Reviews

A Love That Defies Time and Ambition

This drama is a breathtaking mix of politics, war, and forbidden love. At its heart, it tells the story of Duan Zi Ang, an assassin shaped by the shadows, and Xiao Shu He, a prince who was never meant to rule. Their bond feels fated yet impossible, fragile yet unbreakable.

What I loved most is how the narrative balances personal emotions with the grand scale of history. The romance isn’t just about passion—it’s about sacrifice, betrayal, and choices that echo across nations. The chemistry between the leads is intense, their reunion years later filled with longing and heartbreak that truly hits hard.

The cinematography beautifully captures the contrast between the brutality of war and the tenderness of love. Every glance and unsaid word between the protagonists carries weight, pulling the viewer deeper into their struggle.

If you enjoy epic romances with strong political intrigue, morally complex characters, and the kind of love that endures even through separation and ambition, this series will stay with you long after the final episode.

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A Bold Gamble

Hmmm… This is one of those dramas that is tricky to review.

It feels designed for a very niche audience within the rainbow community who would truly appreciate this genre. For a Chinese production, that is a bold gamble. Given the subject matter, the drama is highly unlikely to be broadcast or streamed openly in China . That is a massive domestic market lost at the starting line. Unless you have a VPN, good luck finding it. Well on this matter, I cannot find it streamed anywhere outside of China, except on YouTube.

I cannot help but wonder if the actors knew from day one that this was a BL drama. If they did, hats off for their courage—because the career risks are real. If they did not, well… surprise. Either way, they could face their future projects being blocked in China. Hopefully, they were paid handsomely for taking the plunge, though I doubt anyone is retiring early off this.

On the bright side, the drama does have some strong points. The male lead is exceptionally handsome and delivers a solid performance—his talent deserves much bigger stages. The ending theme song is melodic and the costumes are visually stunning (as Chinese costume dramas rarely fail in this department). The sets look authentic, and the cinematography is commendable.

But now for the less flattering parts.

Firstly, while I am not homophobic, the extended same-gender kisses and sugary displays of affection just did not work for me. Honestly, I would have preferred if Duan Zi-Ang had been written as a female character. That would have made the romance far more convincing in my eyes, being not in the target niche.

Secondly, the story is painfully simplistic. Who would really risk starting a war for a same-gender lover?

Thirdly, the background music was poorly balanced—rather than softening during dialogue, it often competed with their lines.

Lastly, the stiff, awkward acting from much of the supporting cast makes it all falls a little flat. Then again, I have seen Luo YunXi in a much worse drama before (not BL, simply a very poorly produced show with weak co-leads and support cast). Thankfully, he has since risen to become a well-established name, and I remain a fervent fan of his work.

Compared with The Untamed or Word of Honor, which handled BL themes with subtlety and finesse, this one is like a sledgehammer where a paintbrush would have sufficed. The production quality cannot compete either, which only makes the comparison starker.

As for its origins, this drama was produced in China, even if it was distributed in Singapore to dodge the censors. Some fan insists it is “Singaporean” because of the investment. But that is like saying Teslas made in Shanghai are American cars just because Elon Musk is American - by this logic, Trump should have taxed them twice.

If Singapore is indeed becoming the safe harbour for dramas that cannot pass Chinese censors, then please—by all means—give us 'Immortality' next. Fans have been waiting far too long for its release.

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A Game That Teaches a Philosophy about Life

I've never played Go, but I was drawn into the competitive world of that game by the endearing characters of this drama. Shi Guang was a naughty, lazy child when the spirit of Chu Ying came into his life and introduced him to Go. Shi Guang naturally rebelled and rebuffed Chu Ying's attempts to teach him. Their interactions and growing relationship were rewarding to watch develop.

All of the relationships were realistic, as were the villains—which were run-of-the-mill bullies and trash talkers. The viewers watched the leads grow from young children to seniors in high school, and the character growth of each was gratifying to watch. With such a large cast, it would have been easy for some to be filler cardboard characters, but most were developed and distinctive.

I had put off viewing because it had 36 episodes. Sixteen hours is generally my sweet spot, but I would have happily watched at least 40 with this cast and story. The drama could have used more episodes to tie up loose ends: Hong He's love interest and his future; why the monk was so unhelpful; explanations surrounding Chu Ying; I would have liked to have been shown some championship wins of the two MLs together.

I highly recommend for those who like slice of life, rich relationships, and universal lessons about dreams, loss, and adaptation. I also recommend watching with a box of tissues at hand, because it's surprisingly touching.

I added an extra half star for the pure enjoyment factor.

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An absolute work of art

For a show to have me in a chokehold as a story. For it to have me researching not only history but also Jean-Paul Sartre and his works on existentialism and his attempt to connect existentialism with Marxism, which led me down a path of philosophies and ideologies and perspectives, just to have me then go back to continue on with the show through a new lens with new knowledge was just so absolutely impressive. To explore freedom and freedom of choice under different circumstances. And, I know. This is not the experience of all viewers. But, I can’t stress how this show highlighted the importance of communication and debating and understanding other people. How it showed perspectives from different members of both the working class and the ruling class. How it exemplified criticism of perspectives on both what is a better society to each character/class/age group and how to we get there. How it expressed ideas like the oppression of the oppressor. How it explored media as being manipulated by the ruling class and political agendas (media as a superstructure highkey). How it explored queerness within a historical context. How it expresses the pain of loving someone but struggling with doing what is right for yourself and/or others. How it explored an attraction to freedom and desire outside of what you thought you knew thus far in life. Internal conflicts. External conflicts. The insanity of dealing with both of these at once. It shed light on the greater society as well as individual experiences and showed how those two things are intertwined. Maybe it’s the sociologist within me speaking, or more aptly, yelling. But this was a god damn work of art.

The romance between Trin and Tanwa is not necessarily integral to the main plot. However, it is an extremely important piece in understanding Trin and his internal struggles and desires. It’s more symbolic than anything in my interpretation. Tanwa is not a huge piece of this, but his perspective is also both important historically as well as symbolically. He represents a group in society, as well as an ideal of freedom, in a way that reminds me, somehow, of a manic pixie dreamgirl. So seemingly unencumbered. So free. Embodying the idea of “damn, I wish I could live like that”, “I wish I could have that”. When in reality, there is depth, there are mental struggles, and there is a level of mental illness and/or anguish. There is a certain level of idolization and romanticization of what Tanwa symbolizes. Tanwa is both underestimated and overestimated. His character is not seen as just a person; it’s seen as an idea. To be judged in a way that is separate from others. I think many people have the same view of his archetype in history, and this story sheds a bit more light on it.

Acting:

Yeah, so… that was fantastic. I think everyone did a fantastic job in their roles all around. Just such solid performances from this cast. Them as individuals, them as representations of cultural subgroups, them as representations of members of different classes and their struggles. So good.

Writing:

Phenomenal for the VAST majority of this story. I already kind of went over the points I loved earlier, but I can’t stress enough how beautifully this was written. The only faults I have is the last like 5 minutes of this relatively long series and the fact that I was just left to accept that Naran and Krailert would never be. I hate that for them and I hate that for me… That being said, it is far more realistic than a grand reunion and happy ending for them, unfortunately. Just, wow. The historical and political plot here had me going insane. The symbolism in the (ig) main couple and literally EVERYTHING about the storyline of the “second” couple. Insanity. So good. BRAVO.

Chemistry/Romance/Kissing:

Was there a grand, electric chemistry between Trin and Tanwa? No, not really. Do I think there was supposed to be? No, not really. Their story was much more focused on their individual journeys than it was on their romance. But Naran and Krailert… AHHHHHHHHH WOWOWOWOWOW I can’t. The chemistry was INSANE, the romance was INSANE, I was INSANE. The romance aspect of this plot works, for sure. The kissing was obviously not a big part of this because, like, 1969-1971, ya know. But the kisses that were in this were great.

NC Scenes:

OOOOH boy umm… I said it in my notes, and I’ll say it again. THIS SHIT RATED PORN. I can’t with Naran and Krailert. I simply cannot. That was insane. Ya’ll really went for it. The scenes were written and executed to be full of passion and intimacy and it was soooo well done. Bravoooo. Trin and Tanwa’s was good, nothing wild, but their story didn’t really call for wild passion like Naran and Krailert.

Music/SFX:

Music was absolutely lovely all around. Nothing threw me off, just solid shit. SFX weren’t even noticeable, so good job there.

I cannot express how much I enjoyed this. This was a phenomenal series. Argue with the god damn wall if you disagree with me. I don’t care. I’m struggling with where to place this on my tier list, which is different from my rating system here. On the one hand, there are 3 or so series that hold a super special place in my heart and rating. On the other hand, this was such a damn masterpiece of a series, I’m all out of whack. BRAVOOOO


Now, for some highlights from my notes:

- OKAY INTRO
- My beautiful mennn are so beautiful eeeee
- Hold up, gotta go read up on the 1969 Thailand election and subsequent civil unrest/protests
- I find it interesting that the two genres listed are comedy and romance when shit is this serious so far
- A tragic Parisian romance
- The straight-laced dapper fellow at the hippie soiree
- Bro is out of his element
- Smoke that dank my guy, smoke ittt
- *Promiscuous boyyyy*
- The passion between these two hidden writers eeee
- Chopin’s Nocturnes MENTIONED my LOVE Shoutout to my boy CHAD LAWSON tho
- PLEASE listen to Chad Lawson’s variation on Nocturne in F minor Op 55 No 1, arranged for piano, violin, and cello
- *Release your inhibitions, feel the rain on your skin*
- I’m LIVING for this back and forth through quotes at the library
- This shit.. This shit rated PORN LMAO Jaw on the FLOOR, brother
- *Then came the dawn, and you were gone. You were gone, gone, gone. I had too much to dream last night. Too much to dream. I'm not ready to face the light. I had too much to dream last night*
- *Get faded when I wake up. 'Cause everything is too much*
- Forbidden love everywhere
- *Wrapped up in my white silk sheets. Sleeping with the enemy. Keep on the lights, don't close your eyes*
- “Or are we just falling in love with the idea of being loved?” It’s giving sad ending and I’m not ready for it
- A vers couple?????? Love to see it
- Tanwa is a professional dissociater, and as one myself, I can confirm it is hard to be around
- “Gulping like this only makes the whiskey lose its taste.” Okay, girl
- Put your clothes back on, lil guy
- The piano vs typewriter scene is insane. The dichotomy of expression and choice between the working and ruling class, all wrapped up in a tense forbidden gay romance oof I’m eating it tf up
- Oh shit, not the boy, Jesus christ
- This can’t have a happy ending for everyone, no shot
- Only ONE episode left????
- Tanwa tried to warn him?? Honestly shocked my boy went out of his way
- Oh, Krailert… My oppressed oppressor
- LET’S FUCKING GOOOOOOOOO KRAILERT
- “The voice that no one has heard, if the voice that does not exist” AHHHHHH
- CHOSEN?? What he has CHOSEN??? What a WORD to use
- OOH DEAR LORD not this I mean yeah sure it makes sense but NO
- IS SHE PREGNANT??? I’m gonna KMS
- Why does she look CONTENT rn???
- The dulling of colors???
- Bro is in Paris chillin, serving looks, giving aura
- “I finally understand that choosing, in itself, is what truly matters, regardless of the outcome. It’s still better than not choosing at all”
- Jesus, Mama Tanwa, the tortured poet
- ONLY 20 MINUTES LEFT
- Trin so dramatic, reading that letter by the Seine
- Victor’s last wish :(
- 7 minutes…
- PICK UP THE FUCKING PHONE YOU FUCKING HIPPIES
- WHERE are my Krailert and NARAN
- Tanwa in PArissssss
- Lackluster reunion, can’t deny it, can’t pretend
- I cannot express the heartbreak I feel for Naran and Krailert in words rn

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My First Ever Drama

Sry guys this review is about my journey in the drama world and not about this drama!!

This is the first drama which I have watched in my life and after this my drama life began later shifting to k dram c drama and Thai dramas and during all these years I have watched at least 200 drams.

Back in 2018 Somehow, I came across a short video of this drama and searched about this show and watched it and since then I came into a whole new world. The above show was liked by my 14-yr old self so if I rewatch this show again now, I might not like it at all. Because I am not the younger girl who swooned over this show but any way all this shows were my favs during my early teenage and all the shows I have watched during all these years have molded me into knowing how the world is what's right and what's wrong. I am really grateful that the C,K dramas have come into my life without these i don't know what kind of a person i would be now i mean my ideology of life has changed a lot the way I think everything has changed i grabbed all those from many aspects of my life but also the dramas played a major role since they have been a part of most of my teenage. So yeah, I believe that this drama has led to me being a fan of dramas all these years.

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Quick watch to skip through

Like most, I started this after seeing a short clip that had me going "OOH he's cute. This'll be my next watch!" 🫶🏻
And yes, he is indeed very cute and the overall vibe is really cute.
The setting starts off at a college but honestly it's basically a high school, not that I mind. The only thing that bothered me about this particular fact was that the level of maturity of the characters were that of preteens in high school, not adults in college.
That being said, the synopsis including "school for rich children but poor female lead somehow gets admitted" was giving me major F4 vibes✨ (AND the fact that the friend group is four cute dudes), but the school background became so irrelevant.

Like most cdramas, I'd say it started quite strong and with some good potential.
At the halfway mark I found myself losing interest and by the last quarter everything became quite ridiculous. The director seemed to have a vision but the execution was just not there unfortunately. The plot was all over the place, with random characters popping in and out, references to DEAD characters referred to as "they left" was the most confusing because you assume they'd go find them only to later hear them say something like "when they died..." like what??

My favorite part of this was the best friend couple. She's ADORABLE 🐶 and her partner is so cute. Their scenes, though few, were imo so much cuter than our leads. The chemistry was just better.

I will say though, it wasn't TERRIBLE and the fact that the episodes were relatively short (15 minutes) was a smart move, or else there would have been so much filler. Don't regret watching it, but won't rewatch.

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They hired me to romance an assassin, but they didn't know I was the real heart killer.

This is a film that has ideas and has "da vibez," but lacks the ability to bring them to life. The Heart Killers came to me as a contradiction—in its expectations, in the reviews, and in the feelings of those who had seen it. There was praise and there was criticism, and it seemed this was not an easy watch for everyone. In other words, one’s feeling about the film is entirely a matter of taste, and this time, it fell outside of mine.

This is a strange film. I had to exclaim that it was "strange" multiple times while watching—it was beyond my imagination, beyond my threshold for acceptance, and yet simultaneously below it. This time, "strange" is not a compliment. Before I dwell on its strangeness, I want to talk about what the film did well. First, the idea: a freelance tattoo artist, whose main concern is his younger brother, is "hired" to seduce an assassin to uncover the mastermind behind the deaths of several high-society figures, all in exchange for having his criminal record wiped clean. Meanwhile, his friend, a car mechanic—a tough, somewhat reckless, defiant, and fearless soul—joins the plan to "seduce" another assassin to help his friend succeed. The "seduce them for the mission" trope is always an interesting one, offering a safe path to creating a film that is sufficiently humorous, dramatic, thrilling, and even heartbreaking. The moment the heart killer is discovered by the literal killer is also the moment he realizes the heart he just stabbed is his own—this is the "peak" moment I always anticipate, the turning point that activates a cascade of heightened emotions. This trope will always lead to that trigger—successfully or not—and I had every right to be hopeful. And indeed, The Heart Killers followed the roadmap perfectly. It wasn't innovative, but it was safe enough to keep me invested: there were clear motives, a lighthearted and humorous "seduction" phase, budding feelings, the thrill of nearly being discovered, the shattering moment of discovery, reconciliation, and finally, teaming up. It even threw in a sharp turn at the end to ramp up the pace for a completely satisfying conclusion. The film's color grading and cinematography also made an effort to build a fairly "cinematic" atmosphere; the scenes didn't feel "low-budget" and showed a certain level of investment.

However, within these points of praise lie obvious flaws. What the film produced was a promising idea, a by-the-book plot progression, and polished scenes—but the one crucial element needed to make it a good film was invisible: connection. If making a film is like putting together a jigsaw puzzle, The Heart Killers had the frame and all the pieces, but somehow, the person assembling it couldn't make them fit. The edges of the pieces were overlapping, misaligned, and unable to touch. Some parts were missing, others were superfluous. The final result is a clunky, uneven picture. To be precise, this picture lacks smoothness. The first time I noticed this was after finishing an episode and feeling no compulsion to watch the next (perhaps this would be less apparent if I watched it weekly, but when binged, this flaw becomes glaring). The plot points lack the glue to connect everything, including the viewer, to the film. The very structure, which clearly divides the narrative between two couples, makes the composition feel disjointed, dry, and disconnected. This lack of connection doesn't just exist within the film itself but also creates an emotional disconnect between the film and the viewer (not to mention that the interactions between characters sometimes feel lacking).

And in a film this "patchwork," the acting becomes a critical element to discuss. This time, First and Khaotung delivered solid performances. Perhaps thanks in part to a more fluid and fitting script, the loveline between their characters, Bison and Kant, felt more genuine, mature, and logical to me. From their initial impressions of each other to Bison falling into the trap and pulling the heart-killer Kant down with him, to the truth being revealed, Bison's desire for revenge (for hatred is a sign of lingering love), and Kant's own confirmation of his feelings (though the psychological development here felt a bit abrupt—resolved after a single conversation?), they reconcile and become an official couple. This arc was a relatively peaceful current, with only occasional moments meant to emphasize Bison's dangerous, unhinged nature. Otherwise, their relationship was low on drama. Even the BDSM element (beyond just adding aesthetic flair) was cleverly implemented to create a high-stakes payoff during the climax (the penguin), which made me appreciate its purpose and prevented it from feeling like mere fanservice or cringe. Yet, for some reason, First and Khaotung's chemistry this time around didn't feel explosive. They fulfilled their roles, and their relationship was stable, but it was missing that certain spark. Was it the maturity of the relationship? Or was this dynamic simply not to my taste?

Next, we must discuss Fadel and Style's storyline. In contrast to Kant and Bison, their relationship felt clunky, awkward, and far more turbulent. First, I must acknowledge the improvement in Joong and Dunk's acting (mostly Joong—the last film I saw him in was *Star in My Mind*, so his progress felt significant. Dunk also tried, but generally still came across as stiff and not fully immersed in his role). But for whatever reason, the romantic development between their characters felt forced. Fadel's psychological shift was present but difficult to trace, making him feel out of character at times. It was hard for me to pinpoint the specific "sparkle" moment between Fadel and Style; their relationship remained ambiguous and hard to define. I understood they were in love, but my own feelings were conflicted, which I found odd: at times it was cheesy, at others dry, sometimes logical, sometimes nonsensical. This, in turn, made me question their performance. What if Kant and Bison's storyline was smoother simply because the actors carried it?

Beyond these contradictions, the film suffers from several plot holes and logical inconsistencies. Why would the police send a tattoo artist with a prior theft conviction to investigate a dangerous assassin syndicate (a point many have raised)? Why would Kant lure his friend, Style, into a perilous plan involving contact with a killer? Why would the villainess behind it all murder an entire family just to adopt the child and train him as her assassin—why not just adopt an orphan? Why were there so few people involved in such critical missions (like the revenge plot in the final episode)? The scene where Fadel and Style meet the two uncles on the road was also very contrived (it existed only to resolve their conflict and set up the iconic bathtub scene). In short, it felt like the filmmakers came up with certain scenes first and then tried to build supporting details around them to justify their existence. These elements became mere tools to get to the "important" scenes they wanted, without investing equal effort into every part of the story. This turns certain details and characters into disposable plot devices, easily forgotten, and contributes to the lack of cohesion in the overall picture. This focus on specific puzzle pieces also obscures the ultimate meaning. The film's messages—letting go of the past, looking to the future, violence is not the solution, learn to love yourself and let yourself be loved—are mostly delivered through unnatural-sounding philosophical lines and are not clearly woven throughout the narrative. It all becomes incomprehensible when, after getting out of prison, Fadel and Bison—with Style, Kant, and their families watching—choose to kill Lily.

In conclusion, The Heart Killers has potential and many opportunities to stand out, but its filmmaking approach is clichéd and unpolished. This results in a journey that is bumpy, uneven, and ultimately not smooth or easy enough to swallow for my taste.

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A Strong Start Lost in Loops

Mobius kicks off with a bang, told from the ML’s perspective as he navigates a time loop and prevents a bank heist. The opening does a great job of explaining how the loops work: there are only 5 in total, with the first 4 remembered solely by the ML as alternate realities, while the 5th becomes the “true” reality. Importantly, he has no control over which day will loop, adding an unpredictable edge to the story.

After the strong setup, the second case begins, and the next two episodes shift focus toward introducing new characters. It soon becomes clear that the entire series is built around this second case, with each loop stretching across 2–3 episodes. As the plot progresses, the ML gradually discovers that he isn’t the only time looper, learns what causes the loops, and uncovers the side effects that come with them.

Unfortunately, the main villain’s arc feels predictable, and the middle episodes drag on without much payoff. In fact, if you watch just the first three episodes and then skip ahead to the last three, you’ll get the gist of the entire series without missing much.

The villain delivers a performance that’s chilling at times, giving the show a bit of edge even when the story drags. Bai Jingting’s acting is decent but nothing remarkable, while the rest of the cast is largely forgettable and doesn’t leave much of an impression.

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Surprising take on cases

The show follows a top-tier college graduate who joins a prestigious law firm as an intern under a cold, demanding boss. Over time, she gains maturity and experience through the cases she handles.

The first 4 episodes set the tone well, with each focusing on a new case. Episodes 3 and 4 stand out as the peak of the series—the writing and tension are at their strongest there. Unfortunately, the later cases never quite reach the same level. The mentor–mentee relationship between the ML and FL starts off rocky but gradually evolves into mutual respect and friendship. Their chemistry is natural and well-written, but the last two episodes derail things with an unnecessary “will-they-or-won’t-they” romantic subplot, which feels like a wasted opportunity.

On the case side, the writers deserve credit for attempting to explore complex legal issues and the necessity of law in society. However, they often leave resolutions feeling incomplete, as if they couldn’t commit to bold closures or feared pushing boundaries that might upset local authorities. The corruption arcs and “villain among villains” twists are particularly underwhelming—I found myself skipping through those parts.

Overall, I enjoyed the show more than I expected, especially going in with zero expectations. It’s a fun one-time watch for anyone seeking a semi-serious legal drama. Just don’t expect deep courtroom realism or airtight lawyer logic—the show leans more on character dynamics than legal accuracy.

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Intriguing Great Acting

I will watch anything with Ren Lialun but finding out he dies horribly and in pain has put me off this series - I cannot sit through forty-nine episodes only to see him die.

This is the shortest review I have ever written - there really isn’t anything else to say. However, as there must be a minimum of 300 characters, I will need to add more.

From the beginning, I did not like Miyamoto Cangye who was overshadowed by, and seemed jealous of Ye Chong.

The story line was good, although it was confusing in the beginning of episode one. If this was based on a true story, then the ML dying I could understand, but a fictional one? No.

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Rawness at its peak

I didn't watch this series first because I was so skeptical about it as less people were watching it, but one morning I found myself watcing it. From the reels and shorts that I watched first I was like nah, I don't like the settings and the background but the series turned out to be good.

Firstly it was raw and the tension was there and it was the right amount for both couples and I liked the way of communication the second couple had, it was poetic and liberating and the way both of them would unfold for each other emotionally was beatiful.

I understand that many people may hate this because of the political setting but despite the setting I think we should focus more on the characters the way they evolved and their ways of understanding each other despite their differences in their jobs and backgrounds.

That said, I would recommend watching this, at least give the first episodes a chance and you wil be suprised because the chemistry here is explosive.

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From Hilarious Moments to Heartfelt Goodbyes: A Show I'll Miss

I started watching this show for Ouyang Didi, drawn to her personality in Wonderland Season 5, and Liu Yuning, one of my favorite actors and singers. But the moment I watched the first episode, I realized this wasn’t just a regular variety show.

There were no “hidden” or shy members hanging back—everyone fully participated. Remarkably, there was no sense of seniority or superiority, even among the veteran actors. Despite their experience and age, the veterans blended seamlessly with the rest of the cast. I had initially worried that they might intimidate the other members, but they were genuinely hilarious and perfectly balanced within the group. Whoever handled casting truly did an exceptional job.

They were so funny that I found myself laughing so hard I got yelled at for laughing too loudly! x.x The games were an absolute joy to watch, and I smiled and laughed nonstop at their jokes and funny moments. When all of them broke out of their shells and the awkwardness between them disappeared, it was the highlight for me. We got to see the best version of themselves—comfortable, relaxed, and having fun. Despite the age gap between the oldest and youngest members, it genuinely felt like a group of college students enjoying an unforgettable trip together.

The chemistry among Gong Jun, Liu Yuning, Chen Xing Xu, Wang Yu Wen, Li Nai Wen, Sun Hong Lei, Chen He, Ouyang Didi, and the two amazing guests, Jolin Jin and Lin Yi, was phenomenal. Every week, I found myself looking forward to Sunday and Monday with immense anticipation. Watching an episode became the highlight of my week, making every challenging workday completely worth it.

When the last two episodes were released, I deliberately saved the final one for last. I was genuinely nervous about finishing the show and saying goodbye to a cast I had grown so attached to. I hope to see them again for Season 2, hopefully with the same cast!

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