I am also sorry, him and Churan is not a director and not involve in post production technical teamππ€£π€£
It must be so much plot happening or something because it feels like the original intro and plane episode happened ages ago. So whenever someone come to complain I forgot that they even happened because weβre so far in the future π So much else have occurred to be discussed since then
I donβt know about you guys, but those who are watching it and supporting the show. Itβs stressing me TF out!…
Republican dramas usually end tragically so maybe prepare for the worst and let it surprise you. Whatever it is, as long as it makes sense with the narrative, Iβm all for it. Even if Iβm mainly a HEA girl lol
That intro was a huge mistake, as was the editing in the early episodes. I don't know what the team was aiming…
The intros were already changed to the new one in earlier episodes on iqiyi and tencent internationally and in china, but I hear from people that viki never updated it so not sure what the problem there is
I understand Qingyu getting mad at Susu for unintentionally framing Qingyi, but to be honest Qingyu wasn't innocent…
My wish for the ending after the dust settles is they both fake their deaths and run off to build a cottage in a field of gentian flower to live happily ever after lol.
----------------If Overdo maintains its current quality, I believe that, as time passes, its intrinsic substance…
Yeah it's like a landmine out there, so I avoid certain places like the plague lol. The nice thing about RedNote is their algorithm is so well tuned that it only pushes positive comments to me since that's what I choose to look at.
This drama have things worth dissecting when you watch more carefully. Someone pointed out how perhaps the reason why Qingyi is so willing to go to life and death extremes for Susu is because as someone who grew up without examples of love from either family, his first real lesson was witnessing the sick couple who were willing to sacrifice themselves for the other out of love π₯²
----------------If Overdo maintains its current quality, I believe that, as time passes, its intrinsic substance…
I agree. I also read on facebook someone's deep dive into episode 10/11 that breaks down the complex dynamic between Qingyi and his adoptive father through the actors' portrayal, writing and certain filming details that you can miss on casual viewing. They analyzed it so well that by the end I questioned if I disliked the father as much as I did when I watched it the first time lol
Episode 1 officially premiered on Dragon TV today in China and real time ratings jumped from 0.1815% to 0.3650%, which is a very good start for satellite tv. The grandpas, grandmas, aunties and uncles must be loving it π
You really have to cherish it when there's good screenwriting because it's getting more rare these days. I think the current fd environment is contributing to the decline in drama quality because something good can get buried since biases and echo chambers can create a distorted view of things
Saw this analysis by a blogger on Weibo today that I thought was very nice. For anyone feeling down by the negativity/ratings,…
---------------- If Overdo maintains its current quality, I believe that, as time passes, its intrinsic substance will allow it to achieve a remarkable turnaround through the "long-tail effect" of word-of-mouth praise.
It is far from a formulaic "forced romance" set in the Republican era. Once you truly immerse yourself in the plot and catch up to the latest episode, you realize with surprise: amidst a volatile and superficial market, this is a sincere work that uses a refined touch to explore human nature, the era, and destiny.
The quality of Overdo is rooted, first and foremost, in its ambition to avoid one-dimensional storytelling. It is not content with merely recounting a simple romance; instead, it sows the seeds of love within the complex, intricate soil of the times.
Consider the brilliant line delivered by Murong Qingyi today: "The vault incident, the Huo family's crimes, why were those people able to let it all slide so easily? Wasn't it all just about petty scheming and the trading of interests?" This resonant challenge elevates the drama from mere romantic melodrama to the realm of realism.
The narrative structure is like an onion: as the layers are peeled back, the scope of the story expands. What initially appears to be a romantic encounter soon unravels into family feuds and illicit dealings involving an underground vault, eventually escalating into a fierce clash between the ideals of "self-cultivation and serving the nation" and the ugly reality of prioritizing family interests above all else. Take, for instance, the argument between Murong Qingyi and his eldest brother; it is not a petty domestic squabble, but a profound rift between two opposing value systems.
This multi-threaded narrative and the logically consistent, subtle foreshadowing imbue Overdo with the substantial, weighty texture usually found only in traditional, serious Republican-era dramas.
The pacing is rapid, no need for playback speed adjustments here, and even seemingly casual details often serve as foreshadowing for future explosive plot twists. Such confidence in screenwriting prowess is, in itself, a rare and valuable quality in an era rife with "padded" dramas.
I have faith in the long-term appeal of Overdo. It is, quite simply, a drama that stands the test of time. Beneath the guise of an idol drama, the series explores the indelible marks left by one's family of origin, themes of female independence and revenge, the tangled interests within moral gray areas, and individual choices amidst the backdrop of a changing era. Its characters defy simple, black-and-white moral labeling; instead, they are defined by the struggles inherent to their respective positions.
Once the clamor of the summer release season subsides and audiences, weary of formulaic, cookie-cutter content, turn back to seek stories that truly resonate on an emotional level, works like Overdo, which offer both intellectual depth and emotional intensity, will be rediscovered.
Overdo was perhaps unfortunate in its timing, colliding with a chaotic public discourse environment; yet, it was also timely, proving that there are still creators steadfastly upholding quality in long-form drama, and people dedicated to telling a complex, profound Chinese story with genuine heart.
Saw this analysis by a blogger on Weibo today that I thought was very nice. For anyone feeling down by the negativity/ratings, I hope this helps a little to stay positive and just enjoy the drama yourself. It's a bit long so I'm putting under a spoiler reply.
P.S. Something outside noticed with this drama that is completely different than any other dramas Iβve seen…
I remember this used to be a common thing in the oldie dramas where the starring actors themselves would sing the OSTs. Especially the HK and Taiwanese ones. Gives me nostalgia.
This drama have things worth dissecting when you watch more carefully. Someone pointed out how perhaps the reason why Qingyi is so willing to go to life and death extremes for Susu is because as someone who grew up without examples of love from either family, his first real lesson was witnessing the sick couple who were willing to sacrifice themselves for the other out of love π₯²
If Overdo maintains its current quality, I believe that, as time passes, its intrinsic substance will allow it to achieve a remarkable turnaround through the "long-tail effect" of word-of-mouth praise.
It is far from a formulaic "forced romance" set in the Republican era. Once you truly immerse yourself in the plot and catch up to the latest episode, you realize with surprise: amidst a volatile and superficial market, this is a sincere work that uses a refined touch to explore human nature, the era, and destiny.
The quality of Overdo is rooted, first and foremost, in its ambition to avoid one-dimensional storytelling. It is not content with merely recounting a simple romance; instead, it sows the seeds of love within the complex, intricate soil of the times.
Consider the brilliant line delivered by Murong Qingyi today: "The vault incident, the Huo family's crimes, why were those people able to let it all slide so easily? Wasn't it all just about petty scheming and the trading of interests?" This resonant challenge elevates the drama from mere romantic melodrama to the realm of realism.
The narrative structure is like an onion: as the layers are peeled back, the scope of the story expands. What initially appears to be a romantic encounter soon unravels into family feuds and illicit dealings involving an underground vault, eventually escalating into a fierce clash between the ideals of "self-cultivation and serving the nation" and the ugly reality of prioritizing family interests above all else. Take, for instance, the argument between Murong Qingyi and his eldest brother; it is not a petty domestic squabble, but a profound rift between two opposing value systems.
This multi-threaded narrative and the logically consistent, subtle foreshadowing imbue Overdo with the substantial, weighty texture usually found only in traditional, serious Republican-era dramas.
The pacing is rapid, no need for playback speed adjustments here, and even seemingly casual details often serve as foreshadowing for future explosive plot twists. Such confidence in screenwriting prowess is, in itself, a rare and valuable quality in an era rife with "padded" dramas.
I have faith in the long-term appeal of Overdo. It is, quite simply, a drama that stands the test of time. Beneath the guise of an idol drama, the series explores the indelible marks left by one's family of origin, themes of female independence and revenge, the tangled interests within moral gray areas, and individual choices amidst the backdrop of a changing era. Its characters defy simple, black-and-white moral labeling; instead, they are defined by the struggles inherent to their respective positions.
Once the clamor of the summer release season subsides and audiences, weary of formulaic, cookie-cutter content, turn back to seek stories that truly resonate on an emotional level, works like Overdo, which offer both intellectual depth and emotional intensity, will be rediscovered.
Overdo was perhaps unfortunate in its timing, colliding with a chaotic public discourse environment; yet, it was also timely, proving that there are still creators steadfastly upholding quality in long-form drama, and people dedicated to telling a complex, profound Chinese story with genuine heart.
cred: (ζ°ε ε‘ε°η¬ε°)
https://weibo.com/5996027617/RamdXo5Do
It's a bit long so I'm putting under a spoiler reply.