Reviews

A Drama About Humanity, Loyalty, Power, and the Price of Righteousness

I was waiting for this drama for so long. This is a wuxia drama that remembers what wuxia is supposed to be—not overproduced CGI spectacles with blinding filters and cartoonish costumes—𝘡𝘩𝘢𝘯 𝘡𝘩𝘢𝘰 𝘈𝘥𝘷𝘦𝘯𝘵𝘶𝘳𝘦𝘴 arrived like a long-awaited rainfall on parched earth. This is not a perfect drama. But it is a 𝘴𝘪𝘯𝘤𝘦𝘳𝘦 one. And in today's landscape of assembly-line costume dramas, sincerity itself has become rare.

At first glance, it looks like a straightforward wuxia adventure centred around the legendary Zhan Zhao. A heroic swordsman. A conspiracy. Martial arts sects. A journey across the jianghu.

But beneath that surface lies something much deeper.

This is not simply a story about defeating villains.

It is a story about how good people survive in a world that constantly punishes goodness.

It is about loyalty in an age of betrayal.

It is about the loneliness of righteousness.

It is about the endless conflict between personal feelings and public duty.

And most importantly, it is about how human beings continue choosing kindness even when the world repeatedly proves that kindness is costly.
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⚔️𝗧𝗛𝗘 𝗥𝗘𝗔𝗟 𝗣𝗥𝗢𝗧𝗔𝗚𝗢𝗡𝗜𝗦𝗧 𝗜𝗦 𝗡𝗢𝗧 𝗭𝗛𝗔𝗡 𝗭𝗛𝗔𝗢
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The real protagonist is 𝗿𝗶𝗴𝗵𝘁𝗲𝗼𝘂𝘀𝗻𝗲𝘀𝘀 𝗶𝘁𝘀𝗲𝗹𝗳.

Throughout the drama, every major character is forced to answer the same question:

"𝗪𝗵𝗮𝘁 𝗮𝗿𝗲 𝘆𝗼𝘂 𝘄𝗶𝗹𝗹𝗶𝗻𝗴 𝘁𝗼 𝘀𝗮𝗰𝗿𝗶𝗳𝗶𝗰𝗲 𝘁𝗼 𝗿𝗲𝗺𝗮𝗶𝗻 𝗮 𝗴𝗼𝗼𝗱 𝗽𝗲𝗿𝘀𝗼𝗻?"

Some sacrifice wealth.

Some sacrifice freedom.

Some sacrifice love.

Some sacrifice reputation.

Some sacrifice their lives.

The drama repeatedly shows that goodness does not guarantee happiness.

In fact, goodness often invites suffering.

Liu Hongyi dies.

Fan Zhongyu's family is destroyed.

Countless ordinary women are trafficked and forgotten.

Victims are silenced.

Witnesses are murdered.

Truth is buried.

Yet despite everything, some people continue fighting.

That is the central spirit of the drama.

Not victory.

Not revenge.

But perseverance.
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🐱 𝗭𝗛𝗔𝗡 𝗭𝗛𝗔𝗢 - 𝗧𝗛𝗘 𝗧𝗥𝗔𝗚𝗘𝗗𝗬 𝗢𝗙 𝗧𝗛𝗘 𝗜𝗗𝗘𝗔𝗟 𝗠𝗔𝗡
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Many dramas create heroes.

Very few create a genuinely admirable man.

Zhan Zhao is one of those rare characters.

He is not interesting because he is strong.

He is interesting because he never stops taking responsibility.

Throughout the drama, he is constantly suffering:

* poisoned
* hunted
* framed
* tortured
* betrayed

Yet he never becomes bitter.

That is what makes him extraordinary.

Most heroes fight because they hate evil.

Zhan Zhao fights because he loves justice.

There is a huge difference.

Even when facing enemies who deserve death, he repeatedly chooses restraint.

Many viewers may interpret this as naivety.

I think it represents something deeper.

The drama is asking:

"𝗜𝗳 𝗿𝗶𝗴𝗵𝘁𝗲𝗼𝘂𝘀𝗻𝗲𝘀𝘀 𝗼𝗻𝗹𝘆 𝗲𝘅𝗶𝘀𝘁𝘀 𝘄𝗵𝗲𝗻 𝗰𝗼𝗻𝘃𝗲𝗻𝗶𝗲𝗻𝘁, 𝗶𝘀 𝗶𝘁 𝘁𝗿𝘂𝗹𝘆 𝗿𝗶𝗴𝗵𝘁𝗲𝗼𝘂𝘀𝗻𝗲𝘀𝘀?"

Zhan Zhao refuses to become his enemies.

He refuses to allow hatred to redefine him.

That is why the story repeatedly places him in impossible situations.

Because true morality only reveals itself when there is a reason to abandon it.
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🐭 𝗕𝗔𝗜 𝗬𝗨 𝗧𝗔𝗡𝗚 - 𝗙𝗥𝗘𝗘𝗗𝗢𝗠'𝗦 𝗥𝗘𝗕𝗘𝗟𝗟𝗜𝗢𝗡 𝗔𝗚𝗔𝗜𝗡𝗦𝗧 𝗢𝗥𝗗𝗘𝗥
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If Zhan Zhao represents the law,

Bai Yutang represents freedom.

If Zhan Zhao is responsible,

Bai Yutang is an individual.

If Zhan Zhao is civilisation,

Bai Yutang is human instinct.

And that is why their relationship becomes the emotional core of the entire drama.

The famous Cat and Rat dynamic is not merely comedy.

It is a philosophical debate.

Both men are good.

Both seek justice.

But their methods are completely different.

Bai Yutang constantly challenges institutions.

Zhan Zhao constantly protects them.

Neither is entirely right.

Neither is entirely wrong.

The drama understands that society needs both kinds of people.

It needs those who preserve order.

And it needs those who question order.

Their friendship becomes beautiful because neither tries to change the other.

Instead, they slowly learn respect.

That mutual respect feels more meaningful than many romances.
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🌸 𝗛𝗨𝗢 𝗟𝗜𝗡𝗚𝗟𝗢𝗡𝗚 - 𝗔 𝗪𝗢𝗠𝗔𝗡 𝗦𝗘𝗔𝗥𝗖𝗛𝗜𝗡𝗚 𝗙𝗢𝗥 𝗛𝗘𝗥 𝗢𝗪𝗡 𝗜𝗗𝗘𝗡𝗧𝗜𝗧𝗬
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One of the strongest aspects of the drama is Huo Linglong.

She initially appears like a typical adventurous heroine.

But her journey is much more profound.

Everyone attempts to define her:

* her family
* Shao Jizu
* political forces
* martial arts sects

Everyone wants something from her.

Very few ask what she wants.

Her story becomes a struggle for autonomy.

She is not fighting merely against villains.

She is fighting against becoming someone else's possession.

That makes her surprisingly modern despite the historical setting.

She gradually learns that strength is not simply defeating opponents.

𝗦𝘁𝗿𝗲𝗻𝗴𝘁𝗵 𝗶𝘀 𝗰𝗵𝗼𝗼𝘀𝗶𝗻𝗴 𝘆𝗼𝘂𝗿 𝗼𝘄𝗻 𝗽𝗮𝘁𝗵.
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☠️ 𝗧𝗛𝗘 𝗩𝗜𝗟𝗟𝗔𝗜𝗡𝗦 𝗔𝗥𝗘 𝗣𝗥𝗢𝗗𝗨𝗖𝗧𝗦 𝗢𝗙 𝗛𝗨𝗠𝗔𝗡 𝗗𝗘𝗦𝗜𝗥𝗘
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One thing I appreciated about this drama is that evil rarely appears as pure evil.

Most antagonists are driven by recognisable 𝘩𝘶𝘮𝘢𝘯 𝘥𝘦𝘴𝘪𝘳𝘦𝘴.

Power.

Fear.

Ambition.

Status.

Greed.

Survival.

The Lord of Xiangyang's conspiracy is not simply rebellion.

It represents what happens when ambition grows beyond morality.

Many villains begin as ordinary people pursuing understandable goals.

But eventually those goals consume their humanity.

The drama repeatedly reminds us:

𝗠𝗼𝗻𝘀𝘁𝗲𝗿𝘀 𝗮𝗿𝗲 𝗻𝗼𝘁 𝗯𝗼𝗿𝗻.
𝗧𝗵𝗲𝘆 𝗮𝗿𝗲 𝗰𝗿𝗲𝗮𝘁𝗲𝗱 𝘁𝗵𝗿𝗼𝘂𝗴𝗵 𝗰𝗵𝗼𝗶𝗰𝗲𝘀.
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🏮 𝗧𝗛𝗘 𝗛𝗜𝗗𝗗𝗘𝗡 𝗦𝗢𝗖𝗜𝗔𝗟 𝗖𝗢𝗠𝗠𝗘𝗡𝗧𝗔𝗥𝗬
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Beneath all the martial arts and adventure, the drama contains surprisingly sharp social criticism.

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𝗧𝗵𝗲 𝗙𝗼𝗿𝗴𝗼𝘁𝘁𝗲𝗻 𝗩𝗶𝗰𝘁𝗶𝗺𝘀

The story repeatedly focuses on ordinary people.

Missing women.

Dead constables.

Poor scholars.

Boatmen.

Servants.

Workers.

These people have little power.

Yet they suffer the most whenever powerful individuals fight.

The drama quietly asks:

" 𝘞𝘩𝘰 𝘱𝘢𝘺𝘴 𝘵𝘩𝘦 𝘱𝘳𝘪𝘤𝘦 𝘧𝘰𝘳 𝘱𝘰𝘭𝘪𝘵𝘪𝘤𝘢𝘭 𝘨𝘢𝘮𝘦𝘴?"

The answer is always the common people.

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𝗖𝗼𝗿𝗿𝘂𝗽𝘁𝗶𝗼𝗻 𝗜𝘀 𝗡𝗼𝘁 𝗝𝘂𝘀𝘁 𝗕𝗿𝗶𝗯𝗲𝗿𝘆

The drama presents a more dangerous form of corruption.

Not officials accepting money.

But officials are manipulating the truth.

Cheng Hao is frightening because he understands the legal system.

He weaponises law itself.

This is a much deeper criticism.

The drama suggests that institutions become dangerous when they prioritise power over justice.

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𝗥𝗲𝗽𝘂𝘁𝗮𝘁𝗶𝗼𝗻 𝗩𝗲𝗿𝘀𝘂𝘀 𝗥𝗲𝗮𝗹𝗶𝘁𝘆

Almost every major character suffers because of their reputation.

Bai Yutang is misunderstood.

Zhan Zhao is framed.

Women are silenced.

Victims are ignored.

Truth becomes less important than appearances.

This feels surprisingly relevant even today.
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🌊 𝗧𝗛𝗘 𝗪𝗢𝗥𝗟𝗗 𝗢𝗙 𝗝𝗜𝗔𝗡𝗚𝗛𝗨 𝗠𝗜𝗥𝗥𝗢𝗥𝗦 𝗛𝗨𝗠𝗔𝗡 𝗦𝗢𝗖𝗜𝗘𝗧𝗬
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The jianghu in this drama is not romanticised.

It is chaotic.

Dangerous.

Hypocritical.

Yet strangely beautiful.

Just like real life.

Many sects preach virtue while committing atrocities.

Many criminals show greater honour than respected officials.

Many heroes make mistakes.

Many villains tell partial truths.

The world exists in shades of 𝗴𝗿𝗲𝘆.

The drama understands a fundamental truth:

' 𝘏𝘶𝘮𝘢𝘯 𝘣𝘦𝘪𝘯𝘨𝘴 𝘢𝘳𝘦 𝘳𝘢𝘳𝘦𝘭𝘺 𝘦𝘯𝘵𝘪𝘳𝘦𝘭𝘺 𝘨𝘰𝘰𝘥 𝘰𝘳 𝘦𝘯𝘵𝘪𝘳𝘦𝘭𝘺 𝘦𝘷𝘪𝘭.'

Most people exist somewhere in between.
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🍂 𝗧𝗛𝗘 𝗟𝗢𝗡𝗘𝗟𝗜𝗡𝗘𝗦𝗦 𝗢𝗙 𝗚𝗢𝗢𝗗 𝗣𝗘𝗢𝗣𝗟𝗘
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One theme repeatedly appears throughout the story.

Good people are lonely.

Liu Hongyi.

Zhan Zhao.

Fan Zhongyu.

Even Huo Linglong.

Doing the right thing often isolates them.

Others mock them.

Exploit them.

Betray them.

Yet they continue.

The drama does not portray goodness as glorious.

It portrays goodness as difficult.

And because of that, it feels authentic.
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❤️ 𝗥𝗢𝗠𝗔𝗡𝗖𝗘 𝗜𝗦 𝗡𝗢𝗧 𝗧𝗛𝗘 𝗠𝗔𝗜𝗡 𝗦𝗧𝗢𝗥𝗬
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Ironically, one of the drama's strengths is that romance is not its greatest focus.

The emotional centre is actually trust.

Friendship.

Loyalty.

Shared ideals.

The relationship between Zhan Zhao and Bai Yutang often feels more emotionally powerful than many romantic storylines because it develops through actions rather than words.

𝘙𝘦𝘴𝘱𝘦𝘤𝘵 𝘮𝘶𝘴𝘵 𝘣𝘦 𝘦𝘢𝘳𝘯𝘦𝘥.
𝘈𝘯𝘥 𝘣𝘰𝘵𝘩 𝘮𝘦𝘯 𝘦𝘢𝘳𝘯𝘦𝘥 𝘪𝘵.

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🌙 𝗧𝗛𝗘 𝗗𝗘𝗘𝗣𝗘𝗦𝗧 𝗠𝗘𝗦𝗦𝗔𝗚𝗘 𝗢𝗙 𝗧𝗛𝗘 𝗗𝗥𝗔𝗠𝗔
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After finishing all 37 episodes, I think the drama's deepest message is this:

The world will never become perfect.
Corruption will always exist.
Greed will always exist.
Betrayal will always exist.

But that does not mean goodness is meaningless.

The value of righteousness does not come from winning.

The value of righteousness comes from continuing to choose it.

Again.

And again.

And again.

Even when nobody rewards you for it.

That is the lesson embodied by Zhan Zhao.

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⭐ 𝗙𝗜𝗡𝗔𝗟 𝗧𝗛𝗢𝗨𝗚𝗛𝗧𝗦
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𝘡𝘩𝘢𝘯 𝘡𝘩𝘢𝘰 𝘈𝘥𝘷𝘦𝘯𝘵𝘶𝘳𝘦𝘴 is not merely a wuxia adventure.

It is a meditation on morality.

A study of friendship.

A criticism of power.

A reflection on justice.

And a surprisingly thoughtful examination of what it means to remain human in an imperfect world.

Its greatest strength is not its martial arts.

Not its conspiracies.

Not even its characters.

Its greatest strength is that beneath every sword fight lies a question about human nature.

And those questions remain long after the final episode ends.

A drama about heroes, villains, friendship, corruption, loyalty, and power—but above all, a drama about the difficult choice to remain righteous when the world gives you every reason not to.

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Very Dark Revenge, But Very Good Drama

The female lead Lan Meng Yan / Shen Wan Qing (played by Zeng You Zhen) was so very good. Her acting was superb. After all of the women of the family were killed, except the father's wife, most of the women's bodies were burned. Lan Meng Yan died and her face was cut (a giant "X" across her face), by her stepmother. She came back to life and she escaped. She was rescued by Qin Mo Xiu. He had her face changed and her voice changed. He trained her for 3 months in archery, weapons, some martial arts and more. When Lan Meng Yan married into the Lui family, she started her path for revenge. She turned father against son, both vying for her attention and affection. Her new background was being a daughter from a merchant family. Yes, she married her own brother, but she kept him at a distance. She turned her stepmother (father's wife) against her own brother and she soon killed him. Since the stepmother's son was being threatened by his father, the stepmother tried to sneak him out of the household in a casket. She thought her stepdaughter was dead and in the casket with her son. The stepmother nailed the casket shut, only to find out later that stepdaughter (Lan Meng Yan) was not in the casket at all, but very much alive. The evil stepmother rushed to remove the casket lid that she had previously nailed shut, only to find her son dead inside. The stepmother ended up killing her brother and her son, driving her mad. She was beaten severely by her husband (Lan Meng Yan's father) and locked in a room. Lan Meng Yan entered the room and dropped a bottle of poison for her evil stepmother. All the while, Qin Mo Xiu kept an eye on Lan Meng Yan, acting to protect her when necessary. He did call Lan Meng Yan his pawn one time to many and she let him know that she did not like it; he never called her his pawn again. Lan Meng Yan and Qin Mo Xiu took out all of the Liu lamily member, with the exception of her father. He showed up at the opera as one of the actors. We was later exposed to the crowd and his image was ruined. He was later killed.

Next, Lan Meng Yan and Qin Mo Xiu entered a secret spy club and Lan Meng Yan was poisoned, making her into a controllable puppet of sorts. Qin Mo Xiu broke her out of the puppet state. Later, Qin Mo Xiu was hit by a poisonous dart, as him and Lan Meng Yan investigated the areas of the facility. She cured him of the poison. There was a contest between the young woman of the spy facility. Lan Meng Yan was knocked out and tied up, so she could not participate. A strange man came into the room and he wanted to have his way with her, but she killed him with the weapon strapped to her right leg. She untied herself, grabbing a bow and some arrows. Lan Meng Yan went from room to room shooting the evil men (mostly ministers of the court), killing them and helping the young ladies escape. She killed almost all of the ministers herself, but one was left for the other ladies to kill.

The last part of this drama was about a general who was receiving all of the monies from the Liu family, via the opera and the spy organization. The general was planning to rebel against the emperor. In the meantime, the emperor wanted to question and punish Lan Meng Yan and Qin Mo Xiu for the killing of his ministers. She told him that the minister were trying to torture, rape and kill the women of the spy faculty. He did not seem to care about the women, just his ministers. Whe the general's rebellion started, two eunuch's tried to poison the emperor, but Lan Meng Yan shot both of them dead, saving the emperor. She lead some women (in special outfits) into the room where the rebelling general and Qin Mo Xiu were. Between Lan Meng Yan and Qin Mo Xiu they killed the general's soldiers, thwarting the rebellion. Qin Mo Xiu fought with the general, beating him down. He handed the sword over to Lan Meng Yan who stabbed the general and quickly slashed his neck with the sword. The general died.

The emperor wanted to make Qin Mo Xiu a Duke, but Mo Xiu declined. He wanted to walk hand in hand with Lan Meng Yan. At first she would not take his hand, but later reached out and took his hand. They ended up walking off, hand in hand. The end.

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Comfort show! I DEFINITELY RECOMMEND.

I found it really boring in the beginning like the first 2 episodes so it took me quite a while on resuming it, even though I considered dropping it. But I gave it a chance bc I was curious on what the hype was all about. And now I get it!! I really loved it! Some of the moments did confuse me, but I eventually understood it. I like how the time traveling worked, it's unique and I really liked the music. I love the ending as well!!! I was such a big fan of it that I even bought their watermelon keychains sold online. I really liked watching how their friendship developed and seeing them enjoy their youth also makes me want to enjoy mine.

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Just a bully-beating show? No, it goes way deeper and the whole cast crushed it

I literally sat down and binged all 10 episodes in one go without stopping, it’s that addictive.
I started it purely for the catharsis of watching arrogant school bullies get absolutely humbled. And yeah, the action scenes completely delivered, it’s so satisfying watching the MLs pull up and give these kids a reality check.

But what actually shocked me is that the show isn't just about basic school drama. It goes way deeper and completely calls out how broken the whole school system can be.
It exposes the insane, suffocating academic pressure put on students, the corrupt school boards that cover up terrible stuff just to protect their reputation, and the nightmare parents who only care about grades and completely ruin their kids' mental health. It basically shows how the system itself breeds these monsters.
The main guy isn’t just fighting bad students, he’s literally taking a sledgehammer to the whole institution. It gets pretty dark and definitely makes you think about how messed up society can be.

The acting is insane; not only do the main leads completely crush it, but literally everyone on screen, even the actors playing the bullies and the unhinged parents, deliver an amazing performance that makes the whole thing feel super real.

If you want a thriller that has actual substance and doesn't just surface-level handle serious issues, you need to watch this. 10/10 binge.

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Cha eun woo's backkk! And he's finally getting the recognition he deserves.

I really loved this kdrama. It's one of my top favorite genre's and it for sure didn't disappoint! It made me laugh a lot and the story plot is really good, that I hope we get a season 2 and further episodes!! The pairing is who I didn't expect. I didn't expect them both to have such great chemistry and for them all to fit their roles perfectly! I really hope we're getting a season two, seeing as so many people are liking this kdrama and FINALLY seeing Cha eun woo get the recognition he deserves and the insane improvement in his acting. He really fits these kind of roles and hopefully I get to see him in a villain role as well as him being the staring in that show. (As a villain ofc) Honestly I've known how good he can act even before but i am really glad that SOME ppl who said who couldn't "act" are finally seeing him like this, which is more expressive than his other roles that required him to be nonchalant, cold, or less expressive (and just wasnt given roles that required him to be in his true potential) in a way some people determine as "can't act" when it's the roles he was given. I really feel like we'll be getting a season two if 99% of the world would at least request and have liked it!

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The thing you were looking for has always been there is your family.

What an incredible story, it makes you understand the value of family even in the most difficult situations and conditions, it's not a blood bond, it's the people you surround yourself with, it's their values, their humanity and the tenacity with which they face the difficulties of life. A story that knocks you down and makes you get up with your head held high after each episode, a story full of messages, of unspoken loves, of values ​​and natural feelings that are difficult to express, but never wrong. The story of a family facing difficult times, which changes over time, as people age, these family bonds become stronger. There's no need to say that "unknown" your family already knows what it is.

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One Big Family (on a Town Scale) Thwarted by a One-Man Villain

Most of the Heir is a beautiful inky tale about the people who can hurt us the most and legacies fighting tooth and nail to have a future. If you're interested in that, welcome to the show.

FL's Family: Li

The Li family feuds may be frustrating at first, but it would be strange to watch a series like this and not expect and want to see characters suffer and grow. Thankfully our female lead gets some punches in and rises through her skills, dedication and love for the art of ink making as well as her love for the family that stands by her.

Despite being one of Zhen's biggest naysayers, her uncle is one of the best side-characters with a great arc throughout the drama. In historical dramaland, disabilities often are either faked, miraculously cured or characters with disabilities are evil without reason. The Heir redeems Zhen's explosive disabled uncle well. Cured of his hatred rather than his disability, he remains himself and shows that his old injuries do not hold him back.

Her eight grandfather is the typical old man, who has seen too much and understands too much to go easy on his granddaughter. Nevertheless, their bond only strengthens throughout the drama. As seventh grandmother's favorite, Zhen interacts a lot with her too. It's interesting to see how one matriarch builds up another. Even though there are a lot of strong grandmothers in historical dramas (like in the recently released A Splendid Match), I wouldn't say other FL's are so explicitly taught.

Zhen's mother has a bittersweet backstory and always has her daughter's back. Zhen's friendship Hua was also very pleasing to watch.

ML's Family: Luo

Wenqian, the ML, is a very human character instead of standing above the FL. They both have setbacks throughout the story. The male lead appears more toward the middle and last half of the drama. His story starts as the classic revenge story, except things don't go as planned. Overall, the characters in The Heir are not as good at scheming as the usual leads, which was refreshing to see. They also don't need to be because unlike in other dramas, the characters here never aim to play their game in the capital (except for the villains).

While I'm not particular fond of the met-as-children-once trope for the main couple, it worked here. Zhen and Wenqian are so cute and awkward, they are simply endearing.

Wensong, the ML's older brother, is one of the best characters the drama has to offer because he cares about ink to an unnatural extend, and it is one of the few crimes this drama commits that he is the only character of his unhinged type. Though, Li Zhen and her uncle come close, it would have been nice to get more mad geniuses.

The elders of their family are an interesting bunch. I would have enjoyed some more time with the aunt.

Villain's Family: Tian

Let's get to the, imo, weakest part of the drama. Two of the Tian family members are almost comically evil and if this were another drama, they wouldn't stand out so much. Alas, in a world filled with characters who have business sense and their own levels of integrity, if of their time, they are a bit too on-the-nose. The main bad guy, Tian Benchang, was exhausting to watch almost immediately. Most times he is on screen, I hope he disappears again. At least he gets what is coming for him.

The Heir is best when it is about the ink, its process, its competition and its consequences. Sadly, the villain overshadows those challenges by being vicious on the personal level only. Despite his non-stop-scheming taking up time, he also suddenly always has the best ink there is in Huizhou. He was simply badly balanced, so the part in which he appears most - the penultimate arc - drags the drama down.

The only light in the dark for the Tian family is Ronghua, who gets dealt a bad hand by being tied to a family which could not appreciate her less. Apart from Zhen's uncle, Ronghua has the best arc in this drama. In fact, I would have liked to see more of her struggles as a nobel lady.

From Family to City to Country

That the nationalism might become strong in this one was to be expected, sadly I don't think the drama balances the story expanding from the family business to the city industry to national craftsmanship as well as it could. Through Wensong's involvement in the army, there are mentions of the national situation from the start, but they are made too unimportant when his punishment after failing to secure military funding is inconsequential. Tian Benchang also overstays his welcome as the big bad, so that ink as the national treasure is squeezed into the last four to three episodes.

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Give me 14 of these!!!

This isn't just a show. This is a masterpiece.

It's about a woman who just wanted a home, a family, a peaceful life.
It's about women who were betrayed, who were evil, who were cunning.
It's about women who were strong, who were smart, who were kind, who just wanted to survive.
It's about women who were scapegoats, who were used or were tools, who stayed loyal till the end, and who fought together.

Each of them was so complex. Women who had their own dreams and goals, who had their own views and ideologies, who were wrongfully executed, and who fought for others' justice.

Yes, it had amazing male characters too. Even the villain guy was so smart (I have to give it to him). But the series sooo WOMAN iykwim.

The series doesn't start with revenge. Initially, revenge wasn't the plan or the plot (and I like that). Around the middle, it got a little boring, but by the 19th and 20th episodes, things got so interesting I couldn't stop watching. Not to mention the twists and turns waahhh!!

About the romance, which is not at all the point of this drama, I am glad they kept it so minimal. Even though they clearly had feelings, it would have been weird to show "romance" in between all that chaos. It won't suit the characters. Still, whatever scenes they showed were beautiful. Both ml and fl stuck with their own plans till THE VERY END.

It was such a long journey, and it was worth the happy ending ♡

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A handsome main lead, high-quality production, a good cast, and fanservice

This is a very decent vertical drama. Of course, a magnificent full-length adaptation of the same novel exists, but it’s not worth comparing them—the creators had completely different goals and resources. In general, Jiu Lu Fei Xiang's novels deserve all kinds of adaptations in all kinds of formats, and this vertical mini-drama looks very watchable.

Granted, the plot turned out to be a bit rushed, but there are no major pacing drops or inconsistencies; it’s more about things being left unsaid. And honestly, I think it’s a good thing that the creators didn't try to cram the uncrammable. Instead of focusing on the intricate geopolitical relationships between the two states, they dedicated screen time to fanservice and artistic techniques popular in this format. Because let’s be honest: vertical dramas are not so much about the plot as they are about romance, aesthetics, and/or sensuality.

There is plenty of aesthetics here! You get close-ups emphasizing the leads' lingering glances, wide shots with falling snow, beautiful costumes, and decent sets. There is also a lot of romance, and it’s very aesthetic—kisses, gentle touches, and long looks. For the most part, the focus of the story is shifted precisely to the leads' love rather than war and palace intrigues. And I wouldn't say the story lost much because of it.

Moreover, the production values are excellent. Sometimes you watch these shows and cringe at the amateurish execution, but that’s not the case here. The production doesn't look cheap or half-baked. The framing, camera angles, lighting, and editing are all at a decent level for this format. I was especially pleased with the ability to handle lighting in the frame—something that is often ignored in vertical dramas.

But the biggest highlight of this drama is the cast.
Yan Zi Xian is a recognized star of short-form dramas. The camera loves him, and we, the female audience, love him too. He is great at acting out that devoted, lovesick gaze from the bottom up, and the director shamelessly takes advantage of this. His character turned out to be an amazing combination of vulnerability and hidden strength: one moment he seems loyal and defenseless, and the next, he is ready to do anything for the one he loves. Both of his images were wonderful—the naive, lovesick "supersoldier" in the first half, and the prince tangled up in his own feelings in the second half.

I liked Guo Yu Xin in the role of the female general. She is stern enough in armor and pretty enough in a dress. She doesn't display a massive emotional range, but this fits the character's personality perfectly. However, against the backdrop of the ML, she got slightly lost for me.

Wang Rui Zi fit the role of the third wheel in the love triangle perfectly. His Crown Prince looks moderately arrogant, moderately crazed due to his love for the FL, and moderately miserable because his love is unrequited. I especially liked that the line between obsession and sanity was well-maintained—without villainous laughter or theatrical monologues.

The musical accompaniment was also great—it didn't pull attention away from the story but only heightened the emotion of the scenes. The costumes are luxurious yet not overly gaudy. Pretty hairpins and guans with long chains—not entirely logical when it comes to the ML, to be honest, but highly aesthetic.

Another feature of this drama is its humor. Before the ML regained his memory, the way he hilariously demonstrated his loyalty to the FL was sometimes on the verge of absurdity. But it was funny, not cringey. Later, as it often happens, the humor gives way to drama. However, there is no heavy angst here, and subjectively, that is another huge plus.

An interesting fact for me personally: this is one of the few dramas where periods are mentioned. The ML’s care for the FL while she is suffering from "women's illness" looks funny but very touching.

Overall, this mini-drama is well worth the couple of hours spent on it. A handsome main lead, high-quality production, a good cast, and fanservice—this is more than enough to get enjoyment from watching.

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What a letdown...

At first the plot did intrigue me as it was for once something rather new (apart from wandee goodday) and i was indeed hooked during the first 4 episodes, but then everything slowly went downhill... the story had so much potential but ultimately the writers/directors didn't do it justice. And it also didn't help that the characters felt 2 dimensional and rather stiff. None of the couples' chemistry felt natural and ultimately failed to pull me in. I can overlook a boring plot or plot issues/holes as long as the chemistry between the characters is good, but in this case there was nothing that kept me entertained and it was simply my (stupid) will to finish this series that kept me going until the very end.

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Do Over of Season 1, Just Weirder

First off, Season 2 of Royal Upstart was not as good as Season 1. The male lead was disrespected so much more in this season. He was referred to as Wei the Fool by so many other characters. That got on my nerves, because even though he acted foolishly and brash, he was was brilliant in knowledge. His non-related aunt got on my nerves (and her maid servant), because she seemed to always get in the way and go against him. The aunt physically hit him and hurt him. In Season 1, this same female character was the Prime Minister's wife and she was a stark ally to the male lead. They royal princess softened and more hands on when dealing with the business in Season 2; in Season 1, she had a bad temper and was pretty much hands off when it came to the business affairs. The emperor from Season 1 was more likeable than the one in Season 2. The Empress was cool, whether the one from Season 1 or the one from Season 2.

Instead of Season 2 being a continuation of Season 1, it was another version of Season 1. It was weirder. I am happy that I made it through Season 2. It was as if the two seasons were from different realities or parallel worlds.

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Nostalgic Romance held back by an Emotionally Defensive FL

## 🎬 Go Back Lover: A Toxic Autopsy of the High-IQ, Zero-EQ Romance
Go Back Lover attempts a nostalgic, "exes-to-lovers" healing narrative, but it ultimately delivers a clinical study of psychological demolition. Despite its structural flaws, the series remains an incredibly addictive, worthwhile watch for two reasons: Li Yunrui’s phenomenal acting and the infectious, lighthearted camaraderie of the cast. Whenever the two leads and their friends are simply hanging out—whether during their nostalgic high school days or later at the resort—the show comes alive with a warm, joyful energy and a delightful sense of playful banter and witty bickering.
However, as a core romance, it fails entirely. The script lazily mistakes toxic avoidance for independence, leaving the heavy lifting of genuine human growth entirely to a male lead who is systematically bled dry.

## 📉 Lu Xingyan: The White Knight’s Sunk Cost Fallacy
Li Yunrui delivers an outstanding, emotionally fluid performance that shatters any standard tropes. He captures a real man whose dignity is being slowly starved, using raw micro-expressions—the loss of light in the eyes, the nasal flare, the forced swallow, and the final desperate pivot to a drink—to convey profound devastation.
Lu Xingyan represents a masterclass in tragic codependency. Trapped by the Sunk Cost Fallacy after investing six years of youth, family resources, and unconditional protection, he repeatedly discards his pride and boundaries just to stay in her orbit. By the time he is dumped on a foreign roadside without explanation, his self-worth has been so thoroughly dismantled that he swallows his valid hurt, flying home alone to tragically blame himself for a broken heart he didn't cause.

## 🧊 Shen Xingruo: Calculated Duplicity and Negative EQ
In stark contrast, Shen Xingruo suffers from severe emotional stagnation. The script traps itself by equating academic brilliance with maturity, leaving Xingruo with negative emotional intelligence (EQ). She doesn't hide life-altering secrets—like the Germany move or a secret male flatmate—out of malice; she genuinely fails to comprehend that she is wrong.
This hypocrisy dates back to high school. As Lu Xingyan accurately notes: “You are fierce and intolerant to everyone... but in front of my mom you are like this extra sweet princess.” She actively weaponizes this persona to charm his saintly parents, while simultaneously treating the boy acting as her physical shield with unprovoked hostility.
As an adult, this deficit bleeds into glaring professional unprofessionalism. The show frames her public, screaming meltdown at an investor’s daughter as "establishing authority." In reality, barking "pack up and get out" reveals zero emotional regulation. A high-IQ producer would have used tact, shifting the argument to asset protection: "If the building is damaged, who will bear the cost of restoring a high-end resort?" By choosing raw hostility, she creates corporate chaos, relies on Xingyan's family status to clean up her mess, and then defaults to defensive rage.
She demands the full privileges of a devoted partner while paying "friendship prices." When caught in massive boundary violations, she deploys defensive reverse-gaslighting ("Is that how you think of me?"), weaponizing his normal need for security into a moral failing of "not trusting her." She rejects basic stability—like building a home—under the guise of modern independence, when it is actually just a toxic, defensive isolation that dissolves six years of devotion in a vat of concentrated emotional acid.

## ⚖️ The Ultimate Script Failure: A Toxic Echo Chamber
The core reason Go Back Lover fails as a romance is that the narrative completely abandons its male lead. Instead of an authority figure or therapist delivering a necessary reality check, the writer creates a toxic echo chamber. Her friends praise her icy walls as a virtue, while the second lead actively gatekeeps her trauma to ward off romantic rivals. No one ever forces Xingruo to face the music or accept that she bears at least 60% of the responsibility for the wreckage in Xingyan's life.
The profound irony is that the side female characters display far greater real-world bravery:
* Chen Xunran processes a painful divorce with maturity, co-existing on the show with her ex-husband.
* Shi Qin finds the breathtaking strength to escape domestic abuse and risk vulnerability with her crush.
Compared to her friends' deep resilience, Xingruo’s petty grudge—blaming Xingyan for his valid lack of trust and his volcanic reaction to her secret roommate—looks incredibly ungrateful. This is especially true considering his saintly parents raised her like their own daughter. Truly independent drama heroines use courage or quick wit to survive traps; Xingruo simply creates emotional and professional chaos, plays the princess when it suits her social standing, and relies on a good man to rescue her while the universe gaslights him into apologizing.

💔 The Client-Contractor Ultimatum: The Death of Self-Respect
The greenhouse confrontation marks the absolute destruction of Lu Xingyan’s dignity through narcissistic emotional hoarding. Shen Xingruo first disarms his pining soul with cruel validation, stating: “Our memories are most precious,” and “You are an inseparable part of my life.”Then comes the stomach-churning kicker: “Even though our Love didn't have a happy ending, I still want to be in your life... as a client and contractor.”
With that single line, 11 years of unconditional devotion, physical protection, and family wealth are reduced to a cold corporate transaction. She exploits his lingering feelings to keep him as a safety net while owing him nothing.To lock the trap, she deploys the ultimate weaponized ultimatum: “But if you don't want to see me anymore... I will leave your sight.” Threatening to vanish forces a weeping, devastated man into a corner. To avoid losing her completely, he surrenders his final shred of self-respect, offering the heartbreaking reply: “I don't want us to end up like strangers.” It is a brutal portrait of a good man thoroughly broken by emotional abuse.
The visual contrast in this moment is purely cruel. The wider her smile grows—basking in the triumphant relief that she has successfully trapped him into her client-zone—the more devastating his physical pain becomes. Threatening to vanish forces a weeping, suffocating man into a corner.

The Verdict: Come for the beautiful high school nostalgia, the fun friend-group dynamics, and Li Yunrui's heartbreakingly human portrayal of pining, but do not mistake this for a love story. It is a cautionary tale of what happens when a good man surrenders his ego to a partner who refuses to do the work to heal.

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