u/Patitoruani

I saw the original version back in the ’90s while following Tony Leung Chiu-wai’s filmography and it was my first encounter with Wong Kar-wai. I didn’t know who he was at the time nor the fact that this was an insane cast, and although I forgot much of the movie, the lingering feeling it left me with after it ended has stayed with me to this day.

These past months I’ve had the opportunity to revisit WKW’s work, and I came across this 2008 Redux version (edited to correct year), in which the director rearranged certain elements. While watching it, I realized that all the scenes had remained fresh in some dark chamber of my mind, because as they appeared on screen, the memories came flooding back — yet I still couldn’t predict the following scenes. Quite an experience!

Now, with more knowledge of Chinese and Eastern culture in general, I realize this is WKW’s version of how Eastern Heretic, Western Venom, and Northern Beggar came to be, and I have even less doubt than before that Xu Bing is a great admirer of Wong Kar-wai. Having seen the trailer for his upcoming drama Remnants of Gold, I can clearly see the homage to Ashes of Time.

Another director who, I can tell, has liked Wong Kar-Wai filmography is Yu Xiaochen, the director of drama Back to the Origin, who must also admire Christopher Doyle’s cinematography, as he worked as a cinematographer himself before making his directorial debut.

And it also turned out that I did know Jacky Cheung from his glorious days — I just didn’t realize it lol.

Finally, the third part of several posts dedicated to the Reform and Opening Up era is here, ending the 80s quick coverage. If you're new to this saga and want to read the previous posts, you have the general overview in The Reform and Opening Up Era: The Iconic 80s and 90s We See in Period Dramas – PART 1 Introduction, and PART 2: The 80s (I) From Gaokao to Factories and Rural Reform covering the main issues of this decade that aren't mentioned in today's post. These are just some of the topics you'll usually find explored in so-called period dramas.

From PepsiCo to Pierre Cardin: A trial and error period for foreign Investment and Imports

Opening up the economy also meant opening the door to the outside world and dealing with the consequences of more internal reforms. The 1982 Constitution recognized private economy and foreign investment; then came stock trading experiments (Shenzhen 1986, Shanghai 1988) and banking reforms — the People’s Bank became the central bank in 1984, and commercial banks were created.

The 1980s was a learning period for both China and foreign investors, who at the beginning mostly were ethnic Chinese from Hong Kong, Southeast Asia (Thailand, Indonesia, Malaysia), and Taiwan, as they shared language and cultural ties that helped build bridges.

Investments were restricted to the Special Economic Zones and Open Cities, relatively small is size, and often in light manufacturing, electronics assembly, and consumer goods such as textiles, toys, audio equipment, and food processing. The priority was always earn foreign currency first through exports, then spend it wisely on imports that help industrialize.

C drama The Dream Maker (2026), directed by Sun Hao

There were some European fashion and luxury brands. The Friendship Stores were authorized designated locations that sold these imported goods. Originally, only non-Chinese citizens, diplomats, or Chinese holding Foreign Exchange Certificates could enter and buy them. This was the two-currency system (RMB and FECs), which created a parallel economy throughout the 1980s.

By 1989, ordinary Chinese citizens could finally enter Friendship Stores. However, with the disappearance of FECs in the early 1990s and market liberalization, these stores lost their exclusive character and turned into common department stores, fully open to the public.

In Blossoms Shanghai (set at the beginning of the 90s but with references and flashbacks to the 80s), the big fuss around the national shirt brand Sang Yan is related to one of the most iconic foreign luxury brands that landed in China in 1979: Montagut. This French brand became a phenomenon, with Chinese people dreaming of owning a Montagut polo shirt to “change their image,” and even imitations became hugely popular. Nothing special to international audiences watching the drama, but indeed a very symbolic reference to that era.

C.Drama Blossoms Shanghai (2023-2024), directed by Wong Kai-war

Imports weren’t just about machinery and luxury goods. From Hong Kong came a cultural wave that transformed everyday life: TV dramas, cinema, and especially music. In the early 80s, portable cassette players and pirated tapes brought banned music to the youth — Teresa Teng’s romantic ballads, then rock and Cantopop. Hong Kong TV dramas and cinema soon followed. These imports quietly replaced revolutionary anthems as the mainstream, giving a generation a new soundtrack.

Tourism slowly opened too. In the mid-80s, China began issuing tourist visas to ordinary foreigners, building hotels and training guides. For the first time since the founding of the People’s Republic in 1949, ordinary foreign tourists could visit China.

City life and social issues

The early 80s also saw the introduction of the “one-child policy”, a population control measure only for Han people, that limited most urban families to a single child. Incentives rewarded compliance, but violators faced fines or job loss. The policy was finally abandoned in 2015.

Cdramas Always on the Move (2024)— Romance in the Alley (2024) — Wonderful World (2026)

In Romance in the Alley, you see siblings fighting over a single room. A returned zhiqing sleeps on a couch while her brother and his wife argue about who has the right to the bedroom. Many urban young people, the “sent-down youth”, had been forcibly sent to rural areas during the Cultural Revolution (1966–1976) to be “re-educated” through manual labor. The early 80s also saw an estimated 10 to 15 million of them — some with kids now — flood back to the cities, only to find that there were no jobs, no housing, and no social services waiting for them.

This created a profound social crisis and widespread resentment among a lost generation who felt betrayed by the state that had exiled them. The government responded by creating “youth labor service companies” and encouraging self-employment (the getihu policy mentioned in PART 2:The 80s (I) From Gaokao to Factories and Rural Reform). This experience shaped an entire generation’s worldview, creating a group of cynical, pragmatic, and fiercely survival-oriented individuals — a trait you might have also watched on screen.

Cdrama A lifelong Journey (2022), directed by Li Lu, dealing with city life and social issues in the 80s

By the late 80s, that same sense of being left behind — no housing, no stable jobs, broken promises after years of sacrifice — had spread well beyond the zhiqing generation. Runaway inflation, visible corruption among officials, and a widening gap between the reforms many people were promised and the reality they lived in all fed a broader current of frustration. It was this accumulated discontent, not any single grievance, that set the stage for Tiananmen Square in 1989.

Living all these massive transformations in just 12 years, in a country of more than 10 million km² and 1.4 billion people, is indeed beyond imagination. And the wild 90s still await!

The Reform and Opening Up Era: The Iconic 80s and 90s We See in Period Dramas – PART 1 Introduction

PART 2:The 80s (I) From Gaokao to Factories and Rural Reform

LIST OF SOME DRAMAS SET ENTIRELY OR PARTIALLY DURING 1980s OF THE REFORM AND OPENING-UP PERIOD

• Like a Flowing River
• Like a Flowing River 2
• The Lead
• The Dream Maker
• Romance in the Alley
• Wonderful Times
• Zhong Qi (upcoming)
• Miles to Go
• A lifelong Journey
• Always in the Move
• The Youth Memories

What I´ve always liked about cdramas is the infinite diversity of themes they tackle. So, if you search a bit, you´ll probably find a series about a topic you like or are list are curious about, even when it means you´ve never imagine that issue would be adressed in the screen. Besides sci-fi, ethnicity, work and professional sector related, development, relashionships, specific time periods, war and so on, you also have environmental dramas.

Personally, this is a theme I´m into from every perspective possible, so I´ll always be there to check a series which includes it somehow, wether from China or any country. Sometimes these productions can be too idealistic and out of touch with reality, or on the contrary, too "documentary-style", ending in dissapointment in both cases.

Among c-dramas, I have identifyed three productions about the topic, all quite recently. Above the Rivers was the first I recall. I wanted to see it because of the novelty of the topic, but there weren´t subs available for the international audience - no surprise uh?. But now, almost two years later there are, so I´m planning to check it in the near future - it starts Gao Weiguang if this makes a difference for some of you :).

Then, I discovered Sunrise on the River because of Huang Zhi Zhong (The Long River, Legend of the Magnate, Ming Dynasty 1566), and I tried 2 episodes but I didn´t have patient in that moment to let things unfold - or perhaps I just wasn´t in the mood for this kind of drama. I´m planning to check it again, but I wonder if some of you have seen it and can share some thoughts about it - is it worthy watching?

The last one is the most recent one, Born to Be Alive. What can I say? A mix of action, drama, thriller, anticorruption, development and, for me, one of the best productions from recent years that deserves to be watched by everyone. It captured my soul during its run and have stayed with me ever since, including bazilions posts, comments and a review. Far from an idealistic depiction or a dry documentary style, it´s one of the most gripping dramas I recall - bonus is based on real events.

So, what´s your take about these dramas and the topic? Do you know about others, old or upcoming ones? I´d like to check them too in that case!

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1. Above the Rivers (《江河之上》) - 2024

Genre: Legal drama, environmental judicial drama, political thriller.

What's it about? Set in the Yangtze River basin, this is China's first legal drama focused on environmental justice. It follows environmental judge Luo Yuan, court advisor Xia Weidong, and other judicial workers as they tackle a series of environmental cases. From illegal logging and waste dumping to trafficking protected species, the team fights pollution, combats corruption, and pushes for judicial reform—all while navigating complex cases based on real-life events.

The role of environmentalism: Environmentalism is the legal battlefield where justice and the law converge.

Director: Zhou Yaping

2. Born to be Alive (《生命树》) - 2026

Genre: Realistic drama, action, ecological thriller.

What's about? In the 1990s, on the harsh Qinghai-Tibet Plateau, a young women becomes a key member of an anti-poaching patrol team whose captain misteriously dissapeared while trying to create a protected area. Years later, in the 2010s, as the already developed region faces new threats from corportate minning companies and corruption, they all gather again to uncover the illegal activities, the old mystery and protect the plateau's fragile ecosystem. Review here

The role of environmentalism: Environmentalism is the call to action for a generation of grassroots guardians.

Director: Li Xue (Like a Flowing River 2, Created in China, Nirvara in Fire, The Disguiser)

3. Sunrise on the River (《江河日上》) - 2024

Genre: Political drama, environmental suspense, thriller.

What's about? In the wetland city of Qijiang, a series of environmental crises - from water pollution to wetland destruction - erupts after the deputy mayor in charge of environmental protection dies under mysterious circumstances. University professor Zheng Hanjiang, an expert in the field, is thrust into the political firestorm as the new deputy mayor. Facing fierce opposition and tangled interests, he must navigate the treacherous waters of local politics to tackle pollution and save the city's environment.

The role of environmentalism: Environmentalism is the political puzzle that must be solved against all odds.

Director: Han Xiaojun

This 2019 drama fits right in with Sun Li's body of work. She's the protagonist here alongside Mark Chao (Zhao Youting), backed by a strong supporting cast that includes Yu Hewei, Cheng Minghao (edited to correct name) and Gao Ye, among others. Once again, we get a female lead navigating professional life within the corporate ecosystem, this time in the construction industry.

The drama follows Su Xiao's journey as she fights to uphold her principles, climb the corporate ladder, and survive the ruthless power struggles within a massive construction conglomerate. Beyond her individual arc, the series offers a broader portrait of the modern Chinese workplace and the challenges faced by professionals, particularly women, in a male-dominated industry. The dynamic between Sun Li's and Mark Chao's characters is the cherry on top.

Gritty realism, strong acting, and intelligent writing all make for a gripping series. A must watch for Sun Li fans, and for anyone looking for a well-made workplace drama.

Beyond is a drama from 2022 about Olympic sports, more specifically short-track speed skating. The story runs in two timelines, one starting in 1998 and the other in 2014, amidst the 2022 Winter Olympics in Beijing, and through the will of a young girl serving as the link between both timelines and determined to become a gold medallist, it manages to show the evolution of this sport in China and its athletes.

Article about the story, how the team approach the sport development on the screen and actor Hu Jun talking about his skate lessons. 

The show takes inspiration from real-life stories of Chinese short-track speed skaters and coaches, both from the past and the present, who are shown at the end of each episode in brief interviews talking about their personal experiences. Don´t miss them!

Article about the drama and interview with director Zhang Xiao Bo

Where to watch it: Lemon Media Official Channel on youtube (free)

Trailer HERE

This Behind the Scenes: Director's Edition series was created on a simple idea: following directors' portfolios is one of the many ways to discover new gems and stories.

Once you start watching cdramas, especially non-idol ones, you soon realise that certain stories and overall quality are often linked to specific production teams, scriptwriters and directors. Of course, not every series made by them will be a masterpiece every time, but it’s clear that some align better with your tastes and preferences than others. So, besides keeping an eye on the actors’ projects, following directors and production companies is also a good way to adjust expectations.

Today's entry is dedicated to Zhang Xiaobo, a director whose recent portfolio includes hitters and popular series like Nothing But Thirty, Lady Liberty, In Between and Beyond. His work, while varied in genre, often places resilient characters, especially women, under the pressures of modern urban life and personal ambition. His dramas have earned multiple award nominations, and he consistently works with solid casts to deliver grounded performances.

I’ll leave a link to his MDL profile if you’re interested in digging a bit deeper into his work.

Some of his most reknown projects

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🎬 Nothing but Thirty (2020)
三十而已 ‧ San Shi Er Yi
Synopsis: The drama follows the perspectives of three 30-year-old women and tells the story of urban women who encounter multiple pressures at the age of 30: Gu Jia, a full-time wife with strong abilities; Wang Manni is an unconventional rebel who firmly believes that she has both good looks and brains and deserves better; and Zhong Xiaoqin is the standard majority until an event disrupt her status quo.
[More info]

🎬 Beyond (2022)
超越 ‧ Chao Yue
Synopsis: Set against Beijing's successful bid for the 2022 Winter Olympics, the story follows Chen Mian, a young woman determined to make short-track speed skating her life’s goal. From amateur to national athlete, she joins Zheng Kai Xin’s team in Qingdao, where she faces challenges and perseveres.
[More info]

🎬 Nobody Knows (2022)
胆小鬼 ‧ Dan Xiao Guai
Synopsis: The drama is adapted from Zheng Zhi´s original novel “Swallowing Raw". It tells the story of the life changes of four high school friends through two highly similar murder cases that span two different time periods.
[More info]

🎬 In Between (2024)
半熟男女 ‧ Ban Shu Nan Nu
Synopsis: The drama tells the story of young people in modern urban life who, in their search for love and self-discovery, are unafraid of setbacks and failures, ultimately achieving different kinds of growth.
[More info]

🎬 Lady Liberty (2026)
爱情没有神话 ‧ Ai Qing Mei You Shen Hua 
Synopsis: The drama is adapted from Yi Shu´s novel "Single Woman". It tells the story of single men and women, represented by Lin Zhanqiao and He Han, who form deep bonds with each other amidst the intertwined waves of career and love.
[More info]

Upcoming

https://preview.redd.it/wq2s2qh1zmbh1.jpg?width=900&format=pjpg&auto=webp&s=44411933265390c5170e1a66bda4308351076664

🎬 Xiao Cheng Liang Fang 
反人类暴行 ‧ Fan Ren Lei Bao Xing
Synopsis: The drama adopts a dual timeline narrative. One line focuses on transnational evidence collection in the 1990s, while the other line goes back to Harbin, Heilongjiang during the Japanese invasion of China, revealing the human experiments and atrocities of Unit 731 through the perspetive of multiple parties involved.
[More info]

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My experience with his work is as diverse as the genres he tackles. I’ve watched almost all of Nothing but Thirty, and although I can say I enjoyed the drama and that it is very well executed, I ended up dropping it because it felt focused on issues that are particularly relevant to Chinese women and didn’t manage to feel universally relatable, at least for me. I couldn’t connect with any of the characters or situations. I also tried Lady Liberty, but that drama didn’t click for me either - this time, for different reasons than the previous one. Truth be told, women-centered dramas aren't usually my preference.

However, I’m experiencing the complete opposite with Beyond, which I’m currently watching and loving. Despite being a drama focused on elite athletes and China’s journey in short-track speed skating, it is inspirational, realistic, touching, and surprisingly hit close to home somehow. As for the rest, I have his upcoming Xiao Cheng Liang Fang among my most anticipated dramas for the second half of the year, and I might also check out his 2022 thriller when in the mood sometime in the future.

Have yoou seen dramas from Zhang Xiaobo? What´s your opinion on his work?

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If you tap in the flair etiquete of this post, you'll find all the previous Director's Edition Series

Spoiler free

As I said in a previous post, this is a very touching, intimate, warm drama about the ups and downs of three couples as they navigate very contemporary Chinese issues, while remaining universally relatable. Nothing out of the ordinary, but a very extraordinary way of storytelling, with a very distinctive voice and personality.

The series revolves around these three couples with different life paths and characteristics, and their personal, partnership and family relationships, which are all interconnected. At the beginning of the show, they share something in common: they aren't where they were supposed to be, or where they'd imagined themselves to be at their stage of life.

Four of them (two in their twenties and two in their mid to late thirties) are in Canada and returned to China for different reasons — embodying what in China is colloquially known as "sea turtles" (海龟/海归, hǎiguī), those who study or live abroad and then return — while the other two (mid to late thirties and early 40s) had never lived abroad.

We follow the characters as they deal with these circumstances while searching for personal happiness and fulfillment, that as you can imagine isn't always a smooth ride. As the series goes deep, you'll discover the inner world, conflicts, dreams, broken dreams, hopes, flaws and strengths of all of them, including those of their parents. Some people fall once and learn, others need to fall several times, and a group needs to fall even harder; but as in real life, there's people who can't face themselves and the world as they are and never learn.

The younger couple's storyline was my favourite though, I guess because it had the sense of hope that comes with having all your life ahead of you, and the courage to try living your life the way you want, even if it means discovering it in the process, with the good and the bad: loneliness, grief, depression, betrayal, friendship, love.

The story also explores, with different levels of detail, some specific professional and work sectors: entrepreneurship and startups with angel investors, tied to the main lead and his best friend, and the streaming industry – influencers and content creation companies – through the female lead, are the ones that received the most screentime and scrutiny. Personally, I found the exploration of the streaming industry particularly interesting in its detailed and merciless dissection. Meanwhile, the study abroad system and the life of those struggling to insert themselves in the work system is portrayed through the young ones.

A lot happens and going into details would be endless here, so I'll just give an honorable mention to Zhang Ran's boss. Only by the last episodes did I stop believing that the violent and chaotic criminal/gambler from Fearless Blood was hidden inside him and would reveal himself, as he was played by the same actor. Here, he still managed to make me lose my patience although for different reasons lol.

The performances are great, but I especially loved the direction of Yu Xiao Chen, and the cinematography: the use of the camera, the lighting, and how it manages to find beauty and tell so much in every little detail and common moment. There are so many great scenes like this! And of course, I can't avoid mentioning the quotes at the end of every episode even when sometimes the translation stretches quite a bit, and the ending credits OST.

All in all, the drama doesn't rush and lets you reflect on life, and the same you could say about my watching experience: I enjoyed it at a slow pace. If I had to sum up Back to the Origin, I'd say it's a mix of melancholy for the past times and the decisions we cannot change, the feeling of ordinary everyday moments, optimistic spirit towards the future, honesty, courage and love.

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FACTSHEET 

- Original Chinese Name: 时差一万公里  (Shi Cha Yi Wan Gong Li), which can be translated as "Time Difference Across Ten Thousand Kilometers" - 2025

- Episodes: 40

- Production: Mango TV, Hunan Satellite TV, Mango Media, and Mango TV Creative Center,

- Director: Yu Xiao Chen

- Screenwriters: Chen Chen, Zhong Meng, Wang Lulu 

- Cast: Luo Jin, Ren Suxi, Zhou You, Myolie Wu, Wang Zichuan, Sun Anke

- Broadcast: Hunan TV, Mango TV, Migu Channel. - You can watch it in iQIYI and Mango TV Channel

If you think maths is just boring numbers on a chalkboard, Chinese dramas will perhaps make you think again. Both turn equations, calculations, and theorems into the driving force of their storylines: one is a historical corruption thriller, and the other is an emotional journey of self-discovery.

I'm not what you call a hard science fan; on the contrary, my sensitivity leans without a doubt towards the humanities. So, I constantly imagine how it´d be to see the world through numbers and calculations, and as always, I'm delighted to find there´s a series about every possible theme in cdramaland. In this case, two:

1. Under the Microscope (显微镜下的大明之丝绢案)

• Genre: Historical drama, mystery, political thriller.
• What's it about? During the Ming Dynasty, a young mathematical genius (with clear autistic traits) discovers a centuries-old arithmetic error in the local tax records while calculating land areas. His obsessive pursuit of numerical truth pits him against the entire local political establishment.
• The role of maths: Maths is the trigger and the weapon to dismantle lies.
• Director: Pan An Zi (Time Raiders, upcoming - if planets align - Ball Lightning)

2. The Heart of Genius (天才基本法)

• Genre: Romance, time travel / parallel worlds, coming-of-age.
• What's it about? Lin Zhaoxi, the daughter of a mathematical genius, gave up on maths due to insecurity. Through trips between parallel realities, she gets a chance to relive her childhood and join Olympiad maths camps. Back in her adult world, she embarks on a mission to crack a famous unsolved problem to help her ailing father.
• The role of maths: Maths is the vehicle for personal growth.
• Director: Shen Yan (The Rise of Phoenixes, Medal of the Republic, Bank on Me, upcoming Zhong Qi and Feng Pei Dao Di)

I'm not fond of the historical genre so Under the Microscope isn't up my alley, but I have The Heart of Genius in my TWL, and while I've heard the first is great - but without much detail -, I haven't seen anything about the second. The cast, though, is great in both shows.

Have you seen them? What'd you highlight about them? I wonder if there are more dramas related to maths.

It's difficult to summarize this series without giving spoilers and ruining much of the joy of watching it, as it's designed for the viewer to slowly discover the truth and experience the unfolding events and emotions alongside the protagonists. So, I'm sharing my spoiler-free impressions in the first part and using spoiler tags in the second one, with some reflections about the story. 

Based on the first book of the sci-fi trilogy The Three-Body Problem by Liu Cixin, the story starts with the mysterious deaths of prominent scientists around the world and follows our main duo: police officer Shi Qiang and nanophysicist Wang Miao as they investigate them and a series of increasingly strange events that challenge everything humans think they know.

This investigation eventually leads to a shocking discovery: >!an impending alien invasion from Trisolaris, a star system struggling to survive its chaotic orbit, !<and humanity's fractured response to this discovery. The story unfolds across two main timelines: the past, set in the 1960s during the Cultural Revolution, and the present, around 2010.

The series: general thoughts

Being hard sci-fi, the series weaves a wide range of scientific, philosophical, metaphysical, environmental, and other theories and concepts into the story, particularly in the first half, which may feel dense or demanding at times. If you haven't read the books — my case — and even if you're familiar with the concepts, you might need to pause, slow down, and process everything that's being presented.

The second part of the series flows more smoothly, with more action mixed into the overall tense atmosphere as the previous mysteries start coming to light, while hinting that an even more threatening new phase is coming, mainly setting the stage for what's to come in future seasons.

I started watching the original 30-episode series, but it felt like a snooze-fest, mainly because many scenes seem to be a bit longer than they might require. "Artificially prolonged" is the best way to describe the feeling.

So, I switched to the 26-episode Anniversary version (Migu youtube channel) from episode 3 onward. Now the pace was perfect for me, and if you still haven't seen it, or dropped the previous one but still want to give it another try, I strongly recommend going straight to this new director's edition.

Which brings me to my main caveat with Three Body: the production is solid but I'm conflicted about the direction. While I constantly wanted to know what would happen next, I wasn't particularly drawn to or blown away by any technical aspect; on the contrary, besides the sometimes stretched takes, I think the choices were competent but conventional, with even a few cheap emotional beats scattered among a few beautifully composed scenes.

I do give credit to director Yang Lei since I know this kind of material is genuinely difficult to translate to the screen, and I´m still wondering whether such an average approach is exactly what this interesting and compelling story needs.

Three Body feels somehow lacking in places, but those shortcomings didn't matter at all by the time the drama ended, and I found myself loving it. Contrary to love at first sight, this was the deep appreciation and love that comes through immersion and time; the more I watched, the more I enjoyed it and wanted more.

So, do I recommend this Anniversary version of Three Body? Absolutely. The story is compelling and complex, and if you like or are a fan of hard sci-fi with deep meanings, it's a must-watch without a second thought. In fact, the second and third books are now at the top of my reading list because I want to know how it continues and ends.

The Story: My Reflections on What Struck Me the Most (Full Spoilers)

>!I understand the impact of traumatic experiences on individual choices, but the story brings up a very important aspect: the scale of retaliation. In Ye Wenjie's case, it´s totally out of proportion. A deeply personal traumatic event leads to an action that represents the extinction of humankind forever.!<

>!Even if you stretch yourself in extreme mental gymnastics to understand her immediate response upon receiving the message back then, the disproportion of her revenge, the nature of her following actions, and the fact that she has remained the same ever since, are a clear sign of the danger of hate and the catastrophic consequences of lacking emotional and spiritual evolution in a human being. In the end, she has far surpassed the monstrosity of what and who she hates, becoming something worse. I'm totally on Shi Qiang's side here — there's no excuse.!<

>!And that brings me to the following reflection. The drama discusses how power, knowledge, and responsibility intersect, but meanwhile the intellectual point of view is widely brought into dialogues, and this discussion is framed from a cultural/societal worldview; the spiritual side of human beings is explicitly ignored and embodied instead by Wang Miao and Shi Qiang. I'm not talking about a religious approach nor about compassion toward the invaders, but rather an ethical and metaphysical one, as part of the individual and collective spiritual development.!<

>!I'm not sure whether the story lacks this aspect, or whether the blunt, explicit avoidance of compassion and love is intentional, meant to show the imbalance of a merely intellectual, aseptic approach, and trusting the audience will notice they are symbolized in those two characters. !<

>!Wang Miao is the moral and ethical anchor among those of higher intelligence (the elite) who blends wisdom and compassion; Shi Qiang is the absolute ethical one. The later embodies the idea that you don't need superior intellect to distinguish right from wrong: he protects lives, and he protects humankind. Without specialized knowledge, he is still the smartest guy in the room; he knows when and how to surround himself with the right and good people, and he is capable of sacrificing himself for the greater good.!<

>!Lastly, linked to the above, hubris is the other thing that strikes me most, a trait that has the power of destruction and turns wisdom into ignorance. So, I distinguish three groups here.!<

>!Evans is an interesting figure who mirrors Ye Wenjie. While empathy towards sentient beings, except humans, is the origin of his motives, I find him more honest within his own logic. He is fully conscious of who he is and what he wants to achieve, although still with a level of naivety and blindness — why would an invader willing to destroy a species spare others, eventually? Ye Wenjie, on the contrary, builds herself out of selfishness and individualism, not only feeling superior to the rest but also detaching from life; she deceives herself, unconsciously, and the ETO members, on many levels, consciously.!<

>!Finally, ETO members embody the most common form of hubris: not only are they being manipulated by both factions' leaders without realizing it, but they also deceive themselves about the whole picture: why on earth would the intellectual elite of the world think that the explicit warning of an invasion by a superior form of intelligence, and the destruction of humankind, would spare them? And that's without even mentioning the utter contempt in their minds and hearts for people of "ordinary" intelligence.!<

>!To sum up, knowledge isn't wisdom, and wisdom without compassion is shortsighted. Something that's been in the air for centuries.!<

Minning Town is a 2021 23-episode drama about development and the Chinese government's poverty alleviation policy, directed by Kong Sheng and Sun Molong, with Huang Xuan leading an amazing cast.

It tells the story of how, beginning in the 1990s, the people and local cadres of Xihaigu—the real-life prototype for the series—responded to this national policy, completed the relocation process and, with counterpart assistance from Fujian Province, transformed the wind-blown Gobi desert of Ningxia into a livable and prosperous place through hard work and unremitting effort.

Overall, it's an excellent, well-paced, inspirational story with a balanced tone that never becomes dry, melodramatic, or overly comedic, while not shying away from the hardships and mistakes made throughout the project.

Would you like to know more about the real story?

Article with with general facts about the project, both then and now, as well as an interview with Xie Xingchang, the real-life inspiration for the lead character, Ma Defu.

The second picture of this post shows actor Huang Xuan (Ma Defu) and the real Xie Xingchang.

Here's an eight-minute-long documentary featuring real residents of Xihaigu talking about their experiences during the relocation, their lives in the 2010s, and where they are today: Better life with bare hands: Minning Town's story told by immigrants

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If you tap in the flair etiquete of this post, you'll find all the previous Bringing Real Stories to Life - in the News.

This is an unusual and very entertaining drama: a blend of historical drama, adventure, and old-school wuxia flavour, set in the vortex of the Qing dynasty's fall and the rise of the Republic. This is the story of a group of individuals from different backgrounds who are unexpectedly drawn into a mysterious treasure-hunting journey, led by an ex-imperial guard, amazingly played by Qin Jun Jie.

Besides the story itself, each character represents the ideas and interests at stake in the tumultuous year of 1911: the imperial loyalist who wants everything to remain just as it is, the reformist within the imperial establishment, the revolutionaries who support the Republic, the old wuxia heroes who no longer have a place in this new world, the old world bound by a Confucian mindset, the foreign powers, the military seeking to gain control of the government... and, in the middle of all this, some romantic entanglements, including that of the main protagonist, Muqin / Men San Dao.

The drama mixes excellent performances with a couple of not-so-great ones — nothing decisive — along with great production, innovative opening credits (awesome!) and a gripping pace that keeps you hitting "next" at the end of each episode until the very end. This is from the same behind-the-scenes team as Blemish Flaw and the Douyin short Floating Life, sharing some familiar faces across all three productions. The promo materials are also fresh, so I'm sharing some of them here.

EDIT: I'm sorry for the misspelling in the title.

This Behind the Scenes: Director's Edition series was created on a simple idea: following directors' portfolios is one of the many ways to discover new gems and stories.

Once you start watching cdramas, especially non-idol ones, you soon realise that certain stories and overall quality are often linked to specific production teams, scriptwriters and directors. Of course, not every series made by them will be a masterpiece every time, but it’s clear that some align better with your tastes and preferences than others. So, besides keeping an eye on the actors’ projects, following directors and production companies is also a good way to adjust expectations.

Today it's the turn of one of the newest directors in C-dramaland, who is also a screenwriter and brings a very personal and innovative perspective to the scene: Suan, or Lao Suan, whose real name is Mou Xincen. This is totally my personal opinion, but for me he's in the same group as Xu Bing (What a Wonderful World, Fearless Blood), and Xin Shuang - or Bob Xin - (The Bad Kids, The Long Season) when it comes to those aspects of drama-making.

His work, both in writing and direction, has earned him several nominations and awards, including at Magnolia, despite his relatively short career so far.

Having said that, it's also worth noting that his dramas are "demanding" and, as happens with projects that dare to explore new territories, not to everyone's taste. He works with both established and newer artists, but he definitely has some recurring favourites - who happen to be among mine as well.

I’ll leave a link to his MDL profile if you’re interested in digging a bit deeper into his work.

Some of his most reknown projects

Suan´s C-Dramas: MadHouse (2018) - Reset (2022) - Scape from the Trilateral Slope (2024) - Man´s Inhumanity to Man (2025)

🎬 Madhouse (2018)
疯人院 - Bing Ren Yuan. Synopsis: This story tells of Meng Nan, a member of a foreign human research institution, who returns to China to find special patients. He follows the clues to the Jiushan City Sanatorium, becomes an intern doctor with his synesthetic abilities, establishes an emotional connection with his colleague Mu Sifan, and comes into contact with many patients with superpowers. The story gradually reveals the secrets of the sanatorium.
[More info] He´s also the screenwriter

🎬 Reset (2022)
开端 ‧ Kai Duan 
Synopsis: The drama is adapted from the novel of the same name by Qidao Jun.
 It tells the story of game architect Xiao Heyun and college student Li Shiqing who "come back to life" after a bus explosion. They experience time loops repeatedly during the time of the bus accident, trying to prevent the explosion and find the truth. 
[More info] He´s also the screenwriter and codirected with Sun Molong

🎬 Escape from the Trilateral Slope (2024)
边水往事 ‧ Bian Shui Wang Shi
Synopsis: The drama tells the story of Shen Xing, who goes to Sanbianpo to work but unexpectedly gets caught up in a power struggle involving various forces, and goes on one dangerous adventure after another.
[More info] He´s also the screenwriter

🎬 Man´s Inhumanity to Man (2025)
反人类暴行 ‧ Fan Ren Lei Bao Xing
Synopsis: The drama adopts a dual timeline narrative. One line focuses on transnational evidence collection in the 1990s, while the other line goes back to Harbin, Heilongjiang during the Japanese invasion of China, revealing the human experiments and atrocities of Unit 731 through the perspetive of multiple parties involved.
[More info] He´s also the screenwriter

Upcoming

Unsettled Case (upcoming)

🎬 Unsettled case 
悬案  ‧ Xuan An
Synopsis: Unraveling two chilling mysteries, each case explores how crime leaves lasting scars—and how, through fractured timelines, belief can become a path to redemption.
[More info]

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I’m one of those people in the audience who appreciates the experimental, bold aspects and freshness of Suan’s work, but his style usually falls outside what my sensibility can handle at this point in life. I still give it a try, though.

I’ve watched Reset and found it to be a very solid sci-fi thriller without heavy emotional burden, and I’ve also tried Escape from the Trilateral Slopes. Sadly, I had to drop it because I’m too sensitive to some scenes, even when they’re only tangentially present. but it left me intrigued and wanting to see some actors I like. Already from the early episodes, you can appreciate the great atmosphere and the tension, with violence constantly floating in the air, waiting to explode at any moment without warning.

As for Man’s Inhumanity to Man, the trailer alone already shows the quality of the production, and after an initial reluctance to watch it because of the subject matter and my already mentioned sensitivity, I’m now slowly building up the courage to try it at some point in the future. But I definitely have Unsettled Case on my TWL.

What´s your opinion on Suan´s work?

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If you tap in the flair etiquete of this post, you'll find all the previous Director's Edition Series

NOTE: The drama is now available worldwide on MUBI (plus Criterion on USA and Canada)

As one professional review described it in the trailer, Blossoms Shanghai is the spiritual sequel to Wong Kar-wai's films, in the format of a TV series. And it's quite an accurate description, because you'll find the filmmaker's distinctive signature throughout the whole drama, adapted to the series format and with a rhythm and tone that are somewhat more uplifting than in his films.

If you like, enjoy or love Wong Kar-wai's portfolio, there's no doubt you'll like Blossoms Shanghai. The uniqueness of it all: the cinematography, movie-like quality, acting, incredible soundtrack, meticulous production, camera work, and storytelling, all worth the experience. On the contrary, if you like linear, very talkative and straightforward narratives, this might not be for you.

While in his movies the emotions linger with you long after they finish, the series format simply lets you dive into them throughout its 30 episodes, but ultimately lets you go at the end. Because if there's a difference between WKW's first series and his movies, it is not only the slightly faster pace but also the more positive overall tone and ending. The first 5 to 7 episodes set the premise, but then the drama finds its rhythm and keeps it up until the end; it all makes sense and wraps up nicely.

The technical aspects are, of course, magnificent and very personal in flavour, with the director's recurrent elements also present here: silences, looks and gestures that speak more than words, mirror frames, the role of lighting and soundtrack, slow-mo for certain takes, voice-over narration, you name it.

Acting is top notch and you wouldn´t expect less from this cast: Hu Ge, Xin Zhi Lei, Ma Li, Dong Yong, Wu Yue, Huang Jue and many more. Even my initial cavils with the monotone high-pitched voice of Tiffany Tang faded away and she grew on me eventually, although she never made it into my list of favourites.

The fragmented storytelling that's one of Wong Kar-wai's signatures is here too. The story starts in the middle of the narrative told from the protagonist's perspective, and you'll only have the full picture by the end of the drama.

In that regard, the whole series is wrapped in a warm light that carries you to a world that no longer exists, as in a dream or a remembrance of things past that feels real, yet tamed by someone's lens. This is a love letter to Shanghai, to the blossoming side of the city and that era in the 90s, and the Shanghainese dialect adds to that atmosphere and to the overall flavour of the drama. There's no point in looking for the less positive side of that period here; WKW has no intention whatsoever of talking about it.

This is the story of the swag, savvy and handsome Ah Bao, who decided to surf the wave of China's financial and economic awakening in the late 80s and early 90s, and his journey from a fabric worker to a millionaire in the stock market and textile-retail industry in Shanghai during those years. Along the way, he crossed paths with business competitors and established several meaningful relationships, especially with three women – two of them involved in the restaurant industry – who were also striving to find not only love but their place in this new world.

This is told around WKW's common topics: unrequited love and longing, memory, nostalgia, the passage of time, loneliness, missed connections, the fleeting nature of happiness and human relationships. The difference this time is the addition of business aspects, and it's worth noting that Blossoms Shanghai leans heavily into them too.

All the characters in the drama, even the minor ones, are fleshed out. You have "antagonists", but there are no purely good or bad people; they're mostly multifaceted people with dreams, ambitions and struggles whose interests often merge or collide. You learn to cherish all of them, and every one has their moment of "glory".

Among them, I just want to give a special shout out to the female "laoban" restaurant gang and their leader Lu Mei Lin, and the three waitress-managers; while among the "main" ones my favourites were Mr. Jiang, Ling Zi and the precious Mr. Fan, besides, of course, Ah Bao.

And let me finish this review highlighting my favourite part among many favourite parts of Blossoms Shanghai: episode 14.

This feels like a Wong Kar-wai short film within the 30-episode series, something that only a creative mind like this director's could imagine and execute in such an exquisite way that you wish to rewatch it on loop for quite some time. It’s also a pivotal point in the story that gives meaning to the rest, but that you could also watch independently and still fall in love with it. Jackie Cheung and his "Broken Heart" – or "Stolen Heart" – adds to the magic.

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NOTE: The drama is now available worldwide on MUBI (plus Criterion on USA and Canada)

The drama is also available in Mandarin. I prefer the original Shanghainese version.

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FACTSHEET

- Original Chinese Name: 繁花 (fán huā) translated as Flowers in Full Bloom (2023-2024)

- Episodes: 30

- Production: CCTV, Shanghai Tencent Penguin Pictures Culture Comunication, Shanghai Film Group, Shanghai Fanhuali Enterprise DSevelopment

- Director: Wong Kar-wai

- Screenwriter: Qin Wen

- Cast: Hu Ge, Ma Li, XIn Zhilei, Tiffany Tang

- Broadcast: CCTV, Tencent - from 2025 on Criterion (USA and Canada), from 2026 on Mubi (Worldwide)

Also Little Bean, Little Velcro, Little Sir, The Prince of Home, the most handsome gal of the block