An Oriental Odyssey.

Chu Sijing, a captain of theJinyiwei/锦衣卫 or Embroidered Guard is on a mission to investigate a strange epidemic that broke out on the remote Wumu Island in Liaodong province. The outbreak threatens the adjacent NInghai Fortress, a critical stronghold against the invading Jurchens. The powers that be have their own agendas and appear more interested in covering up the outbreak than anything else. Thus Sijing steals onto the island aided only by a Mongol Tartar official Bo Yan and a Fulangji/佛郎机 businesswoman Angelica. There he encounters mysterious, disease afflicted villagers who worship ancient Gods and is forced to deal with some monstrous truths. Can he weed out the root of the epidemic before it overwhelms them all?

This story is set in the 3rd year of Tianqi, when the Ming Dynasty was in rapid decline. It was a time of many natural disasters from meteorites to a mini ice age, drought and famine. Superstition reigned high as the peasants were starving and the emperor was widely said to have lost the Mandate of Heaven. The drama invests heavily in world building and weaves in many themes from the period and fantastical creatures from Chinese mythology 山海经/Classics of Mountains and Seas and 神异经 / Classics of Gods and Spirits. Even though the CGI is not the best, I appreciate the effort that went into how they blended history, fantasy and ancient lore together to make this an Oriental odyssey.

Unfortunately all the research and creativity that went into world building is wasted on the story's plot which hints heavily at a complexity that never materialises. For such a short drama, there are too many subplots touching on many themes that go nowhere. Even ignoring Sandrine Pinna's appalling Disney cartoon character acting, the entire Angelica/Pirates of the Caribbean arc adds nothing to the story. The time would be better spent fleshing out the motives of the Henggong cult and tying up the many loose ends to the story. I usually like Huang Xuan's acting and enjoyed his chemistry with Bo Yan but this is not his best role. Maybe it is the overuse of green screens but I caught him frequently out of the moment and staring blankly into space. Shen Rang is the only character that really moved me and I enjoyed this character design and portrayal the most.

The best things about this drama are that it does try to be different, it is short, some of the action scenes are pretty good and it is oddly enjoyable despite its lack of logical consistency. The ending is anti-climatic, doesn't hang together well, leaves loose ends and is disappointing overall. I am being generous in rating this as a 7.0/10.0.

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Sing a Song of Six Spies.

This is a lively, intriguing and exciting romp into the murky world of espionage during the Northern Song period. The various subplots of this drama delve into the counter-intelligence activities of six, young and budding Song spies as they work to undermine Song's arch enemies Liao and Xia. This under appreciated drama carries the hallmark witty dialogue, creativity and manifold twists that made Joy of Life such a huge hit, albeit with lower budget and a young cast.

Sing a Song of six spies
A pocket full of lies
Four and twenty black deeds
Faked by a Xia

Six young and promising individuals from vastly different backgrounds are recruited and undergo intensive training at a top secret spy academy. The morally ambivalent Yuan Zhongxin is cunning, cynical and diabolical; the perfect anti-hero in the high stakes world of double agents, conflicting loyalties and multiple betrayals. He is only bested by the fiery and badass Zhao Jian and together, they make a formidable pair. Although Zhao Jian comes off as arrogant and almost dislikable in the beginning, she is a rare strong female character whose desire to be relevant resonates from the get go. Along with the chivalrous Wang Kuan, who is pretty much 11th century google, Zhongxin, Zhao Jian and Wang Kuan are the brains of this outfit of six young spies. The well connected and commercial Wei Yanei alternately bullies or buys them out of trouble while the lethal Xue Ying more than pulls his weight in any skirmish. The disarmingly innocent Xiao Jing is the glue that binds this talented team together. Their goofy antics, youthful idealism, courage and sheer brilliance under pressure shines a bright light into the dark world of spooks and war hawks to whom the ends justify the means.

The rapport and camaraderie between this ensemble cast and how they grow to trust each other and learn from each other is the best thing about this drama. In each arc, one or two characters gets fleshed out and dimensioned - we get to see their home, family, who they care about. The character building is achieved via clever dialogue and suspenseful or action oriented moments that lapse unexpectedly into comedy before transitioning back seamlessly into the previous moment. The characters have unique shared experiences with each other, giving them individualized rapports and further deepening and dimensioning the team dynamics. I watched this right after Imperial Coroner and I cannot help but notice how uncannily similar Xiao Jing/Wang Kuan are to Chuchu/Prince An in terms of archetype. The big difference however is that in Young Blood, both characters grow and develop and they seem more real and fit in naturally with their team.

Most of the danger laden missions or arcs are creatively written and laced with the right mix of action, intrigue, comedy, romance, tragedy and of course betrayal. The superb subplots overflow with richly dimensioned characters - there are so many fantastic grey characters from villains, to rival spies and would be friends were it not for the different loyalties. There are few easy wins for our spy team as they are engaging with smart characters who are consummate liars that can (and do) beat them at their own game. In the last two arcs however, the writing did fall down somewhat. The writer seems unable to stop himself from overindulging in too many twists and surprise about faces. I did not appreciate how some of the smart characters got noticeably dumbed down in order to extend the plot or force additional twists. That said, the ending was good, tying up most loose ends but the end bit was a bit messy obviously to leave the door open for Season 2, which has since been announced. The strong performances, the richness in the characters and the team makes Season 2 a no brainer in terms of something I look forward to watching. Even if it doesn't materialize however, the ending can be considered satisfactory and conclusive. I give this super enjoyable watch a 9.0 although it should be between 8.5 and 9.0 or a 8.75.

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Lightning doesn't strike.

Season 2 picks up where Season 1 left off with Wuxie and Xiao Bai leaving Warehouse 11 and assembling a team to journey on to Thunder City. At this point Wuxie is desperately ill and it is not clear whether he will survive long enough to get closure on what happened to Wu Sansheng and unravel the secrets of the Thunder God. This season is better paced and more tightly written, avoids the digressions characteristic of Season 1 and comes to a satisfying conclusion. In this journey, Wuxie learns to live life in the present moment and appreciate the people around him rather than chasing mirages.

Unlike Season 1, this season is a lot less about the Iron Triangle. Although we see them and their rapport and witty banter remain the most memorable highlights of the drama, this would be more aptly titled Entrourage rather than Reunion. The issue is that too many members of the team that travels to Thunder City only have modestly well developed relationships with Wuxie and/or Xiaobai but are pretty much strangers to each other. So when they are thrown together in suspenseful or dangerous situations, there isn't that very enjoyable natural chemistry or seamless bond that emanates when the Iron Triangle is together. The only execptions are Xiao Bai and Liu Sang and possibly Hei Yanjing so things markedly improved towards the end when all the "extras" get left behind.

The other enjoyable aspect of this season are that we have two very good villains - Boss Jiao and the spy and one excellent grey character Jiang Zisuan. In fact I would say they somewhat stole the limelight in this season. I was particularly impressed by Wu Lipeng's portrayal of Wuxie disguised as Jiang Zisuan. He literally knocks off all of the little mannerisms and micro expressions of Zhu Yilong's Wuxie to a T. However, it goes on for way too long and to the point where it was no longer even logical from a plot point of view. So the season ends with this feeling that Zhu Yilong/Wuxie was missing in action toward the end. This is particularly disappointing because in the final arc, I expect to see the "real" Wuxie cunningly out maneuvre and confront the last villain. Instead, he pretty much just rocks up for the final two "real" episodes. Even though Zhu Yilong/Wuxie returns for that final showdown, it has a hollow and anti-climatic tone to it, as if he is not fully in character.

Although this season progresses at a much better pace without the marked ups and downs of Season 1, I actually still find both Sea King's Tomb arc and Warehouse 11 arc of Season 1 superior to both Thunder City arc and Imperial City arc of Season 2. That is not to say these arcs are not well done, they truly are but they just were not as dangerously thrilling or mythically suspenseful - I did not feel my heart in my throat the way I did in the first arc of Season 1. This is probably because the Iron Triangle is somewhat overshadowed in Season 2 and it is hard to care as much for the entourage cast. I was praying for the Iron Triangle's survival every moment of the Sea King's Tomb arc. That does not happen in any of the Season 2 arcs - in fact if anything it seems a bit too easy. So despite its overall better cadence of storytelling, Season 2 feels like the thunder rolls but lighting doesn't strike. Thus, I rate both seasons a very enjoyable 8.5 for very different reasons. I separately reviewed Season 1 in greater detail.

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Remember us and all we used to be.

After One and Only stabbed me in the heart, I needed justice, I needed closure and most of all I needed to hear Shi Yi say  "Zhousheng Chen, remember us and all we used to be." Theirs was such a splendid, intense love with so much passion and yearning that could not run its natural course. Sadly, after being restrained for ~5000 years, all that is unleashed are faint echoes of the past. Thus, my final impression is that what was, is never again.

What this is, is a very sweet, very ordinary, reasonably touching but hardly memorable love story that is markedly lacking in intensity. It falls down hard in its failure to connect the characters of the past with the present. Aside from appearance, both Zhousheng Chen and Shi Yi could be entirely different people and this an entirely different drama. Of course in the present, they will be different but there must be that je ne sais quoi, that certain aura that lingers. Even the essence of their relationship changes, in fact it regresses. Shiyi and Zhousheng Chen of the past were of one heart and mind - she gifts part of her dowry to pacify Nanxiao and accepts her marriage hoping to reassure Zixing of her Prince Nanchen's loyalty. Shi Yi of the present asks no questions, she just trusts Zhousheng Chen absolutely without understanding his family's background or his plans. And he tries to protect her without telling her anything - it is the one thing about him that bugged me in the novel and it is the one thing they should have but did not change! As such, the sense of them being soulmates that are connected on a level beyond words is not there.

Ren Jialun and Bai Lu are both very solid actors with good enough chemistry that I genuinely enjoyed the good (pink moped), bad (lame kiss) and ugly (I am ready) of their moments together. Overall I enjoyed Ren Jialun's endearing portrayal of the shy, awkward and introverted professor whose world goes from revolving around uninhabitable planets to revolving around Shi Yi. That said, there were some truly cringe moments and he often came across as having no fire in his belly, likely due to his heavy sighing and lethargic, monotonous line delivery. I must praise how even though it took awhile, they fell into a much more natural rhythm as a couple in the last quarter of the drama and I was moved by how they grieved together and consoled one another. So despite some initial hiccups, there is genuine relationship development and that aspect finishes strongly.

The main issue with this drama that it lacks both plot and engaging and complex supporting characters. Everything really revolves around the two main leads and their romance, which moves too slowly and uneventfully to really anchor the drama. Besides Uncle Lin and possibly Mei Xing, none of the supporting characters are that likeable or empathetic. Zhousheng Chen's stepmother is the only truly complex and interesting secondary character, everybody else including the villains are rather two dimensional and the two cloddish servants are downright annoying. The plot is for the most part suspended in favour of the romance before it rushes through to the end. It is also rife with somewhat melodramatic rich family tropes from greed and envy to infidelity.

If One and Only is slow burn, Forever and Ever is like watching paint dry by comparison because there is no burn. I had to entertain myself by speculating on who got reincarnated into who and looking for hidden clues and traces of the past while mourning the fact that I was not going to see Zhousheng Chen reborn as a present day sexy beast. Which begs the question: considering how tortuous One and Only was, should Forever and Ever be watched as a standalone romance? Well, without the backstory, this is just about how an absolutely gorgeous but likely slightly delusional voice dubber falls head over heels in love with a fictional ancient drama character Prince Nanchen. She throws herself at a complete stranger; a nutty, loner of a professor with the same name who is a bit slow on the uptake but eventually realises he just got very, very lucky and thus the story unfolds. If that works for you, then by all means, skip the heartache that is One and Only.

I only watched this because I was looking for Prince Nanchen and Eleven. Sadly the future is but a mere shadow of the past. But still this is a sweet, well acted love story so I am not throwing rocks at it or at the actors. Nonetheless, this sequel did not live up to its potential so I can only rate it a 7.5. I would give both dramas together a 8.0-8.5.

Postscript:
For those of you who still need closure, there is a very well fan made alternate ending ending for One and Only produced by industry professionals. I have fan subbed it and hidden it as a spoiler in the comment section of my One and Only review.

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Women should not rule the world.

The Legend of Zhuohua is another in a string of recent female empowerment themed historical romantic dramas. The production is upfront that this drama is a work of pure fiction. It is impossible for women to exercise the kind of influence and authority portrayed in this story in ancient Chinese patriachical society. The attitudes and values articulated are also incredibly modern and unsurprisingly, resonate with current audiences. It should be enjoyed at face value accepting that many aspects of it are sheer fantasy.

Titular character Ma Zhuohua flees an arranged marriage to the capital; where she must pass the imperial exams to fulfill her ambition to be a female official. Quick witted and resourceful, she saves Lord Ding, a decorated war hero, when he is wouded in the middle of a clandestine operation. Their fates intertwine as he is the strongest advocate of opening up scholarship and official positions to women. As they collaborate on official assignments and work toward their shared vision of the country, they fall in love. Can their relationship navigate a feudal system that requires women officials to choose between marriage and their career?

The most enjoyable arcs of this drama are the early courtship ones. This is the first time I have enjoyed Jing Tian's playing such a clever, demurely mischevious and independent character. Despite a ghastly white color filter and not the best dubbing, the strong chemistry between Jing Tian and Feng Shaofeng is unmistakable. It is so refreshing and very hot to see such a candid, lively and purely adult relationship dynanic laced with flirtatiously racey dialogue. The humor is very well written and so cheekily portrayed that I laughed uproariously many times, and especially at the dirty jokes. The political commentary and philosophical debates are surprisingly well written, with a sophistication beyond what I would expect of a light romantic comedy like this.

Outside the empowerment theme, the sub-plots are not special but this top notch veteran cast is very charismatic and executes so well it makes up for some of the lack of originality. Both Shi Yueling and Wang Likun in particular deliver formidable, almost terrifying performances as Empress Dowager Zhou and Princess Roujia. I also found Roujia's complicated relationship with Shen Jinghong very interesting. Unfortunately just after the mid-way point, the narrative rehashes tired plotlines including noble idiocy, murder most foul and high treason. In quite a similar vein to Destined, it nose dives into a poorly designed political melodrama and predictible twists. Even incredible acting cannot paper over that this is yet another delusional ends justifies the means antagonist with an unconvincing villain origin backstory.

This would have made a much better 20 episode drama that ended on the intended message that women should seize their dreams. The writers took it one step further into women can also seize the world. And then left us with an unambiguous message that women should not rule the world. The first few arcs of this are worth about an 8.0 but the latter arcs are just 6.0/6.5. I can only give this a 7.0. Its still a quality production with some good laughs to pass some time but it won't rock your world.

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When you order prime rib and get spare ribs instead.

I expected Youku's short "Revenge" series to be a xianxia in disguise featuring the many hot re-incarnations of "The Best-est of the Chest-ests" Dai Gaozheng in all his topless smoking hot glory. If that is also what you are here for, let me save you some time because Bride's Revenge is nothing but chest bait. In this incarnation as Mu Anhe, Dai Gaozheng is over-dressed and so camera shy he is in hiding for over a third of the drama. When he reappears, it is uncomfortably obvious there is no spark between the leads. While their chemistry is sweet and loving, it notably lacks the passion and intensity of the previous incarnation.

The plot is uncannily similar to Maid's Revenge where two related men Mu Ancheng and Mu Anhe duke it out over the family assets and a woman. Except this time a bunch of "green tea bitches" scheme, bitch slap and scratch each others' eyes out over a scrawny and unappetising scumbag. That entire arc of not very smart people trying to out dumb each other made ten minutes feel like an hour. Even a happy ending cannot save this drama. The dissatisfaction level is just like when you order prime rib and get spare ribs instead. Give this one a pass unless you are super bored and need a quick Dai Gaozheng fix. And in that case, just watch the last three episodes or better yet, rewatch Maid's Revenge.

I generously rate this 3.0/10.0 because Dai Gaozheng is still the chesty definition of hotness.

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But I have promises to keep, and miles to go before I sleep.

Patience is required for this drama that is unlikely to enjoy broad appeal. It is a Beijing Academy student production so don't expect high production values; indeed there is a distinctly amateurish and unpolished feel to the entire effort.

The shadowy and suspenseful plot is steeped in the supernatural and mythology and takes a long time to unfold. The synopsis, which already gives away much of the story adds to the impression that nothing is happening. Hidden forces conspire to release the demon Jiu Ying, that according to legend was sealed by five deities representing the five elements (metal, earth, water, fire and wood). This manifests itself in increasing hostilities between the You Kingdom and the Wolf Tribe that make war and chaos seem inevitable. These events bring the three siblings Hongxuan, Hongyi and Hongshou whose Baili family has long been the power behind the You throne; together with Ming Yefeng, the leader of the Wolf Tribe who also has a mysterious past with Hong Yi. They are linked by destiny and rediscover their powers so that together with other supernatural beings from a past lifetime, they can once again fulfill an ancient promise to keep the world safe. It is not a complicated or super original fantasy story that culminates in an epic clash between good and evil.

What is interesting about this drama is the characters and the acting. The actors are not given much to work with in terms of dialogue so they have to rely heavily on body language and subtle expressions to convey their characters. This makes the complex characters particularly difficult to get to know and nobody is as they originally appear. It is very difficult to tell who is friend and foe and what their motivations are. For most of the drama, Baili Hongxuan and Ming Yefeng were the most complex and interesting characters for me. While they are both quite grey, both turned out to be quite different from what I expected and almost opposite of each other. I really enjoy this kind of peeling of the onion approach in terms of how a layered character gradually becomes unveiled but many will find this kind of storytelling frustrating and boring.

I suspect many may be interested in this because of Wu Lei and Song Zuer. I admit I discovered this because of Wu Lei. While his character Baili Honsghou is quite one dimensional - the typical c-drama hero that goes through many common tropes; it is the best performance I have seen from Wu Lei since NIF. It is very nice to see how far he has come as an actor; that he is not just an incredibly athletic lean, mean, killing machine. As for Song Zuer, she is an actress that provokes strong reactions, especially when she plays the bratty young girl. I never minded her that much because I always noticed that she has screen presence that belies her small size and her performance in this also showed much progress and was actually quite nuanced towards the end. And it will be remiss of me to not mention how super hot Zheng Kai's Ming Yefeng is - I can't believe I have never seen this actor before!

The story advances much more quickly in the last 10-12 episodes although it appears a bit messy as many characters are introduced at once. But they are not interesting characters and all you need to really know is that they are either obstacles to be overcome or they are there to give some assistance along the way. All of the substantively relevant characters are introduced at the beginning. There are a few nice twists at the end with respect to the emperor as well as the mysterious man in the hood. The ultimate villain (to me was not Jiu Ying) was hiding in plain sight the whole time but their motive for unleashing evil on the world was pedestrian and lame. Most of the so-called heroes or deities in this show have feet of clay, do not have high morals and are not particularly enlightened beings. The story is very matter of factly callous in its treatment of spirits or demons. This is very typical of the genre so if you are familiar with Chinese mythology, you will not be surprised by any of this or how the story ends.

I enjoyed this drama but it is not for everyone. Watch at your own risk.

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Everybody lies.

This psychological suspense thriller featuring a female hardcore detective starts out well. Ran Dongdong investigates the death of Xia Bingqing, a young woman with secrets. To figure out what happened to her, Dongdong has to piece together who Bingqing was and why someone wanted her dead. As the list of suspects in this complicated murder case grows, it is clear that everybody lies whether they are doing it consciously or not. The way Dongdong nails down inconsistencies in the various testimonies by unreliable narrators and incisively teases out the truth is riveting.

Work and life collide for Dongdong when it is discovered that her husband Mu Dafu crossed paths with the victim and he had twice rented a hotel room at the likely scene of the crime. She explores the complexity of love, marriage, and fidelity in both the work and personal arena and the lines start to blur. She begins to interrogate him like a suspect. In fact, he gets the worst of it because there are no professional restraints at home. Not that he is a paragon of virtue, far from it!! He was always a bit of a narcissist humanities professor that openly indulges in deeply intimate, highly flirtatious but ostensibly intellectual discussions with professional peers and students. She was fine with it until inexplicably, she is not. Likely because they fell out of the idealistic love phase of their relationship or maybe because he stopped telling her about these women that fall for him.

I did not expect to see this suspense plot devolve so deeply into a dark exploration of marriage between a dislikable and messed-up toxic couple. Both Song Jia and Wang Yang deliver mesmeric performances as flawed, complex, egotistical, and ultimately selfish characters. I did not like either of them. In fact, there are no heroes in this story. Other than the poor kid, pretty much everyone is a terrible person. Even the victim is too much of an architect of their own fate and is not empathetic. Neither of the two parallel plotlines is satisfactorily resolved. The whodunit mystery ends up being a howdunit procedural with too many plotholes and a weak, trite, cop-out motive for the murderer. The way the relationship is resolved also leaves unanswered questions although there is closure in the sense that Ran Dongdong and Mu Dafu really deserve each other. May they live tortuously ever after.

I enjoyed this drama up until episode 10 after which it turns into something I had no interest in watching. I can see how it may hold some appeal to people who like difficult relationship stories. My rating of 6.5 is for the very mediocre suspense plot, which is what I came to watch.

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Tale as old as time.

The Legend of Shen Li is a highly entertaining xianxia with a terrific starting hook. Injured while fleeing an unwanted marriage, Shen Li crashes into the mortal realm in her innate phoenix form. Mistaken for a chicken, she is rescued and healed by Xing Yun, a sickly ginseng salesman. Never in my wildest dreams did I think I would be shipping an unseemly attachment between a haughty chicken and a weak but insolent mortal. Their hilarious interactions and witty repartee had me grinning like a fool. This has to be the first CP that I got invested in before the FL properly meets the ML.

While I find Legend of Shen Li quite enjoyable, it is a tale as old as time and I am not just making fun of Xingzhi's age. This kind of forbidden love story between a lonely, crusty old god and a much younger one is the staple of this genre. This one is written more as a character story so there is little plot movement until the second half of the drama. The plot itself leans heavily on well known xianxia tropes with a modern, role reversal approach. What makes it special is that it is well executed, the main CP has scorching chemistry, it is anchored by a stellar cast and tongue-in-cheek dialogue has deep and heart tugging undertones. This is an excellent entry-level xianxia that will thrill and delight newcomers to the genre the most. While die hard fans of the genre will certainly enjoy the fresh take on old themes, they may find the plot predictable after the early arcs.

For me, the mortal realm is always the most interesting xianxia arc and this is no exception. It is at the same time the most disappointing arc in terms of missed opportunities. It is too short and half the time Shen Li is an angry CGI bird. Shen Li's feelings for Xing Yun developed so quickly I felt shortchanged on the how and the why she fell in love. Worse, their story is overshadowed by the two utterly heart wrenching ill-fated love stories. To some extent, the narrative coasts on the residual heat from Princess Agents and assumes the audience is already invested in the main CP. The issue is viewers who did not watch that may not feel the chemistry between them. The arc ends so abruptly that it barely dawns upon me that Shen Li's affections could be one-sided. She very high-handedly falls for a helpless mortal and doesn't give him any say in the matter because she knew it to be transitory. This is quite sad and complex and it is a pity the narrative dealt with it too cursorily.

As someone hungering for closure from Princess Agents, I am stoked to report that the chemistry between Lin Gengxin and Zhao Liying burns as hot as ever. This drama is generous to a fault in fusing passionate love scenes with humor and moving romantic moments. I find myself chuckling at how hot and flustered Shen Li gets by Xingzhi's shameless flirting until the veiled pathos behind Xingzhi's careless words hits me and makes me tear up. Both characters are designed to recycle the strengths of their previous collaboration without taking much risks. Notably, there is no extra dimension or complexity to Zhao Liying's role or portrayal. She once again delivers in spades what she does best from the brilliant, combative glitter in her eyes to her signature awesomely bad-ass fight scenes. I would have liked to see more facets to King Bicang beyond the fierce warrior with a deadpan expression who is casually cruel to CGI animals. There is more scope for Lin Gengxin to shine as Xingzhi is a contradiction; the most powerful and yet the most powerless being in the three realms. I was impressed by Lin Gengxin's heart wrenching and nuanced portrayal of this so very alone ancient being who will crack a joke to stop your heart from breaking for him.

As a couple, Shen Li and Xingzhi are too perfect for each other - their world view is largely aligned and besides the one bombastic obstacle of an existential crisis for the realms, there is no real conflict in their relationship. While they experience some acutely angsty moments, they are all short lived. Most of the intense and lingering agony in this xianxia actually comes from the three devastating side love stories. Both characters are fully realised beings that don't grow much. That is left to the likes of Furong who is my favorite character in the first half of the narrative and the character that shows the most growth overall. His limelight in the second half is stolen by Lady Jin who is by far my favorite character and one who saves the draggy second half of the show for me. I find the villains quite boring and archetypal and those roles are also the least well acted. Even though Shen Li and Xingzhi come together in a moving and masterful ending climax, the finale is too much of something I have seen many times before. I did not enjoy the extended ending fight sequences and the heavy handed CGI.

Despite the unoriginal plot, this is an excellent character driven story. I was invested in many characters beyond the leads - Furong, Youlan, Qing Ye, Feng Lai, Mofang, Lady Jin and the indignant Cluck Cluck. The dialogue uses comedy brilliantly as a gateway to the profound in highlighting complex, deep and at times tragic existential themes. I enjoyed the conversation about how if we can work together against evil, we may no longer need gods to be our babysitters. I also felt a shiver of fear in this age of AI at the idea that as creators, one day we will become an existential threat to our creation. Overall a very enjoyable and highly recommended funny and intelligent xianxia that I am happy to rate 8.5/10.0.

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Wild goose chase.

Ancient conspiracy thrillers are right up my alley so I looked forward to Luoyang with bated breath. This is set in Shendu (now Luoyang), capital of Wu Zetian's Wu Zhou Dynasty (690-705). As the only female emperor in over 5000 years of Chinese history, Wu Zetian remains a controversial figure - an ambitious, usurper whose exceptional intelligence and leadership is only matched by her ruthlessness against anyone in her way, including or especially her own children. She cultivated informers and multiple secret police and spy rings that gathered evidence against her detractors. and maintained a careful balance of power between the important political structures of her administration. This is reflected in the drama in the clear delineation of responsibilities between the Judiciary, Inner Guard and Secret Police (Lianfang). During this time, the Wu clan and Li clan were embroiled in a power struggle which persisted until Wu Zetian intervened and clarified her succession plans. Nonetheless it ended in messy plotting, betrayals and twists that are drama worthy in and of themselves. This is rich fodder for conspiracy plots such as this one.

The drama starts thrillingly with a bold daylight assassination of an informer and his daughter and the ensuing dizzying high speed chase through the streets of Shendu. All three main protagonists mortician Gao Bingzhu, foodie Baili Hongyi and inner guard Wu Shiyue are at the scene and invisible threads from their past pull them together to uncover a much deeper conspiracy that could rock the very foundations of Wu Zetian's empire. Clues emerge that connect seemingly unrelated cases and force the three protagonists to work together, at first reluctantly and with selfish agendas and then with growing mutual respect and trust that blossoms into deep friendships. I most enjoyed the tripartite friendship in the drama and would have liked to see it better explored rather than unnecessary romantic arcs. Huang Xuan nailed it with his cynical yet paradoxically idealistic Gao Bingzhu; whose shrewdness and insight into dark hearts of man does not extend to those he cares for. I also did not see much chemistry between him and Song Qian who impresses with her fight scenes but falters somewhat in her line delivery. Wang Yibo's performance is strong in some aspects but uneven overall with too many scenes where he is clearly unsure what facial expression to wear. This role does not elevate him for me from an actor that I don't mind watching but wouldn't seek out. That said the trio has enough combined chemistry that I am happy to watch them together again. As for Song Yi, she has gotten enough flack and her character was so poorly written that all I will say is this is a role such a wonderful actress should have just passed on.

I did not enjoy the first two episodes of the drama - too much was happening at the same time and the cameraman swung the camera so wildly I thought he was possessed. The action scenes are exciting and well choreographed enough they did not need to artificially augmented by cheap camera tricks. After the psycho camera settles down, the plot unfolds at an intense and exciting pace against a gorgeous backdrop of dazzling sets and with a deluge of colorfully garbed denizens - they must have hijacked and costumed practically every Hengdian tourist as extras on set I have never seen so many people crammed into each scene. My personal favorite set is the Unwelcome Well which looks almost too inviting to be a ghetto. While the costumes and certain props are anachronistic, everything comes together is such a vibrant and captivating panorama that it scarcely matters. This is complemented by well designed side characters that are based on well known historical figures. Hints of their personalities, scandalous affairs and alliances are quite faithful to history and add a nice ambiance to the setting. It set up for intriguing Dumas like plot twists that didn't materialize.

This drama builds to a top-notch, shocking and heartbreaking climax prematurely at episode 20 where both actors delivered standing ovation worthy performances. It achieves that perfect sequence of shock followed immediately by stunned comprehension and acceptance as all the clues rushed to the fore to blindside the viewer to the next unfolding twist. In the second half, the plot visibly loses momentum and digresses into romantic arcs that don't belong in this genre and filler maudlin flashbacks. The writing of the mini-threads in the second half is insipid with excessive gratuitous character implants, many of whom delivered cringe worthy performances.

In hindsight it would have been difficult to top the fantastic mid-drama climax but it is still extremely disappointing for the final reveal to be so bland. The hollow villain that everyone was on to as a bad guy early on but dismissed as too obvious turns out indeed to be the final villain, one that is not worthy of being called a mastermind. Both their motive and end game plot is not well articulated or convincing. Multiple clues and more interesting suspicious characters that don't play out leave me feeling like I went on a wild goose chase. I don't know if they ran out of money or wasted it on too many bodies but there is no sense of peril or excitement in the final showdown. Forget explosions or collapsing buildings, we don't even get one good last fight scene. The final insult is how unfathomably a feather brain like Liu Feng manages to find himself in the right place at the right time to deliver an unnecessary and uncalled for outcome. This is just a misguided attempt to deliver an audience shocker to make up for the nothing burger of a final reveal.

Even though this remains a very entertaining and highly recommended watch, the ending is a big let down that knocks 0.5 off my final rating for the show. I feel that an 8.0 is the best I can give to this show, which is still one of the better c-dramas of the second half of 2021.

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All style no substance.

I was really excited to watch this Republican period detective drama. Having enjoyed Hu Yitian and Zhang Yunlong's chemistry in My Roommate is A Detective, I couldn't wait to see them team up again in a similar setting. The adaptation of Agatha Christie's Poirot mysteries seemed like an added bonus. Sad to say, despite the visually sumptuous set and costumes, both the characters and cases are bland, uninspired and the pacing is very draggy.

While Situ Yan is the lead detective, he is not meant to be a literal adaptation of Hercule Poirot. Poirot with his known eccentricities including his fastidiousness and obsession with symmetry, is one of the the most distinctive, well dimensioned fictional detectives ever. He has a clear process and methodology that is based on human nature and psychology for solving the case. I would never cast Hu Yitian as Poirot and I am ok with the fact that Situ Yan is not Poirot. What I am not ok with is the colorless, cardboard characterisation of Situ Yan as simply a highly intelligent but rather lethargic lawyer with a strong sense of justice. Hu Yitian does his best with the role but he doesn't have much to work with. This is made worse by Luo Shaochuan, the money guy whose contribution to the crime solving aspects of the partnership is unclear. This character is so indifferently written it is not worthy of an actor of Zhang Yunlong's calibre. The two leads get little screen time together as they go down disparate paths in the investigations. Unlike their previous best loved collaboration, Zhou Mowan is more often Situ Yan's sidekick than Luo Shaochuan is. Thus we don't get to enjoy their banter and their incredible chemistry that builds up and fleshes out both characters as they work through the cases. While both female leads are well written and likeable, they crowd out the bromance.

When it comes to adapting these beloved Poirot classics, I am no die-hard Christie purist. I am receptive to and have seen good adaptations that take a fair amount of liberties with the original works. This can be successfully achieved because changes notwithstanding, the adaptation remains true to the essence of Christie; the psychology of the crime. This is where Checkmate fails to deliver. The supporting cast is very mediocre and lacks screen presence. Bland storytelling and poor pacing with unnecessary romantic digressions disrupts the build up in suspenseful tension into the final reveals. The cases must be evaluated convincingly from the point of view of each character, to assess their psychology as a sense of imminent peril escalates. Who was the victim? Why would someone want them dead? Who would cross that line and actually do the dastardly deed? This drama fails to make me feel invested in the human aspects - the victims and potential suspects; it fails to create a sense of urgency to solve the case or engender that mixture of sorrow, pity and revulsion for the perpetrator that is signature Christie.

The first case is Murder on the Orient Express, a well known case that has been adapted to death. While this version does not stand out, it stays close to the original and is fairly well done. Although Roger Ackroyd is also quite well done considering how difficult it is to adapt an unreliable narrator case into this format, from there, things start to go downhill. These cases are masterpieces; material changes should be weighed carefully and not made with the misguided idea that such impeccable Christie plots have scope for improvement or merely for the sake of delivering a surprise twist. Which is what they did to one of my personal favourites. They went for the plausible alternative solution which simply did not fit the human nature aspects of the case. And thus fails to deliver Christie's magic wow factor, the thrill and the chill and that sense of shock, sorrow and acceptance that it all made sense; that it is the best and only solution. It devolves further as cases are stitched together in a cut and paste fashion that is increasingly incoherent. The final case bears little resemblance to what I think must be the original. While it took no genius to spot the the final antagonists a mile away, their motives are uninteresting and unconvincing and the ending is frankly farcical.

If you are a Christie purist, I would say avoid this drama. You will feel they have desecrated some of the author's best works. If not, this is a watchable if unexceptional adaptation. The production values are quite good and the Republican period setting in Harbin has some novelty appeal even though the drama overall is all style no substance. This is a 7.0 for me but I would have rated it 7.5 if they didn't ruin Five Little Pigs and finish in such an absurd manner.

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Ask me no questions, and I'll tell you no lies.

Mysterious Lotus Casebook is a dark 江湖/jiānghú story about the ultimately futile aspirations and obsessions of the martial world. In an epic battle for supremacy, Di Feisheng of the dark Jinyuan Alliance challenges Li Xiangyi, the leader of the righteous Sigu sect. Both men disappear from the martial world afterwards, leaving a vacuum at the top and their sects in disarray.

Ten years later, aspiring young detective Fang Duobing comes across Li Lianhua, a famous itinerant doctor whom he is convinced is a quack. Determined to expose him, he attaches himself to Li Lianhua as inextricably as a wad of chewing gum in his hair. They run into Di Feisheng, who immediately recognises in him his old nemesis Li Xiangyi. The two old rivals remorselessly keep Fang Duobing in the dark as they try to figure out who sabotaged their fight and search for Li Xiangyi's deceased sect brother Shan Gudao's corpse. An unlikely friendship develops as they work together to solve a series of strangely connected jiānghú cases.

Plot wise, this drama is solid but dry and unremarkable. The cases all unfold at a fast pace and are easy to follow, but do not engage audience participation. They are simply plants for clues to a treasure hunt for artefacts that unlock the main conspiracy. Despite a hint of the supernatural, the cases fall short of chilling or suspenseful. The hidden mastermind behind the main conspiracy is pretty obvious and revealed fairly early on, and even the ironic twist at the end is not much of a surprise. Both villains are one-dimensional jiānghú archetypes driven by vanity and delusions of grandeur. Wang Herun's scarily convincing portrayal of the Saintess of the insane cackle elevated the role beyond its one-dimensional character blueprint.

\What makes this drama a success are fascinating main character designs, strong rapport among the three leads, the scintillating dialogues, and well-choreographed and exciting action sequences. The real mystery is about who Li Xiangyi was and why he was killed. The answers are at surface trivial. Li Xiangyi was perched at the top of the martial arts world as the world's best swordsman and leader of the righteous sects. This made him the envy and natural target of virtually everyone. However, Li Xiangyi was far from the perfect hero of Fang Doubing's idealistic imagination. In fact, he was a self-absorbed, pompous ass who believed the universe revolved around him and his worldview. His swordsmanship is matched by a brilliant, cynical mind and a razor-sharp tongue that, according to poor Ai'man, can slay a person with a few words. If there is one thing lacking in Cheng Yi's otherwise stellar performance, it is that his Xiangyi is too empathetic. This masks his many flaws and hides how insufferable and difficult he was as a person. It took me awhile to realise that his sect had some inkling who Li Lianhua really was but they refused to recognise him because they just did not want Li Xiangyi to come back.

As for Li Lianhua, he is just a shard, a detached, sickly, disillusioned and world-weary remnant of the glorious Li Xiangyi. Cheng Yi really compels with his heart rending expression of this facet of the character singing his swan song without a shred of self pity. I lived for the sudden bursts of energy or sheer willpower that momentarily revives the breathtaking, dazzling and dizzying swordsmanship that propelled Li Xiangyi to dominate wuling. Only to all too rapidly diminish back into Li Lianhua again, a wickedly unapolagetic compulsive liar whose mantra is clearly, "Ask me no questions, and I'll tell you no lies." This is how he keeps everyone, and especially the hapless Fang Doubing, at arm's length; to avoid new personal entanglements. Fang Doubing (which literally means "sickly") is a parody character, the typical naive, high-minded, young adventurer raring to make a difference in the martial world. The dialogue is well written and humorously illustrates how grudgingly Li Lianhua is moved by this pesty young detective and tacitly accepts him as his successor. However, this kind of clichéd relationship dynamic of the clueless sidekick that elevates the brilliant sleuth is too common and quickly becomes boring. Li Lianhua's lies to Fang Doubing went on for too long to the point it became cruel and unnecessary. Their relationship is over explored and shortchanges the more interesting relationship in the drama.

What disappoints me most is that the writers opted to very cursorily explore the more complex and interesting relationship between Di Feisheng and Li Lianhua. Di Feisheng is the most layered villain in this story; that rare antagonist who transforms into a protagonist. Like Li Xiangyi, he rises to the top of his sect through sheer martial prowess rather than by winning hearts and minds. They are enemies who become friends, both betrayed and searching for answers. But his story is sidelined for much of the drama, his backstory is rushed, and his relationship with Li Lianhua does not really get a chance to develop and grow. Yet the best moments of this drama, are when all three of them are together, like a found family.

I like that this ends with an action-packed finale and satisfying final confrontations with the antagonists. But as for the plot, the best reveal is when Fang Doubing figures out who Li Lianhua is, which isn't really a revelation to the viewer. And I can't really pinpoint when the plot reaches its climax, as none of the high points make a strong impression. As for the ending, it is fitting but not as definitive as I would have liked. Most of Li Lianhua's journey is about putting his affairs in order and offering closure to those he cared for; to help them move on from Li Xiangyi who in all the ways that mattered died ten years ago. Yet Li Lianhua continues to string poor Fang Doubing (and us) along, which is too cruel and inconsistent with the drama's core message about letting go of past attachments and moving on. These kinds of endings that try to please all audiences really annoy me. I still enjoyed this superbly well written drama, immensely even though I think it had the potential to be much better. For me, this is an excellent 8.5/10.0 and a highly recommended watch.

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Sleeping with the enemy.

This drama weaves some of the most prominent historical figures of China's Three Kingdoms period into a fabulous and exciting tale of intrigue, adventure, and romance reminiscent of a Dumas plot. This is a highly fictionalized yet disarmingly convincing exploration of the motives and relationships of the key figures of the day that manages to stay broadly true to history.

The last Han emperor has a secret that could shake the foundations of the empire and shatter his tenuous hold on power. Aided by a small intimate circle that includes the empress, his boyhood friend Sima Yi and a dwindling number of old Han ministers, he embarks on a desperate quest to escape the clutches of Cao Cao and restore the glory and power of the Han empire. But the cruel strategies and sacrifices needed are at odds with his benevolent nature and inclination to show mercy to his enemies. Ma Tianyu impressively pulls off a complex portrayal of this seemingly weak and powerless emperor who frustratingly sticks to his guns against all odds to ultimately succeed in winning the hearts and minds of his enemies with his enlightenment and magnanimity. It is very clear that the emperor and the notorious Cao Cao have very similar world visions and goals but their methods are extreme opposites - one rules by fear and sheer brute force while the other kills you with his kindness. Both are pragmatic and when the rubber meets the road, have little choice but to sleep with the enemy in order to achieve the outcomes they are after. We get to decide for ourselves who was more effective, who really won their epic struggle for power and whether it was worth it.

There are no real villains in this drama - even the emperor's enemies are portrayed in a very balanced manner though it is fair to say that the so called villains out-acted the heroes. Guo Jia is my favorite character in the drama - I often found myself rooting for him and oddly moved by his and Cao Cao's loyalty and affection for each other. And Tse Kwanho's Cao Cao must be by far the best Cao Cao I have ever seen - so cunning, powerful and menacing I was actually scared of him. Some of the most gripping and intense scenes in this drama are when Cao Cao and the emperor go toe to toe. My one big criticism of this drama is Han Dongjun's Sima Yi is shallow, boastful and unemphatic. For a highly rated actor to miss the mark on such a key character is just not acceptable. While some of the bromance moments with the emperor are decent, most of the time he is not in character and does not convincingly pull off the legendary strategist. Cao Pi is also extremely well acted but overshadowed by all the other outstanding performances. There is quite a bit of sizzling romance this drama, notably that of the emperor and empress as well as Guo Jia's but Sima Yi's was just kind of flat.

This drama is full of suspenseful moments and action as danger lurks around every corner. The second arc however is a bit draggy and requires some suspension of disbelief but that is also where the awesome Guo Jia emerges so don't abandon it there.

I will stop here and keep this short as it would be a crying shame to spoil this one. I highly recommend this very enjoyable and under appreciated drama that I would rate higher if not for Sima Yi

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A cut above.

This is a wonderfully produced drama that deserves a lot more attention. It is a riveting tale of sibling rivalry that spans a time of rapid change and turbulence in modern Chinese history. Jiang Mosheng and Lu Yuanzhi are both adopted and apprenticed by Master Su Jingan of Sancai (Triple Cut) House, couturier of the Qing Imperial Court. Sancai House routinely outshines other rival houses in the workmanship, symbolism and design of the intricate ornamentation of the Dowager Empress' court robes, allegedly due to their seamless stitch, a tradecraft that is passed down from one generation to another. Master Su's most bitter rival is his former fellow apprentice, Master Bai Henian of Sihe House.

Jiang Mosheng is the older, steady, responsible brother and heir apparent, whose great talent is meaningfully enhanced by his passion and dedication. Lu Yuanzhi is the hot headed, audacious and visionary brother; a rare talent whose brilliance is nothing short of genius. His recklessness however lands him in serious trouble. To save him, Mosheng cuts ties with Sancai House, defects to Sihe House and accepts Master Bai as his foster father. This sets the brothers down a complicated path of reluctant rivalry, conflicting loyalties, mutual friendships, convenient alliances, mistrust, betrayal and forgiveness. The most prominent feature of this drama is the Abel and Cain relationship between the brothers and it is well written, consistent and riveting. Both of them are flawed characters and neither is completely blameless for how things play out between them. Although Yuanzhi learns to rein in his recklessness and temper as he matures, it still manages to get the better of him. His culpability over Mosheng's sacrifice constantly lingers in the air between them. Even though he can be such an ass, I have to sympathise with Mosheng's battle with his own worst instincts in the shadow of someone who is perpetually a cut above. Both Zhang Haowei and Hong Yao delivered excellent, empathetic performances, alternately frustrating, enraging and beguiling me at all the right moments.

How the design of the cheongsam or qipao evolves to reflect the changing attitudes of times is the main, fascinating centrepiece of the drama. While not in the same league as the more modern and sophisticated qipaos of Wong Kar Wai's iconic In The Mood for Love, all of the outfits from the Qing court robes to the Western flapper dresses are simply gorgeous and I truly enjoyed the mini history of Chinese costume. How the female characters are dressed is also symbolic of who they are - Yaoyao is a remnant of the past at sharp contrast with Lijun, the ultimate, progressive modern woman. Kang Ning sits in the middle - she embraces change in a way that marries it with tradition; and thus she is truly Yuanzhi's muse. True to character, both Kang Ning and Lijun have a very refreshing attitude towards relationships and love that I truly enjoy and they fight to write their own stories even when events conspire against them. The only character I didn't like is Yaoyao who is your typical c-drama archetype but she is written that way as a foil for the other two. There are enough dimensional, grey and consequential characters in this drama that I am very satisfied with the character aspects of it. Most of these key roles are performed by veteran actors whose acting often surpasses the quality of the dialogue. I laughed my head off at the dynamics between Lijun, Feiyu and her father.

This is largely a character driven drama where the main characters have to cope with the changing times as they transition from the Qing era to the Republican era and Japanese incursion. While the pace is fast with many exciting and unexpected turns along the way, not all of the sub plots and arcs are consistently well written. Some of the stressing events that the main characters face are a bit contrived, can be lazily written and at times defy logic. But between excellent acting and all the interesting character developments, I found the plot holes quite easy to forgive. I do appreciate how all of the characters go through rough times, experience loss, how actions have consequences and justice is often blind. The villains are decent but less interesting than the characters themselves, some of whom are quite grey if not outright vile.

I am happy to recommend this as a very enjoyable watch with some good fresh takes on old tropes. Overall for me this is an 8.0.

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Birds of a feather.

The second part of Love Like the Galaxy 月升沧海 (The Moon Rises over the Ocean) is shades darker as Cheng Shaoshang struggles to open her heart and mind while Ling Buyi's secrets and inner demons are revealed. Their romance plays out in the bosom of the royal family, where Shaoshang blossoms under Empress Xuan's affection and tutelage. This subjects our golden couple to much envy and political intrigue.

Shaoshang of Part 1 is disappointingly over empathetic and likeable. Shaoshang of Part 2 is immature and frustrating to the point of being dislikeable, This is exactly how she is meant to be depicted and the portrayal I was waiting for. So I must applaud Zhao Lusi for so daringly rendering Shaoshang as a difficult, often petty, unforgiving, vengeful child woman who wallows most unbecomingly in self pity. As an unloved child, Shaoshang is terrified of love. While she tries to figure out what she wants in a partner, she puts up all kinds of walls and clings to any excuse to not allow Ling Buyi in. She is her own worst enemy, fighting happiness every step of the way. Ling Buyi's infinite patience and indulgence of her is so hot anyone else would have succumbed to raging hormones in short order. Not Shaoshang though. She knows her worth and digs in her heels to demand to be an equal partner in every sense and meaning of that term. While highly usual for a woman of that time, it resonates with modern audiences for obvious reasons.

There aren't really good villains in this drama. That is because Ling Buyi is such a chilling character that he is already as close to a villain as can be. He is a man with a secret, one whose entire raison détre is to uncover the master mind behind the Gu City massacre and to avenge the Huo clan. He did not expect to fall for anyone and certainly not Shaoshang. He meant it when he said they were on different paths. On many occasions he merely eases her way with the intent of letting her go but never quite succeeds. He loves her selflessly and indulges her worst instincts, especially her vengefulness. Hence Yuan Shen's blinding epiphany that Buyi and Shaoshang are birds of a feather. They are rebellious and vengeful eye for an eye kind of people who can't tell the difference between a chicken and a duck. They are also at surface cold, unforgiving even selfish but in truth feel deeply. I find Wu Lei's acting in Part 2 more natural and compelling. He is such a patient, warm and tender person but only for Shaoshang. This is utterly different from the cold-hearted, calculating general who is a borderline psychopathic killer to his enemies. Wu Lei's combat scenes are simply the best. The aesthetic camera angles and gorgeous choreography brilliantly captures his stunning athleticism and graphic, muscular, ferocity that is capable of mowing down an entire battalion.

For me, Empress Xuan is the true hero of this story. As much as I enjoyed Buyi and Shaoshang's journey, it is her story and that of Wen-di and Consort Yue that I find so much more complex and moving. Told with epigrammatic dark humor that dulls the edges of their pain and sacrifice, they are nonetheless imprisoned by values that are bigger than themselves. While Consort Yue lashes out with wit and acerbity, Empress Xuan suffers in dignified silence. Do not be angry with Shaoshang for finding it so difficult to forgive Buyi. Although his cause is just and the outcome serves the greater good, it cost Empress Xuan everything. Shaoshang's first unselfish, grown up act is to accompany her, to atone for what Buyi did and for how she unknowingly helped him. That is what devastates her as much as Buyi reneging on his promise to her. Buyi knows and understands this. Without Empress Xuan's forgiveness and generosity of spirit, they may not have found a way to forgive themselves and each other. Her love is truly like the galaxy in its vastness and selflessness. The galaxy owes it to her to make sure she and Wen-di do not meet again.

In terms of storytelling, very much like Part 1, Part 2 wastes too much time on too many delusional love sick women who conspire against the lovers. This comes at the cost of the storytelling. which towards the end suffers from heavy cuts and sloppy editing. As a result, characters like Lou Ben and Tian Shuo are not properly fleshed out and I did not feel that invested in either the Peng Kun or Guo Village arcs, which feel rushed. When they could have simply omitted both the Fifth Princess and Luo Ji Tong's arcs which were superfluous to the plot. It also underscores how nasty, dumb and divorced from reality the vast majority of the women in this drama are. I really do not like this type of misogynistic and cynical depiction of womenkind. Even though the ending is very satisfying, especially when it comes to the character stories, the unfolding of the plot which we waited way too long for is not well done. Considering the stunning production values, it is a shame if they do not go back and re-edit it with some of the cut footage into a Director's Cut.

All things considered, I enjoyed this beautifully written drama immensely. I find Part 2 slightly better than Part 1 and am pleased to rate the drama in its entirety and Part 2 on a standalone basis a 9.0, better than my 8.5 rating for Part 1 by itself.

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