Tanky Toon

Started strong, swerved weird — and somehow still cute

The premise was interesting, and the beginning started out great. At first I was low-key shipping the brother and the adopted-sister, without even knowing the whole story until the brother’s bestie proved himself a worthy partner. As it turned out, He Ting Zhou had been silently pining her for years. I was fine with the evil step-mother even, as is she’s the staple villain that is requisite in every Cinderella-esque story.

But what blind-sided me is the complete reversals of some characters and there was not even any warning. Shen Yu’s pathetic attempts to grasp Shuang Yu’s misplaced affections are equally absurd, like a cowardly child hiding behind his mother’s coattails and sulking when his friend takes his sweets. A decent, quick watch, but nothing ground-breaking.

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Mothers so toxic, the drama should’ve come with a hazmat warning

I was hesitant to watch this remake of a Chinese Drama that I watched and then dropped shortly after. I remembered I couldn’t stomach the emotional abuse that was going on during the first episodes of the OG, that I thought I wouldn’t have picked up this drama until I saw the teasers, which looked promising. 

Having said that, I went into this drama without a source material so hopefully, I can be more objective and not be spending my time comparing it to the original.  

The first half of the drama started out great. I was impressed by the performance of the child actors and their sweet disposition. Also, I appreciated the subtle gentleness Yun Jeong Jae showed as a father figure, and how the children who became his sons loved him dearly, despite the lack of legal adoption.  

Growing up as a trio, San Ha, Ju Won and Hae Jun’s closeness as pseudo-siblings were endearing, if they only stayed as such. What refrained me from giving this drama a perfect score is the contrived romance between San Ha and Ju Won, and to a lesser extent between Hae Jun and Park Dal. There’s no chemistry to speak of, and I would have been satisfied if they stayed as siblings. This drama is fundamentally about a chosen family and their dynamics, which is why it’s called “Family by Choice,” and not “Lovers by Coincidence”.  

If there was any romance that needs to be explored here, is that between Ju Won’s father and Hae Jun’s mother. Their awkward shyness was fun to watch, especially when San Ha’s father was teasing them. Speaking of which, Dae Uk and Jeong Jae had more bromance chemistry between them than either of the main couple. But this would be too scandalous, so I get it. Despite everything, I was impressed by how these two men, despite their inexperience, raised resilient and kind children in the show. 

While I was very proud of the men’s representation, the same couldn’t be said for the mothers. I almost had a coronary just watching these horrible mothers treat their sons as if they are disposable. I anticipated their dismissal in the latter part of the narrative, yet they reappeared and focused solely on self-gain.

Though wrong, Hae Jun’s mother’s decade-long silence was at least understandable, given her grievances. But San Ho’s mother takes the award for “Mothers Who Shouldn’t be Mothers”. She did not deserve any ounce of sympathy from her son when she accused him of something that clearly was her own fault (and the father’s too). Her gaslighting irked me to no end, and I felt frustrated by Han So’s misplaced sense of loyalty.

The character development in this drama was lackluster, and the closure was also weak. In fact, they doubled down on excusing San Ha’s mother’s actions as justifiable because of a traumatic past. The writers must have somehow forgotten that San Ha suffered too.

Not to say that the acting by the three main cast members were sub-par, but I probably enjoyed the personalities of their child version more; at least they had spunk, tenacity and an unadulterated innocence that would have fit a lot better in a narrative about familial bonds.

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Main couple got destiny. Backup lovers got doom and maybe food poisoning

I usually stay away from dramas where the Female chases the Male first, (thanks to the ISWAK series), but I forgot to check the tag this time. After all, it’s a delicate balance between the annoyingly aggressive FL reeking with desperation, versus the beguilingly belligerent FL filled with enthusiasm. Especially if the FL does not have a lot to offer, is clueless about her shortcomings, and is clingy to boot.  

But this show escapes that trope by presenting the Female Lead as a go-getter, who despite her naivete with romance, puts her faith in a younger man whom she fell in love with because of his looks. She shows her innocence by taking guidance from her equally clueless secretary or from reading manga, surely abundant with sage advice.  

Their intertwined business rivalry and familial connections illustrate the “small world” theme common in dramas. The overuse of a common trope to create a “fated destiny” romance unexpectedly worked for the main couple, but the secondary pairing failed to benefit from this approach. Despite having quirky interactions, the fate of the second couple seems doomed from the beginning.

Despite its low budget and short length, this drama’s production team made the most of their resources, and I was pleasantly surprised by the cast’s performance, particularly Yang Ze’s. So I would look forward to his other works.

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Noona romance laced with cliché, fluff, and a sprinkle of cradle confusion

Normally, I don’t pick up dramas with lackluster reviews, but the premise intrigued me. But I’m such a sucker for noona-romance, so I took the obvious bait, and it didn’t disappoint. I enjoyed the fluff that pandered to my taste, because occasionally I need to take a break from the heavy, sprawling, thousand-lifetimes drama and giggle at silly, trope-y shows to wind down.  

This fits the bill, with its cliched meet-cute, and then eventually meet-don‘t (or rather, meet-rewind); from online-friends, to let-down rivals that feel like a little cradle-robbery, to I-hate-you-boss-type of relationship. And of course, who could ever forget the what-a-small-world-scenario in nearly every drama, in where this MC, knows this MC, who knows this other MC, who happens to be this MC, and you’ve got a recipe of coincidences!  

Preventing me from fully relishing this drama is Ju Yeon’s grandma, who is so horrible that she makes Maleficent look kind. But at least there’s that bad-hair-wig-band that Ju Yeon’s rocking to, as their songs gave him solace and an outlet to tap out his frustrations.  

Not to be outdone in the chemistry department is the other pairing of Sin Won and Ha Jin. Their attempts at trying to separate the OTP are interesting to watch.

All in all, I cannot dive too deep into a drama that is clearly not meant for any Baeksang awards, but if the goal is to provide an escape from reality for at least twelve hours, then this drama certainly has done its job.

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Time travel: great for love, terrible for plot holes

The premise of time travel is nothing new, and neither are fake relationships. Throw in the cold man/warm woman, boss-employee trope, you have the Story of Park’s Marriage Contract. Of course, as with any supernatural drama, we have to suspend some disbelief in order for this drama to pass muster.  

There is nothing ground-breaking here, no exceptional acting to speak of, and this is not the fault of either Lee Se Young or Bae In Hyuk. It’s mostly how the characters were written, some of them very predictable, that they leave very little room for interpretation. It’s more the chemistry between Yun Woo and Tae Ha that is mostly carrying this drama. The comedic couple of Sa Wol and Sung Pyo also enliven the story, but their pairing was more forced than a testament of their affection. Unexplained as well, is Tae Min’s interest in Yun Woo, especially when their meet-cute is more like meet-hate, and their encounters were so few and far in between to justify any progression.

Although interesting, the plot has some gaps that remained unfilled toward the end. I thought they did Joseon Tae Ha a disservice, since he was the one who longed for Yun Woo since they were little. But I guess it was only natural for a woman to fall only for one version of the man, despite looking the same.  

But despite its flaws, I enjoyed this one despite the lukewarm reception.

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Some battles are won with swords. Others with slow-burn side-eye.

When one of my two favorite Chinese actresses, Bai Lu, stars in a historical drama, you bet I’m going to watch it. Throw Zhang Ling He into the mix, and I almost would have given it a 10, but I didn’t. Not to say, this wasn’t an amazing drama, because it is, but it left me wanting more.  

Let me start with where this drama excels.  

The story. The story of Kunning Palace is full of wonders and intricacy that I am kept on my toes with all the political intrigues and calculated machinations by people in Xue Ning’s second life, with the most impressive moves made by her, and of course our main lead Xie Wei. As separate characters, they are formidable in their own right, but together, they are unstoppable. The way they side-step attempts on their life and thwart their potential ruination were exciting to watch. 

The arcs. Several fully developed mini-arcs comprise this drama, each contributing to the overall plot. The writer seamlessly intertwined them, and none served as a filler.  

The music. Appropriately themed and timed, that I feel the swell of excitement when called for, and the sense of dread when prompted. They carefully chose the sombre melodies that became a backdrop of unrequited love. 

The production. The crew excelled in cinematography, and their attention to detail in costume design creates a world that transports us from the present to the past.

The cast. As expected of Bai Lu, she portrays the role of Xue Ning convincingly. Her wit and charm exude on the screen. Zhang Ling He is not one to slack off either. He proved his status as a top actor by nailing his portrayal of the mysterious figure that is Xie Wei. This is the fifth time that I’ve seen both, each time I am impressed with their acting. But who surprised me the most is Wang Xing Yue. This is the second time I’ve seen him, but his performance here grew leaps and bounds compared to when I first saw him in One and Only. Zhou Jun Wei is another one who held his own when cast in a sea of experienced actors. I’ve always seen him support roles and here, he proved himself to be a worthy contender of the Female Lead’s love.  

Where I think this drama is lacking.  

The romance. I’m not entirely sure whether it’s the lack of chemistry between Zhang Ling He and Bai Lu that allowed Zhang Zhe to sweep in the middle. Or maybe it’s the way the characters were written, or how the drama (or camera) focused on Zhang Zhe’s character, that I feel there’s more of a connection between Bai Lu and Wang Xing Yue. The longing looks that they shoot each other for the most of the drama almost erased Zhang Ling He’s existence. When Yan Lin thought his rival was Xie Wei, I think it was Zhang Zhe that he should be wary of. Granted, if Xue Ning’s second life didn’t occur, she might have ended up with Zhang Zhe. But it’s highly unlikely because we know that the upright person who he was, First-life Zhang Zhe would not have fallen in love with First-life Xue Ning.  

Speaking past lives, I’m not happy that the drama interjected a modern re-write of the novel as a segue between the first and second lives. I know some people have attributed this to censorship, but there are other dramas that have done this better.  

Aside from these points, I almost loved this near-perfect drama, with its powerful cast and engaging plot. This sweeping saga of second chances and second loves explores the question of whether fate can be changed with strong will, or if it remains the same destiny regardless of attempts to reverse it.

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She chased fate. He chased dreams. The drama chased its plot.

I almost dropped this drama after watching the first episode, because I’m not really a fan where the ending is at the beginning of the drama. It’s not that I don’t want to know what happens, and let’s face it, romcoms typically end with a Happy-Ever-After. It won’t veer from this formula, but I’m already resigned to this fate without even giving me the chance of speculation. 

After delaying it for months, I finally got around to watching it. I was mildly surprised I didn’t hate it as much as I expected. Maybe this is also due to me failing to recognize Lu Yu Xiao from her Antagonist role in “My Journey to You.” Here, she’s a perfect fit as Lin Xi, neither too clingy, nor over-bearing. Although I almost ditched this drama for another reason: I misunderstood her intentions in approaching Ji Jun Xing at the start. Thinking that she would be one of those females chasing the man around with no self-respect. ISWAK really traumatized me in that regard.  

For his part, Wu Jun Ting is convincing as the aloof Ji Jun Xing, but later warms up to those friends who became part of his inner circle, mostly thanks to the efforts of Lin Xi. Jun Xing and Lin Xi’s journey from strangers to friends to lovers, was really heart-warming to watch. Their romance was a natural progression.  

In contrast, Yi Mian’s and Xie Ang’s on-and-off relationship gave me a whiplash. They break up at the slightest disagreement and get back together when they miss each other. After the nth time they did this, I couldn’t care less whether or not they end up together.  

As for the third pairing, we all know that they are not really your typical type of friendship. There are plenty of hints that there is more going on between Gao Yun Lang and Chen Mo than meets the eye. But alas, we have to play to the hetero-normative construct in order to pass the censors, so we are just presented with the “Socialist brotherhood” that seems acceptable. 

The rest of the characters were not as memorable, except maybe for Qin Kai. He wasn’t a strong enough of match for Lin Xi, that I didn’t feel any second-lead syndrome at all. But he served his purpose, as well as the rest of the cast.  

The pacing was well-maintained in the beginning until the tail end, where all the time skips happened. I wanted the drama’s second half to address or at least include a few things. One being: where were all the parents after their high school days? Somehow, all of them disappeared from the scene, only to be reunited at the end during their wedding. I would have liked to see more of their interaction, especially since Lin Xi and Jin Xing’s family were supposed to be distant relatives. At least, I would have imagined them eating at each other’s house more often when they became a couple.  

Also, after all that effort of making the heart-monitoring bracelet, I thought they would show Jin Xing’s brother making use of it. After all, it was for his sake that the idea came to fruition. He, along with the parents, seemed to vanish into thin air once they went to university.  

Instead, we get a high school reunion of people we hardly saw in the drama, as if I would remember who they were in high school. I’m not convinced that all their classmates will take part in the surprise marriage proposal that Jin Xing meticulously prepared for, but there’s dramaland for you.  

Aside from those things, this drama is decent enough to pass muster. It mainly talks about how people are fated to be together, and how important it is to chase your dreams.

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Politics over passion. Survival over sentiment. One viewing is all you need.

I think it’s the first time I’ve seen either of the leads in a show, so I have no expectations whatsoever about going into this drama, but I can say that both acted remarkably well. As the stoic general who can fight everyone else but his mother, Wallace Chung brings his serious demeanor on the table when he is supposed to be aloof, and his playful smirk when he is being mischievous. Contrasting him is Tan Song Yan as the cunning concubine’s daughter, who is level-headed even when facing problematic obstacles and who is quite cheeky when dealing with people who try to manipulate her or the situation.

The rest of the cast gave commendable performances as members of the Xu or Ou households, and the actors cast as villains were so despicable that you wanted to gouge their eyes out—they truly embodied their characters. Although the plot is solid and has a lot of interesting narratives, the pacing, however, is quite tepid and slow. There are scenes that are unnecessary and bring little to the drama progression except for filling time.

I ended up not watching this for the romance, but only to see how Tan Song Yun maneuvers herself around sticky situations. I was rooting for her much of the drama except I felt betrayed during one instance. This is where she did not put the same trust in her husband as he did for her. I get it: she was suspicious of the Xu family in the beginning, but I thought after all that time and all the things that Ling Yi did for her, would convince her otherwise. Even when the evidence was stacked against her, he chose to believe his wife. Why not offer the same consideration for him? It’s only right for him to be mad at her for not trusting him.

In several instances in the drama, I believed that if her mother hadn’t been murdered on the day of her planned escape from the arranged marriage, Yi Niang would have ended up with Shi Xian. Although Ou’s family were vile characters, at least Yan Xing is not.

A lot of the comments I see are those hating on the Mother-in-Law, but I think I’m just so used to seeing more despicable characters that she was tame in comparison. On the other hand, I could not stand Lian Fang a bit. If I had nails, it would be on her face, so good riddance to her. What also pissed me off is the supposed redemption arc of Er Niang. I still don’t think she deserved any type of forgiveness because she was complicit in a lot of inflicting pain against her sister.

Anyway, this is a drama where once is enough. I don’t need to go through it again to know that there are as many shitty people in the world as there are survivors.

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She hears lies. He hides truths. Romance hit mute.

What can I say about this show is that it’s unremarkable. I wanted to watch it because of Hwang Min Hyun, who was great in “Alchemy of Souls,” and the premise of someone who can hear through people’s lies, piked my interest. But the execution fell short, perhaps due to the flimsy source material, budget constraints, lack of inspiration, or whatever ailed this sad excuse of a drama that could have been great, but settled for mediocrity.  

As individual actors, Kim So Hyun and Hwang Min Hyun were not too shabby. As Mok Sol Hee, she was spunky and conflicted at the same time because of her supernatural ability to detect lies. It’s no surprise that she has trust issues, which explained her backstory with her previous fiancee.  

On the other hand, the male lead was as mysterious as he gets, hiding his identity from almost everyone because of a past incident that pegged him as a suspect in a murder case. Because of this intrigue that I kept watching this drama, to see how it unfolds. The first half of the drama was decent until it lost steam. Speaking of which, there’s not even a semblance of heat between the two main characters to justify a romance. Not even a tiny spark to light a fire. But you know who has chemistry? Mok Sol Hyun and Lee Kang Min. So much so that I wished they gave Do Ha’s role to Seo Ji Hoon instead. I would have rooted for this ship, hands down.  

As for the secondary characters, they are even less memorable, except perhaps for Yun Ji On, who plays a complex character. I was really impressed by his portrayal of Jo Deuk Chan, the ML’s best friend, who happily plays second fiddle. But the rest of the cast were technically just props, perhaps to fill a body count, and move around to make the drama look substantial when it’s not.  

Then the plot twist and the whole fake-out at the end was disappointing. And coupled this with the fact that two of the female characters here used emotional blackmail as manipulation is very unsavory for me. I’m not really one to justify this, but in the end, this is not a romance story or even a murder mystery, but a drama about obsession, whether it’s for a one-sided love or a love lost, for misplaced justice, for a twisted truth or for greed of money. So while there’s a semblance of a message is there, it failed to deliver.

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A drama light on depth but heavy on queen energy

Perhaps if I hadn’t watched Mr. Queen, I would have given this drama a higher rating. I’m not saying these dramas are related, but this drama gave me the same vibe. Both dramas feature strong female leads as rulers of their kingdom, both had gender-bending or swapping as themes, and both have comedic elements. Basically, this drama is like a cross between Mr. Queen and The King’s Affection.  

While I was impressed with both aforementioned titles, My Uncanny Destiny perhaps has a less intricate plot and less developed secondary characters. I would say that though the comedic timing of the show is on–point, I believe this is due to the lead actress’ delivery and performance. Zhang Yue Nan’s solid portrayal as the formidable Lord of Mu Xi City is very convincing. This made me enjoy the character more, especially when she switches between Zhao Nan and San Mei, and yet still displays that same wiliness in her demeanor. The amazing dialogue helps a lot too. It looked like the writers sure invested a lot of thought into the FL’s lines that they perhaps forgot everyone else’s.  

Although adorable, Yan Zi Xian was disserviced by a FL so strong, that his character paled in comparison. Though he tries to hold on his own, he could not catch up. The rest of the characters were not as memorable as Qi Meng/Hui Rou, and it is for the wrong reasons. She’s just like a nasty bug that wouldn’t die, no matter how many times you try to kill it.  

Otherwise, if you have time for some light drama, this may be a decent show to watch.

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Blindness isn’t the plot device—determination is.

At first I thought this would be one of those shows tackling disability as if it was a plot device to keep a relationship going, but while it may have started as how Yukiko and Morio know of each other, it wasn’t a show to gratify the condition.

Whereas other dramas might fail in undertaking the topic of blindness, this one succeeds. This drama does not give you a chance to feel pity for Yukiko, because you see her determination to overcome her inability to see like others. She uses the resources available to her, and where it is lacking, she creates and looks for opportunities to improve.

Instead of feeling sad for Yukiko, I ended up rooting for her like how Morio did in the show. His belief in her strength and tenacity was adorable. And while I appreciate how he supports his girlfriend, it only highlighted the time he has on his hands, that I forget he had a part-time job only after he met Yukiko. Nevertheless, Morio’s redemption arc from delinquent to dependable is to be noted.

Speaking of redemption arcs, I have a beef with the second leads. I cannot fathom how Shishio, who used to fight Morio all the time, ends up being actually in love with him? Logic not computing, but also makes sense. Is this like: boys who bully girls, secretly have a crush on the girl? He gives Morio a job at his grandmother’s store, helps him be his wingman, and later becomes his potential brother-in-law even though he’s gay? What in the fantasy world is this? Meanwhile Izumi, who is Yukiko’s sister, has poor taste in men. She’s also overprotective of her sister, and yet she seems to be the weaker of the two. And because everyone needs a partner, they just lump these two incompatible characters with each other.

Aside from its flaws, this show is a decent watch, especially when they included the educational snippets from Hamada Yutaro, a blind comedian whose jokes flew over my head because I don’t have cued-canned laughter.

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Forget romance—this kitchen serves equality with a side of soy sauce

I have mixed feelings about this drama, not because of the large age gap between the two main characters, but how it’s being presented.

We learn that, in order to save their restaurant, Ichika’s family arranged a marriage of convenience for one of the daughters. In the beginning, it was Ichika’s younger sister who was supposed to enter that marriage, but at the last minute, she backed out because 1) she was also older than the groom 2) she did not want to be stuck in a loveless marriage 3) somebody else who liked her proposed to her. All good reasons NOT to agree to a contract marriage.

But then we see Ichika agreeing to this contract marriage because of her outdated (and perhaps believable) concepts compared to her younger sister, who had a more idealistic view of the world. Being a widow in 50s Japan, Ichika basically consigned herself to a lesser role in the kitchen despite her excellent culinary skills. Her belief that a woman in a patriarchal society will never amount to being a head chef, let alone operate a business, is one that is valid considering what is the norm at that time. However, just because society has traditionally accepted a certain thought does not mean it couldn’t be changed for the better. And this is where Amane, her new husband, comes in.

Despite his young age, Amane is very sensible and has the business acumen to support Ichika in her dreams of managing her own cuisine. He quietly does things for his new wife without her awareness. Amane’s contribution to Ichika’s efforts later came to fruition when she finally salvages her family restaurant from ruin.

If you are expecting romance from this drama, don’t. This show is mostly about the food and how one woman’s dreams came true despite the obstacles in her way. Amane’s growing affection for Ichika looks very one-sided to me. I am not sure if it’s because of how the characters are written or the lack of chemistry between the two actors is the reason for this. The most I can see between Ichika and Amane is like how a big sister dotes on her much younger brother.

This drama is more like a PSA for food or for feminism, or both.

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From fake dating to trauma dumping in ten episodes or less.

Just by the premise alone, you can tell that this drama will be full of tropes, including, but not limited to: Rich Man/Poor Woman, Boss/Employee, Fake Relationship, Contract Marriage, etc. So, going in, I already expected that it would be a show filled with cliches, and probably have ill-timed laughter that serves no purpose except to be adorable. And this show just does that in the beginning.

We are presented with a female lead who had to grapple with so many false accusations because of her looks. It was one problem that is supposedly plaguing someone so pretty that you are supposed to feel sorry for her, and thus a young, handsome man (not to mention rich) falls on her lap to solve all her issues. It’s all fine and dandy until the latter half of the show.

Here, the drama tried to incorporate heavier topics like the implication of infidelity, implied abuse and other conflicts that came out of left field, that I wonder whether even if it’s the same story we are dealing with. We also see Ayaka's family being supportive of her despite their financial struggles. My only gripe here is that they seem to be happy despite their dire situation, with so many mouths to feed and a baby on the way. Haven’t they ever heard of condoms?

Nevertheless, it is a decent effort by the production crew, especially by the main leads who carried most of the drama weight on their shoulders.

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Romance, chaos, and one-night stands—served with kimchi and regret

If you like "Sex and City" type's realistic take on dating in the 21st century, then this series is for you. It certainly is more risque than your average Korean rom-com (of course it is still considered tame compared to Western shows), and gives you a candid peek on the romantic and sex lives of 30+ Korean city gals without the fluff. Finally some real HOT action. Choices that some characters made can be questionable but that is the appeal of this drama - that life is not neatly compartmentalized into A or B packages...and it is the journey and not the end that matters.

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The office drama where no one works, yet hostile takeovers happen daily

I usually avoid dramas where one or both of the main characters has a child, because of my own peculiar reason since childhood, but both instances, including this drama, surprised me as this is the second time where the kid stole the show.

Like in “Unforgettable Love,” the child actor was so precocious and lovely as he became the catalyst where the two leads get together. I couldn’t believe that Cui Yi Xin was only around 6 or 7 yrs old when this drama was filmed. Quan Quan seemed more mature than his young age and perhaps because he had to go through a lot due to his heart condition.

The leads were not too shabby, even though it’s the first time I’ve seen either of them. In the beginning, Wang Yu Wen came across as bland and lacking personality, especially in contrast with Ma Xin Rui’s character, Cao Mu, who is spunky as Min Hui is dry. But throughout the show, she develops a backbone as she fights the injustices of sexual harassment and other political games that people were playing against her.

On the other hand, Wang Zi Qi balances the jilted ex-lover Xin Qi who misunderstood Min Hui’s intentions, and the protective boyfriend he later became to be. Although, at some point, he turned into a bit of a stalker, following Min Hui around the city to get into her good graces, while finding intel on her non-consequential blind dates. Some might get put off with this, but the drama defends this behavior as permissible since there was no malice behind it.

Speaking of which, I find it really laughable that Xin Qi spends most of the drama pursuing Min Hui that I wonder when he actually works as a CEO of a large company. Ru Ji mocks this trope in one of his later conversations with Zi Zhu, that only in a drama world, where a character can be with their beloved 24/7. There’s also a lot of contrived instances I found disbelieving. For instance, Quan Quan had multiple run-ins with Xin Qi because he had the freedom to roam the halls of the hospital or wait outside alone. He was also asked a few times not to open doors to strangers while his mother was out running errands. It was fortunate that all these encounters were with Xin Qi, who he later discovered to be his father, otherwise I would have been terrified by the thought of him being taken away by an unscrupulous person.

There’s also that coincidence where Cao Mu’s boyfriend, happens to be the brother of Min Hui’s acquaintance, who happens to live at the same orphanage as Xin Qi. Talk about a small (drama) world. Talking about Cao Mu and her boyfriend, it was cute in the beginning until it wasn’t. But their pairing was better than Ru Ji’s and Zi Zhu’s, despite Ru Ji’s insistence to the contrary, that no, Zi Zhu isn’t a replacement. I lost interest in these four people after they coupled up and their chemistry fizzled.

Although the business back story provided the characters with material to work with, it didn’t captivate me as much as I anticipated. The Be Agile tech company serves only as a platform to showcase Min Hui’s intelligence, and the hostile takeover was only a way to bring the antagonist Qi Rang back into the fold. The drama started strong, and the ending was solid, but was mostly soft in the middle.

The absence of Quan Quan in the back half of the drama was palpable. I kept wondering, who is babysitting the child? Where is he and who is he staying with? The drama tried to cram so many things in the last few episodes, like we finally see Xin Qi working until he collapses because of exhaustion. Then besides all this, the villains did not get their just desserts, or at least, it wasn’t satisfactory to my taste. Are we supposed to forgive Xi Yue for all the things that she has done to destroy Min Hui? And how about Qi Rang? Yes, authorities arrested and convicted him for the sexual harassment he committed against Min Hui years ago, but what about his illegal dealings? Also, Xin Di’s absence in the main couple’s wedding is a glaring omission. The two secretaries were there, why not her?

But all in all, a decent drama about second chances.

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