A Pure, True Romance in it's finest form.

Hidden Love is a Romance that actually seems to know it's a Romance. This is much rarer than you may think, and one only needs to look at it's contemporaries to understand why. Where Hidden Love excels is in it's simplicity: from the beginning of the story it's obvious that the couple will face a challenge with respect to their age gap and we also know that to some extent the ML has ghosts of the past that haunt his present. The Drama does not seek to extensively shock us in any capacity - there are twists but they are all largely foreshadowed and never feel entirely unexpected, however the predictability is also not cliche or grotesque, the hints slowly merge together to create a final, synergistic image that will surely leave even the most casual romance-enjoyers or c-drama watchers with butterflies.

This Drama has murder, mystery and social commentary, but it recognises that these are simply elements of the larger, romantic storyline. It never wades too far away from the love story, nor does it have to. It's fine that the plot is focused around the relationship of the two central characters because it never feels like their actions only affect themselves; other dramas consistently fail in this regard, either dedicating too much time to the main couple and leaving the side characters to the wayside or prioritising the plot and overall story while not focusing enough on the romance. Hidden Love merges the two together. Each decision Sang Zhi makes very obviously has consequences for people other than herself, and Jiaxu's relationship with her is the same. Because we care about the supporting cast we are able to understand what implications the relationship of the main couple will have on them, and so their own stories seamlessly merge with those of the male and female lead without ever distracting from the story being a Romance. The plot and the genre work in harmony rather than against each other, and it is beautifully done.

TLDR - Poesy aside this is a wonderful drama, and if you'd like 25 episodes of heart racing romance, then look no further.

Leia Mais

When a familiar stranger becomes family, is blood really thicker than water?

The first half of this drama is thrilling, romantic, funny, aggravating, devastating - a whirlwind of emotions. If memory recalls, around episode 7 or 8 there is a stunning sequence of shots at the lantern festival; if previous episodes hadn't hooked you with the female lead's comedy then this moment of pure wonder and moving background music will. Admittedly, there are moments of real frustration for viewers even in the first half that seep their way through to the second half (and it's confusing and rushed finish), but since this is a part 1 review I will not condemn what is yet to come. Although it's been promoted largely as a romance, at heart this is a tale of family and how far people will go to defend it. Even the Emperor punishes his children - but he protects and loves them as well (as much as any other father would); we see parent-child relationships on imperial and common levels, and it's exactly because we see the familiar family dynamics of Cheng Shaosheng's house that we can have empathy and interest in the royal court. You will cry, cure and smile watching this drama - the one thing you won't do is regret it! So get to watching :)))

Leia Mais

Blood will out, and spill more blood.

"I want to travel north with the wind, watching the snow sweep across the land.
I wish to travel east by boat to see the elegant fairy brave the wind.
I wish to travel thousands of miles with the clouds, even the Emperor ruling the court cannot stop me.
I will bathe in the sunlight at the top of Mount Kunlun.
I will witness lush mountains rise at the edge of the ocean.
We shall reunite after a long journey.
But I won't go home until I've seen the world."
- Wuxin, episode 5

If you needed a reason to watch 'The Blood of Youth', the above quote from Wuxin summarises the mood that this show wants to encapsulate. That period of time between infancy and adulthood - where you know enough about the world to believe it is yours for the taking, and not enough about it to realise the world is something no man can own. The moment where you feel so invincible; you manage to fool yourself into thinking you really are.

Xiao Se, a favoured prince, certainly believed he was untouchable; yet, after a humbling battle with a far more experienced opponent, he found himself crippled and alone - in a self-inflicted exile. That day, he thought, was the day that his childhood died; but when he met wandering traveller Lei Wujie, he saw his opportunity to step out of the shadows, and to reclaim the youth that was stolen from him.

If you like Wuxia, then this show is definitely for you, but any casual C-Drama watchers will enjoy it as well. Although at times the over saturation of tropes can be annoying, they are part of the appeal of this show (by now I've accepted that every female love interest in a historical or fantasy C-Drama is condemned to act like a whining 5 year old). Yet, for the most part; the women in this drama are portrayed well, and are not to be trifled with.

The issue comes in part with the pacing; the ending felt rushed in comparison to areas of the Drama which were given time they did not deserve, and for the sake of drama an entirely unneeded character death was thrown in, which seemed to have no other purpose than to shock. For example, one of the leads disappears for half the drama, only to return in an unforeseen but again, irritating way. Many of the plot points felt at times decorative rather than integral to the story.

I criticise the show so heavily in part, because it had so much potential. If the writing had been a bit more tidy and concise in places, it would have been 10's all around - but it's tainted by a seeming need to appeal to everyone, and consequently, not doing any one trope or theme entirely right. This is not to say the drama isn't filled with iconic moments that will leave you wanting more, but I wish it would have found it's feet, and picked a camp to settle down in rather than wandering around for 40 episodes: what should have been an emotional story of the pain and beauty of youth became a half-court, half-martial arts, half-revenge, half-romance, half-tragedy, half-comedy drama, which never really picked what it wanted to be.

Yet, as I said; the reason our sentiments about what went badly are so deep is because what went well was so enjoyable - and flaws and all, I would definitely recommend this show as an essential watch for any Wuxia or C-Drama fan.

Leia Mais

It's basically just better than average

I know that everyone is saying this is the best Xianxia we've had for a hot minute but I think this is the key element they're forgetting. There's been such a drought of good Xianxia (and particularly good Xianxia with female leads that don't act and speak like 6 year olds and actually have a personality outside of 'love interest') that we're holding this one to a higher standard than it deserves.

To start on a positive note, there are lots of great things about ShenLi. Although it is 40 episodes it's very easy to digest. Aside from an initially slow start which explores the 'mortal life' section of any Xianxia (albeit in an unexpected and quite witty way) once that awful cgi chicken disappears the show is very enjoyable. It's interesting especially to see the power dynamic shift when Xingzhi/Xingyun's true identity is revealed. The rest of the special effects are actually quite good, and the costumes - though not particularly innovative for the men - have a lot to boast for the women. Some of Shen Li and Demon Lord's outfits were stunning and the detail was apparent. The 'sky above heaven' was also an interesting addition to the show and the lore of the ancient gods.

Now onto the not so great things:
Firstly, this drama has serious pacing issues. The focus on the love story of the two leads was interesting, yes, but almost the entire plot was devoted to them with little time for side characters to develop. This almost led to an over saturation of their romance, particularly because the marriage arc was dragged out until episode 25. I also found that the apathy of the ML was at times taken too far. There is a difference between indifference and surpressed emotion which outwardly presents as indifference which was not always successfully conveyed.

Secondly, although some of the plot twists were genuinely surprising - there was no one single 'wow' factor moment within the show, and there was potential for several. Perhaps due to the halfhearted world building which failed to exhibit a real motivation for the villain beyond loyalty, the stakes never really seemed as high as they should have, and due to the overwhelming power of the 'divine god', even if he was injured or punished by the heavens for disobeying the enigmatic 'natural law' we were never led to believe that he wouldn't be able to overcome whatever was thrown at him. Such was the power of a true 'god' - the last god - compared to mere heavenly immortals.

An 8.8 rating is difficult to comprehend in my opinion. That places the Legend of Shen Li above dramas like: 'Who rules the world' and 'Scarlet Heart: Ryeo', and at the same level as 'The Story of MingLan', 'Eternal Love/Ten Miles of Peach Blossoms', 'Love Between Fairy and Devil', 'Snow Sword Stride' (all far more interesting and developed dramas as far as I'm concerned). I don't like to throw 'overrated' around but I think that this drama may have been. Don't get me wrong, it's still a very enjoyable watch and I highly recommend it; it just seems important to keep in mind that ratings are inevitably relative, and Shen Li perhaps needs to be put into context rather than looked at independently.

Leia Mais

The man with a double life, and the woman with a second chance at it.

Admittedly, I was surprised to have missed Kunning Palace in 2023 - having only heard of the show in early December. Usually, period romance is right up my alley, but given a few disappointing dramas still in my recent memory it's been a while since I've watched anything of that genre. On this front, Kunning Palace succeeds.

From a period drama, this is exactly what we would expect; the domestic intrigue, the court intrigue, the 'hidden' past of the male lead. And, although nothing is particularly unexpected, the tropes don't necessarily grow wearisome. In particular, the relationships the female lead has with her other love interests are far from the usual "second lead syndrome" or "bothersome and obsessive reject who works to make her final relationship miserable". All of the stereotypically annoying clichés were toned down, which is a credit to the writers.

Yet, I do feel that this drama suffers from pacing and time delegation issues. Although we, as viewers, guess at the emotions of both love interests and see how they develop throughout the story - the realisation for both of the characters feels somewhat rushed. In the end, more time is spent on palace politics and battle scenes than on seeing them together as a couple. Unfortunate, given the emphasis that the drama clearly tries to place upon "love" and "loyalty".

Regardless, the stories outside of the main characters were gripping enough that I rarely skipped over them; particularly with regards to the princess, Xuehui and Fangyin. All of their characters were layered and interesting, and although I found the initial set up of the Jiang family relationship odd and forced; I liked how the tension between the family members resolved itself. It felt naturalistic and feasible.

However, the one cliché I cannot forgive is the set up for the entire 'rebirth' itself. It was superficial and poorly executed; feeling only like a weak attempt at trying to copy Joy of Life or Scarlet Heart (who at least had a purpose behind the usage which was relevant to the plot).

Ultimately, the drama is gripping and enjoyable. There is not really any criticism which can be thrown to the acting or the costume design, and the chemistry (both romantic and non-romantic) between all of the characters is palpable and poignant. It's unfortunate then, that they failed either to extend the drama, or to spend less time on its more superficial elements in order to focus on the relationships and plot that actually mattered.

Watch it though. I only have so many criticisms because it was so nearly perfect.

Leia Mais

Anything boys can do - girls can do a hundred times better!

For all that we talk about 'strong female leads' , both in K-dramas and in Society, it's acceptable for women to be physically and mentally astute, express their emotions and be outspoken in their opinions; until that opinion is even the slightest bit promiscuous. Finally, we have an example of a woman who has had her fair share of 'one night stands' and would fit the male description of a 'player'. Yet - unlike the world - the drama does not deplore her behaviour or villanise her for doing something usually considered acceptable solely in the case of a man; rather, it points out the hypocrisy and presents us the blueprint of a modern woman who is not afraid or ashamed of her sexuality.

At first, Kang-ho seems like the anti-christ to this kind of personality. He is biased and prejudice towards women - but he is also hurt. Mi-rae, then - who gives as much significance to men's feelings as she does to their opinions - seems like a terrible match for him; yet somehow they are one of the most perfect pairings I have seen in a drama, with a chemistry that could only work in their (very niche) situation. It is no exaggeration to say that the sparks fly, and though the show itself is confined to just 10 episodes, we are given a perfect balance of buildup and payoff - so that when the romance comes, we are not taken aback by it, nor do we feel cheated or starved for amorous scenes. Admittedly, the end will have you wishing the drama was longer, but I actually think it's a perfect length, because a drawn-out plot wouldn't really have added anything but confusion (although I do feel the backstory of the two leads could have been fleshed out more, particularly with regards to their past relationships and their parents). I also would have enjoyed Mi-rae going to court a few times, though I suppose a proper legal battle may have been too far out for a drama of this kind.

The above is the reason, I rated the story so harshly - although I understood why the characters were the way that they were, the plot could feel episodic at times, and it left me wondering whether time spent on 'fun' scenes (particularly in the last episode) would not have been better spent expanding on something that had only been presented to us in summary or reminiscence.

However, the simplicity is mostly a credit. Often, Rom-com dramas feel that there is an intrinsic 'evil' and 'genericness' within their genre that they have to compensate for by adding dark backstories, serious illness, most recently a incredulously fashioned murder mystery (see 'crash course in romance'), when in reality, all it does is distract from the enjoyability of the show. The majority of the watchers aren't interesting in a half-baked sub-genre which has only been interwoven for the sake of being more than just a 'rom com'. They're watching the show deliberately for the romantic comedy, and a comprehensible sub-genre or side-plot is fine - such as the way LTHY tackles social norms, misogyny and 21st century dating culture - but at it's core, the viewers largely expect the drama to be as it's main genre describes: comedic and romantic.

Overall, I would say that this is the perfect Drama to watch this year. It's enjoyable, not too long, and by the end you don't feel as though there are any loose ends or unsatisfactory outcomes. LTHY is not perfect by any means, but it is a magnum opus of modern day korean rom-coms, and if I had to sum it up - think 'older, sassier, braver version of Business Proposal, which transforms cliche into cinematic'.

Leia Mais

Clever casting transcends a great show into a masterpiece.

Doona is something special. Not just among K-Dramas but among all love stories.

The plot line of a celebrity falling for someone remarkably normal is nothing new. Cue: Notting Hill and the Hannah Montana Movie. Doona, however, is something entirely different. Washed-up, abandoned, and functioning on a half-hearted nicotine addiction, we find this particular "Star" dimmed and burnt out. Inexplicably enigmatic - even without recognising who she is, Wonjun is pulled toward Doona. Her attitude and her body language imply she is both rude and defeatist, but there is something in her eyes that say otherwise. Behind the scorn and the evasion, something in Doona's eyes calls out to anyone who looks at them long enough; an ardent plea; "save me from myself". Wonjun can't help but do just that.

There is a lot to be said for the directorial style and the overall character development in this drama, but undeniably it's greatest testament is the performances. Whoever cast Suzy in this role was a visionary. Who better than an idol in a disbanded group to portray the ugliest sides of their industry. At times, based on Suzy's own experiences with Miss A, it was hard not to wonder how much of the acting was drawn from past experiences - particularly after a revealing cosmopolitan interview on that very subject - but I'll leave the speculation to rest. The key here is to say that Suzy's acting in this drama always feels raw and authentic, so much so that whenever she's on the screen, you can't tear your eyes away from hers. Like Wonjun, we are entirely consumed trying to work out exactly what pain it is that Donna isn't able to overcome. In the end, the answer isn't so simple.

As for Wonjun, although I feel that the Drama rather conveniently skipped over a few important plot points toward the end of the show, I am at least glad that they made sure to provide clarity and finality to the two leads in one particular aspect. We know that for Wonjun, he isn't a person who can cope well with things that are uncertain and precarious. He takes a gamble on Doona, but in the end he sees that she is still broken and dangerous; he doesn't have the courage to stay with her. Meanwhile, Doona is overly reliant on others. When she was confronted with the prospect of what her life would be like without her career, and, by extension, her fans - she spiralled. The anxiety became so bad that she ended up losing another pillar in her manager, and by this point, she was a shell of her former-self. Although it never becomes clear how she ends up becoming a woman who no longer needs to rely on men, by the end of the show she is independent and able to cope with life on her own.

Without Doona overcoming that flaw, the 'open ending' can't be a happy one. Although its mention is only brief, we know that Wonjun is altruistic. He moves into the room at Doona's house in order to escape the dire reality of his situation at home, having spent his first years of university commuting in order to take care of his ill sister. He mentions the relief he felt when the responsibility of looking after her was taken away from him, yet jumps right into another person dependent on him in Doona. Wonjun doesn't necessarily see it as his job to fix Doona. By contrast, her presence alone has been enough to calm him and comfort him through difficult moments. Yet, the fact remains that Doona is overly reliant on Wonjun, regardless of whether or not she's helping him.

This is the crucial point in the show's climax - while Wonjun is at military service, Doona must become a person who no longer practices over-dependency on others, just as Wonjun must learn to to so easily let others be overly dependent on him at the expense of his own happiness. This is, in my opinion, a factor which hugely contributes to his decision to break up with Doona when she returns to fame. It's too hard, it's too precarious, and there's a large chance he'll get hurt if they stay together. However this is also an example of Wonjun's hypocrisy. Jin-ju explains to Doona from the moment she first suspects that she likes Wonjun that he's not a person who can cope which a personality like hers in the long-run. Whether or not it came from a place of jealousy was irrelevant, because it was true. Although at first Wonjun believes that he doesn't mind what Doona does or how she feels about him he eventually realises that he doesn't like her to an extent that he can ignore his own jealousy and hurt. Even after admitting this to her, he does the same thing when he swears he won't mind if she returns to the spotlight. Doona, too, at first thinks that her newfound happiness with Wonjun is enough to fill the void left by her early retirement, however she harbours a deep need to be loved, and Wonjun's love alone was never going to be enough to satiate her. Neither one seems to truly understand their emotions, except for the fact that they truly love each other.

As for my sprinkle of negativity, even though this show managed to escape practically every K-Drama cliché of a celebrity falling for a normal person, it failed with it's side characters a little more than miserably. A seemingly random arsenal of side characters (save for an albeit-underdeveloped Jin-ju) served only as lacklustre comic relief or as devices to further the plot through causing jealousy or misunderstandings. Although the side stories and supporting characters aren't the worst I've encountered, compared with the addictive story of the two lead characters they are inevitably mundane. Doona's mother, too, although perhaps the most interesting of the parental “figures” seems to be entirely written off as someone who uses her daughter for money. Sometimes in life it really is that simple, yet with this character it feels more like two-dimensional writing than a purposeful choice. The same goes for Ira. She is no more than a device to make Doona jealous.

Despite its flaws, Doona succeeds in something that most shows cannot. Deceptively simple, its story engages you without ever throwing its quirks and messages in your face. Often in Dramas a character’s true feelings and thoughts are spelled out to the audience, but in Doona, when Wonjun looks behind Doona’s eyes and can’t figure out what really lies behind them, the audience find themselves doing the same. Even when he asks her to tell him she’s sorry, we are just as surprised as Wonjun when she tells him she loves him instead. These twists aren’t shocking, but they aren’t predictable either, which demonstrates perfectly the complexity and depth of the two lead characters, even if those same dimensions are lacking elsewhere in the show.

In the end, you can’t help but root for Doona and Wonjun. The same goes for the show. It’s perhaps one of the only shows I genuinely think has benefit in a second watch. Knowing from the beginning what we know from the end, it must be an entirely different experience, and an experience well worth it.

Leia Mais