The Longest Disappointment

So, because My Drama List is filled with people who say if you hate the drama you're ruining it for them, and upvote automatically any ratings that praise the drama highly, despite people telling you over and over it's bad and people hating the writing, I'm going to write this review for more balance. I love xianxia dramas. I've watched a ton of them, but this takes the cake on how terrible they can be. And yes, I watched all 40 episodes. Me and a bunch of other people who tried to defend it to the end, ended up flipping on the drama once they figured out what I said was consistent throughout the drama. But those people are less likely to write reviews.

The only saving grace of this drama is Xiao Zhan and maybe the production values, but that's about it. And pretty production values when you don't have the story isn't enough for me. I've never particularly cared about pretty faces. I care about in order: Story first, acting next, production values (which include costuming, CGI, props, etc) last. If I wanted to gawk at pretty faces, I'd look at runway photos. The problem with this drama is squarely on the story.

The writing sucks so, so much on one key issue: The female lead's agency is all over the place because the motivations aren't clear in the character.

Kinda passes the Bechdel test. Sexy Lamp it's questionable about her agency. And she kinda fails Mako Mori at turns--they give her a goal other than a man, but do they ever implement that goal within the story? No. Not once.

The thing is that there is this bit where she's supposed to protect this dress, and after the tenth episode watchers drop like flies because of this dress. She could have climbed out of the ravine the entire time--which is shown in a later episode. She fights with her best friend's sister over said dress saying her best friend's sister can't wear it, but then by episode ten you understand why people dropped the drama hard. After all that lecturing about how her best friend's sister shouldn't wear the dress, suddenly she decides to dance in it herself. Which is a mind-numbing plot point. It makes no sense whatsoever for her age.

There is a difference between innocent and air headed, and she's air headed. Innocent is going into danger to retrieve her friend's dress. Air headed is wearing the dress after yelling about how terrible it is to wear it. Air headed, to me, is being oblivious of how others will react to your actions even when you know it's wrong and taking the worst action anyway.

And then if you think this is the largest crime of the female lead, you're wrong. It gets worse as the drama goes on and the agency of the characters is all over the place.

Let me be clear here, I don't mind delayed agency, I don't really mind passive agency. I don't mind a long try fail cycle. What I really, really do mind, is when the principles of the character are laid out, the lesson is stacked in the "I really learned this lesson" pile and you've spent say 2-3 episodes establishing what this lesson is, the character demonstrates they have learned it, and then the rest of the story doesn't apply it when it's clearly critical to apply it right then. Why did we waste our time with those episodes then? The writer actually put into the drama several spelled out points where she couldn't figure out how to get to the next section, so literally had another character tell the female lead what she needed to do in order for the plot to change direction, rather than it coming from the character. And for those who've watched the drama--this is the female lead in a nutshell.

OK, you want to skip the female lead. Zhi Yuan isn't better. He had a straight line until the end of the drama. His agency looked consistent, and then he made a mind-numbing decision in the last part of the drama along with one of those accidental amnesia events the writer comes up with where the female lead suddenly forgets all her past knowledge, and then both characters make this really odd decision together. First he fails and it makes no sense to the point that people on the main comments objected strongly. And then she failed by not applying her past knowledge when she learned the spell she could have applied right then just the previous 3 episodes making you go, that makes no sense. If any agency or moving forward for the FL isn't about the male lead, then the female lead forgets everything with no reason for it.

And you think, at this point, "But the male lead can't be affected by this, right?" Hahahaha. So wrong. By the middle of the story, the writer, who is lost on how to make character motivations work, has other characters telling the male lead character what his motivations are. She's jerking around the male lead by having other characters tell the male lead where to go, but without building a reason why he needs to go there for himself. I'm going there because Sifu said I need to go there. I need to do this because someone else said I needed to. Do I have a pesonal motivation for it? Meh, nyahh, I'm changing my mind because someone else is telling me to.

This leads to a lot of empty moves and the character agency being scattered to the wind, as the characters forget everything they've learned from the few episodes before them. Because their motivations are all external and nothing internal. So there wer people who wanted to defend the book and the drama to the end--until they got there and then realized really sharply what I said about the dress chapter being signs that the drama is going sideways was true. One watcher who was of this sort got frustrated both with the drama and the book saying both were a waste of time.

The female lead character--all of the characters need to learn things and apply them at key times. They shouldn't be told what they want from other characters. It's poor writing. And since the writing was terrible, I can't recommend the drama. My relative's B movie had better throughline of character motivations than this. And it's not a slam against Chinese dramas, since I've watched plenty of older ones and also have read classics and folktales--I do recognize how this employed older drama conventions. It's telling you that the main female character lacks motivation and agency which then infects the rest of the show and this is why I don't recommend it.

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Ryan Ding was the best part of the drama, Screenwriter's love of Incel Stalkers--terrible.

I figured someone may want a more balanced review that isn't, "This is all crap" and "this is the best ever" First I have to establish that I go mostly by talent of the actors/crew. I don't really do the whole mooning over actors thing. Not my jam. I don't automatically upvote a drama because the actor is "hot" or whatever. I go by how the drama is or isn't. I go by if the art is good or bad.

For those of you that are planning on reading the book, read the book second and watch the drama first. The drama first is OK and regular and kind of middle of the road. The book is excellent, though lacking in details, so you should be helped by doing it in this order. I should warn that the second half of the drama is nothing like the book.

For comparison, this drama is better than Longest Promise which had some of the worst writing I've witnessed in a drama. This drama, though suffers mostly from an unconfident writer who isn't sure how to do anything from the book.

If you are going to watch the drama, you're likely watching fro Ding Yuxi and the production values.

The best lifetimes are in order (for the drama):
The animal lifetime (Hilarious and voiced very well)
The Demon lifetime (mostly for Ryan Ding living the role--and changing his mannerisms in every single way playing it).
The Sect lifetime Almost 1 for 1, but then went off the rails a bit towards the end.
The flashback couple lifetime (Cang hai)
Prime Minister's daughter
Princess/General This was cut in half from the original, so didn't have the gravitas, but I understand they had to cut it likely because of censorship.

The character I hated the most was Xiu Ming. I hated his ending too, especially since he's split off from the original character who was a stalker in the book. He literally stalked the female main character across lifetimes. *Stop redeeming stalker characters~~* And yes, I can fight you on this. When someone is trying to "rescue" you without your consent, and follow after you for *lifetimes* then yeah, that's called stalking.

I mostly skipped (10 second skip) through the whole banished clan thing--it didn't belong in the drama and I lost about nothing. The acting wasn't that great to begin with. And I didn't care that much about the Zihui storyline at all, which felt disjointed from the rest of the drama anyway.

In order the best parts of the drama:
1. Ding Yuxi

-hands down the best part of the drama. The director let him do *mostly* what he wanted, though there were a few times I felt like he was limited by the director. *ahh* Ding Yuxi playing mischievous is something I really like because it's in his wheelhouse--but the director cut him off? I said this consistently since the beginning. If you want to watch the drama only for him, it's not a bad pick.

2. Production values: These are the costumes, music, CGI. The CGI was the best in Heavenly realm. I'm guessing the writer had to set more things in the heavenly realm to save on costs. I'm not against that. (Costs more to rent a space than build a set sometimes) That said, I wouldn't have minded if they saved on production costs and gotten better actors. The production team went all out. The only person that probably should have paid attention more is the sound guy. He missed a few sounds he should have put in. I feel like they couldn't pay all the actors all the way through due to the production values being high.

3. Red Thread Master and Yang Chaoyue

Contrary to popular belief, Yang Chaoyue was better in the second half of the drama. I thought she wasn't that good at the beginning, but she grew into the character more. Slight downgrade for the whining bits, but I think that's more down to writing and directing choices, than personal choices. I also, really liked the choices of the Red Thread Master, which surprised me. The dynamic between the two acors felt more natural. She definitely picked up a few things during the course of the drama and became less stiff and emotionless. It's not top of the line such that Yang Chaoyue was pushing Ryan Ding, but it wasn't terrible either. If you want to see actresses that pushed Ryan Ding, then there is Romance of the Tiger and Rose. And I'd also say Moonlight with Esther Yu--who also pushed him quite a bit. While she wasn't terrible ^^ I still would have chosen a top line actress and sacrificed some of the production values like the 3D printing of crowns to try to get a better actress as lead. Guan Xiao Tong would have been my natural pick since she can play the range.

4. Director. Some of the blocking was off, particularly on Ryan Ding--I don't blame Ryan Ding for this--that's on the director's head to run through the scene and let the actors play it out a few times. And a few directing choices I disliked entirely, though these are minor.

5. The writing. The writing was meh for me--I mean if you take it separate from the book it's running 3-4. It's really, really creepy that the screenwriter wants *so hard* to redeem incel stalkers this much. I mean, WTF. Trying so hard to redeem incel stalker from the book, and then try to redeem them in the drama, but no one wants that. What I felt from the screenwriter throughout was that they were constrained a bit by budget, but also they lacked confidence to make the bolder decisions. For that reason the drama feels like a fanficiton version of the book rather than an improvement. This isn't to slam fan fiction, BTW, but to say, it feels more copying cookie cutter. And BTW, I'm not one of those, the book is always better. I go wherever the story is best.

6. The Nepotism adds

Occasionally, in order to make a production, the financing asks that you add characters--there were quite a few and a few characters that should never been downgraded were downgraded for the drama. Usually in regular production, adding characters means more budget. The only exception is nepotism adds where there is a contingency. This is why I think a few of the actors who were added, but not in the book were solely added for budget reasons, not storyline reasons. Zihui should not have been split into Xiu Ming and Zihui. This by far, weighed down the drama and you didn't get the tighter plotting that the book had. The whole of the Muluo tribe--Uhhgghhh no. OK, the demon bit was good. But still.

BTW, I still want to yeet Xiu Ming off this drama.

BTW, I'd so watch a movie version that actually followed the novel more 1 for 1.

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Subversion of Chinese Rom Com tropes with love and feminism

You're not going to understand this drama is you haven't watched Chinese Rom Coms before.

The whole drama is a satire of Chinese Rom Coms. So if you're viewing it as a pure Chinese Rom Com, you're going to miss a lot.

It particularly aims at Gu Man and Zhao Qian Qian's Rom Coms, and makes constant references to both. But in holding up the tropes of rom coms, it also aims to subvert them with a lot of love and inject reality into the drama.

Gu Man always has the rumor mill as part of her writing as why the characters get together, but this drama plays heavily with the idea that rumors can get characters together.

And Zhao Qian Qian's dramas always plays with the woman/girl being in humanities, like English/Lit/Chinese, etc and then the guy being in science of some sort. But the drama plays with this trope and inserts a sweeter message about this idea. It particularly takes shots at "Put your Head on My Shoulder", but also some of her other dramas (with a lot of love).

Lu Wan Wan ends up being the person who is the science major. And looks like she'll earn more money. And Ren Chu isn't made dumb at a cost of this. Ren Chu is more smart on the humanities side--mentioning foreign languages, etc.

The basic format is to set up the trope, then subvert the trope (this is second and third act), then insert a sweeter message about the philosophy of love. The setting up of the trope always comes with a bit of second-hand cringe which comes from the inexperience of the characters and I'm always finding myself hiding behind blankets, pillows, etc as it is happening and then going wrong. The subversion is always, always funny, as what you expect to happen never happens and what the characters state should happen never happens in some of the funniest scenes. But the thing that really captures your heart in the end is the ending messages of each of the episodes on various subject matters. Some of the subjects include how to deal with rumors, love contracts, forced and accidental kisses, "trapped mystery room", "Best friend knows best", evil girl, etc. And the ending message is always uplifting about what love is and could be compared to how it is portrayed in dramas.

The top complaints about this drama are probably unfounded based on the fact many of the commenters don't seem to understand how subtle of a hand this drama has.

The comments about how long it takes for the characters to get together--the drama justifies this up front with you and tells you this is going to be the case--because that's not the point of the drama. It doesn't sacrifice character development to do this, if anything, it's spending time on each of the "How they get together" tropes to develop the characters and their sense of what love is so you really, really believe the ending of the drama that much more.

The writing's downfall is because it relies so much on tropes, it can make it seem slower than people expect it to be. Sitting through uncomfortable tropes makes it a bit difficult, but it always pulls out of the nose dive and inserts feminism later. And the other weakness of the writing is that the "evil" best friend isn't really fleshed out--but I kinda feel like this was cut out of the drama rather than intentionally ignored/cut down. But the better messages about what love is and is not are worth watching the drama for. (The Second Lead's love story enhances the Lead's love story and is wrth the watch for the character development and message it says).

The acting and directing though--there are some really gorgeous and well-thought out camera work from the director, as the director uses various types of shots to communicate how the characters feel, but doesn't substitute that for the trust in the actors. And the acting exaggerates the character types to the nth degree on purpose, so it reads as overacting in some parts, but doesn't betray the character's write up. This shores up some of the weaknesses in the writing and enhances it, so I did find it stronger than the writing.

The production values are probably around 7 or so. They didn't have the highest budget in the world, BUT they used it well. There are various locations, there are filters naturally applied, the actors are (mostly) not dubbed over without their voices. So if you don't pay attention that closely you won't notice the budget is not really that high. HOWEVER, it doesn't scream to you they had over-the moon budget.

This is slow, steady, slice of life and delivers laughs throughout with the best messages about what love is, if you're willing to take the time with it and not treat it as a fast food drama, but pay attention to some of the details.

Feminism tests:
Mako Mori: Clean pass, but it takes a while for the female character to find what her goal is and that is for herself. But it's done in the sweetest way possible and the drama constantly promises you along the way it'll get there. So when you do, your jaw drops at the feels. (I wasn't crying. No really. And I wasn't pounding my chest. I swear.)

Bechdel Test: Clean pass first episode within a few minutes of the episode, without question. Two named female characters talk about... medical issues related to the class.

Sexy Lamp: Easy pass first episode and keeps passing into the second episode with an even cleaner pass. Lu Wan Wan is not a sexy lamp. She's shown to be smart, able, makes decisions that affect other characters which changes the direction of the plot definitely, definitely more than one time and isn't only a pretty face. This is true throughout the drama where instead of losing agency like in the melting or evaporating woman trope, she gains agency and makes more firm decisions which naturally grow with her character development. (Honestly, this made it a pleasure to watch since the drama promised from the first it would do this, and really delivers on the promise.

Other feminism it does includes, but is not limited to, examining codependent relationships, asking questions about "wanting to change the romantic partner", and gendering of some of the rom com stock characters.

If this were food... I'd rate this Taro Cake. You were expecting sweet, but did you expect the taro to be nutritious and in there? No. But do you enjoy it anyway? Yes.

I tried knitting to this drama, but made a lot of mistakes because it was too good. So I wouldn't craft to this.

Front burner type of drama, not back burner. Pay attention and you get rewarded highly.

If you pay attention well enough, it'll ruin all the rom coms you watch after it. I'm struggling with some rom coms currently where I can't help but think back to this drama and how they showed how love could be done better. Only one other drama has ever done this to me--The King of Dramas (Korean). So that says a lot. (And I watched a TON of dramas, more than listed on my profile.)

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Story--can I give it Zero? No? How about Negative?

Usually, I try, really, really hard to figure out what the writer/director/actors are thinking and find something clever, or something to redeem it.

In this case for a scant 4 episode Ren Jialun and the brother character are the only things to hold onto, until the director mind numbingly reins it in by episode 6 and I don't know why he did that because that's the only reason I was watching this drama.

For a story to work, you need one of the following things pretty much internationally to hold it together:
1. Characters want something they usually can't have or currently attain.
2. Characters NEED something they aren't aware of, but are promised to attain.
3. There is an established tone that the story promises to work on later to develop (admittedly, more of a Japanese thing).
4. There is a theme the drama promises to develop and tease out, then maybe twist later.
5. If you have none of those, and just characters running around, then the characters should at least be interesting until you can find the central event chain.

Guess what? The director/writer (same person) manages to cut this off by Episode 6. And struggles so hard that he has to include an unnatural event chain by episode 7-8. (i.e. it drops in rather that it blooming naturally out of the characters interacting with the events/tone/theme and then they create new events which then shape the character, etc.)

And then, OK, maybe you don't care about the previous, no plot, no interesting characters, but you want some knowledge base about *something*. Slow clap to the director/writer. You're denied. Because he constantly copy-pastes the top results from the search engine to make the psychologist character work. He doesn't understand anything about how it works. In Mr. Bad, which had less episodes, and a writer who has had, count 'em 2 scripts, they managed to include more psychology in the span of 2 episodes than this drama has in 8 and validly so. The script writer for Mr. Bad applied the basic principles of research, understand, and then integrate. Here, there is none of it. Meaning that a cotton candy Romance drama with half the episode count (about) managed to do more in research than this one did.

I've watched utter trash, but this is the first time I've witnessed a drama have no genre for over 6 episodes and still feel directionless for 8 episodes. And to be clear, I'm familiar with early Chinese dramas too, where it took a long time for the pitch, but in the long time setting up the characters, the drama promised a direction, kept good camera language, such as keeping the camera on the female lead for more than three seconds, and might even set up a theme, even if the events didn't really move. Using clever camera tricks for the sake of it is sooo rookie. In romance holding the shot and letting the actors emote is much better.

This drama has an utter gift to manage to not do that. And it's not that I don't understand "high art" or lack patience. I've watched Being John Malcovich, and really artsy pieces. I've also watched utter trash, and this drama manages to mindnumbingly surpass the fail for "Watch this for B-move entertainment", watch for an actor because they are trying something new and also feel so in love with itself while failing, that I want to cry.

The music is rated lower because he uses classical pieces so he didn't have to pay for a music director, and so he could get lots of unnecessary special effects like cars flipping over.

This would be my recommendations to the director/writer:

How you go 20 years in the business and manage this hard to fail is beyond me. I'm open to artists improving and changing, but stop copy-pasting from the internet and try to grasp what the articles that contain the definitions are saying about the item. Go and experience it, or ask experts. Make the characters WANT or NEED something, and if you're advancing in the ranks, you'll choose a theme and tone. And if you're trying for romance, the meetcute should be in episode 1, not 2, or a really good promise made in episode 1 on how they will meet and how epic it will be when they do (Outlander does this, US drama). If you're trying a new genre, get a supporting writer to help you out, OR do the thing that the Hong Sisters do, which is find a work to adapt so you get what the genre expectations are. Also, it's better to not self-glorify. And stop reining in actor's improvisation. Ren Jialun acting a bit overboard was the best. Him having multiple takes included, and acting overthe top was soo good--play on that, alter the script on that, let it be the plot. Pick a direction ahead of time, and integrate it throughout, and you might find your episode count is only 24 episodes. Hiring good actors to do scripts as poor as this is a crime. I hope the actors were paid well at least...

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