Reviews

A Fun Throwback to Classic Lakorn

This show was so silly at times that I genuinely wondered whether it was intentionally parodying itself. It reminded me of the classic old-school lakorns where everything is exaggerated, dramatic, and completely over the top. Logic often takes a backseat, emotions are dialed up, and the characters react to even the smallest situations as though the fate of the world is at stake.

Surprisingly, that sense of nostalgia became the show's greatest strength. What could have been a turn off instead turned out to be oddly charming, drawing me in far more than I expected. Before I knew it, I was looking forward to each new episode and happily followed the story all the way to the finale.

This is not a drama that demands deep analysis or emotional investment. Rather, it is light, easy entertainment—the kind of show you can put on after a long day when you simply want to relax and be entertained. The romance is very PG, sweet, and wholesome, focusing more on cute interactions than intense chemistry or passionate moments. The oldies-like soundtrack also deserves a mention, as I found myself enjoying the songs featured throughout the series.

Is it a masterpiece? Not even close. I can't honestly say that the acting was good, nor were the action sequences especially well executed. The villains seem to have an endless supply of grenades and rely on them so often that it becomes unintentionally funny. Logic frequently takes a vacation, the fight scenes can be clumsy, and many of the dramatic moments are delivered with all the subtlety of a sledgehammer.

And yet, that's part of the charm. This drama feels like it was transported straight out of a different era, back when lakorns weren't concerned with realism, nuanced performances, or cinematic action choreography. Instead, they embraced melodrama, larger-than-life villains, improbable plot twists, and enough explosions to keep viewers entertained from one episode to the next. Modern audiences may find some of it ridiculous, but viewers who grew up watching these kinds of shows may find themselves smiling at how familiar it all feels.

The show succeeds not because it excels in anything, but because it captures the spirit of those older dramas so well. It knows exactly what kind of entertainment it wants to provide: something fun, nostalgic, and completely unapologetic about its over-the-top nature. If you can accept it on those terms, it becomes an oddly enjoyable watch despite all of its flaws.

Overall, I would say: give it a try and see if it's your cup of tea. If you're looking for a serious drama with award-worthy performances and carefully crafted action scenes, this probably isn't it. But if you're in the mood for a charming throwback to the lakorns of yesteryear— complete with outrageous villains and heroes with very thick plot armour, you may end up enjoying it far more than you expect.

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I didn't get super hooked on from the start but I wanted to keep on watching since I had nothing better to do. After a couple episodes it started bothering me how weak the script is.
They constantly repeat pieces of data at least 3 times and keep on repeating the explanation of what happened, both in dialogue and in flashbacks.
The story itself didn't feel that compelling. I got all my answers by episode 17 and there's little to nothing keeping me close to the screen. I would only keep on watching to know how Cui Shijiu solves her situation but even that is not enough to keep me entertained.
The Wuling was kind of interesting but it was resolved quickly enough

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Sublime and Grotesque

This movie is what I'd describe with the Kantian Sublime: the greater the displeasure (fear) the subject feels from experiencing the (fearsome but non-threat) object, the more the subject will be captivated by it and that much greater will the eventual pleasure of the experience be as well.

In this case, this movie is the object, and there truly is an abundance of elements to make the viewer uncomfortable, disgusted, afraid etc; but there's also allure in the gore, violence and power. What I love about Litchi Hikari Club is its ugly but absurdly fantastical world, rationally irrational violence and destruction of certain dualities like 'human, beauty, good' vs 'inhuman, uglyness, evil' etc. That's what makes it grotesque and through that chaos (as fiction) can the sublime be experienced, I think. (I'm aware my use of Kant isn't what he himself would've intended, that's intentional).

Outside of just the aesthetic, I love the deeper discomfort Zera and especially his ideology brings. Zera's actions, his cult and its ultimate failure very explicitly show the self-destroying and contradictory nature of fascism, but the movie also posits an origin point for fascism; a desperate attempt to escape the dystopian material conditions. Obsession with youth also stems directly from fear of the depressing existence that adult life of work is, so devoid of meaning that death is idealized as an escape -- this renders murder moral, while also driving Zera to desperate plans of revolution (taking over the city). In this sense, the commandments (fascism) and kidnapping of a girl could also be an attempt to create meaning (a god), while Tamiya, maybe also Daff and Kaneda, find their meaning to adulthood in love -- so does Jaibo, though his love also requires him to paradoxically reject it as meaning. When it comes to Litchi the robot, I initially wanted to read hm/it (?) as a critique of humanism but at the moment I think it's rather a reaffirmation: it's very humanist how 'becoming/being human' is required of Litchi to gain higher cognitive skills, awareness of self as a subject and be both capable of and worthy of empathy; the line between human and inhuman is drawn starkly.

I can't speak of the stage-plays but the movie makes a more coherent whole than the manga; meaning it improves on the smoothness of the storytelling but unfortunately loses some of the chaotic clutter that was charming about the manga. Though, the atmosphere and condition of the city came across way more starkly in the movie -- environmental design was well done, as were the practical effects.

Overall, I love the themes that Litchi Hikari Club explores, there's so much I'd be interested in analyzing more in-depth (Jaibo and meaning, for one). Drawn in by the fascination with the sublime, staying for the philosophical over-analyzing.

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Lighthearted romcom with decent plot

The good:
- The main story is fluffy and cute about how the main couple meets through gaming. Highly up there if you're into gaming-themed dramas.
- Communication and supporting each other through issues. No long and silly misunderstandings.
- Great chemistry between FL and ML with many funny moments. Especially the seductive and kissing scenes between them.

The disclaimer:
- The slow burn and missed opportunities take 10 episodes, so if you're not into that, you can skip it.

The bad:
- Poor casting on 2ML, he's too old and not a realistic option. The styling choices for him, which made him look like a creepy uncle, did not help at all.
- The second couple's story was boring and took a lot of screen time when no one cared about them. You will find yourself fast-forwarding through most of these scenes.

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I quite expected a lot coming from MMY and these actress (especially Aya). I know they can both deliver gem, and they did.

The story is amazing. I'm a big fan of time travel and yearning. So I love when someone time travel to save their soulmate.

Aya... Aya... What Can I say? She did an amazing job. I could feel all her emotion through her eyes. Ran is the sweetest. She stay true to her feeling even when Lene was the worst.

I put my trust in Lene. I believed she had her reason to act the way she did. And I was right, she had all reason to try to save Ran. And Mie did a great job playing Lene.

I hope Mie and Aya can play together again! They got great chemistry.

The NC scene are really hot... Not to sound pervert but the sound, the choregraphy... I'm weak...

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I don't know how everything did go wrong. I usually love Jojo's work because usually it's well done and talk about a few issue about queerness or other, like The Warp Effect with a non binary character.
But in this drama, sometime it was okay and sometime like wtf??? "Are you bi or non binary?" Obviously the only two sexuality?? They seem to not know that bi people exist - Actually Mim is supposed to have comphet but we never talk about it?? And just act like she just switch side.

+ Why the girl that shame men because they don't understand when a girl don't want to talk to them, suddenly became unwoke and want her girlfriend to be out (and she know she just runaway from a toxic relationship). Like girl chill. Let her accept her own sexuality first.

I won't talk about how PrimBambi are dating (you are dating for years and yet you don't talk). Okay horny girls?

Prim and Mim... Or when your bestfriend is your worst enemy.

I love Gorya and Bambi friendship, they should have been friends sooner.

To be honest the issue isn't the toxicity - I came for that - but because it doesn't make sense most of the time.

I only give 7 out of 10, because the actrice play really well, and got really good chemistry. They did all the work here to be honest.

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Thank you, Lu Yuxiao, for introducing me to this C-drama gem!

I have loved Lu Yuxiao since watching her in Perfect Match back in January 2025, and I’ve been catching up on her dramas ever since. That is how I found Romance in the Alley. I loved every minute of it, a wonderful holiday from the idol dramas I usually tune into.
This show was a massive hit in China in late 2024 and won numerous awards. It features incredible veteran actors alongside talented young stars like Wang Anyu, Guan Xiaotong, and Fan Chengcheng , as well as Lu Yuxiao. Don't let the word "Romance" in the title fool you; romantic love is just one of many themes. This drama is a true slice-of-life story set between the 1970s and 1990s, beautifully depicting China's social and cultural transformations during a turbulent era. The drama delivers masterclass acting performances especially by the veterans (but also the child actors are great!), exceptional screenwriting, and a top-tier historical reconstruction. Also some beautiful songs in the OST ("Disappear" by Su Yunying is my favourite) .
As to Lu Yuxiao, she first appears at the very end of episode 12 and shows up occasionally throughout the remaining episodes. Her character, Li Jia, adds great value to the narrative by showing the realistic and relatable struggles of a young woman balancing love, ambition, and filial duty in a changing China. It is exactly the subtly complex role that every LYX fan would expect from an actress as sensitive and versatile as she is. Unfortunately, she was dubbed by a voice actress who sounds to me completely inadequate for the character, which is a real shame given LYX's nuanced performance.
At the moment, the series is available with dreadful automatic subtitles, often making it difficult to grasp the real meaning of the dialogues.

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Scent you will pay for everything you did to Gaysorn. Joke aside, I'm glad Scent realize soon enough that he could hurt Gaysorn - but not really, because he still did hurt Gaysorn... So it kept the angst.
I hate what Scent's family did to Busada, only for money?? Like you are not rich as fuck??

I loved Obey's character yes, okay... He was evil.. But only at first with Gaysorn. After he became one of the most carring for Gaysorn - outside Mudan.

PearlPeak got strong chemistry, I should watch their other drama.

I love that it got a few omegaverse code.

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An ode to well-crafted entertainment

Zhan Zhao Adventures begins with a significant advantage for anyone familiar with Yang Yang’s career. There is an almost automatic expectation that his projects will deliver adventure, martial arts, mystery, or fantasy in a way that justifies the journey. Once again, that expectation is rewarded. The drama embraces the spirit of classic wuxia adventures, guiding viewers through a world of action, friendship, and discovery without becoming distracted by excessive romance or unnecessary emotional detours. Yang Yang remains a charismatic and dependable lead, but the production’s most pleasant surprise comes from elsewhere.

Alen Fang as Bai Yu Tang steals scene after scene with remarkable ease. His performance brings humor, warmth, and vitality to the story, turning every appearance into an event. Rather than simply supporting the protagonist, he becomes a genuine co-lead in spirit, and the series is better for it. The narrative maintains an impressive level of consistency throughout, avoiding noticeable drops in quality or unnecessary diversions. The experience unfolds with sustained enthusiasm, feeling like a celebration of adventure storytelling at its most accessible and enjoyable. By the time the epilogue arrives, emphasizing friendship, loyalty, and the bonds forged along the way, the ending feels completely earned. The desire for another season comes not from dissatisfaction, but from the simple pleasure of wanting to spend more time in this world.

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"I smell violence on you"

Song of the Samurai: Fateful Showdown in Kyoto was a raucous sword swinging, foot stomping, unhinged samurai drama based on a manga that was based on real world people and events during the waning days of the Shogunate. The names and places were familiar even if the purple hairstyles were not.

In 1912, an old man recounts the tales of Hijikata Toshizo to a curious young woman. The viewer is transported back to 1859 when the reckless, "thorny brat" Toshi, joins the poverty stricken Shieikan dojo. Kondo Isami is the leader and protects his disciples like a mother hen. Most of the young men are kind and view each other as family. They hope to find a patron lord or government job during the tumultuous era when the Shogunate was headed for the exit door as the Imperial Court was ascending. The even more reckless and unhinged ronin, Serizawa Kamo, enters the picture with his two minions. With spies and assassins lurking in the shadows or in narrow crawl spaces, life becomes precarious for the Shieikan crew.

Toshi’s main goal was to become the strongest man in Japan. He wasn’t terribly bright and was always ready to fight, inwardly rejoicing when he jumped impulsively in over his head. The only time he truly felt alive was when he was brandishing his sword against a stronger opponent. The flipside of the coin was the flamboyant Serizawa who reveled in women and booze, but his “blood boiled” only when meeting a worthy adversary. Props to Ayano Go for uttering his lines and fighting with a cigarette constantly dangling out of his mouth! Neither Toshi nor Serizawa were concerned with politics or the standard samurai life. Though the apolitical Serizawa could see where the life of the samurai was headed.

The majority of Kondo’s group weren’t highlighted much. The charismatic Saito Hajime had his moments to shine, strategist Yamanami Keisuke played a vital role, and the young Okita Soji had a nice fight. The others came to the forefront as needed for reaction shots or in a crisis. The Grim Reaper didn’t darken the screen until the next to last episode. Kondo was regaled as an uncommonly fierce fighter yet he never really had a chance to prove his metal. The flashiest fights were nearly all Toshi’s. So, if you are a Yamada Yuki fan, you will be in for a real treat.

The challenges were full body, gravity defying fights. Ronin flipped, spun, rolled, kicked, and punched as much as they sliced and diced. Shout out to the amazing stuntmen who sold the action in the battle scenes. Since it was based on a Manga there were ridiculous weapons involved on occasion. And even more ridiculous characters. There was no shortage of “cuckoo for Cocoa Puffs” people on the Shogunate and Imperial sides. This was also a world where women did not exist, except for the geisha Oume. I’m still not completely convinced that the young woman in the intro wasn’t a figment of the old man’s imagination.

Song of the Samurai was bloody, fast paced, and took historical liberties for entertainment purposes. The characters and weapons were campy, often over the top. I couldn’t help but root for Kondo’s Kids as they were brave and loyal to each other (for the most part) and ready to take on any challenge regardless of the odds. “Certainty of death, small chance of success…what are we waiting for?”* My biggest complaint was the ending. After paying for an enormous cast of handsome faces, the finale felt like they ran out of film and just had to stop. Hopefully, there will be another season to wrap things up. Overall, it was a fun romp, never slowing down long enough to get boring.

“To bloom in battle and fall in battle. Samurai are flowers that bloom in full splendor, unafraid to fall. The Shinsengumi were the last flowers to bloom in the dying twilight of the Bakumatsu Era”

18 June 2026

*Gimli, LOTR Return of the King

Trigger Warnings: Dismemberments. Spewing blood. Smoking. Some really dreadful hairstyles

Easter Egg: Watch for the 47 Ronin throwaway comment that was not a great foreshadowing for our motley crew

~~~Slightly spoilery comment below:
















**If there was a prequel, maybe there will be another season to wrap up what will be a devastating ending for our spunky group of swordsmen. Was really hoping they would show the clash with Serizawa and just epilogue the rest of it. History is history and was not kind to the feisty group which will be heartbreaking.

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Enjoyable

I didn’t think I’d finish this series, but, truth be told, it got better and better as it went along. The mournful Buddhist theme set against the many shots of the beautiful countryside gave the whole drama a rich, poignant feel. I liked and cared about the characters–the secondary ones as well as the main ones. The pacing worked for me, and the plot wasn’t overly complicated.

At the risk of seeming screechy and preachy, I’ll now mention a few (fairly minor) things I didn’t like.

1. The continual use of crows as omens of evil and doom annoys me. This is a recurring problem in Chinese films (and in some western films too). Can we get away from this stereotype?

Everywhere crows have suffered at the hands of humans. They’ve been shot, snared with wire, tortured and murdered by the thousands, and they don’t deserve it. Crows are curious and incredibly intelligent animals.

Crow families work together to build nests. They show empathy and compassion and will help a friend or neighbor if they can. (Look up the research.) They’re not the evil demons they’re often portrayed as in series like this one. I’d like to see them catch a break with movie makers. Don’t give viewers a reason to persecute them. Please?

2. This drama was supposed to be a romance. Did the main couple even kiss? There was one scene of two shadows on a window screen coming together. That might have been a display of affection--or not. The “seduction” scene between the two second leads had all the warmth of a congealed blob of refried beans.

3. Now and then a character gave a speech that sounded like a sermon or something from Economics 101. For example, I didn’t mind that Mei Xin talked about the financial exploitation of the lower classes by the upper classes, but it went on and on and ON.

4. It was nice seeing Riley Wang in a different kind of role (serious Taoist cultivator), but there wasn’t much juice in that lemon. He didn’t smile once. I like Riley better when he plays a bad boy or a rogue.

5. As for the ML, he was something of a cipher. His expression never changed, even when he was looking longingly at the FL. But as the story went on, he somehow found ways to express his feelings through subtle glances and gestures. I ended up really appreciating the character and the actor who played him.

Overall, entertaining and thought-provoking.

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Nem todo drama precisa de um grande casal

Unveil: Jadewind tem um desafio curioso logo de saída: reunir dois intérpretes talentosos como Bai Lu e Xing Yue e, ainda assim, produzir uma dinâmica romântica que nunca parece realmente florescer. A ausência de química existe, mas curiosamente não chega a comprometer a experiência. Talvez porque a responsabilidade não esteja nos atores, mas na própria construção dos personagens, que parecem caminhar em órbitas emocionais distintas. E, considerando que o romance nunca foi o principal atrativo da narrativa, essa limitação acaba se tornando muito mais uma observação do que um problema efetivo. Bai Lu, como de costume, demonstra uma versatilidade cênica rara, sustentando a personagem com naturalidade e recursos interpretativos que poucas atrizes de sua geração possuem.

O verdadeiro coração do drama está em outro lugar. A série encontra força no componente investigativo, nos mistérios e na forma inteligente com que os roteiristas organizam crimes, pistas e revelações. Há uma sensação constante de que a narrativa respeita a inteligência do espectador, evitando soluções preguiçosas e conduzindo suas tramas com segurança. Não é o tipo de obra que provoca obsessão ou que exige maratonas compulsivas. Pelo contrário, parece funcionar melhor em doses controladas, permitindo que cada caso e cada revelação sejam apreciados sem pressa. E talvez esteja aí sua maior virtude. Não é um drama arrebatador nem transformador, mas é um drama competente, bem construído e satisfatório. Quando termina, a sensação não é de encantamento absoluto, mas de contentamento genuíno pelo que foi entregue.

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wow.. what else could I say expect "masterpiece"
I was expecting something heavy but I didn't expect to feel so bad while watching it.. Honestly I had to take break while watching. Every part of it felt harder and harder. We are just watching kids getting destroyed by adults.

Surprisingly, I almost cried only when they were together. Because, they find peace, they find a family in each other.

I hate that it's the reality of a lot of children. But in reality, parents don't chance, they stay the same.
I also hate all the adult in this serie, none of them tried to help them - and yes the boyfriends count because why are you dating a kid when you are an adult??

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