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I started watching this drama ongoing because I found it funny. And I laughed a lot while watching it. At the beginning of the drama, the story was simple and funny. Comedy parts were the drama's main strong point.
The casting was really great. I just got crush on Jeon Jae Yeol (Kim Jae Uck) at the first glance. He just had a strong main character aura. Not just him, Park A Jeong also made me doubt how important her character might be. The chemistry between Jeon Jae Yeol and Park A Jeong was really intense. While watching their acting, sometimes I felt that the main couple is the second leads and only there for comedy. Of course, they didn't actually disappoint as main character at all. Shin Hae Sun is such a great actress! She never disappoints me through her acting. Even if the story is a trash, I still could watch her acting. And Gong Myoung is such a cutie pie. The couple looked so cute and soothing.
The drama had such a good writing in the comedy parts. But for some reason I felt that it lacked a strong plot. There wasn't much of character development. The drama showed some of the rash decisions and actions of the characters and realizing it later. But I didn't feel that they actually portrayed the characters' emotion flows properly. I mean I could get why they acted that way but could not empathize them properly. So, in last few episode something felt off to me. I mean even office politics could do better.
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Why I Stayed
Honestly, it wasn't epic but it flowed, trickled at times but ultimately I wanted to see what would trigger the switch at the end. Who knew like all fairytales, it would take falling in love and the kiss. Specifically at twilight for those who want to try.Yes, it was humorous especially, their attempt with the hairdryer. Desperate times, desperate measures. I enjoyed the flat dead pan delivery and harsh responses of Yun . Cha's wide eyed responses were so innocent, he was no match for Yun's mother. What sealed it for me was when the switches in personalities being instantaneous and they both felt comfortable to deliver in each role. The push ups were hilarious.
It lacked a little something, possibility the sweet moments we normally associate with a light bl like this but it was nice enough. Perfect ending. Homestay appears to have some magical matchmaking capabilities.
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this Is a fucking masterpiece.
The way the actors act, the way the story is executed and its development, the editing, the music, the chemistry—everything, absolutely everything, about this drama is perfect and executed to perfection. I loved the fact that their relationship was initially purely physical, and then over time, through that physical contact, the two began to feel real emotions, which were once uncertain. I've seen every single Japanese BL ever made, so I can confirm that this is one of the many masterpieces Japan has created. I could watch it a billion times and never get bored. Another thing I loved was that we got to see the protagonists as a couple (in many Japanese BLs, the protagonists become a couple in the final minutes of the last episode). Anyone who didn't like this drama has bad taste; there's NOTHING in this drama you wouldn't like.Was this review helpful to you?
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Where Wounds Become Strength and Two Hearts Learn to Beat as One
The First Jasmine begins as what appears to be another arranged-marriage political drama but gradually reveals itself to be a remarkably layered story about trauma, justice, power, and healing. Set in the fictional Dachu Dynasty with Tang-inspired aesthetics, the drama follows Ye Li, a woman released from eight years of isolation on Lishan Mountain to marry the politically disgraced and crippled Prince Ding, Mo Xiuyao.Although it embraces familiar historical romance tropes, the series distinguishes itself through meticulous character writing, emotional maturity, and philosophical depth. Rather than relying on plot twists alone, it builds its story through psychological realism and carefully developed relationships.
YE LI: TRAUMA, REVENGE, AND HEALING
Ye Li is one of the strongest female protagonists in recent historical dramas. Calm, intelligent, and calculating on the surface, she is deeply scarred by the tragedy on Lishan Mountain, where she watched her family and friends die during the plague while remaining powerless to save them.
Bai Lu portrays this duality beautifully. Her hallucinations of the dead are presented not as supernatural events but as believable manifestations of unresolved trauma. The drama never sensationalizes her suffering, instead showing how trauma fragments the mind while allowing someone to continue functioning outwardly.
Her revenge is never driven by blind hatred. The four straw figures she keeps symbolize carefully planned justice rather than impulsive violence. Even her decision to eliminate Empress Dowager Guo Jin last demonstrates patience and political understanding. As the story progresses, revenge gradually transforms into healing as she learns to reclaim agency and build meaningful relationships again.
MO XIUYAO: STRENGTH BEYOND PHYSICAL POWER
Cheng Lei delivers one of his finest performances as Mo Xiuyao. After years of political humiliation, disability, and grief, he remains remarkably restrained, expressing pain through subtle expressions rather than exaggerated emotion.
His character challenges the traditional image of the invincible male lead. Although physically crippled, he possesses extraordinary intelligence, leadership, and emotional maturity. His recovery is satisfying not because he becomes physically powerful again, but because the audience has already learned to admire him before he ever stands.
His relationship with Ye Li develops naturally through trust, mutual respect, and shared suffering. Moments such as quietly caring for each other, cooking together, or simply watching the moon become far more meaningful than dramatic romantic declarations.
EMPRESS DOWAGER GUO JIN: A TRAGIC RULER
Guo Jin is arguably the drama's most fascinating character. Unlike conventional villains, she genuinely improves Dachu through tax reforms, women's education, infrastructure, and social policies. Yet every achievement comes at the cost of countless innocent lives.
Her final conversations with Ye Li explore one of the drama's central questions: does successful governance justify immoral methods?
Ye Li's grandfather once described Guo Jin as talented but lacking benevolence. She understood power but never fully understood compassion. This distinction becomes the philosophical heart of the series, separating effective rule from humane leadership.
Supporting Characters and Moral Ambiguity
The drama refuses to divide its characters into simple heroes and villains.
Mo Jingli's childhood trauma explains—but never excuses—his obsession with power. His final realization that he genuinely loved Ye Li despite originally viewing her as a political asset gives his downfall emotional weight.
Even Xu Wanzhou's controversial decisions stem from desperate attempts to save lives rather than selfish ambition. Throughout the series, good intentions repeatedly produce devastating consequences, creating a world filled with moral ambiguity instead of absolute right and wrong.
Supporting characters such as Lin Tinglan, Qin Cang, Li Feibai, Lady Yusheng, Wen Ran, and Feng Zhiyao all receive satisfying emotional arcs that strengthen the overall narrative rather than existing solely to support the protagonists.
THE CHESSBOARD PHILOSOPHY
Chess serves as the drama's central metaphor. Ye Li's grandfather teaches her about "solitary pieces"—pieces that become isolated from the rest of the board.
This metaphor defines several major characters. Guo Jin isolates herself through power, Mo Jingli through ambition, and Ye Li through trauma. Each discovers that isolation ultimately leads to emptiness, while genuine strength comes from connection and trust.
Rather than celebrating individual achievement, the series argues that relationships are what ultimately give life meaning.
TRAUMA AND RECOVERY
One of the drama's greatest achievements is its portrayal of psychological trauma.
Ye Li's hallucinations, emotional detachment, and gradual healing feel authentic rather than melodramatic. Recovery is portrayed as a slow process supported by understanding, patience, and love rather than miraculous transformation.
Similarly, Mo Xiuyao's hidden disability symbolizes emotional wounds carried in silence. Both protagonists learn that healing requires vulnerability rather than isolation.
The Lishan plague itself is particularly heartbreaking because it has no mastermind behind it. Sometimes tragedy simply happens, making the story's exploration of grief feel even more realistic.
FEMALE AGENCY
The series incorporates meaningful feminist themes without becoming preachy.
Women consistently demonstrate intelligence and leadership. Ye Li repeatedly outmaneuvers experienced politicians. Guo Jin transforms the country through reforms. Lin Tinglan pursues her career independently, while Princess Lingyun and Wen Ran each display remarkable resilience.
However, the drama also acknowledges that female authority often requires tremendous sacrifice. It celebrates women's achievements while recognizing the unequal burdens imposed by society.
THE SLOW-BURN ROMANCE
The romance succeeds because it develops naturally.
Ye Li and Mo Xiuyao begin as political partners before gradually becoming emotional anchors for one another. Their relationship is built through everyday acts of care rather than endless misunderstandings or exaggerated romantic gestures.
Their emotional confessions feel earned because they emerge after episodes of shared hardship. Cheng Lei and Bai Lu rely heavily on subtle acting, making small expressions often more powerful than dramatic speeches.
Secondary romances are equally meaningful. Feng Zhiyao and Princess Lingyun represent love destroyed by politics, while Li Feibai and Lady Yusheng explore freedom, choice, and respect rather than possession.
PERFORMANCES
Cheng Lei gives a career-defining performance. His physical acting convincingly portrays disability, while his emotional restraint makes scenes of vulnerability especially powerful.
Bai Lu delivers one of her most emotionally nuanced performances. Ye Li could easily have become another stereotypical "strong female lead," but Bai Lu instead creates someone whose strength exists alongside profound psychological fragility.
The supporting cast consistently elevates the material, ensuring even secondary characters leave lasting impressions.
PRODUCTION
Visually, the drama favors a restrained style. Warm domestic scenes contrast effectively with the colder political settings, while the dreamlike cinematography during Ye Li's hallucinations subtly reflects her psychological state.
Fight choreography is elegant without becoming excessive, and the soundtrack complements emotional moments without overwhelming them.
Although some CGI backgrounds appear artificial, these issues rarely undermine the overall experience.
## STRENGTHS
* Rich psychological characterization.
* Excellent performances from Bai Lu and Cheng Lei.
* Thoughtful exploration of trauma and healing.
* Mature political and philosophical themes.
* Organic slow-burn romance.
* Strong pacing with very little filler.
## WEAKNESSES
* Some visual effects feel noticeably artificial.
* A few minor supporting characters remain underdeveloped.
* The political resolution is slightly rushed compared to the careful buildup.
The First Jasmine stands out because it treats its audience with intelligence. Rather than relying solely on romance or palace intrigue, it explores grief, justice, political morality, and the importance of human connection with surprising maturity.
Its greatest strength is its refusal to simplify people into heroes or villains. Nearly every major character exists within shades of grey, making their choices feel deeply human. Combined with excellent performances, thoughtful writing, and one of the most satisfying slow-burn romances in recent historical dramas, the series delivers both emotional impact and philosophical depth.
Despite a few production flaws and a somewhat rushed ending, The First Jasmine remains one of the strongest historical dramas of the year. It proves that familiar genre conventions can still produce something memorable when supported by careful writing, nuanced performances, and characters whose emotional journeys feel genuinely earned.
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I don’t understand the hoopla over this show, so far
I may be the loan voice here on this, but here’s my take 3/4 of the way through Episode 6.This show is popular, but for me - who LOVES a time-travel romance - it is not connecting very strongly.
Perhaps that’s because I’m watching it after having seen Perfect Crown, which clicked with me on every level.
Why:
MRN is spending more time on the conflict and the typical tropes that have the leads dance around their relationship and not admit their feelings than a relationship moving forward between them, and is also putting more emphasis on all of the secondary characters who are adversaries of the ML than creating a building relationship between the two leads. 
I felt the same way about Queen of Tears - which was highly anticipated and hyped, and came out before virtually unknown Lovely Runner 2 years ago. I didn’t get the hype for QoT when it missed on so many cylinders that LR completely knocked out of the ball park (Time and Forbes agreed with me on this).
My issue with QoT was that more emphasis was on the villains than on the leads’ relationship, and near the end of episode 6 of MRN, I feel the same misbalance in the story is being made.
Additionally, all of the standard tropes have come out in force in MRN, bogging down the developing of their relationship, so at episode 6, I’m still not invested in the show, whereas I was invested in Perfect Crown from the get-go, and completely hooked by episode 2.
In PC, the entire show dealt with building the relationship between the two leads (with some villains, but they weren’t the emphasis in the story), and once they had chosen each other in the first 3 episodes, spent the rest of the episodes showing their choices to be there for each other and back each other, regardless of the hurdles that came their way, which led to the building of a real romance and strong marriage that endured the dissolution of the monarchy and their original reason to join forces, so the show put emphasis on the relationship and that relationship endured everything.
I will continue and update at the end, but I have to say I don’t understand the hoopla over this show, so far.
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I started watch this drama while searching for Kim Jae Uck's work. I really enjoyed watching this drama.The story had its own strength. The story was not over complicated, and the characters were simple and very much real.
The character development, healing past traumas were its strong points. I am glad that they did not leave any character with unfinished story. Each character solved their life's problem and became happy at the end which made me happy too.
I especially liked the character Lee Seon Ju. Her support and role made me yearn for a lifetime friend like her too. Even her story of getting hurt from her husband was so reasonable.
I love happy ending, so I really liked their ending where they actually focused on both their career and love life. there are dramas where at the last episode the couple gets separated for a few years for their career which makes me doubt why they could not find a way to be together, why long-distance relationship. That's why I really liked when the couple did not choose to stay long distanced.
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good watch....nothing morem nothing less
I completely understand the hype. The cast is visually stunning—IU and Woo Seok both look absolutely gorgeous. I loved their interactions and the playful teasing between them. Their chemistry felt natural and refreshing.The concept was interesting too—mixing the modern world with Joseon elements was a unique blend that worked well. It was also a nice change of pace to see a couple who actually communicate and resolve issues quickly instead of dragging out misunderstandings for episodes.
I was captivated by the story in the beginning. But towards the end, I started skipping some scenes. It became a little dull. I'm not sure "boring" is quite the right word—it's more that something felt missing. The story was decent, the acting was fine, but overall it landed somewhere in the middle for me. Not great, not terrible. Just average.
It's a shame because I was hoping for another standout drama from Woo Seok after Lonely Runner, which I absolutely adored. I'm keeping my hopes up for his next project—Solo Leveling. I love the manga, so I truly can't wait to see what he does with it.
Verdict: Gorgeous cast, decent story, but something was missing. Worth a watch if you're a fan of the leads, but don't expect another Lonely Runner.
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2
1It works, so why didn't it fully work for me?
I honestly don’t know how I truly feel about this drama. Many things worked, I enjoyed the chemistry, the bickering, the vulnerability of the situation the characters put themselves in, and yet… I feel strangely emotionally detached from it all.Instead of the usual enemies to lovers, we get the rivals to lovers, with both the most ridiculous, but also somehow fitting the characters bet - who will make the other fall in love faster. It’s ridiculous by design, not by mistake. Both Zen and Ryo, at least to some extent, understand that it makes no sense, but it’s also the only way that feels safe to explore the potential of the romantic relationship - to dip into it without no way back into friendship. Obviously, as an audience we know from the start where the bet leads, but it’s fun to watch the characters figure it out themselves.
For the relationship that blooms from the false pretense there is surprisingly a lot of proper communication and vulnerability. It all changes when the emotions start to feel more real - the more you care, the more you want to hide things that could threaten what you have. Were these short lived miscommunications frustrating? Yes. But did they make sense? Also yes.
One thing that did bother me quite a lot was how uneven this relationship felt from the beginning till the end. Slowly they tried to present moments that were hinting things are more equal than it might seem, but I was never truly convinced.
While the main leads were rather well developed, the setting of the drama was not. Except for Futami Yuya I do not really remember any other co-worker. I don’t remember any project they worked on - everything was just bland and feeling the space since the romance cannot happen in a complete vacuum. And this might be the reason I was never really sold - it never felt real. And if it does not feel real, I don’t fully connect to the story.
Still, I did love the characters. Shito Zen was this cute hamster that honestly needed to chill. I felt burned out from work just watching him. Yotsuya Ryo was the puppy who needed a hug - all that emotional labor he did… And Futami Yuya was the true chaos I wish they introduced earlier in the plot.
All three actors (and the young actor playing teen leads) did a good job with the roles. I was for sure the most impressed with Hori Kaito - personal preference, but I love when actors can present so much angst and vulnerability with just their eyes and no lines spoken.
For the production - I like the visuals, I question the sounds. That soundtrack was ridiculous. This telenovela music needs to go.
Overall, I enjoyed it, but I also expected to enjoy it more.
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The Prince, The Prince and The Prince.
The tragedy that tried and delivered for the most part. It was entertaining, dramatic, slightly humorous and definitely a bl worth the money spent. Is it another Kill To Love, no, but closer than expected. The young actors made the best of what was before them. Both relatively new and they stole a piece of my heart. Their body movements are what caught me. No grand standing, posing or arrogance. Yan Zi easily believable as a grassland prince and Yin Qi, self willed and a prince now entering court. The stellar performance that overshadowed them though was Yin Zhou, the scheming jealous power hungry maligned half brother of Yin Qi. One could easily forget the kisses and nc of the ml when compared to his final scene.The plot and pacing were okay for a short length bl and as Yan Zi waned, it became emotional. Always the voice of reason, he held Yin Qi face his responsibilities. Seeing his re-entry at the end would soften the most hardened critic. I breathed a whole lot better watching his melancholic eyes. They made a good pair.
There were parts needing a bit more polish but excusable. Again Yin Zhou's storyline and performances more than made up for the lack. I did enjoy the entirety and after viewing, hope to see them again.
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The fl character isnt making it any better…
The only good thing about the fl is her chemistry with the ml but even that isnt enough keep me hooked..
Ive tried watching it till episode 12 unfortunately cant get past episode 12 anymore so i’ve decided im gonna dropped this one
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I am deeply fascinated and inspired by the Chinese people.
It comes as no surprise how China, in less than a single generation, managed to transform itself from poverty into such a massive global economy. Of course, not everything is picture-perfect, but the people always are. Both male leads in this series are so outstanding that it is impossible to take your eyes off them. I also find the current rating a bit underrated, so I am giving it a full 10/10 across the board to make up for it.I especially love the scene where Pei Qinghua cries in the taxi. This man is strong, hardworking, disciplined, and never gives up. He has dedicated himself completely, yet had to stumble and struggle so much. When he finally made it through, he was just incredibly overjoyed. At first, he cried only a little, but then it was as if he couldn't stop and ended up crying heavily, with his senior trying to comfort him in a funny way. The reason I love this scene is that I am a fan of Xiao Hou. I adore him so much in this role where he was made to look unhandsome, scruffy, and unfashionable, yet he remains highly eye-catching anyway. This way, people will finally see his talent shine ahead of his looks.
As for Wu Lei, he blends seamlessly and becomes one with his character. I find him perfectly sly and rebellious, doing everything with a strategic plan yet guided by his heart. Xiao Chuang changes Pei Qinghua's rigid decision-making, but that doesn't mean Pei Qinghua works any less hard; he is still as diligent as ever in checking his work. If a woman were to choose a partner, she would probably choose Pei Qinghua. However, in terms of catching one's eye, Xiao Chuang appears more captivating at first sight based on personality. In reality, Xiao Chuang is also a devoted lover, it is just that I prefer someone straightforward and comfortable to be with. Sorry, Xiao Chuang, you are just not my type.
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THIS IS A WAKE UP CALL TO THE SOCIETY
Absolute Masterpiece! A Cathartic 10/10 RideTeach You a Lesson is officially one of the best dramas of the year. From the very first episode to the finale, it is a freaking awesome, high-octane ride that keeps you glued to the screen.The fight choreography is top-tier, and Kim Mu-yeol plays the role of Na Hwa-jin perfectly. Watching the Educational Rights Protection Bureau bypass all the red tape to deliver brutal, well-deserved justice to toxic parents and untouchable bullies is incredibly satisfying. It tackles real, heavy problems in the school system but wraps it in pure, cathartic action-comedy.If you haven't watched it yet, go stream it on Netflix immediately. An absolute 10 out of 10!Was this review helpful to you?
Very nice
I enjoyed the performances overall, particularly those of the lead actors — they are both very charismatic and talented.There were a few narrative elements that didn’t quite add up for me, but on the whole, I thought it was quite good. I look forward to seeing more work from both of the main leads.
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LingOrm is back.... And with a big bang!
My thoughts on the first five minutes of IN LOVE FOREVER… I still ❤️❤️❤️ Lingling’s face. The way the light hits her, it’s like the cinematographer also has a crush, and honestly, valid.Orm’s character, I hope she stays strong and doesn’t cry so much (like she did in TSOU and OY)… but knowing these two and the way they weaponize every single tear, I’m already stocking up on tissues.
Ling’s mother in TSOU was the gorgeous Um Apasiri Nitibhon; whoever was in that photograph in OY was beautiful too; her momster in ILF is something else! She didn’t just enter the scene, she oozed in like a slime-clad poison, leaving a trail of fiery fury and icy disappointment. I’m obsessed. Terrified. Deeply entertained.
But let me gather myself because I’ve now devoured the whole episode, and my heart is doing that wobbly, slightly over-steeped tea feeling — warm but dangerously close to bitter if things go wrong.
Episode 1 is promising, and the central conflict has me chewing on my own fist. We have Runch, a woman whose love for her wife is so pure it practically glows, yet her entire soul is tangled in barbed wire made of filial piety. That mother is an emotional maximum-security prison, and Runch keeps visiting voluntarily, bringing flowers. It’s not just “mum isn’t supportive”; it’s a full-blown, generational manipulation banquet where love is served in control-sized portions and Runch has been conditioned to ask for seconds. The “momster” vase drop was perfect because it shows she isn't s a cartoon villain — she’s the kind of mother who can shatter her daughter with a single, arched eyebrow; then make Runch thank her for the pain. I want to hug Runch and also gently shake her, whispering, “Babygirl, your duty does not require your destruction.”
Then we have Neen, the nepo baby wife from the open-minded family — and can I just say, how refreshing it is to see a family that treats their daughter’s marriage as a joy and not a scandal? Neen’s parents probably have a framed wedding photo next to the Buddha shelf, offering incense for the couple’s everlasting happiness. She’s been raised with love that expands, not love that contracts into obligation. Watching her beam at Runch, so ready to build a life while unknowingly competing with a phantom mother-in-law who keeps moving the goalposts, makes me both swoon and preemptively ache. The cheeky part of me adores that Neen’s sunshine energy is so powerful, it’s practically a supernova facing a black hole of mother-in-law doom. But the sentimental part sees her wide-eyed, hopeful smiles, and thinks, “Oh, sweet girl, you’re in a boxing ring with a velvet glove and you don’t even know you’re bleeding.”
The push and pull is so painfully real. Filial piety isn’t just obligation; for Runch, it’s identity. Saying “no” to that mother feels like cutting off her own roots, even if those roots are wrapped around her throat. And honest love with Neen is the oxygen she never knew she needed. When they’re together, Runch’s face softens into something that says, “This is the real me, the one you’ve watered into blooming.” I’m rooting so hard for that version of her to grab the steering wheel and never let go.
If Runch and Neen do get divorced, I’d be so sad. Not just a little sad, but “lying on the floor staring at the ceiling while the OST plays on loop” sad. I’m not exaggerating — the thought of Neen packing her things while Runch stands frozen in the doorway, her mother’s voice still echoing in her bones, would genuinely wreck me. This show has already planted a tiny seed of dread beneath the romance, because the title is In Love Forever, and we all know that forever in drama is bought with struggle and sometimes a devastating separation before the final sunrise. I need the writers to know I am emotionally fragile and will accept nothing less than true love winning. Let the monster be tamed or at least forced into a timeout corner. Let Runch choose herself, which means choosing Neen, and let their marriage be a stubborn, beautiful rebellion that says, “Love is not a debt you owe your parents.”
So yeah, after episode 1, I’m in. Cheekily I say: bring on the mother-daughter drama, because I love to suffer in gorgeous lighting. Warmheartedly I whisper: please, let these two hold on. The world is hard enough without Runch and Neen losing each other to a woman who weaponizes guilt like a samurai sword. True love, the kind that respects you, frees you, and makes you laugh even when you’re scared — that should win.
I’m lighting a candle, offering a snack to the drama gods, and sitting here ready to scream, cry, and cheer for all eleven episodes more. Let’s go, In Love Forever. Make it worth my tons of tears.
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