Sword in hand, righteous in heart. 手中握剑, 心中有义.

It was a windy and snowy day. Lei Wujie, a young swordsman wanders into a remote snow-capped inn. Xiao Se, the richly garbed innkeeper is set upon by bandits. The valiant Wujie intervenes and a fiery battle ensues. Appalled by the destruction, Xiao Se travels with Wujie to Xueyue City to collect usurious compensation. Along the way, they are caught in a vicious multi party melee over a mysterious golden coffin. They are swept out of harm's way by Wuxin, a powerful and enigmatic unordained monk. Thus begins the adventures of a loan shark innkeeper, an intrepid airhead and an irreverent monk. On their journey, they make as many deadly enemies as they do lifelong friends. Sword in hand, righteous in heart 手中握剑, 心中有义, the young friends set out on a quest for justice and their vision of jianghu or the martial world. In jianghu there is no absolute right or wrong, just an individual sense of morality and righteousness; the higher values that each swordsman is willing to give their life to protect.

This addictive, high fantasy wuxia captures the spirit of rivers and lakes and the thirst of the wanderer to see where the skies end. The hilarious banter and unlimited friendship between the trio and their ever growing circle is immersive and exhilarating. I love that despite his superpowers, Wuxin needs Xiao Se to bankroll their travels and Lei Wujie has no sense of direction and gets Xiao Se lost all the time. Xiao Se (萧瑟; desolate) is a lonely and guarded character with a subtle air of loss and disappointment cloaked in sarcasm and arrogance. From the first instance he shares a curious understanding with Wuxin, another itinerant character with a cryptic past. They are both brilliant, complex and somewhat broken characters seeking answers and redress. Though younger in years, Wuxin is a wise, almost omniscient old soul, who is more at peace with his past than Xiao Se is. They find solace in Lei Wujie's simplistic, pure hearted idealism; his fearless youthful optimism and sense of invincibility. They are the core that attracts other great talents such as the redoubtable eldest martial brother Tang Lian, the strategic Ye Ruoyi, the divine healer Hua Jin and the sticky as fly paper Sikong Qianluo.

There is a lot to unpack in this story, beginning with the abundance of flamboyant and formidable jianghu characters. My personal favorite is Baili Dongjun, lush brewmaster and first city lord of Xueyue City. The prequel 少年白马醉春风 The Young Brewmaster's Adventure chronicles the youthful adventures of the colorful older generation of martial heroes. This explains the richly defined jianghu universe of legendary heroes and weapons and the fully realised characters with deep relationships and substantive backstories. Many surrounding characters are heroes of their own sub-plots that unfold alongside without seeming to digress from the main storyline. Loyalties notwithstanding, all five sword deities are moving and fascinating characters that make me want to know how their journeys begin. This drama is said to stay true to the original and the well loved manhua. This is likely due to the involvement of the novelist Zhou Munan (周木楠), whose prose is witty and simple, yet profoundly zen.

As the heroes converge on the capital, Tianqi City, the plot takes a political turn. The emperor is ailing and they are caught up in the battle for the throne between Prince Bai and Prince Chi. They race against time to unravel the old conspiracy that led to the downfall of Lord Langya many years ago. Fans of Langya List 琅琊榜 or Nirvana in Fire will recognise immediately that beyond the ranking of heroes, large chunks of this story pays homage to that masterpiece. The plot climaxes in an epic and heartbreaking denouement that reveals all the hard truths. While some villains could be better fleshed out and get off too lightly, the ending ties up all loose ends. Nirvana in Fire left me inconsolable but I am uplifted by how this version of the age-old battle for the throne story ends. Heaven's will does not always prevail over man's will; we have a choice in whether to take the lonely road or the one that is filled with friends.

It is obvious from the production values that the budget is modest at best but money is spent in all the right places. The styling of each characters is distinct and eye-catching and their weapons are badass. The fight scenes are intense, well choreographed, fast moving and exciting; the hallmark of a good wuxia. Each sect and swordsman have signature battle techniques and advantages that are well conceived and awe inspiring.

The acting is impressive and anchored by charismatic portrayals and compelling chemistry between Liu Xueyi's Wuxin and Li Hongyi's Xiao Se. Both characters are by far the fan favorites. Many characters were so well portrayed they deliver lingering impact beyond their screen time. The only notable exception is Sikong Qianluo, a cartoon character that has zero chemistry with Xiao Se. Someone must have sent them the wrong script because they seem to be acting out the role of the lovesick fangirl accosting a celebrity actor. But romance is peripheral in this saga and there are more riveting ones such as Li Hanyi and Zhao Yuzhen's story as well as that of Tang Lian and Fairy Rui.

This is a must watch wuxia, one that delivers all the best loved aspects of the genre. It has small flaws but I enjoyed it too much to want to pick at them. I will just leave it at that it would have been nice to see more of Wuxin and while the final fight scene was meaningful and satisfying, there were a few other clashes I would have loved to see. All considered, I am happy to rate this 9.0/10.0 and crown it the best wuxia of 2022.

PS - Don't forget to watch the 5 minute special ending episode.

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I always feel like somebody's watching me.

I struggle to contain my anger at the monumental disappointment this drama turned into because it could have been a huge hit. I am so irritated I need to get it off my chest with a spoiler heavy review, something I really dislike doing. I think I figured out the confusing ending that I explain below. Do not read this if you don't want to be spoiled.

The story is a very simple, poignant enchanted fairy tale. Fu Jiuyun (Zheng Yecheng) is an immortal who falls for a mortal with an indomitable spirit in a magical painting his shifu left him and stalks her across ten incarnations over a thousand years. In her incarnation as Yanyan, a Li princess, she is destined to marry her childhood sweetheart and live a happy life. Jiuyun cannot stay away from her and in the guise of a dissipated genius artist Gongziqi gifts her a magical painting of a peach blossom tree and a magical song that she performs for her mother's birthday celebration. Note that the painting and song are key in the ending interpretation. The dance is truly captivating and if nothing else, just watch that. At this point I was addicted and fully invested in both leads.

An ambitious neighboring prince makes a deal with demon forces, invades her kingdom, massacres her family and enslaves her people. A devastated Yanyan vows vengeance and embarks on a quest to obtain a magical lamp that can absorb the demon forces and free her people. She assumes the appearance of her maid Ah Man (note the name) and calls herself Qinchuan. This is where they replace the actress Jiang Yiyi with the more well known Zhao Lusi. First mistake - it was not just confusing throughout but I had to get over the first actress whom I liked and get invested in the female lead all over again. The switch worked at first because Lusi is a really funny actress and her antics with Jiuyun, Xiao Bai and Er Meng were entertaining. However, the couple's interactions fell short of the seamless transition from humor to intimacy that was so well done in Under the Power. As a result, Jiuyun initially comes across one of those oily old dudes that misbehaves with young girls. While their chemistry eventually "clicked", Lusi's initial indifference made Jiuyun's overtures seem unwelcome to the point of harassment.

Just when their romance takes off, the show separates them and shifts into the revenge plot. This is where Qinchuan becomes all bravado and no brain - she has no credible plan and has to be rescued multiple times. She works with Er Meng and Xiao Bai; Jiuyun only bails her out from afar. The show peaks too early with the take-down of most of the bad guys and then digresses further into the super boring second couple. I suggest skipping all of their scenes in the middle. They could have easily cut 6-10 episodes to avoid the fatal loss of momentum in the storytelling. Then Jiuyun decides to help Qinchuan fulfill her mission even though it means a certain end for him. He is the wick of the lamp that once lit, eventually burns out.

Once the tone shifts away from largely comedic, Lusi struggles to get into the moment in action and emotional scenes. She is not versatile and is mostly just excellent at comedy. Her performance was flat through most of the second part of the show and only saved by some of the steamier romantic scenes with Jiuyun. By then, I had enough and just wanted it to end. Zheng Yecheng's performance on the other hand was consistently stellar - he really carried the show. Apart from being smoking hot (I can watch him all day), his interpretation of the hard core romantic good guy that disguises himself as a world weary, cynical, indifferent and dissipated immortal was spot on. His eyes shine with unshed tears at all the right moments and as he protects Qin Chuan from the truth of what she asks of him.

The ending is confusing and to me it is quite sad in a Butterfly Lovers kind of way (major spoiler):

Qinchuan realizes that Jiuyun is not coming back ; even Meishan admits that his soul has scattered. She completes her ritual with the lamp - she had already bonded with it earlier on. She wakes up as child Yanyan who dreams an old man (her shifu?) tells her that she gets a fresh start. I think the lamp takes them all back in time for a do over. She grows up and intuitively makes way for Zichen to fall in love with Xuanzhu. Her maid is no longer Ah Man but a Xiao Cui. She has more sad dreams where Jiuyun tells her that she will soon forget him. As the time loop starts to replay her mother's birthday she forgets how to play the song Jiuyun/Gongziqi wrote for her and the pipa disappears into the painting. In this new life, Yanyan will marry Er Meng and their kingdoms will be at peace. She never becomes Qinchuan so eventually Qinchuan and Jiuyun's relationship also gets erased or never happens. Jiuyun snatches the last bits of her memory of Qinchuan and escapes into the magic painting with Qinchuan and the pipa. It is the only place where they can be together but they may be just shadows or memories of who they were. I initially thought she was sucked into the lamp where Jiuyun creates an alternative world for her but if that were the case, he wouldn't have to put her into the painting. This is where they should have used both actresses to make it more clear by leaving Yanyan behind while Qinchuan goes into the painting with Jiuyun. It makes me feel a bit better to imagine that Qinchuan and Jiuyun cultivate together in the painting and after thousands of years both become immortals that live happily ever after. The novel ending is different, more straightforward and much happier - essentially Jiuyun eventually reappears and they are together.

Despite the poor execution and confusing ending, it is still a beautiful fairy tale with some gorgeous scenes and amazing moments that is worth watching. Best be liberal with the fast forward button through the middle parts. My low rating reflects the poor execution that prevented this from being an unforgettable and addictive love story.

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True Lies

This must watch crime drama hooked me from the start and commanded my undivided attention till the end.  My review is going to be brief because for this drama, spoilers will vastly diminish your viewing experience so best steer clear of the threads until you are done.

Three children from broken families - Zhu Chao Yang (Rong Zishan), Yan Liang (Shi Pengyao) and Yue Pu (Wang Shengdi) accidentally record footage of a murder in progress. They bite off more than they can chew when they go toe to toe with the murderer in a deadly cat and mouse chess game that could lead to mutually assured destruction. This is brilliantly written and superbly acted, with dynamic relationships, complex emotions and mirror lead antagonists. The sophisticated and nuanced performances of all three child actors and notably Rong Zishan are impressive beyond words. They are surrounded by a veteran cast that deftly portrays realistic, empathetic characters with very human failings. This is a dark story about how social and familial pressure and occasionally just darn bad luck can make people do both deeply moving and terrifyingly chilling things. The suspense builds naturally as a result of gripping storytelling and acting and is not artificially induced by music.

As a mystery buff, I have loved the unreliable narrator style of storytelling since I read Agatha Christie's "The Murder of Roger Ackroyd". The kind of darkness of human nature explored in this drama also coincides with my other Christie favorite "Crooked House" so this drama checks all my boxes. However, the adaption of this type of narrative style to film is incredibly difficult and usually disappointing - the movie version of Ian McEwan's Atonement is a classic example. So I am just bowled over by how meticulously and insidiously well executed The Bad Kids is. Even if you watch this without blinking, you will inevitably miss many of the true lies and scratch your head as to when and where the lines between fact and fantasy get blurred. There is no shocking "Aha!" moment - indeed initially I was convinced with and unquestioning of my first impression of what happened. I fell for the fairy tale hook, line and sinker. And then insidiously, all the alternate possibilities started to creep up upon me and drew me into re-watching. I watched this two times and and parts of it more than that and yet the ambiguities and different possibilities persist. That is actually what is fascinating, thrilling, chilling and absolutely mind blowing about this experience. 

Of course there are some mild logic flaws but this is truly so well executed there is little to pick at without being petty. I can't praise this enough, it has to be the best crime/mystery I have watched as of June 2020. It can hold its own relative to the best in class of this genre not just in China but anywhere and everywhere. Two thumbs up!!!

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The saddest happy story.

This is a very simple, funny, and moving story. Twenty-five-year-old Qi Shuo is utterly devastated when his mother Qi Yue dies at an early age after a difficult life. He travels back in time to change her life. The teenage Qi Yue is just a somewhat lonely, happy-go-lucky young girl with no goals or ambitions. She hilariously accepts that she has an adult son and after some initial reluctance, happily goes along with his machinations without looking too deeply into his assertions. She is that kind of oddly naive, scratch-on-the-surface, go-along-get-along kind of person, which is why her life gets so messed up. Qi Shuo is determined to make her go on to university and marry Lu Xiao, a gifted physics student and more importantly, a good man.

The unconventional, comedic, and touching mother-son dynamics between a young man who cajoles, threatens, bullies, badgers and manipulates his teenage mother in line is the best thing about this drama. Qi Yandi and Liu Yitong's heartwarming chemistry and goofy humorous antics as they pursue Lu Xiao had me in stitches. This trio of young main actors really impressed me with their spontaneous and brilliant use of comedy to convey deep emotions. Arguably Lu Xiao is the less interesting role but Wu Difei hits all the right notes with his portrayal of a goofy, romantic and insanely hot nerd. The way his Lu Xiao silently sees everything and steps up to take the baton from Qi Shuo adds a resonating depth to this otherwise archetypal character. Qi Landi also compels as the effervescent Qi Yue who each time lives joyously in the moment, oblivious to any undercurrents until after the point of no return that leaves her shattered. But it is Liu Yitong's stunning portrayal of the quirky, intelligent, diabolical and selfless Qi Shuo, a young man-child that completely floors me. His Qi Shuo is a character that makes me want to laugh as hard as I want to weep. His impish, unadulterated joy as he basks in Qi Yue and Lu Xiao's happiness and affection with the barest sheen of moisture in his eyes is iconic. There is no justice in the drama world if this young actor doesn't go places.

This is a very entertaining and very funny drama that makes it easy for me to forgive its flaws from the choppy editing to some plot holes. It is not perfect and there are some digressions that including Qi Shuo's mini romance that are unnecessary. Even though unlike Qi Yue, I could see the inevitable ending speeding toward me like the white truck of doom, I was still shaken. Despite disconnected cuts that suggest the heavy hand of censorship towards the end, the final message remains intact - " The past is already gone, the future is not yet here. There's only one moment for you to live and that is the present moment" - Buddha.

This is far from a perfect drama but it is still a story that will stay with me for a long while. It is quite simply the saddest happy story about the absolute, unconditional love between a child and their parent. I rate this as a very heartwarming and funny 8.0/10.0.

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The sum of ordinary is great.

Wow. I did not expect to enjoy this drama so much. In fact I didn't expect to get past the first episode. But I just had to check it out for the spectacular cast. And I am well chuffed that I did. It is the most eloquent and engaging low concept drama made in years.

Wang Shouyi is chief of the chronically short staffed Bailihe People's Police station. With a 93.4pct community satisfaction rate, they rank 144 out of 163 in the district. These are not elite cops trying to solve major crimes. They are just ordinary cops that grapple with mundane, daily cases from petty crimes to heated community spats. The denizens of their community are a loud, colorful, chaotic, demanding, often ignorant, unreasonable and utterly exasperating lot. This is written authentically with a strong dose of humor and irony that garners big laughs from small things such as an absurdly moving case of diaper theft. It is an intricate, intimate account of the broad array of everyday social pressures experienced by Chinese society. This brilliant, unglamorous drama that feels like a shared coming-of-age experience traverses the bleakest, most flawed to the greatest, most compassionate aspects of humanity.

Wang Jingchun's canny Chief Wang is the star of the show. He badgers his director into assigning four new recruits with diverse abilities and backgrounds to his station. With wisdom and perspicacity, he assigns an experienced mentor to each of the bright eyed and bushy tailed young recruits. This excess of greenness and enthusiasm is met with a mixture of annoyance and trepidation by the battle hardened veterans. Prodded along wisely past hiccups by Chief Wang, adjustments are needed on both sides to make these seemingly random pairings work out. Over time, their shared trials and triumphs end up being a catalyst for character growth all around.

Xia Jie's father, the former well loved chief of Bailihe station perished in the line of duty ten years ago. Her mentor Cheng Hao was mentored by her father and like Xia Jie, seeks closure from what happened so long ago. She is treated like a protected species by her father's comrades and her mom hounds the station to keep her out of harm's way. My blood boils every time her mom goes on a rampage. But as much as I am frustrated and angry at her, I can't help but be moved by her sheer terror and deep sorrow, at how time did not ameliorate the shock and intensity of her loss. I really applaud Bai Lu for her true to life portrayal of Xia Jie's struggle to make peace with the past, find meaning in her role at the station and built life bonds with her peers. I also love that the drama only hints of awareness that could blossom into romance down the road but keeps the primary focus on the camaraderie and burgeoning mutual understanding that turns the four young friends into found family.

Liu Dawei is the other super solid characterisation of a young cop with rough edges that offers the barest glimpses of another Chief Wang in the making several decades down the road. On paper, he is the least promising recruit, a trouble maker at the bottom of his enrolment class. But he has high EQ and it is as much his kind nature as his inherent nosiness that gets him embroiled in everyone's business. His mentor Chen Xinsheng is initially very irritated to be saddled with this brash and over talkative young man with an instinct to rush headlong into danger. Their relationship and how it evolves on multiple fronts and interlocks with the other characters is the best written and portrayed dynamic in the drama. This is not at all surprising that magic happens when you put together immersive and versatile actors of Zhang Ruoyun and Ning Li's caliber.

Xu Kaicheng also delivers a very respectable performance as the book smart Yang Shu, the perfect foil for the street smart Liu Dawei. His struggles with Cao Jianjun his ethically flexible mentor with hero complex, is forced at some emotionally complex moments but overall comes off well. He is surprisingly good at comedy - I laughed the hardest when he is pimped out by the station as an undercover gigolo. I also much enjoyed the stingy Zhao Jiwei's great relish and talent for self criticism and his eye for detail in the cracking of the diaper theft case. This memorable ensemble cast would not be as well rounded out or grounded in reality without Zhao Jiwei and his mentor Zhang Zhijie's focus on how it is the small things that make the biggest difference.

This slice of life drama is far from a fairytale - It doesn't try to suggest that life is fair or bad things don't happen to good people. It resonates because it is simply about coping with life's daily challenges. The outcomes are not always just and success and failure do not necessarily correlated with good or right decisions. All four of these young recruits come with baggage and are mentored by battle scarred veterans with their own issues. Their flaws and personal traumas enable them to process and respond to situations with compassion and compromise and thus not always to the full letter of the law. They may just be ordinary cops trying to be their best selves but together they prove that the sum of ordinary is great.

It is normal for these types of slice of life character dramas to be light on plot but the final arcs do dial up the complexity and intensity of the cases as the young recruits gain experience. While the drama does end at a climax, I would have preferred that they ended this on the penultimate gaslighting/cyber crime case. This drama was never about heroes so I am not sure we need to see history repeat itself with another Xia Jie in the making ten years down the road. It isn't a bad final arc at all it just strikes a bit of an odd note with the rest of the drama. That does not change that this is an immensely enjoyable story that made me reflect a bit, laugh a lot and tear up occasionally. I am rating it my first 9.0 for 2022.

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You can't bring a sword to a gun fight.

Like many wuxia fans, I consider Jin Yong / Gum Yoong (Cantonese) the greatest wuxia writer of all time. Side Story of Fox Volant 飛狐外傳 is one of his early works. It was written shortly after The Flying Fox of Snowy Mountain 雪山飞狐, which is both a prequel and a sequel. Unlike many versions that combine both novels, Side Story of Fox Volant is adapted as a stand-alone story. Despite some meaningful changes, this adaptation captures the essence of the original story, the spirit of martial heroes or daxia/大侠 and the vagaries of jianghu/江湖.

The drama is action packed with fast paced, intense, starkly violent and brilliantly choreographed combat sequences that will satisfy any hard core wuxia buff. Slow motion is used sparingly for maximum brutal impact. No one has magic qigong or special powers. The main fighters - Hu Yidao, Miao Renfeng, Hu Fei and Tian Guinong are swordsman with distinct combat styles and battle advantages. When they clash it is very muscular and lethally up close. The nimble Yuan Ziyi's weapon of choice is a whip, which minimizes close encounters to compensate for the physical disadvantage of being a woman. With each episode I think the action has to be as good as it gets but to my surprise and delight, the production keeps delivering into the final wulin arc. The wulin arc in terms of both plot design and action is the best I have seen. While Miao Renfeng and Hu Fei's martial teamwork in episode 22 may be the best of the best, the ending battle encounters are inventive, exhilarating and savagely satisfying. The action scenes are this drama's strongest point and are worthy of multiple thrilling re-watches.

I am not a fan of the trend of whitewashing characters, especially Jin Yong's characters. Jin Yong is the master of multi-faceted characters. His heroes are flawed. His villains have redeeming features. Nobody is perfect in the Jin Yong universe. So when writers have the audacity to tweak his characters, they usually muck it up. When it comes to earlier, less refined works like this, I don't mind so much as there is room for improvement. While this version does a good job with Yuan Ziyi, Hu Fei is disappointingly adapted beyond recognition. The attempt to make Tian Guinong and Nan Lan empathetic is nauseating and boring. This is one of the four don'ts Jin Yong specifically warned against in the preface to the latest edition of the novel.

This is one of the author's darker, more cynical works. Most of the characters love too well but not wisely - Hu Fei, Miao Renfeng, Cheng Lingsu, Ma Chunhua, and Nan Lan. The heart wants what the heart wants, consequences be damned. Nan Lan and Ma Chunhua are selfish and don't care who they hurt in the process while Cheng Lingsu, Hu Fei and Miao Renfeng are noble idiots. They all pay a terrible price for following their hearts. Yuan Ziyi is the only exception; she dares only to hate but not to love.

Yuan Ziyi is one of Jin Yong's most under appreciated and saddest heroines. She is the only heroine who is not an extension of the hero; she is on her own independent path to salvation. Born from an act of violence, she is consumed by self loathing; doomed by unkind karma to seek justice and then live a life of atonement for the sins of her father. In the context of her beliefs, if she breaks her solemn oath she will only prolong her bad karma. In the novel, she acts out and does very controversial things. These actions drown out her piteous backstory and make her a widely disliked character. This adaptation deftly writes out those events, enabling us to see her in a more empathetic light. Her shifu should have been left offscreen as her pressure obscures Ziyi's own resolve to keep her vow. I always feel terribly sorry for Ziyi; she never had free will. She is alive but she does not live. I am not sure that chanting sutras into oblivion is a better fate than death, which is final liberation from all suffering. I don't love Liang Jie's acting but her Ziyi impressed me. The slightest shadow of regret in her eyes in a stone cold face and her ability to convey so much beyond her words moved me to tears several times.

Even though Cheng Lingsu is a clever character, I never found her relatable because her entire reason for existence is Hu Fei. But to my surprise, I like Xing Fei's warm and personable rendition of Lingsu. Her Lingsu is devoted to Hu Fei without coming across as a doormat and she gets him out of many tight spots with her quick thinking. The complex entanglement between the three of them is well portrayed. Hu Fei's chemistry with Ziyi is tangibly different from his dynamics with Lingsu, making it immediately obvious who he loves and who loves him. He is much more of one heart with Ziyi and they instinctively act in unison with little need for communication or explanation. Whereas Lingsu is constantly reining Hu Fei in and giving him instructions that are at odds with his natural instincts. When he can't help disobeying, he appears reckless and unintelligent. This character flaw arguably contributes to what happens to Lingsu at the end. There are better ways to show that Hu Fei is less in sync with Lingsu without throwing his character under the bus.

Lin Yushen's Miao Renfeng steals the show in this drama. Criticism that his Miao Renfeng is too much like his Yang Xiao in Heaven Sword is fair but he is so cool and he pulls off the character's inner conflicts and emotions so well that I don't mind. This performance anchors the drama for he is the martial hero of this story, His code of honor demands that he does the right thing even when it is the wrong thing for himself and those he loves. I wouldn't object if they call this the Legend of Miao Renfeng because of this compelling portrayal of what it means to be a daxia. Even though he is movingly handsome when he is suffering, the story wallows in Miao Renfeng's betrayal and loss for too long. The tawdry Nan Lan/Tian Guinong arc is a boring extended digression. The opportunity missed is that Hu Fei and Miao Renfeng do not get enough scenes together. They have remarkable combined chemistry and their joint fight scene is the one of the drama's best.

As for the titular character Hu Fei 胡斐, (which is a homonym for fox volant or flying fox), I always loved his character design. Far from being infallible, he is a work in progress - young and smart with tons of potential but a bit hot headed and too idealistic. He is the people's hero; the guy who demands justice for the underdog regardless of the cost to himself. His best traits, this strong sense of righteousneous and his willingness to fight the unfair fight is dumbed down to recklessness and even stupidity in this adaptation. He is written off as a bull in the China shop whose hot headedness could wreck the Red Flower Society's mission to save wulin. He doesn't accomplish much on his own and without Ziyi and Lingsu, he'd have died many times. It does not help that despite his phenomenal acting, Qin Junjie looks a bit too mature to play an 18 year old.

Despite good pacing, the plot digresses into too many dull sub-plots and arcs. This is an issue with the original work, which this adaptation already cleans up considerably. The Nan Lan and Poison Valley disciple arcs are the least interesting and Hu Fei deserves to be less peripheral in the reveal of the conspiracy behind Hu Yidao's death. The wulin arc brings the story to a climax, one that exceeds that of the novel on some fronts but is a let down in other aspects. Good characters die in wuxias, it is par for the course. But their deaths must be worthy and not gratuitous. What I dislike most about the ending is that it unnecessarily sacrifices a knight errant after they capture the king. It is a futile sacrifice because you can't bring a sword to a gun fight. Sadly, the advent of guns heralds the demise of jianghu and martial heroes.

This is a good adaptation overall that is limited by original works that lack the finesse of Jin Yong's subsequent masterpieces. The novel is already too dark and unbalanced. It is not necessary to outdo Jin Yong in how incredibly cruel he is to Hu Fei. Despite its darkness, the novel still ends on a note of optimism because Hu Fei's journey continues. But in the drama Hu Fei seems to be left to live largely in the past with two women, one too old and too icky for him and another so young it would be too icky. Thus to me this is at best an 8.0 in terms of storytelling that I bump up to an 8.5 for the not to be missed fight scenes. Nonetheless, this wuxia takes you on a stirring and addictive journey that is well worth it - as long as you do not need a Disney ending.

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I kissed a girl just to try it.

This crisp, cleverly written coming-of-age movie with a bit of a twist, explores the usual themes of first love, rejection, self-discovery, and accepting your family for who they really are. It is carried by persuasive and heartfelt performances by both Wu Lei and Zhang Zifeng whose restrained, nuanced portrayals convey the confusion of awakening youth and the utter depth of despair of first love and rejection. In this genre, young actors tend to lose my empathy by over-dramatizing and overacting in such angsty moments but these two truly moved me by not doing so. I also appreciate the well-timed light humor that diffuses tense moments and captures the ultimate resilience and optimism of youth.

Zheng Yuxing and Chen Chen couldn't be more different - he is a bit of a rebel, the cool kid with a bit of internet following while she is a good student with bright prospects who unexpectedly flunks out. Thrown together by an outrageous lie, a mutual understanding that becomes a touching, unexpected relationship blossom between them. They embark on a most excellent adventure together as Chen Chen convinces Yuxing he must confront Ming, who is breaking his heart. Instead, they end up facing their feelings for each other and what it means for each of them culminates in an "I kissed a girl just to try it" kiss that says all that needs to be said. The chemistry between both leads is incredible and is exactly as it should be. I can't praise enough how these two young actors effortlessly show us rather than tell us the complex multitude of emotions they are experiencing.

Unfortunately for Yuxing and Chen Chen, there are too heavy consequences for their actions. Once again we see that young people are so much better people and I am left hoping these two stay that way on their long journey ahead. The ending is realistic with the right touch of wistfulness and hope.

So now is the time to confess that I only watched this because I wanted to see my favorite Wu Lei of unforgettable Fei Liu fame's first screen kiss. Needless to say, I got much more than I bargained for. While this movie has received backlash for not being upfront about what it is about, I think that criticism reflects a lack of understanding that that is the whole point. Who is Ming? That is the most irrelevant detail because it changes nothing. Yuxing's emotions, Chen Chen's emotions, our emotions, and our experiences are the same regardless of certain aspects of our identity.

The premise of this movie isn't the most original but the way it communicates its simple message is. And the acting deserves a standing ovation. This is an 8.5 for me with a strong recommendation to watch.

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May the baddest man win.

This is the drama adaptation of a popular female harem web novel "Kun Ning" (坤宁) by Shi Jing (时镜) with an interesting approach; readers voted on who the female protagonist ends up with. It is a dark and gripping tale of intrigue, conceit, betrayal, revenge and redemption. Jiang Xuening is the alluring but resentful, selfish and ambitious daughter of a court official who ruthlessly parleys her charm and cunning into becoming empress. Her schemes lead to the downfall of the royal family and the ruin of both her childhood sweetheart Yan Lin and the erstwhile incorruptible Zhang Zhe. Desperate and full of regret, she barters her life with the blackbellied Xie Wei to save Zhang Zhe. She finds herself reborn as her 18-year old self with a chance for a do-over. She vows to do better this time, to steer clear of the bastions of power and the malevolent Xie Wei. She tries to use her preternatural knowledge to save Yan Lin and Zhang Zhe from their sad fortune. As she embarks on a journey of atonement, she discovers there is an element of destiny that pulls her towards the center of power. This time, with greater wisdom and insight, she uncovers hidden secrets and unexpected allies that help her better grasp the intrigue unfolding around her. Is that enough to change their destinies or are they doomed to the same tragic fate?

This story explores the causal links between the past, the present and the future.; the idea that if only knowing what we know now, we can go back and do what we should have, could have but did not do. It begins with a Ning'er who is already a fully realised character that is not yet revealed; a charming beauty who had the world at her feet and lived a wicked and self-indulgent life. Even though Ning'er's goals change, her innate nature stays the same. The past is told in flashbacks just before the moment plays out again in the present. This works in terms of the more detailed plot points but dilutes the character and relationship stories. Thus while Bai Lu pulls off her role well overall, the piecemeal telling of the backstory doesn't capture the depth of Ning'er's regret or the layers in her relationships with some of the main characters.

Where the storytelling falls short is in Zhang Zhe's arc. To me, it is the most pivotal love story in the drama. He was the best of men, a morally upright official who betrayed his principles for her. And she was a selfish person who was so moved she became selfless for him. Their emotions were so powerful it pushed them both outside of themselves towards a mutually destructive outcome. Sadly unlike the novel, their do-over relationship is shallow and barely scratches the surface of the unfinished affinity between them. It's a pity that instead sticking to the novel which better fleshes out this arc they wasted a bunch of time on the nasty Consort Shu's boring and tropey petty antics. Wang Xingyue delivers such an empathetic portrayal of Zhang Zhe that I was disappointed his character was short changed by the narrative.

As for Xie Wei, I have a weakness for unapologetic, unspeakably damaged, vengeful and morally ambiguous characters like this. Zhang Linghe delivers an intense portrayal of this dark and complex role. Although he overdoes some of the snarls and sneers, his performance overall deserves praise and is his strongest to date. Every time the full fury of Xie Wei's fiery death glare flashes across the screen, I go weak at the knees and my brain turns to mush. Yups, I am definitely a "may the baddest man win" kind of girl. Xie Wei is far from the best man but they are well matched, morally flexible ends justify means kind of people. Their romance arc only takes off later on but it is worth the wait. A mutual understanding develops gradually between them before things get really hot and steamy. When it does, their audacious chemistry explodes in a way that sets a new bar for passionate kiss scenes going forward.

Even though the political conspiracy is not that complicated, it is well told and riveting. Xie Wei's origins are a bit too obvious early on but I enjoyed how Ning'er and Xie Wei work together to uncover the conspiracy. They are both diabolical in how they manipulate the different factions around like chess pieces. The villains are no pushovers but they are overshadowed by the force of nature that is Xie Wei and Ningér's combined dark ruthlessness. This is not an action heavy drama but all of the fight scenes were well shot. I particularly enjoyed the vicious ferocity and absolute glee with which Yan Lin cuts through a melee. I hope this fight maniac Zhou Junwei's small indiscretion does not stand in the way of future roles in action intensive wuxias. Outside of one unnecessary and infuriatingly gratuitous death, the drama ends on a strong note after a bloody, intense and thrilling showdown.

While I enjoyed this drama immensely, the storytelling left me vaguely dissatisfied; as if I only watched the cliff note version of a story that had a lot more depth, nuance and substance than the drama managed to convey. This director is not great at knowing which plot arcs to give more weight to and has an unfortunate predilection for over-bright spot lights and spinning cameras. The production values are mediocre at best. This is a story that had so much potential it deserved to be in the hands of a better director and a better budget. I still rate this a highly reccomended 8.5/10.0.

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The meek shall inherit the earth.

This is a very funny, romantic romp through the antics of an unlikely couple in a marriage of convenience that turns into the real thing. Xu Qingjia is a talented young scholar who jilts a highborn lady to fulfil an old promise to marry Hu Jiao, a butcher's daughter. At surface, they could not be more different - he is book smart, humble, meek and measured in his actions while she is street smart, commercial, direct impulsive and a total gangster when provoked. As Qingjia hilariously navigates the challenges of his new assignment as a backwater county magistrate, they discover their differences are complementary and where it counts, their core values are the same.

The surrounding plot of this drama is yet another age old corruption case involving the previous generation with some decent twists. What's different about it is that it unravels slowly over the daily lives and trials of a group of humble merchants and working level government officials. The characters are colourful, often comical and avoid the most cringeworthy familial and love rival archetypes. The romances unfold at a realistic pace and have an honest, down to earth appeal about them. No one character is super smart, infallible or is the main driver of the plot. They all have strengths and weaknesses that make them at times succeed and other times fail. But together it is immensely satisfying to see their combined abilities enable them to prevail over the petty neighbourhood bullies, business rivals and corrupt politicians and win the day with their sincerity, persistence and hard work - the meek shall inherit the earth. Best of all, the ensemble cast is fun, witty and can be very, very funny without being slapstick.

I wouldn't say that the actors are among the best out there (its so great to see Tong Meng Shi/Uncle Wu Zhu from JOL as ML) but everyone delivers very solid performances and the cast somehow just "clicks". I really love how Tong Meng Shi manages to convey the henpecked husband with immense inner courage. Although not a huge Baby Zhang fan, I think she also managed to play the husband training shrew while retaining her femininity. I really enjoyed Gao Zheng and Yu Niang's story as well and I think the casting of Hu Jiao's bovine butcher brother is simply brilliant I laugh just looking at him!

This lively, riotously humorous watch that conveys some grains of wisdom about honour, friendship, love and marriage is a fantastic way to pass some time. I rate it a very enjoyable 7.5/10.

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Cat's paw.

The disturbingly elegant and noble Lan Jue, courtesy name Peizhi, is the picture of a rising young Vice Minister of Rites. Beneath his urbane facade, he conceals a burning purpose to clear his father's name in a two-decade-old treason case. In this quest, he is quite bendable with regard to the means that justify his ends. He is stymied at each turn by Zhang Ping, an impecunious scholar, noodle maker, and truth seeker. Zhang Ping is convinced Peizhi is a villain and is determined to bust him. Peizhi is cynically amused by Zhang Ping's naive righteousness and impressed with his deductive talent. He means to make use of him if he can and if not, dispose of him. Watching Zhang Ping go from being Peizhi's cat's paw to someone he raises kittens with is the best part of this drama for me.

This high-production-value drama conjures a sinister, suspenseful aura that permeates the stylish, lavish existence of the Dayong elite. Everything from the set design to that ridiculously mysterious and beautiful opening dance, to Peizhi's floaty diaphanous costumes, to Peizhi's long, sensuous unbound hair reflects, elegance, refinement, and impeccable taste... aside from Song Weilong who obviously drew the short style straw starting with the rigid wig and the way his outfits look like they were slept in. It is no wonder Peizhi's old flame is less than impressed with the goofy, big-boned, toothy peasant with a big nose to boot that Peizhi traded down to. It does require suspension of disbelief considering how utterly appealing both the ardently devoted Mowen and frostily sophisticated Shulin are. The only explanation is Peizhi must be an eyelash man.

This is a bit unusual for the mystery genre in that it is far more of a character-driven story than it is plot-driven. As far as the cases go, they are well executed and unfold more as procedurals. Outside of certain aspects of the main conspiracy, the viewer is not given a fair chance to solve any of the cases. There are plot design shortcuts such as resorting to the water illusion trick to bridge memory gaps and uncover long-lost evidence and there are logic holes, such as crime scenes staying undisturbed for too long. While the over-arching conspiracy is well conceived with decent twists, it is not that original. The villains reveal themselves early on so it is also anti-climatic. But for once I don't really mind because Jing Boran's Peizhi is just too bloody distracting. How can a man look so damn indecent, almost naked with just his hair unbound? And my mouth goes dry at the subtle multi-partied flirtations - those deep searching and revealing looks these gorgeous men keep exchanging with one another. It is such a big upgrade from the typical stunned dead duck stare of conventional romances. I freely admit my brain went on strike so often I am grateful the solutions were just spoon-fed to me.

This drama is superbly well executed and gets all the important things right. Any shortfalls in the plot are made up for in excellent character design and heartfelt, immersive performances by the cast. Jing Boran and Wang Duo deliver standout performances but even Song Weilong, whose acting is still a work in progress, is so well cast he just somehow fits this Zhang Ping character. It is a shame that his scenes with Jing Boran obviously suffered heavy cuts. After all of the build-up, I was really looking forward to seeing Zhang Ping and Peizhi shine in the final arc. Instead, it is pretty much hijacked by Shulin's unfinished business with Peizhi and his abandonment issues. Everyone else including Mowen and the emperor is sidelined. As much as I love Shulin's complexity and Wang Duo's phenomenal acting, I have mixed feelings about the final arc. The tone feels a bit off and succumbs to a tad too much cliched, dog's blood melodrama. I think that Zhang Ping's newfound pragmatism and epiphany that the right outcome can be more important than the truth is fitting. It demonstrates enormous character growth even though justice proved to be ultimately elusive.

Moral of the story: Don't be a cat's paw - be careful who you date!

Overall a feast for the eyes and the senses - 8/10.

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For clown and country.

Fighting For Love is a drama adaptation of a novel with the same Chinese title Ā Mài Cóngjūn/阿麦从军 or A Mai Joins the Army. The novel enjoys an impressive 8.6 score on Douban. It is a female centric story about A Mai, an orphaned noblewoman who seeks justice for her family's betrayal. She joins the army and works her way up to become a fierce and undefeated general. She discovers a greater purpose along the way, which is to defend her country. This takes place during the Northern and Southern dynasties, a period of war, chaos and political turmoil. It is not a romance and there is no real male protagonist; it is about one brave and patriotic woman's awesome journey. I abandoned the book because of its intense and graphic focus on war.

Clearly the original story does not fit with the typical male-centric costume drama formula with plenty of romance tropes. What a breath of fresh air, right? Wrong. In the adaptation, Shang Yizhi is elevated to male protagonist and his story arc is as central as A Mai's. Which in and of itself, is not a terrible thing. Like A Mai, Yizhi has a hidden identity and was a victim of foul play. His cause becomes hers as she rescues him and helps him outsmart his enemies. She discovers her military prowess, forms life and death bonds with her troops and finds meaning in defending the citizens of Nanxia. They have a shared purpose and are catalysts for each other's growth. It is natural for attraction or feelings to develop between them though it does not need to be romantic.

The critical fail in the adaptation is they wrote Yizhi as a kind hearted and playful anti-hero character. While some of his comedic scenes are witty and funny, this diminishes him into a parody role. This should be a complex character who does consequential things; a once carefree young nobleman whose world changes overnight. Instead, the writers stuck him with a love brain and Peter Pan syndrome until the final arc. As he is pushed first to survive and then to reclaim his birthright, all of his motivations continue to simply revolve around A'Mai. A character that chooses each time to save the girl and let the world rot does not deserve to end up where he does! This devalues A'Mai and the Zhenbei army's achievements and sacrifices into a fight for clown and country. Even though he becomes morally ambiguous and utilitarian at the end, this evolution is too abrupt. His character progression should have begun well before he returned to the capital. Zhang Haowei did his best with this role but the character is just too poorly designed.

A Mai is quite consistently written throughout even though it is difficult to connect with her feelings for Yizhi. Even though she is too lovely to ever be mistaken for a man, Zhang Tianai does a wonderful job with the role. Her mannerisms are very masculine and she literally shakes with rage and hatred in her scenes with Chen Qi. Best of all, she is no Mary Sue in need of constant rescuing even though all the men fall for her. She just has terrible luck with men; she gets involved with a backstabber, a clown and an enemy with a choking fetish. The one good man she meets is brother-zoned, father-zoned and what happens to him is definitely over-kill. Chen Qi is the most interesting and conflicted antagonist and his and A Mai's story is really sad. Wang Ruichang is very charismatic and the fan favorite but his Chang Yuqing has no development and no real story arc. He just pops up whenever something needs to go wrong for the leads.

The first few arcs of this story are quite good and the cinematography and action scenes are pretty awesome. The story falls apart mid-way and snowballs downhill into the palace arc. It is yet another perfectly good drama that is ruined by ignorant and silly romance writers who can't write palace intrigue (i.e., Destined, Legend of Zhuohua, Wonderland of Love etc etc). This arc is ridden with predictable villains, plot holes, clichés and a flabby dancing emperor who looks like a sloppy fashion mistake. To my surprise, the story comes together again in the final episodes to end fittingly and on a strong note.

It is not easy to rate this because there are many good parts. The first 12-15 episodes and the ending is good and worth ~8 but the middle and dreadful palace arc are only worth ~6+. I think ~7.5 overall is fair but I am only going to call it a 7.0 because the production deserves to be spanked for desecrating a fantastic novel.



Scroll down for SPOILER ending thoughts.







ENDING SPOILER

The final showdown between A Mai and Chen Qi is exciting and moving and it finally gives her closure. Poor Chen Qi is such an interesting, conflicted and ultimately tragic character it is a shame he was not better fleshed out. In the end he probably loved A Mai best.

I don't believe it is in character for A Mai to go off with Chang Yuqing at the end. His feelings for her are not better developed than Yizhi's and at least in the drama, they are one-sided. He is a rising star in Beimo and if A Mai were to marry him, she would have to defect to the enemy to be another caged bird as the wife of a Marquis. After just escaping the terrible fate of being the favorite concubine of an emperor?!? As advisor Xu points out, the countries are at perfect stalemate because their top generals A'Mai and Chang Yuqing don't really want to fight each other. There is peace with them glowering fiercely at each other across the border. A Mai is simply setting off for a well earned 3-year vacation while Beimo's internal palace politics play out. It is a perfect, strong independent woman ending in the spirit of the original novel; one that says A Mai does not have to be someone's arm candy to have a meaningful life.







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Dead men tell no tales.

Pledge of Allegiance is a dark and murky Ming Dynasty suspense thriller in the vein of the renown Brotherhood of the Blades franchise. Produced by Lu Yang and written by the same writer, the Jinyiwei/锦衣卫 or brocade-clad guards of this drama are grey characters whose true allegiance is to their brotherhood and their personal values and priorities and not to some overarching sense of morality or righteousness on a grand scale. This drama is set in a time of opaque and wild, conspiracy laden history and has an elaborate plot with manifold twists. This is likely to lose casual watchers, especially those without a basic understanding of the historical context. [A detailed discussion of the history can be found in the Discussion section of the drama page.]

This drama is set during the chaotic battle for the throne that followed the demise of Zhu Yuanzhang, the founding Hongwu Emperor of Ming dynasty. A succession crisis plagued the last five years of his long reign when the crown prince Zhu Biao died unexpectedly. Zhu Yuanzhang had chosen Zhu Biao to succeed him over his most capable and some claim his favorite fourth son Zhu Di or Prince Yan because Zhu Biao was the son of his legitimate wife. Conflict arose after Zhu Biao's death when he chose Zhu Biao's son Zhu Yunwen to be his successor. Zhu Yunwen was also the son of a consort and not of Zhu Biao's legitimate wife. Thus his claim to the throne was no less legitimate than Prince Yan's notwithstanding his grandfather's endorsement. The young Jianwen Emperor's tenuous hold on the throne was further shaken when he unwisely sought to temper the military might of his prince uncles, exiling and killing many of them. Prince Yan who secured the Northern border needed little further excuse to revolt. The silent power struggle that began with Zhu Biao's death broke out into open civil war almost from the moment of Jianwen's ascent. At the time, the capital was in the south at Yingtian (present Nanjing). Prince Yan for all intents and purposes was already in control of the northern capital Beiping (Beijing) where he defended the nation from the Mongols. He was aided by his elite border spies, the Yebushou/夜不收 or night scouts. They are pitted against the Jinyiwei who are the emperor's secret police but like many bureaucracies and the court at the time, there were divided loyalties at every level. While likely consistent with history, this aspect of unclear and shifting loyalties makes most of the character motivations in this drama especially difficult to follow.

Li Wu is a thief and a consummate liar. He steals the identity of a sergeant and sneaks into the mansion of Wang Kegong, who had just been transferred back to the capital with a secret edict. He has life threatening encounters with Shu Tang an assassin and Lu Zheng, a young detective who is literally willing to kill a sergeant to create a vacancy for himself to assume that position. They get caught up in a race to secure the Yuming Lock, which contains a secret that could change the course of history. Though they have different masters and at times conflicting agendas, they share a decade old traumatic childhood past. Whether by chance or destiny, they are reunited to solve the mystery of what really happened one fateful day ten years ago. But the links to the past get more tenuous and secrets that can turn friend into foe are revealed. As the body count grows, the solution slips further out of grasp as dead men tell no tales.

The main roles are complex and the cast delivers all-round riveting performances. In this kind of battle for the throne story there are no real villains; everyone is quite dark and have their own agendas. Zhang Yunlong is particularly convincing as thief with an inconvenient conscience and a knack for turning dire situations around. He had so many balls in the air at the same time that I could barely keep up with his lies and his promises. Chen Ruoxuan's portrayal of Lu Zheng as such a smart and yet naive and (wilfully?) obtuse character is nuanced and empathetic. It is no wonder Li Wu, Lu Yulin and even Zhang Junqing feel compelled to protect him. I enjoyed Li Wu's bromance with Lu Zheng as much as I did his romance with Shu Tang. Chen Ruoxuan and Zhang Yunlong have such good chemistry that they are masters of the art of the unspoken; how it is possible to have an innate understanding and trust that is beyond words and even actions. The stage is nicely set for this recurring theme in the telling of the fable of the Tan Hua flower spirit in episode 3. This underlies many interactions between main characters including the Mu sisters. This aspect of reading the subtext is very well conceived, it challenges both the characters and viewers to hear the truth behind the lies and to "hear" what is left unsaid. Sun Yi is a gorgeous and terrific actress and this time, she has a meaty role although her character is not always consistently written and her relationship with the colonel is not well fleshed out. As such, it is Ma Yujie's daringly articulated Zhang Junqing steals the show as the most fascinating and strongest female character of this drama.

This drama is not that action heavy but the sequences are fast moving and very well choreographed although they lack the intensity and raw ferocity of Brotherhood of Blades. I am quite relieved at the shorter and less stressful combat scenes as they are still packed with shocking and bloody twists. Just don't look too deeply at the logic defying ability of many characters to survive body piercing stabs in close vicinity to vital organs.

The plot design is serpentine and deliberately messy. This is probably meant to reflect the opacity, duplicity and chaos that prevailed at the time. Many character motivations are never fully revealed which gives rise to a sense of lazy writing; that at times characters become inconsistent for the sake of delivering yet another twist. There were a few too many twists that detract from the main plot. The final episodes in particular appear to have suffered from heavy cuts. This could be because the main conspiracy that is designed to be weaved into significant historical events may have gone too far in distorting history. This results in an ending that is satisfactory overall but leaves a few open sub-plots and unanswered questions. I love these plot heavy historical suspense thrillers and think this is a high quality, compellingly acted production overall. However, the story could have been told in a much less confusing way so I can objectively only rate this an 8.0/10.0. That said, my personal enjoyment level is at 8.5.

I will include below my personal speculation on how I think the story ends and some other ending comments that are inevitably spoiler heavy. Do not read it until you have finished watching.










WARNING: ENDING SPOILERS AHEAD










The past:
In terms of what happened in that prison years ago, I came to the conclusion that Li Yan, Song Heming, Wang Kegong,, Mu Jinggao and possibly even Lu Yulin were all loyal to the deceased crown prince Zhu Biao. The compassionate and peace loving Zhu Biao did not wish such evil weapons to ever be used so he hid them and left the riddle of the location with Mu Jinggao, the firearms maker. Li Yan was the go between but was framed for murdering the crown prince by an evil Jinyiwei. He revealed the riddle and gave up Mu Jinggao to Song Heming to save his son Li Feng, who was sent to his good friend Minister Yuan. Li Yan probably implicated Mu Jinggao because he not only knew where the firearms were stashed but also how to make them. True to his word, Song Heming arrested Li Wu as Li Feng's substitute. Unfortunately Lu Zheng messed everything up by letting Li Wu and the Mu daughter go. Lu Yulin had to sacrifice Song Heming in order to save Lu Zheng. This is a consistent theme where they sacrifice themselves/each other to keep the secret buried but try to save each other's bloodline. The other possibility is Lu Yulin was working for Prince Yan and killed Song Heming for the Yuming Lock. But his motives changed after he grew to love Lu Zheng and then protecting him became his only objective. In either case, between Lu Yulin and Wang Kegong, they kept the Yuming Lock and the key to how to unlock it hidden for ten years, giving it to no one. The evil Jinyiwei who framed Li Yan and set this all in motion was of course the real Li Dongfang, a bastard son keen to earn merit from his father Prince Yan. That is why he tracked down both Mu sisters and tried to use them to try to find the weapons. He also hoped that if Mu Jinggao were still alive he would come back for his daughters. I don't believe Mu Jinggao ever was a Yebushou because if that were the case, Prince Yan would not only have the weapons, he would know how to make them. I also doubt he is still alive as if he were, he would have surfaced or been found. It seems implausible that Lu Yulin who was just a mid-level Jinyiwei at the time could have saved such a high profile rebel under intense scrutiny.

The ending:
With the help of Boss Shen, Li Wu is in control of the game changing weapons and thus has a seat at the table in terms of the outcome of the power struggle. But he is just a common thief; like all commoners throughout Chinese history 民以食为天/mín yǐ shí wéi tiān - as long as there is food on the table it doesn't matter who the emperor is. Like Zhu Biao, he only cares that his beloved capital and "his people" don't suffer the vagaries of war. So he decides that no one should have the weapons. Yet he made promises and owes debts to both sides of the conflict so he engineers a compromise outcome. As promised (in exchange for Li Dongfang and hostage Bai Mingshan), he and Lu Zheng open the city gates to Prince Yan's forces but he smuggles the weapons away after taking control of the river fleet. In history, a traitor delivered control of the imperial river fleet to Prince Yan while another opened the city gates to his forces - see why the final episodes got cut quite a bit?. To Li Wu, it was clear Prince Yan would ultimately prevail and this was the least bloodthirsty way to cede to the inevitable.

At the same time, Li Wu owed Yuan Zhongdao for a number of things including Lu Zheng's life. He probably made good by smuggling the emperor, his consort and son out of the country. That is probably what Shu Tang went away to do - she was getting them safely out of the capital. She never really sided with Prince Yan she was just repaying her debt to Li Dongfang. Once he was dead, she can act in her own best conscience and she would be helping her sister who gave her life to fake the emperor's death. She may also have wanted to see if her father is still alive or to ensure that the technique of making these weapons is destroyed. In history, the palace was burned when Prince Yan entered the city. He produced three charred corpses allegedly of the Jianwen emperor, his consort and their son and declared himself emperor. That is why I already guessed Zhang Junqing would die with Yuan Zhongdao and I expected Mei Dou to be the third corpse but I am glad they didn't go there or that got cut. It is wild history that Jianwen Emperor survived the fire and escaped to Southeast Asia or further south in China. Zhu Di is said to have sent Zheng He off on his expeditions across Southeast Asia to hunt him down. This part of the conclusion obviously suffered heavy cuts as it indulges in speculative history.

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When you play the game of thrones, you win or you die.

Qin Dynasty Epic, the fourth and final installment of the highly regarded Qin Dynasty series, is about how Yin Zheng fulfilled "Heaven's Mandate" to unify the Warring States (475-221 BC) and became the first emperor of China at age 38 in 221 BC. Such a monumental task was not achieved without the vision and dedication of many great talents from brilliant tacticians, crafty spies, talented engineers and powerful generals. These characters that made it all possible and how they were pitted against wily and determined opponents from six rival kingdoms is magnificently and vividly brought to life in this stunning production.

The production values are very high and there is extraordinary, game of thrones worthy battle footage against some truly breathless backdrops that convey the epic vastness and splendor of the empire. In-depth research and meticulous attention to detail are evident in the costumes, the weapons, the sets and the authentic portrayal of military strategies, diplomacy, espionage, the economics of funding prolonged warfare, the evolution of a common script, immigration and the consequent racial frictions and the conflict between meritocracy and legacy. These themes are seamlessly woven into the visual storytelling in a way that you cannot miss the natural, impenetrable mountain fortress that is Hangu Pass and the Qin life size battle map that further reinforces the topological and geographical advantages of the Qin state.

This is a historical drama but if you are not familiar with Qin history, then be warned that there are mild spoilers in the paragraphs ahead.

Duan Yihong's delicious portrayal of Lv Buwei, venal merchant turned kingmaker and indisputably one of history's great adventurers anchors well over half the drama. His economic reforms and policies paved the way for the eventual unification of the Warring States well before Ying Zheng's conquests began. This is the best written and best acted role in the drama that literally steals the show. This wonderfully grey character that was so inspired by a vision bigger than himself that he actively recruited and promoted the best talent even against his own nature and interest, notably in the case of Li Si. Their scheming both as rivals and allies and mutual respect despite their differences is one of the most complex and riveting portrayals in this drama. I find Li Si the character insufferable and while Li Naiwen's acting is good, it is not quite on par with that of Duan Yihong. Even though I think the drama ends at the right place, it is a pity we don't get to see the irony that Li Si whose life work was Qin's unification may have brought about Qin's rapid downfall with his cruel interference in Ying Zheng's succession. I love that this drama properly credits both Lv Buwei and Li Si with many of the lasting reforms made during Ying Zheng's reign; indeed many (not all) were well underway while he was still a powerless boy king.

The most slanderous and malicious accusation in Sima Qian's Shiji (史记 or Records of the Grand Historian) is that Ying Zheng was in fact Lv Buwei's son; that his former concubine Zhao Ji was already pregnant when she married Ying Yiren. Current historians are rightly skeptical as that would have been a 12 month pregnancy but the drama raises the question head on and leaves room for viewers to decide for themselves. It is likely no accident however, that they cast two actors that bear a strong resemblance to each other as Ying Yiren and Ying Zheng; both in terms of stature and elongated, elegant facial features and in sharp contrast to both Zhao Ji and Lv Buwei's more common rounded features. The desire to put both actors side by side results in the drama's biggest judgement error of having a 40 year old man play the 13-year old Ying Zheng. This is a tall ask of any actor and Zhang Luyi did the best he could but it isn't until well over halfway through the drama that the character's age catches up with that of the actor. In a misguided attempt to make Ying Zheng more relatable, we suffer through some unfathomable cringe dialogues as the obviously middle aged Zhang Luyi plays an adolescent Ying Zheng who is bullied, questions his legitimacy, experiences infatuation and grapples with his mommy issues.
 
In an attempt to appeal to broad audiences, the drama over-indulges in the salacious Lao Ai/Zhao Ji arc. Zhao Ji is mercilessly portrayed as the wanton, shallow, selfish, reckless and easily manipulated harlot who likely turned Ying Zheng into a misogynist whose women were all anonymous. And while Lao Ai's allegedly majestic physical attributes can never be disproven, he definitely had a peanut sized brain and his attempted coup was puny and nowhere near the scale the drama suggests. Although scandal holds timeless appeal, I am here to watch the first emperor of China, not the first gigolo of China. The time would have been better spent building up characters who become prominent after Lv Buwei's exit and indeed the immediate next 1-2 episodes feel like one hand clapping.

I must mention that Zhang Lu Yi redeems himself with his characterization of the mature Ying Zheng. I was riveted by how he howled like his heart was torn from him when he "fulfilled" Zhao Yan's abominable request only to be overcome with remorse and cowardice when faced with the real thing years later. His portrayal of Ying Zheng's encounter with Jing Ke is also exceptional. That said, I have mixed feelings about how this larger than life figure was written, it somewhat diminishes him. While I like that they humanized him and gave him a benevolent side that is at odds with countless other depictions, I wish they went with a bolder, more controversial interpretation by balancing that out with some vices and a more ruthless, darker side as well. I didn't need to see him cook scholars but even how he dealt with Lao Ai's kids was just glossed over, not to mention his legendary harem and his intense superstition. The real Ying Zheng is probably turning in his undisturbed tomb at this millenial, tree hugging, touchy feely characterization that robs him of the requisite ruthlessness to do great and hard things.

While there are many epic battle scenes the unification wars were fought just as much behind the scenes as on the front lines as all warfare is based on deception. By the time Yin Zheng took over, the six kingdoms appeared to be largely sitting ducks but nonetheless, they put up a really good fight. While the conquest of the remaining kingdoms after Zhao (especially Chu) feels a bit rushed, all the important moments are there. I really felt for the vanquished in this show, was moved by their desperate causes and teared up at their inevitable defeats. The sense of loss experienced by the de-throned young Zhao king with his mother and uncle as regent could have well have been the young Ying Zheng. Under resourced, out smarted, undermined by their own and with the odds against them, Li Mu, Prince Fei and Prince Dan still fought bravely and valiantly. But when you play the game of thrones, you win or you die.

One of my favourite Cantonese expressions is 七国咁乱 which roughly means as chaotic as the warring states. I always find making sense of that messy, turbulent period of Chinese history so mind boggling that I cannot praise enough the clean, smart way this drama's narrative navigates the multitude of important events and characters that lead to the unification of China under Qin and the reforms and contributions that lasted thousands of years. Yes, there are some flaws, some missed opportunities and digressions that do not detract much from this sumptuous and enveloping historical drama that makes this a very solid 9.0 for me.

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Uneasy lies the head that wears the crown.

Mental health warning: if you are prone to depression do not watch this drama. It is relentlessly depressing and could win any competition for most tragic, angst ridden character ever. Despite the lack of balance in the mood and other flaws, the acting is fantastic and there are many stunning and unique aspects to this drama that make it worth watching. This drama literally transports you to an elegant pavilion surrounded by breathtaking landscape to admire the majestic grace and radiance of a pair of courting cranes... only to have them swoop down and poop all over you. You should stop reading here if you want to avoid mild spoilers - it is impossible to meaningfully review this without any.

The biggest issue with this drama is that it is not accessible. The plot is heavy with political intrigue and revels in ambiguity. This leaves many things open for analysis and discussion. Nothing and nobody is as they initially appear. The plot twists are intricate and the devil is in details that don't always lend themselves well to film adaptation. To dial up the suspense, key segments of footage is omitted and played back later to reveal the plot. Multiple re-watches are needed to understand the subtleties of each twist. The subtitles appear to be decent but don't do justice to more detailed subplots or the overall beauty of the prose. This is one where good subtitles would be worth waiting for. [Update Feb 2023: Good subtitles are now finally available for this on Youku International. They are vastly superior to previous ones so try to watch this on Youku.]

This story is adapted from a well-acclaimed novel about a tragic prince who is beset with treachery at every turn. Plotting and conspiracies are afoot as court officials advance their own agendas amidst the power struggle between crown prince Xiao Dingquan (Luo Jin) and his brother from another mother Prince Qi (Jin Han). The emperor (Huang Zhi Zhong) blatantly favors his first born Prince Qi over his heir Dingquan, who is perpetually in danger of being deposed by his own father. The emperor holds Dingquan to a higher standard; he must be groomed to hold on to the throne and carry on his legacy. Dingquan is hurt and bewildered by his father's favoritism and longs to be treated at least equally. He doesn't see that as the crown prince, he is already the most dear. The emperor presides over a corrupt court and depends on powerful generals to secure the kingdom's borders. He maintains his grip on power by pitting powerful ministers and generals against one another and does not allow sentiment or moral scruple to upset the balance of power in the court. Even his best loved sons have to be pawns in this merciless game of thrones. He finds Dingquan's morality and sentimental attachments at best naive and inconvenient; and at worst incompatible with the power dynamics and political realities of the court. He dislikes his son's frequent appeal to their relationship and his affection to get his way rather than winning on the merits of the situation. Their relationship is complicated by Dingquan's close relationship with his maternal uncle General Gu Silin whose military might is a source of discomfort and paranoia for the emperor.

The father-son relationship is the most significant, riveting relationship in the drama. Luo Jin visibly takes his acting up another notch in his portrayal of the lonely prince who demands his father's affection and approval even as he unflinchingly opposes him to protect his values and those dear to him. He was a bit too generous with the waterworks and indubitably has yet to master Hu Ge's ability to make his audience sob uncontrollably without shedding a single tear. Nonetheless Dingquan's struggle to stay true to himself as he is pushed to make painful choices for political expedience is compelling and gut wrenching. It is however, Huang Zhi Zhong's emperor that steals the show. He is first emperor and then a father caught between two sons that he loves in very different ways. His cold and ruthless public exterior masks his private pain every time he is forced to deal harshly with Dingquan, whom he distrusts but is actually the son that can hurt him the most. He is a cynical old soul who is disdainful of but yet also reluctantly admires his son's idealism and moral conviction. The emperor was masterfully portrayed and is able to evoke complex and multifaceted emotions including anger, empathy and pity. The conflicts that unfold show us that neither is ever completely right or wrong they just have different world views and priorities.

The second important relationship in the drama is the love story between Wenxi/Gu A'bao (Li Yi Tong) and Dingquan. The chemistry between the two leads is delightful and one of the reasons I stuck with this drama. The way the storyline unfolds and the writing however does not do justice to this wonderful pairing. In the novel (which I did not read) Dingquan never meets Wenxi, he only knows her as Gu A'bao. In the drama, Dingquan has several encounters with Wenxi before she steals into the palace disguised as a maid. Although he never fully sees her face, it is clear that they are soulmates and they fall in love. Forced to go separate ways, in their last encounter Wenxi approaches him in the palace dressed as a maid. Shortly thereafter, he meets Gu A'bao the maid with whom he continues to communicate in sophisticated allegory and metaphor but we are supposed to believe he doesn't recognize her! It is manifestly obvious that she is educated beyond even highborn ladies like the crown princess. This inexplicable and pointless faithfulness to the novel (after departing from it so significantly) is most likely just sheer laziness. They had the OTP meet early on to make it more romantically appealing but didn't bother to make further conforming changes to the plot.

Had they more logically carried this change through the plot, with some small modifications, they could have set the story up for a huge, far more relate-able and captivating plot twist, one that works much better in a drama instead of getting mired down in dry and detailed twists that work better in a book. I was already half convinced that at some point Dingquan figured out who she was and they were working together - this resonates from their body language and the way they communicate with each other. Considering the mental masturbation that went into the trivial question of whether the two male leads in the Untamed were lovers, imagine the speculative interest that would have gone into analyzing when Dingquan figured out Gu A'bao was Wenxi and when they started working together.. Instead they dragged out the reunion and settled for a far less memorable, crowd pleasing moment of truth devoid of the drama's signature ambiguity. This would also better explain some of the extreme lengths he goes to to protect Gu A'bao and make some of her motives and decisions more logical but those are small points. I just sigh for the big opportunity missed!

There was excessive plotting and too many betrayals in this drama. Censorship and deteriorating writing in the middle made some sub-plots confusing and less logical. The villains in this drama are complex grey characters with families and relationships that cast them in a somewhat sympathetic light. They are also way too smart, to the extent that each of Dingquan's few hard won victories cost him an arm and a leg. While there is some character progression and growth, Dingquan is too emotional and does not learn from his mistakes. As a result of repeated defeats, crushing personal losses, and an increasing sense of isolation the character regresses and starts to exhibit his father's capacity for cruelty and abuse. I did not like where they went with this and the way he treats the female lead is something that did not sit well with me. It was also gratuitous and rather pointless unless the writer was trying to make me lose respect for both characters. Which is a pity because Lu Wenxi/Gu A'bao is a uniquely interesting character - passive aggressive, bold, stubborn, vengeful, brilliant and indomitable. Li Yi Tong was so incredible in this role I was angry at the writer for diminishing her character into a bit of a lovesick fool in the middle although she finishes strongly.

The ending episode was messy and leads to the (mistaken) conclusion that the ending is open, possibly sad and definitely bad. For all intents and purposes however, the story actually ended at about 26 minutes into the last episode when things come to a full circle for the OTP. At that point, the two important relationships are satisfactorily and realistically resolved and all of the villains get some form of retribution. All of the rest is of footage that relates to a final thread that was shot but not aired due to censorship. This hints at the possibility of a different or open ending; that there is more betrayal and tragedy ahead. However, there was not enough build up of this thread to substantiate any definitive outcome. It should all have just been lumped together with the 3 minute cryptically worded epilogue that suggests the story continues (and may even be released one day). Viewed that way, the ending was good enough.

The twelve episodes that were cut likely closes the remaining loose threads with respect to several characters including Gu Fengen, scholar Xu and the 5th prince. Although the story never builds towards its final denouement, this could be the one time Chinese censors did us a big favor. This writer has no sense of balance and destroys some fantastic tropes and characters by taking them to mind blowing extremes. I have heard how the novel ends and I don't need to be there for a final betrayal that culminates in tragedy. This writer tortures the main protagonist to death with a vindictiveness that suggests the character was inspired by someone who terribly wronged them. I am glad that the censors have forced us to get off the bus at a great place and right before it drives off a cliff.

Despite the resonating sadness, this is still a ravishing production with some truly brilliant acting, moving prose, thought provoking insights, intriguing ambiguities and an acceptable ending. It has some of the most poetic, romantic lines I have come across in a Chinese drama. The real tragedy is that this has all the makings of a masterpiece but it just was not. 

Sept 2020 Update: The last 12 episodes (Royal Nirvana Special) are out. It ties up all the remaining loose threads regarding Prince Zhao (5th prince), Gu Fengan and Xu Changping. It is well done with a fitting ending.

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The Scent of a Woman

I was sold on this drama the moment I eyeballed the three hot main dudes - I mean what's not to like about a light and funny drama with some serious eye candy? But somehow this morphed from just another fun and light young adult comedy into a hilarious and empowering story of friendship and the shining idealism of youth that made a deeper than expected impression on me.

Xue Wenxi disguises herself as her brother Wenbin to support her family as a talented copywriter and author of illicit romantic fiction. A chance encounter and a series of mishaps leads to her reluctant enrollment at the prestigious Yunshang Academy. There she becomes the glue that bonds the "Yunshang Four" an uncommon friendship between the scholarly and noble Feng Chengjun, the savvy Yu Lexuan and the rebellious Lei Zexin. Together they prevail over many coming of age challenges and overcome past secrets and misdeeds of the previous generation.

In a departure from the acclaimed Korean adaption (which I did not watch), this Chinese version portrays an unmistakably feminine version of Wenbin, from the casting of the very petite and lovely Ju Jingyi as Wenbin to surrounding her with uncommonly tall male leads. If you are unable to suspend disbelief that she is not busted as a girl on day one, then your time is better spent on the earlier version. If you get overly hung up on how she looks, you will not enjoy the witty script and brilliant comedic rapport between the leads nor appreciate the more important themes that this adaptation chooses to focus on instead. The casting visibly illustrates the daunting physical challenges Wenbin faces in an academy that has an equally vigorous physical curriculum. 

What I love most about this drama is that it avoids sending the message that in order succeed in a man's world, a woman must look like a man and act like one too. It points out multiple times throughout the drama that Wenbin is a beautiful and delicate gentleman. It is clearly on the edge of everyone's consciousness that he is a girl because all of the boys are drawn to her like bees to a honeypot and when her gender is revealed no one faints from shock. Indeed one of my favorite early moments is the look on Chengjun's face when he sniffs her and gets his first whiff of the scent of a woman. It is unmistakable, all of those boys sense it but no self respecting dude is going to blurt out the unthinkable and ruin the fun of having a girl on campus! Our Wenbin revels in being herself, a young girl - at times she is annoying as hell - naggy, bitchy, petty, jealous but most of the time she is mischievous, charming, sensitive and comforting. For me, it is much more fun to watch a girl having a blast just being herself at an all-boys school than watching the tired routine of a woman trying to fit in by aping a man. 

The script is very cleverly written and funny and the characters are so lovable and relateable they all give me that magical deja vu of people I know. I am floored by the seamless interactions and comedic timing between the cast as witty banter is conveyed in as much via body language and facial expressions as it is in words. The humor is just my speed - a slightly wicked roasting of all too familiar human emotions, traits and rites of passage. This is a heavily character driven drama with very satisfying character growth. The headmaster is priceless and is the show's true unsung hero. The pacing however gets hijacked by too many (albeit hilarious) comedic sketches without plot advancement to the point it drags slightly in the middle. And then everything happens a bit too quickly at the end as the romance peaks at almost at the same time the conspiracy is revealed. It could be better balanced if Wenbin's reveal happens earlier and without toying with Han Shumin's heart - it is unnecessary angst and a small stain on Chengjun's character and judgment.

Chengjun and Wenbin are smitten with each other from the beginning and their attraction and chemistry grows convincingly into something that hilariously both thrills and terrifies Chengjun. He is not my pick of the three but it is clear that his patience, wisdom and quiet indulgence is the perfect foil for the more high strung, impetuous and sometimes willful Wenbin. And her intelligence, lively and infectious sense of humor and mischief rescues him from being boring. It is a good match. Sadly my personal choice, the clever and diabolically cheeky Lexuan appears subtly more into Zexin than Wenbin. He is by far the most layered, complicated and thus interesting character. Zexin has the most character growth but would never work with Wenbin - they would just bring out the worst of their mutual immaturity, quick temper and impulsiveness. For me, their comaraderie and unflinching support for each other as they find the courage of their own convictions is far more riveting than the romance. My weary old soul is unaccountably moved by the youthful idealism and sense of justice and equality that culminates in a moving Oh Captain My Captain moment. It is also amazing that they got away with student protests, vigilante justice, and even subversive propaganda.

There is at least one hilarious laugh out loud moment in literally every episode of this drama that has men clammoring to follow the scent of a woman to the female version of Yunshang Academy! I haven't enjoyed myself so much in a long time. Sure there are flaws but think about watching this as like having a fling and not till death do us part; no need to over analyze, just go along, get along and enjoy the ride. This is overall a 9.0 for me but on just enjoyment factor alone I would call it a 9.5/10.0.

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