whoissilmoy

"For Xu Kai, taking on genres like crime and mystery - "every boy's dream" subject -
is thrilling, but more importantly, it's about finding the right place within the craft of realistic acting. He doesn't rush to define his path, preferring instead to "take one step and see where it leads.""

I don’t know much about Miles Wei beyond what I see on his MDL profile the dramas he’s been in. I noticed a shift in his roles around 2024 which positioned him well for this role.

Oh, he tried acting but failed so he became a scriptwriter and plagiarized. I saw an X post, he wants to try acting again, not sure if its' true. People make fun of it.

The 2.8B is Mango TV’s internal total‑plays number. It’s real inside Mango’s backend, but it isn’t public because Mango TV never releases raw cumulative play counts. That means no one outside the platform can verify it — but “unverifiable” doesn’t mean it’s false. Producers can see these backend totals and often use them for hype.

Yu Zheng placed that internal 2.8B next to Maoyan’s public data to make it look more official. It’s a classic Yu Zheng move — using a private Mango number alongside Maoyan’s public metric to boost credibility.

The 2.8B is raw total plays — every click, autoplay, refresh, and partial view.

The 1B is Maoyan’s effective play count, which filters out autoplay, repeated clicks, very short views, bot traffic, and inflated plays. That’s why Maoyan’s number is always lower than platform totals. Mango’s backend data is private; Maoyan’s data is public.

The drama performed very well — that part isn’t in doubt. I’m only pointing out the way Yu Zheng framed the numbers, not denying the show’s success. This isn’t unique to Yu Zheng — producers often pair a private platform total with a public Maoyan metric to boost hype. Yu Zheng just does it more openly… he literally writes ‘根据猫眼数据显示…’ even when the big number isn’t from Maoyan. The sentence connects 2.8B to Maoyan, but the number itself comes from Mango’s internal backend. Tricky.

YZ is the kind of person, he will praise you when it benefits him and also pay to destroy you if it benefits him. I wouldn't take anything the man says as genuine. It's pure business.

I truly hope that if there is a season 2, it'll be different actors because, YZ has to offer something to get the same actors back, which means it will affect his top male artists.

YZ does business with his agency.

He is described as outspoken, media‑savvy, and unbothered by backlash. He treats notoriety as a strategic asset rather than a liability. He has a bad reputation, but I think he wants it that way. It makes for great publicity for him. He jumps into disputes, escalates them, and inevitably becomes the center of attention again. That cycle keeps him visible in an industry where visibility is currency.

Why Niche Philosophical Fantasies Like SAF6 Can Be Underrated Gems

The reason for the lower rating, I think, is that the story's Möbius time cycles and bittersweet ending are more polarizing, which pulls the average down. You can see this with recent fantasy dramas like Feud at 8.2 (low for a Bai Lu fantasy) and The Unclouded Soul at 7.7, both with similar themes of time loops/time travel/reincarnation mixed with bittersweet endings, although that can be up to interpretation just like SAF6 too. But Xu Kai dramas tend to be underrated on MDL. If Feud is 8.2 and The Unclouded Soul is 7.7, then SAF6—which is not lower in quality, especially with the cast's strong overall performances—should be as high. People rating it low often just don't like the story; it doesn't mean the drama is bad. It's truly a niche and unique type of storytelling with themes that open the door for some to pile on and rate it down. SAF6's narrative structure is unconventional compared to Feud and The Unclouded Soul, which lean toward more traditional fantasy romance tropes, but it's also what makes it refreshingly different. Of the three dramas mentioned, the time travel makes the most sense in SAF6 because it's the core of the entire story, whereas the others use it more as a device to wrap up the ending. All three use non-linear storytelling to some extent but SAF6's version is the most structurally experimental and immersive — it demands you piece together the 'loops' actively, which makes it feel more niche and polarizing. It uses romance as a way to explore philosophy rather than using philosophy to enrich a romance. Its structure, themes, and ending are designed to leave you wrestling with big, unresolvable questions about time, fate, memory, and love. That’s why the Möbius time cycles feel like the heart of the drama rather than just a plot device to wrap up the ending — the philosophy is the engine of the entire story.

Above all, SAF6 is a deeply philosophical and poignant story that truly tugs at your heart. This kind of storytelling is polarizing because it demands emotional investment and interpretation, rather than delivering a tidy happily-ever-after, same as in Feud or TUS.

(I’m only bringing these other two dramas here not to compare them, but to make a point.)

acting cute is not weird. I think it's an asian thing with females to varying degrees and styles. hers is not as subtle but also not extreme.

I just don’t understand why He Rui Xian isn’t getting leading roles. She can genuinely act and brings so much personality to her characters. I’ve seen her in Xu Kai’s dramas like Royal Feast, Court Lady, and ABAY, showcasing her range. Each character is so different—when I watched Court Lady, I didn’t even recognize her from Royal Feast. I felt disappointed that her role in Feud didn’t give her the space to shine the way she clearly can.

I love her in Sword and Fairy 6. She was so good!

I just hope the emotional scenes are given more time. One of my favorite moments was the big fight he had with the FL in ABAY — it felt like a movie rather than a drama. The dialogue was longer than usual, the tension kept building, and there was this rhythm to the scene that pulled you in.

I’m hoping this new drama, even though it’s short, will still include moments like that: longer dialogues, close‑ups from different angles, and enough space for us to really feel his emotional state. Those extended conversations are what let you fully experience what his character is going through.

Maybe he was paid off —

thank you for your hardwork

Based on how other dramas are rated on MDL, this would land around an 8.5. Lighter feel‑good shows inflate to that range easily, while deeper or more polarizing ones get dragged down — but this definitely deserves to sit with the hype titles.

It looks like he's trying to get more into fantasy dramas in 2024. He had a main role in Fox Spirit Matchmaker: Red-Moon Pact with Yang Mi,

MDL scores reflect how people felt, not how well a drama was made. Plenty of really good dramas end up in the 7.5–8.1 range simply because they’re polarizing, niche, unique storytelling, have endings that don’t land for everyone, or get dragged by haters and fan wars, who see opportunity to down‑vote and drive negativity under the cover of a mixed ending. Even a “happily ever after” where the couple reunites in heaven can feel bittersweet to some viewers, and that emotional mix alone can pull the rating down, since people don’t always agree on how to interpret it. In contrast, lighter, feel‑good series with minimal conflict and crowd‑pleasing tropes often inflate to 8.5+ because they appeal to a broader audience looking for comfort viewing. Ultimately, a 7.5–8.1 on MDL can be a badge of honor for dramas that dare to be different, provoke thought, or evoke strong (mixed) emotions. It often means the show affected people deeply, even if not everyone walked away happy.

MDL itself is biased too.

Tan Song Yun is an "idol?" How so?