watching this gem of a Xianxia?

The storyline? Girl, I am hooked! It's about the human, a mortal wanting to be an immortal met a demon AND IT GETS REALLY INTRESTING FROM START TO FINISH. I expected that Bai Shuo has something to do with the Demon Lord that saved her and Demon Lord itself is Fan Yue what I didn't expect is that they really separated them. Unlike other dramas that they will become the same as their past lives; they separated them and that's what I love about this. You don't have to be the "you" from the past, you can be your own person and that's alright.

THE ACTORS? GIRL THEY'RE ALL SO LIT I REALLY LOVE BADAHH FU LING I KNEW IT THERE'S SOMETHING ABOUT HER CHARACTER THAT PULLS ME IN AHHHH AND SHE'S LITERALLY SO PRETTY HUHUHU WHEN SHE BECAME BAI XI? AHHH SOFTIE LOOKING FU LING BUT STILL BAD AHH

Applaud to all the cast of this drama for perfectly portraying their characters. I know I'm a year late but y'all did so well!

MUSIC? GIRLLL STOP I LOVE SAEWALI YAHA HUHUYA HUHUYA YOHOOO

I will definitely not rewatch because this hurt me so much. ALL OF THEIR FAMILY DIED HOW IS IT A HAPPY ENDING? HAPPY ENDING COS THEY HAPPILY DIED, SACRIFICED??? HUHUHUHUHUHUHUHU but will probably watch some tt clips ✨

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A story about trust, shedding masks, and accepting that beauty and success don’t heal old wounds

Adapted from a webtoon and set in a university film program, Blueming follows Cha Si-won and Hyeong Da-un, two young men who, at first glance, seem to fit perfectly into ideals of beauty and success, while carrying deep fractures beneath that polished image. Rather than leaning on major plot twists, Blueming favors the everyday, silences, and small moments of awkwardness, building a romance that grows less from spectacle and more from the mutual recognition of vulnerability.

Si-won is a protagonist marked by insecurity. Once an overweight child, bullied in his youth and emotionally shaped by a complicated family relationship, he learned early on that being flawless was a way to survive. Da-un, by contrast, appears to have everything effortlessly: beauty, talent, an almost untouchable aura. The series, however, is careful to dismantle this impression. What gradually emerges is a young man just as lonely, raised at an emotional distance from his parents and accustomed to hiding emptiness behind a gentle smile. Blueming is less interested in who they seem to be and more in what they try to conceal, and it is there that it finds its strength.

The romance between the two avoids the genre’s most obvious formulas. There are no grand declarations, nor a chain of artificial conflicts. Affection is built through discomfort, misunderstandings, lingering glances, and the slow development of trust. For some, this restraint may feel cold or underwhelming; for others, it is precisely what lends the relationship its sense of truth. Blueming embraces the idea that intimacy is not born from excess, but from allowing oneself to be imperfect in front of another, and it sustains this choice with consistency.

Visually, the series is a small triumph. Hwang Da-seul’s direction turns Blueming into something close to an indie film, with natural lighting, delicate framing, expressive use of shadows, and a warm color palette that mirrors the characters’ emotional states. There is clear pleasure in playing with cinematic language, which feels especially fitting given that we are following film students, and visual metaphors such as the recurring notion of “the time between dog and wolf” enrich the narrative without tipping into pretension. Even with budget limitations, the result is elegant and memorable.

The performances follow the same line of subtlety. Kang Eun-bin delivers a Si-won who shifts between defensive arrogance and almost childlike vulnerability, while Jo Hyuk-joon crafts a quiet Da-un, at times perhaps too enigmatic. Here lies one of the series’ most frequent criticisms: it demands an attentive, almost active viewer. Not everything is explained, and not every motivation is made explicit. For some, this deepens realism; for others, it creates emotional gaps that make full connection more difficult, especially in Da-un’s case, whose story could have been further developed.

Another point that divides opinions is how the series approaches sexuality. Blueming chooses to treat it as a non-issue: there are no social acceptance conflicts or major external struggles. For many, this normalization feels liberating, a breath of fresh air within narratives often defined by queer suffering. For others, it comes across as overly idealized, almost erasing issues that are still very real. The choice works within the show’s intimate framework, but it leaves the sense that an additional layer might have further enriched the drama.

In the end, Blueming is less about romance and more about growing up. It is a story about learning to trust, shedding masks, and accepting that beauty and success do not heal old wounds. It is not a series made for everyone; those seeking constant intensity or explicit conflict may find it muted, even forgettable. But for viewers willing to settle into its calm, observant, almost contemplative rhythm, Blueming blooms into a sensitive portrait of youth’s quiet pains. A work that does not shout, does not rush, and perhaps for that very reason, remains.

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A breath of fresh air

An intelligent, well-conceived K-drama. It’s so nice to see a FL depicted as a mature, no-nonsense professional. Even though she has a few quirks and a lighter side, the FL maintains her integrity and dignity throughout.

The ML, has a messier life. But he, too, comes across as a fully formed human being.

As for the acting, both leads display a range of emotions through subtle expressions and body language that add depth and nuance to their characters.

Only the best actors can keep this up without missing a beat. These two pull it off with skill and consistency. Luckily, they’re helped along by a well-written, polished script and excellent camera work. Really liked it.

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The next thing to watch!

After finishing Shine on Me, I was desperate for my next modern romance fix. Since this drama aired right after Shine on Me ended, it felt like the easiest transition—and I’m so glad I jumped in. I was immediately intrigued by the Republic of China–era setting and the premise of an ex-fiancé abandoning the female lead on her engagement day, so I didn’t hesitate to start this series.

I won’t go into the plot summary since MDL already does a great job without heavy spoilers. That said, I genuinely think everyone should give this drama a chance—especially if you’re feeling the same post-Shine on Me withdrawal that I am.

What I’m loving so far:

The Republic era being part of a game is such an interesting setup, and it’s also where the two leads first meet. I love how tenacious the female lead is—after losing the first time, she dives back into the game determined to win against the male lead. That moment was when I knew I was hooked. I’ve always adored Lu Yu Xiao and her choice of roles, and this one is no exception.
The strong supporting cast is another major highlight, especially seeing so many familiar faces. The last time I watched Dai Xu was in The Legend, which feels like ages ago, so I was excited to see him here. Wang Run Ze was another pleasant surprise—I remember loving him as the second male lead in A Little Thing Called First Love. I also didn’t expect Ren You Lun to show up as the best friend’s husband, and I really enjoyed seeing him in such a warm, supportive role since I’m used to his tougher, colder characters. Of course, the two main leads are the reason I started this drama, but the supporting cast has been just as enjoyable to watch.

The pacing of the story and the undeniable chemistry between the leads really work for me. I love the subtle push and pull in their relationship, and how quietly yet meaningfully they help each other confront their weaknesses and past trauma. It’s understated, but that’s exactly why it feels so genuine.

Much like Shine on Me, this has quickly become a drama I look forward to watching every morning—and I can already tell it’s going to be hard to let go when it ends. Currently, this is going for a strong 9/10 for me!

UPDATE review 2/23/25

I finally found the time to wrap up my review for Love Between the Lines. I had so many thoughts jotted down and so many things I loved, but in the end, I’m just summarizing the top things I loved and what I wish had been different.

From the beginning, we knew there was foreshadowing about the ML’s hidden past. I just wasn’t expecting it to be such a major event that would take up most of the second half of the series. Because of that, I had to find something else to adore. I’m probably in the minority here, but second lead Dai Xu really kept me going. Every time he had screen time, I fangirled a bit, made heart eyes, and kept watching the series hoping he’d get more scenes.

I was also told that he and the FL actually dated in the novel. I tried reading it so I could compare it to the drama — the way I did with Shine on Me — but the first chapter was packed with so much detail that I struggled to keep up. I’ll have to go back and find that important kiss scene when I have a bit more time.

Love Between the Lines started as something fun and a fix for my need for a modern romance drama. I was excited about the cast, especially the game where they kept meeting. I felt it was such an important part of the series — it was where they met, where they fell in love, where they kissed, and where she tried to kick his butt because she was angry at him. That was probably the biggest reason I kept watching (besides Dai Xu).

I’m giving this a slightly lower rating, mainly because I didn’t love the direction it took. I was hoping for another fluffy romance series, and this just wasn’t it for me.

7.5/10

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