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The second half is just as bad as the first half is good.
Until around ep 5 or 6. I kept looking forward for the next episode every single week. Although the plot seemed cliché I still loved it a lot. The deception, guilt, we could feel the plot thickening but once the truth was out the drama went downhill. They had 10 episodes but then couldn't distribute the plot properly. Mid series they ended up adding like 2 eps of NCs just to fill in cz they had to postpone the truth reveal to ep 8 and it was kinda obvious.Then once the truth was revealed every character's base personality just collapsed. Like every single one of them.
- Itt a nice sweet guy who's in love with his childhood friend. Yes you could feel that he was hiding something since ep 1 but then after the reveal he was like too pushy towards Ritt to accept him, not once did he properly apologize instead him and his co literally went to Ritt and kept taunting and blaming him that all this happened cz he lied
- Pure the so called best friend 🙄 he was like this friend who was really on Ritt's side for the 1st half idk how the hell he ended up becoming closer to Itt in the 2nd half after everything Ritt did for him🙃🙃 a totally trashy friend. As a lover he did fine
- Pitcha.. idk in the 1st half he seemed pretty upright to me but the "apology" he gave in ep 9 pissed me off. I get u wanna help ur friend doesn't mean u go to the bar everyday just to make Ritt feel guilty. Itt wanted a cover up and this was a whole ass drama
- Ritt i get it. He had a crush and all but then i think he should have just listened to Ritt instead of exploding for 2 eps also Itt ugh he told him he wants some time n he kept forcing him. Also if u saw the ritt from the 1st half you'd think he'd actually forgive itt cz both lied but then would have changed his mind once he knew all the friends were involved. But bro played victim since second 1 which was a shocker.
Anyways it's okay for a 1 time watch ig I am just frustrated with this one. It could have been soo much better if they didn't drag soo many people into Itt's plan, kept some solid support for Rit, Itt actually saying he was in love with young Ritt and looking for him while Itt not knowing this is him instead misunderstanding and playing along to see how far he goes (enemies to lovers kinda) or Itt falling for him later in life and then a reveal where Ritt was the childhood lover.... soo many good routes they could take but they decided to crash the vehicle
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One of Those Dramas That Gets Better and Better Each Episode
This was a strange watch for me. I didn't enjoy the beginning, yet I kept going because I felt there was something worth exploring. That has only happened to me with one other drama, where I struggled with the opening episodes but sensed a strong core—and eventually ended up loving it. The same thing happened here.The beginning felt rushed, almost as if I were watching at 2x speed even though I watched it at normal playback. It made it difficult for me to connect with the story. However, as I continued, I realized that the rebirth premise only sets the larger story in motion rather than being the focus. As the narrative unfolds, the story is really a game of 围棋 (wéiqí), filled with palace schemes, power struggles, court politics, internal conflicts, and tensions between rival kingdoms. These forces shape not only political decisions and alliances but also the personal lives of those caught within them.
Those are the elements that kept me engaged. It wasn't the romance or even the protagonist that drew me in. Instead, I found myself invested in the larger narrative—the palace attendants, the foot soldiers, the strategic maneuvering both in court and beyond it, and the sense of duty that often demands sacrifice from those carrying the weight of greater responsibilities.
With each episode, I became more invested as the story found its footing and expanded in scope. While I initially felt the main leads had the weakest storyline, they underwent so much growth that it was rewarding to watch, and I came to admire their strength, resilience, and loyalty. Overall, this ended up being a drama I enjoyed far more than I expected.
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ONE historical CBL with a proper happy ending? No?
It's not a Chinese production, not even censored, then why does it not have a proper happy ending. It's implied to be happy, don't get me wrong, but there was absolutely zero reason not to develop it fully. Like, how do we know that's not his dream?The story is pretty basic, there is a time travel element, but it does not play much into the plot. The leads have chemistry & the acting is okay. The second (or third) couple is actually women & they are super cute. Historical Yuri is just ethereal.
Technically the 2nd cp is actually the villain & his whatever that man was. I feel like they had a more intense relationship that the main cp. The villain was actually the most interesting element of the show.
The costumes & makeup is not too shabby, idk about the historical accuracy. I liked how they managed the varying styles of different regions. Whoever did the hair styling, thank you for your valuable service.
Just average in the technical department, editing mistakes, some bad lighting. Wish there was a cleverer incorporation of the time travel. Nothing epic, but worth a watch.
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The first half shines, the second ... struggles.
From the very first episodes, it felt like the drama had all the ingredients needed to become memorable historical dramas of the year. A heroine reborn with revenge in her heart, political conspiracies, shifting alliances, family betrayals, and a cast capable of carrying emotionally complex characters. On paper, it sounded like something I would absolutely adore. And for a while, I did.The first half of the drama is genuinely engaging. Chu Zhao's journey is compelling, and there is a real sense of purpose behind her actions. Every move feels calculated, every victory earned, and every political maneuver carries weight.
Unfortunately, somewhere around the middle of the drama, things start to unravel.
It's not that the story suddenly becomes bad. Rather, it feels as though the drama loses confidence in itself.
The aesthetic of the drama is one of its strongest assets and gives the series a distinctive identity. The deep crimson palace interiors, the elegant costumes, and some of the visual compositions are genuinely stunning.
Let's talk about battles .... Several battle scenes feel surprisingly lifeless, especially considering how important warfare is to the overall narrative. There are moments that should feel epic and emotionally charged but instead come across as strangely empty. Some of Fu Jiu's action sequences are genuinely exciting and demonstrate how effective the series can be when everything comes together. Unfortunately, those moments become increasingly rare as the story progresses. After the midpoint, Fu Jiu begins to fade into the background. Despite being the male lead, he receives surprisingly little focus during crucial stages of the story. Considering the ongoing military conflicts and his importance to the narrative, it feels like a missed opportunity. More battlefield scenes, more strategic moments, and more development for his personal journey could have added much-needed energy to the second half.
The first half promises something exceptional. It hints at a story capable of balancing revenge, romance, political intrigue, and character growth in a meaningful way. Instead, the second half settles for something merely good when it had the potential to be great.
It remains an enjoyable watch, particularly for fans of historical revenge dramas. But it is also a drama that left me wondering what might have been if the same level of care present in the opening episodes had been maintained until the very end.
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Flawed but iconic
The original 1971 Kamen Rider has been dear to me for some time, but I only finished it completely as of today.The series arcs all have different flavor, and different strengths. It feels like several different pilot projects put together, while they got their footing. A lot of the imagery we know as gospel today does not appear til later. The original Hongo arc has a horror vibe to it, while the Ichimonji arc is more properly a super hero show. Before that we have iconic moments like "Hitlers Treasure" and the first two part training episode, which paved the way for future training arcs to come in other anime and toku. Ichimonji was charming, but the show settled into a repetitive rhythm that was only broken up once Hongo briefly returned, sporting his Sakurajima outfit, real ones know.
Many companions appear and disappear as the series goes on, featuring many sword wielding vixens and surprisingly helpful children, but no temporary companion was more endearing than the trio of Emi, Mika, and Goro, who routinely showed bravery and character throughout the series. Replacing them later on with Yoko and Chokko fell extremely flat, but it is true that the iconic Kamen Rider Shounen Club was introduced a long with them, so I give them some credit for helping with that.
Each general had their own iconic way of dealing with Kamen Rider. Colonel Zol was nothing too special, perhaps using the most repetitive monster of the week strategies, but Dr. Shinigami had a few surprises. Things kick into high gear with Jigoku Taishi, who seemed to have a thing for harming children which made him particularly terrifying.
Gel Shockers introduction to the show is extremely exciting, and many of the series most iconic elements actually come from this era, despite their combatmen and name not surviving the test of time in our memories. The double riders, shocker riders, and aforementioned kids club all appear in this section of the series, where it begins to know what it is has, know what works, and doesn't fumble the pacing. Black Shogun's fused monsters, featuring the abilities of two animals combined, were also notable.
I do think the ending had good and bad moments. It was exciting with an incredibly unique fight location all the way until the actual unmasking of Shockers Leader. I feel like he kind of just collapses after being roughed up a tiny bit, and I feel like there is no sense of dramatic pacing going from him firing psychic explosions at them and nearly killing the riders one moment and them being fine the next. I feel like V3 somewhat legitimizes this by having Shocker continue in a new form as Destron. Maybe because the leader knew it was his time, with what I assume was a fake body, he tried to blow up himself and his base in one hail mary. But on its own, it doesnt work and feels somewhat weak after 98 episodes and no guarantee at the time of a sequel. But Kamen Riders success was undeniable, and the series was followed up immediately with V3. All I'm saying is, is that how you would have wrapped it up if you didnt know you were continuing again right away with a new rider? The series ends on Taki going home, leading to the last time the characters we ended off on would be seen together for this particular series. The narrator, who normally has a harrowing explanation of the Riders continuous fight against evil, is finally able to tell us that the world is at peace, which I find satisfying. That peace would only seemingly last a week however, as the Kamen Riders would continuously fight every single week until a brief break in the 90s, only to resume indefinitely in the year 2000. Fight on, Kamen Rider, protect the peace of the world.
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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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