Reviews

I had high hopes for this drama

The acting was subpar, I won't lie but the beginning of the story gave me high hopes. As the story progressed though, it just got more egregious and silly. How is she genuinely getting away with so many crimes and so openly? And somehow NO ONE has figured it out? Oh and don't get me started on the crap ending! For basically nothing to happen to her except prison...? Exactly what was hell for her...? Additionally, Sawako and Juri/Komi somehow survive multiple stabbings (+FIRE FOR SAWAKO) but Makoto gets ONE stab in the stomach and dies? Right, because that makes sense. Just a genuine letdown.

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Chaotic drama about Short Drama.

I watched this by chance without looking female Lead and i only know Liu Sansi but for his drama i ever watch he was actually average but i still enjoy his choice of script. The chemistry between the leads was satisfying to watch.

It was better than i expected and Zhang Ruoxi acting as dual personality was quite entertaining. The kissing scenes are great, Plus, SFL (the original FL) also comes to her senses later on. FL only has money on her mind, completing her mission to seduce ML and infuriate the original FL. ML plays along with FL the meat, and the original FL stimulated into a dark transformation, causing the paper doll to awaken! Then the two awakened paper dolls subvert the FL's expectations, and the ML is taken back to the real world by the FL.

Personally the ending was anticlimax but it was decent drama to watch.

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powerful characters pretend to be powerless while villains with zero legal standing run the show

The most offensive part of the 16 episode at approximately 60 minutes each drama is how it treats Joseon-era law like a buffet—the writers pick the rules that torture the characters but ignore the ones that would actually solve the plot.
This slave trap that it constantly promotes shows that it is happy to enforce rigid, archaic "parental rights" and "slave status" to justify a scene where a legendary, high-skilled female lead is reduced to a passive widow waiting to be beaten in a courtyard. It strips her of her physician intelligence and thief agency just for a cheap damsel in distress moment.
Yet, five minutes later, the show ignores the most absolute law of the era which is treason and we are expected to believe a bastard concubine’s son (2ML) can arrest a Grand Prince (ML) and survive.
The Male Lead is perhaps the most frustrating hero in recent K-Drama history.
When the Queen Dowager—the only person with a functioning brain—rightfully orders the 2ML’s execution for arresting royalty, the ML stops her.
The Result of "saving" his rival, he directly causes the next hour of misery. He allows the very man he saved to stand in a courtyard and challenge his marriage proposal. The rivalry isn't "epic"; it’s a self-inflicted wound. The ML isn't a "noble strategist"—he’s a spineless martyr who values a "political chess game" over the immediate physical safety of the woman he supposedly loves.
The chemistry is non-existent because the Female Lead (Eun-jo) has the personality of a dry loofah.
Is it Survival or Stupidity? The show blames her "aloofness" on survival, but it’s actually Noble Idiocy in its purest form. She stands silently in a "Triangle of Incompetence" while two men—one who shouldn't legally be able to speak to the other—fight over her like she’s a piece of furniture.
When the Grand Prince offers a literal royal decree to extract her from a house where she was just almost stabbed to death at the end of episode seven, she hesitates. At this point, her "independence" feels less like strength and more like a lack of common sense.
The show is a mess of shambolic logic. It forces us to endure the nonsense of a high-status Prince being bullied by a low-status bastard, all the while the "badass" female lead stands by and watches.
My final thought: In the warped logic of this script, the father is being framed as a "tragic figure" who thinks he’s protecting his daughter’s moral purity.
The father thinks a Royal Marriage is just a different kind of "ownership" or a political cage.
He is so obsessed with the idea of her being "free" that he’s willing to let her stay in a house where she is literally a slave being beaten.
If the ML asked, "Why was it okay to sell her to a dead man's house of stabbers, corrupted murderers but a Prince is too much?" the father would have no answer, and the plot would end. The writers keep the ML silent to keep the misery going.
The last couple of episodes were decent, but he didn’t make up for the dross that happened before

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The Art Of Sarah -- A Fable of Modern Society

As a piece of fiction, I enjoyed the show and its social commentary. It made me think. It was somewhat like a fable that tells how society is all about keeping up appearances, blurring the lines between the real and fake. Sarah Kim is an extreme case but honestly, doesn't everyone put on a mask to get ahead? Sarah Kim put in actual work into her brand and ironically operated it like many other luxury brands -- yes, she faked her resume, identity and the history of Boudoir -- but really, how different was it from the legitimate luxury brands?

Another memorable part is Sarah's claim about how there were no victims so it wasn't a scam. She successfully conned all those people because she "looked at what they didn't have, not at what they have". She fulfilled their needs and desires in exchange for their money and trust -- a family member for the loan shark, a nice apartment for the sugar baby, a "friendship" with Nox's CEO etc. It might have been a con, but it always looked like there was something genuine there. I especially liked her story with the loan shark, it felt a little like a father-daughter relationship.

As for the ending, I found it fitting for the themes of the drama and also a little ironic and bittersweet. Sarah Kim made use of the wealthy's insecurities to sell those bags, and she saw through the loopholes in the system. But she was actually the most insecure person in the entire show. Her entire self-worth is tied to Boudoir and the Sarah Kim she created. We see that even as Mok Ga-hui, she projected herself onto that silver bag, telling it to flee as it didn't belong there. When Boudoir was at risk of being exposed, she sees herself drowning yet again -- she is unable to continue living without it. Yes, she succeeded in protecting her art, but in the process, she lost something important. The ending may be up to interpretation, but for me, it shows that Sarah Kim didn't know or love herself. Which ties back to the hints of her unstable childhood, leading to her instability as an adult as well.

TLDR; it was a unique watch and one of the more interesting kdramas as of late.

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Brilliant casting and brutal content

There honestly isn’t much I need to say about VIP except that it was a great watch. With a cast this strong, I wasn’t even surprised that it turned out as good as it did. The performances are intense and everyone plays their role so good that the tension never drops for a second.

That being said, I need to give a serious warning!!!!!

If you’re planning to watch this movie, please know that it contains multiple scenes involving sexual assault in extreme gore tones. The violence is not subtle. It’s graphic, disturbing, and at times very difficult to sit through. I personally had to look away several times because some scenes were that intense.
This isn’t a casual thriller you put on for entertainment. It’s dark, brutal, and emotionally heavy. So if you’re sensitive to graphic violence or SA themes, please take that into consideration before watching.

But purely from a filmmaking and acting standpoint, it delivers exactly what it sets out to do; unsettling, gripping, and powerful.

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Like most viewers, I started watching this drama with no expectations. I've seen several NJH dramas, but I've never seen an MSM drama before.
But, d*mn, this is Gold.

Great script, poetic dialogue, amazing cast, great acting, beautiful direction, setting, and costumes. Perfect storyline, addictive soundtrack, and no unnecessary villains (the stepbrother, the grand prince's mother, the concubine, and even the king aren't bad guys, though they are troublesome in some ways). Most importantly, the clean ending. I've rarely seen a drama with such a satisfying ending.

The two leads are visually stunning, and the way they delivered the story was mesmerizing. Plus, the balance of the story? The writer is a genius. I loved everything about this drama, especially the Dodo couple. And Daechu. He is so entertaining, that I love his scenes so much ^^

This will definitely be my favorite drama for a long time. Thank you to the TMBT production team for creating such a masterpiece.

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Don't waste your time watching this

Like my S1 review I want to start the positives. When the leads finally got together, they are so sweet! The acting in this drama definitely deserves an applause, especially in S1, you cried with the characters, you laughed with the characters, it's a shame that the screenwriters completely ruined this. I had pointed this out in my other review, but I want to say it again: out of the 56 episodes of both seasons, they are together for 7! 7!! thats insane especially since they had chemistry so early in the show. It just became a routine of watching the show on ×2 speed and skipping until something finally happened between them. I understand that S1 may be focusing on Mu Dan's career and all, but their chemistry was so good it makes sense for them to get together in S2, then we have a sweet S2 with our couple, but no the writers drag it through the gutter and use absolutely illogical and ridiculous plots like having Liu Lang sabotage their relationship and that cliche excuse 'oh we can't be together, its too dangerous'. I was so fed up with the whole show I watched it on ×2 speed and just skipped. I only stayed waiting for the romance in the end.

Aside from romance the plot was not it either. It was nice to see some more characters being flushed out, especially Jiang Chang Yang and his past, but that was where the positives stopped. The takedown of Prince Ning was so anticlimactic, I didn't feel any satisfaction. Also the cliche faked death was not helpful either. Furthermore, the whole backstory with the FL's mother being murdered was the most unnecessary plot point ever. It makes no sense, and did not add to the plot or characters at all. It was just there for that little bit of angst.

Honestly, don't waste your time watching this, but listen to the OST, I loved it!

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Here we go again....

Unfortunately this series also follows the same line of most GMM shows. I wanted it to be good, the story had potential. It's like one of those early 2000 rom-coms, light-hearted, unhealthy but charming.

Now that it's over, my opinion still remains the same. The things that happened to Pai was embarrassing and super traumatic, but it's just tossed aside & trivialised for cute moments between the couple. No serious consequences whatsoever, no real human being is that much of a saint. Obvious lazy writing & bad direction. It's like they want to finish this as soon as possible & get started on the next project.

Everything is super unrealistic, it borders on annoying. Everyone looks like they are about to go to a photoshoot, even while sleeping. Too polished and artificial. It's like looking pretty is the primary objective. I think there is a fatigue of these kinds of shows. There is a need for something raw & grounded.
The leads have chemistry & it's entertaining, that's about it. A light-hearted watch, yes but I wish there were more compelling stories & performances.

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Please do not waste your time watching this

I want to start by saying a few positives to this first season. I enjoyed the OST, arguably the best part of this drama, the songs are beautiful. I also loved the costumes and set, all really gorgeous and lovely to watch. I also would say this first season is way way way better the S2, especially story wise. I love how the FL is presented as a smart strong character willing to fight for herself, doing everything she can. I also wanted to applaud the acting. The actors really did a good job here; whenever a character died their conveyed their emotions so wonderfully leaving me in tears and devastated even though we only so that character on screen for a couple episodes. The actors truly made them laugh and cry with them; if only the screen writing was better.

Now the endless negatives. The first being that out of both seasons, all 56 episodes, the leads are together for 7! 7 episodes! To say that this romance is a slow burn is an understatement, they had wonderful chemistry from ep 10 onwards in s1, it was completely unreasonable for the writers to put of such a key part of the show (I will discuss this more in my S2 review). Additionally, the whole story got really really predictable, with Liu Chang pining for Mu Dan, the You Zhen getting mad and harming Mu Dan, it just got very irritating fast. Honestly I had such high hopes for this drama due to its celebration both internationally and in the mainland, but it was so not worth it. Do not watch this please for your own sake!

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Where Romance Excels and Worldbuilding Could Have Gone Further

❗️*** SPOLIERS***❗️

This review is inherently biased — and I’m owning that immediately. But please give this show a chance.

I genuinely connected with the central pairing. Gawin (Tong) and Joss (Mark) have subtle, restrained chemistry built on micro-expressions, sustained eye contact, and emotional pauses rather than theatrics. Their performances feel grounded and collaborative, and the nuance in their acting is consistently impressive.

Now, yes — the first episode is a little campy. The tone, sound design, and some of the vampire movement effects had me blinking (cough Twilight cough). But the show quickly finds its rhythm, and the production improves as the story progresses.

Where things get more complicated is the mythology. The golden blood concept, the covenant system, the prohibition against drinking human blood, and the introduction of unique abilities all show strong creativity. There’s clearly a solid conceptual foundation. The ideas are imaginative and ambitious.

However, the mechanics aren’t always clearly defined. If vampires can’t drink human blood, what sustains them? Is abstinence moral, biological, or both? Does golden blood function as literal blood, or as something closer to essence? Joss’s golden blood seems to affect more than just blood exchange — tears and sweat imply something broader. Mark’s gradual sensory and emotional shift suggests proximity to golden blood alters vampire nature itself. It’s fascinating — but underexplained.

The same ambiguity applies to individualized vampire abilities. Strength and speed are universal, but some characters have healing, mind control, or prophetic vision. Are these tied to bloodline, past lives, trauma, randomness? The show doesn’t fully say. And listen — I understand this is fantasy. Creative liberties come with the genre, and sometimes we just roll with it. I’m not asking for a scientific dissertation. I just want a little more internal context so the rules feel intentional rather than incidental.

That said — this is a creativity issue in execution, not imagination. The framework is there. With clearer structural rules, the worldbuilding could have been incredibly cohesive. As it stands, some moments feel implied rather than intentionally layered.

Where the show truly shines is dialogue and emotional writing.

In Episode 5, when Mark reads the highlighted line from Pride and Prejudice — “I was in the middle before I knew that I had begun” — it’s beautifully placed. The thematic alignment with emotional awakening is chef’s kiss.

And Mark’s later confession? Entirely original. Lines like:

“This is the first time I love and care for someone.”

“If vampires are withered flowers, we’ll make them bloom.”

“If I were to kiss you and go to hell, I would — so I could brag to the devils that I saw heaven without entering.”

The cadence feels like contemporary romantic literature. The writing is poetic, surprisingly elegant, and beautifully preserved even in translation. The series absolutely earns points for its emotional resonance and creative ambition.

⚠️ I haven’t read the original My Golden Blood novel by Dawin, so I can’t tell whether the unanswered mechanics and plot gaps originate in the source material or emerged during adaptation. It’s entirely possible the novel explains the golden blood system more clearly and that details were streamlined for television. If anyone familiar with the book knows, I’d genuinely love to hear.

Overall, the show is decent — and more than that, it’s creatively ambitious. It may not be structurally perfect, but it has strong chemistry, thoughtful romantic writing, and a clear artistic vision. Some viewers focus heavily on the inconsistencies, which are valid critiques — but I think that sometimes overshadows what the show genuinely does well.

It feels like a diamond in the rough. Not flawless. Not airtight in mechanics. But emotionally compelling, original within its niche, and undeniably sincere.

My Golden Blood isn’t perfect, but it’s powerful where it matters most.

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I expected more

Now, at the beginning of 2026, having just finished Crash Landing on You, it can be said that since its release in 2019, the year it was produced, the series has become one of the iconic Korean dramas. An iconic series with high ratings, yet also a divisive one. Personally, I consider it fair to rate and form an opinion only after I have watched an entire series. I did manage to get through it, but I must say it was not easy. Sixteen ultra-marathon-length episodes with relatively little substantial development. Still, I will try to break down the pros and cons.

In the series’ favor, it was very competently produced in terms of its visual world, atmospheric elements, and character portrayal. And for me, that is roughly where the list of pros ends.

As I mentioned, in my view the series was stretched out excessively, with an abundance of so-called filler mood-setting elements and scenes. I am fully aware that these are part of classic Korean drama conventions, and that in itself would not be a problem. However, here I did not feel there was a strong central narrative thread consistently pulling me in and sustaining my curiosity. In my opinion, while there is a basic storyline, it is embedded in a vast number of atmospheric details and side plots. In Hungary, we say, “Too many midwives and the child is lost,” meaning that too much surrounding activity obscures the core.

The chemistry between the two leads did not captivate me, despite the fact that I know they became a couple in real life. I never felt that inner anticipation or excitement about when they would finally grow closer. I could not genuinely root for them, although that certainly does not mean I was rooting against them.

As for the acting, the supporting cast delivered what was expected; it was evident that most of them could perform these familiar tropes with ease. Regarding the two leads, I do not wish to suggest that either of them lacks talent—far from it. Moreover, in a series of this type, it is difficult to fully showcase true acting range. However, one thing stood out to me and I did not particularly like it: Hyun Bin’s often mumbling, sulky-child-like intonation. Perhaps it is just me, but I have noticed something similar in other Korean dramas as well. Is this a directorial choice, or why do they do this?

Overall, I believe that for those who enjoy films and series filled with strong atmospheric elements, with a clear-cut distinction between good and evil, which often make you smile and allow you to step out of our own down-to-earth and not-so-positive world, this series can work very well.

It may also be that after a year of regularly watching Korean dramas, I have simply had my fill. Fewer and fewer series truly captivate me now, and I increasingly feel as though I am drowning in a sea of syrup when watching shows like CLOY. For me, it was simply too much. That is why I gave it a lower rating than many others.

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Excellent Story and Acting, Lost to Fandom Nonsense

More and more, I’m beginning to think that C-Ent fandoms don’t really care about storylines, characters, or plots in a drama, as long as it always portrays their chosen actor in the most favourable light possible. Some irrational reactions to Episode 29 and Xiao Huaijin (whose actions were in-character, and absolutely correct) have cast a deep shadow on the series finale and the wonderful subversion of gender roles that, up until the wave of online hate, were what set this show apart.

Confused? Let me explain.

Unveil Jadewind is a story about a woman who spends her life in the pursuit of justice. She’s a highly intuitive and capable investigator and martial artist. She runs the Palace Investigation Bureau, is a favourite adopted child of the Emperor, and is loved by the people she works with. This is Li Peiyi, a judicial officer who bends the law in favour of justice, determinedly working for the marginalised and powerless, thereby dispensing actual justice rather than just following the rules.

She’s assisted by a genius historian who, unbeknown to her, is deeply intertwined with her tragic past. Xiao Huaijin is the opposite of Li Peiyi. Where she is brash, reckless, instinctive and in-the-moment, he is rational, calm, clinical, and able to see the wider picture. The couple are written as human, with flaws and weaknesses that manage to paint them as real. She’s an exceptional fighter and strategist, but often acts unilaterally and from the gut without considering the consequences (the fact that she has the Emperor’s favour contributes to her over-confidence). He’s a brilliant mind with a well of patience, wisdom, and knowledge, but he can’t stand the sight of blood and has no physical prowess. They complement each other perfectly and their individual character growth as a result of their interactions is visible and delightful.

The cases they investigate are complex and layered, moving from what on the surface seem to be straightforward, often to have deep and lasting effects on the world around them. The show spends, in my opinion, an inordinate amount of time on the stories behind the cases, explaining the murderers’ motivations and circumstances in great detail. But this is in service to the overall atmosphere of the show, which seems to be a powerful treatise on how following the law does not always equal justice. The cases aren’t connected to each other or to the overall arc of the story, but they all warrant an understanding of the human psyche and the social conditions prevalent during the Tang Dynasty.

Both characters and story are a recipe for success, and this should have been a much more popular show than the ratings suggest. The reason it’s not is that audiences are no longer looking for depth. They want instant gratification and don’t want to be asked to think about what each case in this wonderful story is teaching you about the world around you—because so little has changed in terms of discrimination and disparity today, setting aside technical and social evolution. This show tells you that in gentle ways at almost every turn.

Worse still, Chinese fandoms reacted in exactly the way that this drama is trying to subvert. At a certain point, Huaijin stops Peiyi from doing something that would ruin her life—a scenario in which the justice-loving Peiyi’s harrowing life story subsumes all rationality and common sense and gives way to base vengeance. This action garnered Huaijin—and the actor playing him—enormous amounts of vitriol online. Under different circumstances (different actors, perhaps?), the audience would have seen this for what it was—the rational character calming the intuitive one. But the fact that the male was the calm one and the female reacted from the gut seems to have ignited some vicious double standards.

The online reaction may also have to do with the misaligned popularity of the actors rather than the characters. The fact that Episode 29 laid bare Peiyi’s flaws wasn’t appreciated AT ALL and the growing popularity of the gentle male lead (Thai Orange Tea, anyone?) was roundly attacked. Bai Lu’s massive fanbase mobilised so effectively at any possible criticism of her character that Xiao Huaijin, who’d been consistently beating out conventional testerone-fuelled male characters in character indices, dropped from #3 to #9 in two days.

The reality is that the frail Xiao Huaijin and the overbearing Li Peiyi stand out from typical C-Ent heroes and yet they’re both great characters, acted out extremely well. Even the supporting cast, including the case-specific actors, do a good job, making the individual stories believable and effective. Add to that a high budget and some truly exquisite costumes and set design, this becomes an atmospheric, layered, and well-made show that is totally worth your time.

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