A Standout Masterpiece: The Breakthrough Power of Pursuit of Jade
I have watched Chinese dramas for many years, and Pursuit of Jade stands out as one of the most refined and emotionally resonant productions in recent memory. The narrative is tightly constructed—every episode serves the story, deepening the mystery behind each character while maintaining strong pacing. The series balances humour, romance, family, political intrigue, action, and personal growth with remarkable precision.At the heart of the story is the extraordinary journey of the female lead. Her rise from hardship to influence resembles the strength and emotional depth found in the heroines of Judith McNaught classic novels. She is not carried by beauty or privilege; she survives through intelligence, loyalty, strategy, and an unwavering sense of responsibility. Alongside her closest companion—two orphaned girls fighting for dignity and stability—their evolution from poverty to power forms the emotional core of the show.
Breakthrough Performance of the Female Lead
The female lead is the undeniable gem of this series. Her performance is a breakthrough—powerful, expressive, and deeply affecting. Her large, emotive eyes make every scene hit with precision, especially when she cries or confronts danger. She transitions effortlessly between cute, fierce, tender, and commanding. That duality is her greatest strength, and she embodies it with authenticity.
Her portrayal feels grounded and human. She is a protector, a strategist, a friend, a warrior, and a woman capable of deep pain and equally deep courage. It is surprising that only the male lead is widely trending because her performance is equally deserving—if not more so—of attention. She anchors the emotional weight of the entire narrative.
Acting and Cast Chemistry
The series benefits from a strong ensemble. Many cast members were unfamiliar to me, which made the viewing experience refreshing and unfiltered by prior expectations. Their acting is compelling, and their chemistry—particularly within Lian’an—is exceptional. The bonds, conflicts, and loyalty within this community feel authentic, making it easy for viewers to fall in love with the characters.
Assessment of the Male Lead
Having seen the male lead’s earlier works, I can see clear growth; however, some of his acting patterns from previous roles remain noticeable. His character—a formidable god of war and marquis who does not bend even to the emperor’s decree, yet later adapts to rural life—is still lacking and requires both authority and emotional nuance.
While he delivers strong moments, the portrayal occasionally lacks the consistency expected of a high-ranking military figure. The commanding presence and gravitas typical of such a role sometimes feel muted. His most convincing emotional performance appears in the scene where the female lead is injured during the ambush by business rivals. In that moment, the shift from controlled strength to raw fear and anguish is impactful and demonstrates what he is capable of.
When compared to his similar role in Story of Running Palace, certain scenes feel familiar rather than fully transformed. Though his performance remains solid and generally effective, it does not reach the breakthrough level achieved by the female lead.
Cinematography, Setting, and Musical Score
Filming in an actual rural village gives the series a level of authenticity that enhances the story’s tone. The setting, though modest and remote, is captured beautifully. The cinematography strikes a balance between realism and aesthetic appeal.
The musical scoring also deserves acknowledgment. The soundtrack heightens emotional peaks and accentuates tension, romance, and key turning points without overwhelming the viewer. Certain scenes achieve their full impact because of the thoughtful pairing of visuals and music.
The action sequences are sharply choreographed—immersive, tight, and genuinely breath-holding at times. They contribute significantly to the pace and emotional intensity of the narrative.
Final Assessment
Pursuit of Jade is a standout series that excels in narrative structure, acting, character chemistry, atmosphere, and technical execution. The cast and production team deliver a work that resonates deeply with viewers. It is no surprise that friends who initially dismissed the idea of watching a Chinese drama were drawn in after hearing about this series—and are now slowly exploring more titles.
This is a production the entire team can be proud of. A series that not only entertains but leaves a lasting impression—emotionally rich, visually compelling, and led by a female protagonist whose breakthrough performance elevates the entire story.
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Inspiring even thought it was all a dream
Xia Xiao Lan went through so much. Felt it for her. Even though she was having a hard time in the present life, especially with work, you can see that she was lonely. When she transmigrated into the 80s, I am glad she remembered the future and with how Xia Xiao Lan was living in that time, she was determined to be strong and wanted to make her life as well as her family better. I always like a strong FL and she was determined to change and build that era. Despite what happened in her real era, she was determined, even though it was a dream to do all the things she wanted to do and make a name for herself.I dont even want to talk about her father's side of the family - a bunch of greedy parasites. even at the end, her dad couldnt stand them anymore but I am also glad that he didnt disturb their lives they has built out of the village.
I think Xia Xiao Lan and Xia Xiao Lan had great chemistry and oh how they can communicate with each other. LOVED THAT!.
They both wanted a different career and they supported each other.
Fast forward to the ending....I feel bad to complain but I didnt like it that much 😩
If Xia Xiao Lan didnt have the same dream as Xia Xiao Lan, I noticed that she could have been the guy she was with during her university days.....
But the interaction looked weird to me like he if he was really the guy she stopped seeing, why didnt she try to find him on the internet? (since she remembered him from the dream and assuming they look alike) and he was all smiles when he spoke to her and not a surprised/hurt look because of what happened during the university days. Just my opinion 😩 the ending wasnt it for me.
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Great suspense drama with a side order of love
This story is set in the slums of Thailand and features Jack, a poor taekwondo student who through a brief association with Joke, a middle class kid whose only skills are lying, pretending and stealing goes from poor and honest to poor, desperate and enslaved.5 years later they reunite after Joke is released from prison following the situation that led to Jack’s downfall and at the same time we meet others stuck in their own versions of hell and watch as they all grow from individuals trying to survive to a team determined to right the wrongs of the miserable lives they been given. Through it all and somewhere down the line relationships are formed and Jack and Joker fall in love.
The standout performance for me was Tangkwa Chananticha Chaipa who plays Toi Ting a young street smart kid who wants more out of life than the shitty hand she’s been dealt. Her believable character was fearless, brave and sassy wrapped up in a cute little bundle.
Yin and War as Jack and Joker were brilliant and it’s easy to see why Jack just let Joker win him over again and again as chemistry aside deep down he knew there had to be a really compelling reason for his sporadic return to crime and the sad puppy dog eye look Joke gave when caught hooked Jack in every time (it would make me forgive him every time too tbh).
There was very little opportunity for NC’s or PDA’s in this drama and to be honest I think it would have detracted from the story. In fact there only one intimate scene but it was enough to see how their slow burn romance spilled into every part of their relationship and it had me reaching for a metaphorical fan as it was so sizzling hot.
The other characters were well acted, their plot lines adding depth and breadth to this story by injecting love, laughter, a bond forged by desperation and the need to trust that together they could beat the system.
The contrast between the haves and have nots was poignantly obvious as evidenced in so many ways: from grotty buildings with peeling paint and doors that don’t close properly to sumptuous mansions with glittering fountains and marble staircases; poorly dressed, malnourished individuals with knife and fork haircuts compared with exaggeratedly overstuffed individuals with dubious taste in horribly expensive clothing; the raw honesty of frantic people trying to survive as opposed to bored mega rich to whom the lives and belongings of the less fortunate are just a game.
As an aside , the music used a lot at the beginning of their relationship, when Jack and Joker’s hearts skip a beat, is called Windfall by Megan Wofford (thank you Shazam!) and it’s also used in Cutie Pie on Lian and Kuea’s wedding night.
You should also watch the special one-off episode. It will break your heart but alludes to another series or just another one off. Here’s hoping…
Would I watch this again? Absolutely
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Great potential for PoohPavel to showcase their talents
I loved this. I think shows with longer timeframes should follow what Goddess Bless You From Death does, which is to pace evenly per episode but also drop important plot points for the next episode to follow. My only complaint is how tiring it is to hear Pooh say 'P’Singha!' for so long. It’s so whiny.What I loved about the show is that calling it a romance series doesn't do it justice. Sure, it has romance in it, but the overall whodunit crimes and police drama outshine the romance, making it feel satisfying when it all leads up to the finale.
Overall, this is a huge milestone for the pair PoohPavel, and I hope they get more opportunities to do more series like this because they both shined perfectly in it.
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It started well, it ended in the worst way possible
Things I loved1 The panel. My favorite is the one of Single's inferno hands down, but this one isn't bad either. Many thought they were biased but this is their role in my opinion. To have thoughts and share them. With some we agree with others disagree, but hey are funny and their observations were acute.
2 I love the concept. It's interesting and certainly better than the Single's inferno one or all the other dating shows. That said it could use some improvements.
Things I disliked
1 Some participants who were determined to never budge from their first crushes like it would be a crime. It made me dislike them since I thought they were idiots, I'm looking at you Yongho. Totally idiotic crush.
2 The Soo Ro couple. I never warmed to it and it was obvious the woman was a money catcher. I dislike couples with that much age difference and this one reminded me why. Because the older person always looks like they have the upper hand and aren't really as in love as the other person. So this also was a negative to me.
Things I hated
1 Su Ji. She must be one of the most idiotic characters in a dating show. She made assumptions and was mean to Yongho and unfair without any reason. An utter idiot. I also found her ugly, so I never got how would anyone fall for her and so hard on top of that.
2 Yu Jeong. No excuses for her behavior. If she wanted to change fine, but she shouldn't give false hope to Tae Hyeok. She was mean while she could have chosen another person. Well, I never warmed at her either so I'm not surprised by her behavior. All in all, I preferred the previous season in Seoul and this one was a disaster for me. Bali didn't do anything for me.
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Title should have been ALL ABOUT MY MOTHER
I have never been so misled by clips like I was for this one. I was looking for a romance. I have enjoyed both lead actors in other things, and I couldn't pass up Xu Kai in something contemporary. But the clips that I watched were the total of their interaction throughout the entire drama! I did enjoy watching the ML go from cold and ruthless, to someone who actually cares about others and basically inherits a family. I could never actually tell when the FL started to like him, but they were cute together. However, all of their scenes would have taken up two episodes (and I'm being generous. The romance tag should be removed or moved to the end of the list and changed to "slight romance".The focus of this drama (80-90%) was about the FL's mother. She was a toxic, loud, disrespectful, overbearing, money-grabbing, immature, domineering mother. I know that respect for parents in Asian cultures is important, but there is a certain point in time when a husband needs to step in to try to curtail the behavior, or the child will deliver an ultimatum. I was determined to finish this drama, hoping for redemption, but it was too little, too late.
Spoiler examples:
1- the mother worked with the FL's ex-boyfriend's sister and organized a huge engagement party. Huge affair, balloons, flowers, ballroom, friends and family. The FL was sent on some fake premise, and when she opened the ballroom door, she saw all this. The couple had already broken up (of which the mother was well aware), but the mother was trying to force her hand.
2- the mother takes her obnoxious relatives to the high-end hotel that the FL is the new general manager and asks the staff for the best rooms and the best treatment, and discounts. The daughter arranges all of that and says that she'll pay for it out of her own money.
3- the daughter SPECIFICALLY told the mother not to come to her workplace. The mother shows up with lunch while the FL is holding a staff meeting, trying to cement her job as boss. The mother interrupts the whole thing and tells the daughter to send everyone to lunch because she (the FL) needs to eat.
4- they are staying in a home that turns out to be the ML's inheritance. He brings his stuff to move in and she refuses to leave. Husband and FL both try to convince her, with the FL saying she'll buy them an apartment, and still she refuses. ML says that the house is big enough for all of them, but she won't give up the master bedroom, the other rooms are for when her kids come home, so he ends up sleeping in the attic.
5- ML pays for both FL's parents to get a complete health screening. There is something abnormal in her tests and they want to do more testing. Instead, she roams around pouting and being all dramatic, then packs a suitcase and leaves home without telling anyone where she went. The whole family is out searching frantically for her (because, of course, she has turned her phone off), only to find her in the town they lived in years ago that she always complained about. The whole family shows up and she refuses to leave. Days of begging and pleading go by, and she finally agrees to the testing, to which she finds out everything is fine.
I have never hated a character or the way it was written more than this. Unless you are a glutton for punishment, I'd suggest you run away from this drama.
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Even if winter feels endless, a spring breeze might blow someday once you keep fighting through it.
I'm in my lowest of low lately and this drama found me. It's the type of drama that also heals the viewers with them while watching. The storyline is not full of twists, but this made this drama unique than the others. And I believe, this drama will find its way to your hearts when you needed them.That's all I can say about the storyline, full of lessons and just about life. Some people may focus on the AI like drawings of the animators in the drama, but I hope you realize that isn't just it. This drama is more than just the AI looking drawings, it's about life and how did they fight through it. Like as the season changes, what am I going to do about it and such.
I'd like to commend especially the halmeonis and harabeoji actors, I think they made me stay for this drama. I mean don't get me wrong; the other actors are amazing too but growing up with my grandmother as a child made me focus more on the grannies, they have a soft spot in my heart. And Hayeong (middle sister), I love her through and through, no words can explain how I felt while watching her.
The music didn't stick out to me honestly, but I will probably watch some tt edits of them.
I HOPE THIS DRAMA WILL FIND ITS WAY TO YOUR HEARTS WHEN YOU NEEDED THEM ~ I hope whatever season y'all are in, you'll get through it and stand-up fighting again! tomorrow is another day yeorubun <3
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The romance starts off strong -- and then comes to a complete standstill for six episodes. In that time, the series discusses how workplace dynamics (in particular hierarchies and the concept of seniority) influence the quality of work and of work life. It also picks up themes like bossing, the culturally significant concepts of "saving face" and เกรงใจ /greng-jai/ (the feeling of not wanting to burden people who have seniority/authority with your own needs or wishes), office gossip and others. We follow Pat in his first months at the office, and how he learns to find his own place in this world. The difference between his coworkers (who expect the Thai way of doing and saying things) and his superior, who is, even by my German standards, extremely up-front and blunt with his feedback, is striking; and I expect this might hit a nerve with Zillenial Thai viewers.
We also get to see how his friends go through things: getting prgnant, breaking up, living through unrequited love ... all of the things many young people in their twenties experience.
"Step by Step" is also the first Thai BL series I've watched that takes work issues seriously and not just as pretty background for a sweeping romance. The inter-office work as well as the lingo and the workflow felt quite realistic -- I'm not sure if it actually is, but if there was any nonsense, I didn't notice it. It certainly was better than whatever they did in "Bed Friend" or "A Boss and a Babe".
After episode six, the focus pivots towards the romance -- and while I liked how they gently re-introduce it at first, the whole thing takes a nosedive near the end of episode 8. It recovers slightly in episode 10, when the same-sex relationship between boss and employee becomes known and thus an issue (but only for this episode), and then never fully recovers again. Here are some (hopefully non-spoilery) examples of things that went wrong:
* The timeline went wobbly -- what we get in time stamps, doesn't make sense.
In the beginning, Pat is 25, his friend knows she is pregnant (and in the third month of pregnancy), and Jeng gets a year to turn the department profitable.
Sometime later Pat has a birthday, then his friend gives birth, then we get a small time skip of three months. But then there's almost tow quarters left of the year Jeng had?
After that, there's a time skip of two years, another of birthday of Pat's -- and in the last minutes of the series, he says he is 26 years old. Sigh.
* The secondary pairing doesn't get a resolution at all, after a lot of dramatics between episodes 5 and 10 or 11.
* Some supporting characters are important in the first half, and then never come back. One supporting character has a 180°-turn with her characterization.
* Jeng has a breakdown in episode 8 because of his feelings -- there was never any hint before that he was that deep in love. Overall, the progression of emotions was uneven; especially just before and after they got together, there seemed to be a jump in attraction/love; which could have been prepared better.
* Let's just forget the lakorn-ish birth scene, which happened in a public bus with onlookers filming, and which had never any impact on anything else.
* The conflict between Jeng and his father never gets resolved. Jeng even says "this was too easy" at one point, but there's never any follow-up. (The father was also a severely underutilized character. And maybe all the more jarring because his actor was good enough to give him characterization where there was none in the script.)
* In episode 12, which is overly long already, with 1 hour 49 minutes, instead of resolving the remaining conflicts (e.g. the secondary couple's story), the last 30 minutes were spent on Pat and Jeng being domestic together in unrelated scenes. Also, Pat was ukefied in these last scenes, which, for me, made all his character growth kind of pointless.
And it's really a shame that the writing falls apart to that extent. We have this really well-introduced office and its work dynamics. We have a diverse friend group, that even has a token het couple, with interesting romantic and platonic relationships. We have a discussion about social issues about society and workplace politics. And then nothing of that is used to the fullest, and in some cases, not even resolved. I wished a ThaiPBS writer would take the same premise and run with it -- to think that they could do another "The Summer We Met" with this? I would love it. The potential for something special was there.
It's strange that despite these issues, I ended up liking the series anyway. Maybe because the first half was so strong for me. Maybe because I really liked both Pat and Jeng, and they did make me feel all aflutter when they were together.
Was it good?
In regard to production qualtiy and acting, it was an average Thai BL. It could have been a perfect ThaiPBS lakorn, if the romance had been reduced to a minimum and the social commentary about working as a young adult and issues of nepotism and class had been more developed.
It's also really unfortunate that the ending just fizzled out.
Did I like it?
Despite the issues the series had, I liked it fine, strangely enough, especially the first six episodes. I might even rewatch it some day.
Who would I recommend it to?
To be honest, I don't think I would recommend it. I would not advise against watching it, for those who like to watch a story that's slow to unfold and focuses on work relationships.
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When Life Comes With a Cheat Sheet
What if life gives you a Ctrl Z button, but instead of going back a few steps, it throws you into a whole different decade? That is exactly the kind of chaos and charm that Dream of Golden Years plays with, and honestly, I was hooked faster than you can say “time is money.”Xia Xiao Lan starts off as your classic modern day corporate warrior, except without the glory. She is overworked, underloved, and carrying a lifetime of loneliness after losing her parents. No family, no safety net, just vibes and regrets. Then boom, New Year fireworks hit and suddenly she is transported from 2026 to the 1980s, into the body of another Xia Xiao Lan. Not her younger self, not a redo of her own timeline, but a completely different life with the same name and face. That twist alone already sets the drama apart, and I was instantly intrigued by how she would navigate a life that was never hers to begin with.
What I really appreciated is how quickly Xiao Lan adapts. No endless crying, no drawn out existential crisis. Girl wakes up, processes, and gets to work. It feels very “I have suffered enough in life, let’s not waste this second chance” energy. And that energy drives the entire drama. The pacing is fast, the conflicts come and go like quick waves, and just when you think disaster is about to strike, Xiao Lan flips the situation in her favor. It becomes oddly comforting. After a while, I stopped worrying because I trusted her to handle business, literally and figuratively.
At its core, this is a slice of life story that leans heavily into growth and business ventures rather than high stakes melodrama. It focuses on everyday struggles, relationships, and small victories that slowly build into something bigger. The conflicts rarely drag, and even when tension builds up, it resolves quickly in a way that feels satisfying. It might not give you that intense dramatic high some viewers look for, but for me, it felt like a warm bowl of soup on a rainy day. Simple, comforting, and quietly fulfilling.
That said, the drama is not without its questionable moments. Some arcs feel exaggerated, like the bullying Xiao Lan experienced just for being an orphan. It felt a bit one note and could have been more layered. Xia Zi Yu’s storyline also went full soap opera mode with the plastic surgery and identity switch. It was entertaining in a “did that really just happen” way, but it clashed with the otherwise grounded tone of the show. There were also moments where confrontations felt forced, like the drama was trying a little too hard to push Xiao Lan into proving herself.
The ending is something that will always make viewers nervous, especially with time travel involved. While it follows the expected restrictions, I found myself surprisingly content. We get a glimpse of the life Xiao Lan built, her success, her family, and her love with Zhou Cheng, and that alone felt like a quiet confirmation of what could have been. Her waking up in the present felt a bit too calm for someone who just lived such a full life, and I did wish for a stronger emotional payoff. Interestingly, when she reflects on her experience, she focuses more on her romance than her growth in family and business, which felt slightly off given everything we saw.
Speaking of characters, Xiao Lan is easily the heart of the drama. She is relatable in that painfully real way, carrying regrets and big dreams at the same time. Watching her become more confident, sharp, and unapologetically driven was incredibly satisfying. She is not written as someone who revolves around love, and I loved that. She prioritizes her goals, her family, and her independence. Of course, she has her flaws. Her occasional arrogance and the irony of having what is essentially a life cheat sheet adds a layer of complexity that makes her even more interesting.
The performance by Zhou Ye truly surprised me in the best way. This is easily one of her most natural performances. She balances emotions, dialogue, and even comedic timing so effortlessly. Her portrayal evolves with the character, from a simple countryside girl to a confident businesswoman, and even her visuals reflect that journey beautifully. The styling throughout the drama deserves a chef’s kiss moment because every era appropriate look just hits right.
Zhou Cheng, played by Zhai Xiao Wen, is the definition of a walking green flag. Calm, gentle, and supportive to a fault. He brings a sense of stability that makes you feel like everything will be okay as long as he is around. That said, his character does feel a bit one dimensional at times since his world revolves heavily around Xiao Lan. Still, his presence is comforting, and his softer approach to love adds a nice balance to Xiao Lan’s driven personality.
The supporting cast is where the drama truly shines. Xiao Lan’s mother, Liu Fen, played by Dong Xuan, has one of the most satisfying growth arcs. Watching her transform from a passive woman into someone more confident and radiant was genuinely touching. Her relationship with Tang Hong En, played by Zhang Duo, adds a sweet layer of mature romance to the story. Then there is Du Zhao Hui, portrayed by Lawrence Wong, who starts off shady but turns out to be surprisingly endearing. His dynamic with Xiao Lan is more admiration than romance, and honestly, watching him try to win her attention felt more cute than threatening.
Family plays a huge role, especially in the earlier episodes. The warmth from Liu Yong’s family and later additions like Granny Yu creates a strong emotional core that contrasts sharply with the toxicity of the Xia family. And yes, Grandma Xia is the kind of character that will have you talking to your screen like she can hear you.
Production wise, the drama does a great job capturing the feel of the 80s. From the sets to the costumes, everything feels cohesive and intentional. The retro vibe is consistent, and the OSTs add that extra layer of nostalgia. There are minor hiccups like slightly confusing flashbacks early on and some awkward English dubbing, but nothing that ruins the experience.
In the end, Dream of Golden Years left me feeling warm and oddly hopeful. It is not perfect, but it is sincere, engaging, and filled with characters you grow attached to. It made me laugh, made me frustrated, and most importantly, made me imagine what I would do if I had my own life cheat sheet. Because let’s be real, who wouldn’t want to speedrun life with insider knowledge?
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It never took off
Things I liked1 The leads were appealing to watch but not the greatest actors in the world.
2 Some other actors were also not that bad and acted well.
Things I hated
1 The script was a mess. Not funny, not interesting, not romantic. It's like they tried hard and got nowhere because there was no script no direction. A shame since I thought it'd be funny and romantic. The ending was also underwhelming.
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it sadly didn't live up to my expectations
I came across this drama in Tiktok where it was heavily hyped as “one of the best xianxia/xuanhuan" which caught my attention because it indeed shows potential. Also I just recently watched PoJ (which some claims that LITC is much better) so at this point I am really expecting a lot. After watching LITC tho, I have to admit that the bar is low lol. Nonetheless, I genuinely enjoyed parts of it as it does have its strengths.First, the acting of the cast— especially the leads— truly saved this drama for me. However the script and overall character arc/development failed them significantly. If not for the undeniable chemistry between Lu Yuxiao and Hou Minghao, I wouldn't have been convinced by their love story, because what do you mean 25 episodes were spent with continuous lying and deception and unending miscommunication. Their relationship just felt stagnant rather than meaningful.
It frustrated me most that even at the last episodes, there's no depth and proper development with Ming Yi's character. I was waiting for a moment of realization or inner monologue where she understands that lying to Ji Bozai isn’t the solution when in fact he was clearly in love with her, enough to accept all of her. For me, that’s such a major turning point and would’ve added so much depth to their story. Ironically, this kind of development was actually seen between Tianji and Yan Xiao, which solidied their relationship a lot all while emphasizing how much MingZai was lacking. I just hate that MIngZai didn’t get the kind of development and growth they deserve.
And don’t get me started with Situ Ling/Chao Yuan’s character. I was really disappointed. I disliked how the writers forced him into the role of the “true villain” when he never felt like one. What should have been a powerful and emotionally layered plot twist turned out to be so underwhelming. Situ’s villain arc lacked depth and nuance, eventually reducing him to someone driven solely by obsession. Especially, I was expecting his father to be the grand villain after Qibai’s death but even him lacked depth. I honestly don’t know what went to the writers’ head and saw Situ, jumped right into making him as the “true villain” for plot twist, and just called it a day. I’ll forever mourn the wasted potential of Ming Yi and Situ’s bond which could have added so much more complexity of the story, especially with how their story started.
Overall, most of the characters just felt flat for me and I wasn’t able to connect and get attached with them. Despite the cast delivering convincing performances, the writing just failed to support them, making it hard for me to get truly emotionally invested. As much as I wanted to care for them, but with the way their characters were written made it difficult for me. The only moment that genuinely hit me hard was Ershiqi’s sacrifice, and even then, it only fully registered on me when Ming Yi reacted. Even major plot points at the end, where you’re supposed to be mind blown, like the baby-swapping revelation, felt more like a convenient plot devices rather than organic developments driven by characters themselves. While, the plot twist itself was convincing, it still lacked the emotional intensity it should have delivered.
I truly enjoyed the first few episodes, but it just felt dragging due to its pacing as well as the lack of depth of characters, which ultimately caused it to lose its grip on me midway. I wanted to love and grow attached to them but sadly, I couldn’t. That said, I still enjoyed certain parts of this drama, particularly the fight scenes- the one thing that the production did right— it was, if not, the strongest part of the drama. The cast truly performed exceptionally well the OST is genuinely moving.
In the end, I’d still rate this a solid 8, mainly because the casts ate and absolutely hard carried the drama despite its flawed script. For me, this drama definitely fits the description: "promising start, repetitive middle, and a mid ending" It had so much potential— how I just wish it was written and executed better. (If I were to rewatch this, it would definitely just be for the wholesome moments lol)
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Stunning to Look At, Harder to Believe
Initially, this show felt like a solid 9/10 for me, gorgeous cinematography, an array of very attractive leads, and that signature artistic style I’ve come to expect from this director. Visually, it absolutely delivers. But by the time the final episodes rolled around, my rating had slipped to an 8… honestly, closer to a 7.The problem is that the storytelling just doesn’t hold up under all that beauty. I knew the director’s aesthetic and thematic style going in, and those elements didn’t disappoint. But the narrative itself felt thin, especially in the second half. The female lead, who starts off as a strong, capable, independent woman, slowly drifts into Mary Sue territory and not because she’s powerful, but because the writing stops challenging her in meaningful ways.
And don’t even get me started on the villains’ “deaths.” Plot armour so thick it might as well be bulletproof steel. You cannot convince me that being shot in the chest and falling off a city wall somehow results in… survival? I get that they may be trying to stay faithful to the source material, but at least make it believable.
Overall, it is stunning to look at and has moments of brilliance, but the uneven writing and unbelievable character outcomes hold it back from being truly great.
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Great Characters, Strong Performances, and a Finale That Feels Off‑Key
An overall very pleasant watch that captures the rhythms of a blended family in the late 1970s. The characters feel lived‑in, and even the initially unlikeable ones add to the show’s authenticity.That said, the last few episodes felt a bit mismatched, and a couple of the more “evil” characters were suddenly softened in a way that didn’t feel fully earned.
Still, the overall journey remained engaging and genuinely enjoyable.
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i have the feeling that i ended up having a déjà vu
i have the feeling that i ended up having a déjà vu 🤔. ah, i know: i watched exactly a k-drama last year with the same plot and the same premise. but i remember that, there, the guy worked almost for free for the ghosts and still managed to make some money 💰 it’s inevitable we work to earn money.but here, i don’t get it: why isn’t the main character making any money? not even a little? not a single coin? 🤔
on the other hand, that would be bizarre. a ghost doesn’t have a credit card or money saved. unless they left some amount while alive, but then that would basically be theft. the bank would call the police immediately! a stranger withdrawing money from someone else’s account? that would be simply absurd.
i don’t know anything about law or advocacy, because i’ve never needed it, but it’s normal for you to have some money. the guy, from the beginning, was completely broke. he lives with his mother, then “borrows” (without her knowing) her money and, overnight, already has a place to practice his vocation. so far, so good.
now i ask myself:
how is he going to make money?
who is going to pay the bills?
the ghosts, maybe? 🤔
the guy wrote a script and didn’t research a damn thing. “oh, but it’s fiction.” so what? there are limits to fiction. you don’t write something without knowing at least a little bit about how things work.
not to mention the exaggerated and kind of embarrassing acting. yes, embarrassing. i felt sick i laughed. i thought i was laughing at something he did, but in the end i was laughing at the acting.
ah, and not to forget the synchronicity with which the two lawyers take cases. are they working telepathically? 🤔 or are the ghosts bringing the cases to both of them?
because, honestly, it feels like something written by someone who doesn’t even know what they wrote.
i dropped it. and i felt free when i did that. it was a true liberation. i had more things to say, but i’m not having my best day.
even so, i recommend it… for those who don’t mind some weirdness or like something completely outside logic.
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This review may contain spoilers
Sunglasses After Dark
Whilst “Branded to Kill” can be seen as the most obvious breaking point in the relationship between Seijun Suzuki and the Nikkatsu production system, “Trapped in Lust” appears to sit within an even deeper, almost subterranean continuum, where that same rift resurfaces in other forms, adapting to a production context that has since changed.It is no coincidence, after all, that behind the project we once again find Atsushi Yamatoya, who was already one of the writers of “Branded to Kill”, and who here - as well as playing the role of Takagawa- is involved in a reworking that feels more like a detour than a real remake.
In his compelling analysis, ‘Il Fiore e Il Serpente’ (2022), Beniamino Biondi devotes a section to Yamatoya, also mentioning three different screenplays that formed the basis for “Branded to Kill”, although, curiously, he merely touches upon “Trapped in Lust”.
We are in the midst of the pinku eiga and roman porno season – that cinematic realm where the body becomes the central element, both an exposed surface and a narrative device. Yet precisely where one might expect greater freedom of expression, the film immediately introduces a more ambiguous tension.
Sex, in fact, is never truly liberating. It is obviously ever-present, pervasive, almost obsessive — yet progressively stripped of meaning, as if, by inertia, it continued to exist even after having lost its purpose.
Hoshi, the main character played to perfection by Genjiro Arata, navigates this system as a figure already broken. A rising killer, driven by a desire for recognition that coincides with his climb to the top of the organisation, he soon finds himself caught up in a decidedly complex dynamic that ultimately overwhelms him.
The character of Mayuko (the voluptuous and alluring Moeko Ezawa) — an apparently faithful wife, but in reality a pawn of the organisation — introduces an element of structural ambiguity right from the start: there is no relationship that is not, to some extent, constructed, manipulated or prearranged.
His (apparent) elimination, however, does not result in what might be seen as a strengthening of the protagonist, but rather marks a rupture. It is as though, just at the moment when the body should (and could) re-establish itself as the centre of the action, something ends up breaking irrevocably.
The resulting impotence — made all the more evident in his encounter with Yumeko (Nozomi Yasuda), the young prostitute at the hotel — is not merely a narrative element, but a genuine deviation from the system: desire, stripped of his ‘object’ and, at the same time, of its mystery, is transformed into an automatic gesture, a function incapable of producing any meaning whatsoever.
It is no coincidence that Hoshi spends almost the entire film behind a pair of sunglasses, worn regardless of whether he is indoors or outdoors, or whether it is day or night: it is as though his gaze, filtered and obscured, ends up conveying an inevitably distorted view, a reflection of a cinema in which reality is no longer simply shown, but is constantly obscured, distorted and re-enacted.
As was already the case in "Branded to Kill", a recognisable structure is present here too: there is always an organisation, rules are followed, and a hierarchy is in place. But it is precisely in the relationship with these rules that the film finds one of its most significant turning points.
Hoshi’s fault lies not so much in the mistake itself, but in the return. In returning to the scene of the crime, in reopening what ought to remain closed. It is an act that disrupts the system’s internal balance — and lays it bare. From that moment on, the climb is no longer merely ambition, but a form of attraction towards the point where the mechanism seizes up, becomes visible, and turns inevitable.
It is in this context that some of the film’s most unsettling characters emerge.
The ruthless and sadistic killers Mario and Saigo form a dual, almost unreal, certainly hallucinatory presence: a seemingly fragile female doll juxtaposed with a rigid, armed, silent body. Only later does the apparatus reveal itself for what it is: a simulated identity and mechanical bodily artificiality, a sort of Cronenberg-esque hybridisation.
Even once revealed, the effect does not fade. A sense of unsettling continuity remains, as if the body could now be broken down, reassembled and manipulated without any stable point of reference. It is precisely through these figures that violence takes on a further dimension: no longer a source of tension, as is typical of noir, but a repeated, almost abstract function.
The deaths follow a pattern that borders on the grotesque — bodies frozen in baffling, ambiguous poses, even the act of defecation abruptly interrupted (a pure homage to Suzuki, worthy of the finest Abel Ferrara) — whilst the narrative seems to constantly veer away from a linear progression. Curious musical and choreographic interludes, featuring Crazy Horse-style dancers who are stripped down and seemingly out of context, do not interrupt the narrative, but rather throw it off balance.
In Hoshi’s journey, this gradual loss of coherence results in an ambiguous transformation. Having eliminated his opponents, though physically scarred — blind in one eye — the protagonist seems to regain a form of ‘vigor’, but this recovery does not amount to a genuine restoration. Rather, it is the final stage of a process: the body returning to function just as everything else has ceased to make sense.
The final confrontation takes place in a stunning, almost Stanley Kubrick-esque setting that is both a fortress and a stage: a concrete building, isolated and surrounded by vegetation, which gradually reveals itself for what it is.: A theatre. The boss offers no resistance. He sits, observes, waits. The gesture that concludes the confrontation is simple, direct, inevitable. And immediately afterwards, something cracks.
Hoshi bows. Not to anyone in particular — perhaps, hypothetically, to an invisible audience; is this, ideally, a breaking of the fourth wall!?
It is at this point that the film ends with a meta-cinematic short circuit: power reduced to the role of spectator, the killer to that of performer, violence to mere representation. There is no victory left. Here too, there is no conclusion, but only the realisation that what we have witnessed was nothing more than a visionary performance taken to the extreme.
Whilst “Branded to Kill” depicted a system that had ceased to function, “Trapped in Lust” portrays what happens when, in place of rules, only the body remains. And even that, inevitably, ends up breaking down.
8/10
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