Review: Blossom [China] – The Fangirl Verdict

THE SHORT VERDICT:

Prettily filmed, with a purposefully told story, and a solid cast that delivers strong performances, Blossom is a mid-budget drama that bats above its weight.

I found it nicely engaging from the start, and I was most taken by the burgeoning OTP connection, which boasts a good amount of electric spark, particularly in Show’s first half.

Perhaps most surprising of all, is that Show manages to stick the landing in a way that feels satisfying, and makes sense.

Worth a look, in my opinion.

THE LONG VERDICT:

In the last little while, you might have heard me mention here and there, that I was in a period c-drama slump for a bit.

That was basically brought on by me running out of stamina for period c-dramas, after watching The Princess Royal (review here!), and so, it’s honestly a Pretty Big Deal, that I opted to watch this show.

Because, not only is this a period c-drama, it’s also a rebirth story, kinda like The Princess Royal.

That fact that I’ve survived without getting into another period c-drama slump, and am even here to say quite a few good things about this show, says a lot about this show’s quality, despite it not boasting a big budget, nor big name buzzy leads. ????

OST ALBUM: FOR YOUR LISTENING PLEASURE

Here’s the OST album, in case you’d like to listen to it while you read the review.

Overall, I found the OST very pleasant, though I have to confess that I didn’t really pay it special attention, while I was watching the show.

I felt that the music did well, to blend into the watch, managing to lift the watch experience without actually calling too much attention to itself, if that makes sense?

If I had to pick a favorite, I’d say that the chorus of Track 1, 久念 (Long Yearning), seems to bring on more feels for me, compared to the other tracks. ????

Here it is on its own as well, in case you’d prefer to listen to it on repeat. Just right-click on the video and select “Loop.”

HOW I’M APPROACHING THIS REVIEW

First I’ll talk about how to manage your expectations going into this one, and what viewing lens would be most helpful.

After that, I talk about stuff I liked on a more macro level, before I give the spotlight to selected characters and relationships, in a separate section. Finally, I spend some time talking about my thoughts on the penultimate and finale episodes.

If you’re interested in my blow-by-blow reactions, &/or all the various Patreon members’ comments during the course of our watch, you might like to check out my episode notes on Patreon here.

MANAGING EXPECTATIONS / THE VIEWING LENS

Here are some things that I think would be helpful to keep in mind, to maximize your enjoyment of your watch:

1. Allow some time to get situated

We’ve got a pretty complex story, and quite a sprawling cast of characters, so it’s normal to feel lost for a little bit, when you start watching.

Everything does fall into place quite easily and quickly, so just give yourself a bit of time.

2. The storytelling is economical

This makes things move along at a nicely brisk pace, which is nice.

At the same time, this does mean that some things are left to us to conclude on our own.

Additionally, sometimes, you do need a bit of time to get adjusted to the fact that Show has already moved on, to a new plot point.

3. The OTP loveline is a bit of a slow burn

As with most period c-dramas, the OTP loveline leans on the slow burn side of things, so it’s good to approach this with some patience.

However, like I alluded to earlier, Show is pretty good at serving up bits of crackle with the burgeoning OTP connection, and that definitely helps to spice things up.

STUFF I LIKED

The premise [BROAD FOUNDATIONAL SPOILERS]

Right off the bat, I found the premise interesting and appealing.

I was intrigued by the set-up, that our two leads are shown to have an intertwined fate, based on their fateful encounter in episode 1, before they both die an intertwined death, which leads to their respective rebirths.

Show does a solid job of giving us enough context in episode 1, that we would feel sympathy for both leads, such that we’d be invested to see them have a second chance at life, where they’d be able to overturn that unfair things that would be leveled at them.

The meeting between Song Mo and Shou Gu (Li Yun Rui and Meng Zi Yi) is brief, but there is a sense of solidarity there, as two people who’ve been wronged, particularly since Shou Gu’s husband Wei Ting Yu (Li Xin Ze) shows up and accuses Song Mo and Shou Gu of improper relations, that should warrant their deaths.

The way they eventually die together, it’s easy to sense that their two fates are going to be very much intertwined, particularly with that moment when that drop of blood from Song Mo’s chest lands on that spot behind Shou Gu’s ear, and transforms into a birthmark of sorts.

Right away, I feel pretty darn convinced that these two people are not only fated to meet again, but will have fates that literally yoked together, and cannot be disconnected. ????

I found this all very grabby.

Show’s general handling and execution

Before starting my watch, I watched Avenue X‘s first impressions video (here!) – which, incidentally, is very spoiler-lite, so you can feel safe to check it out – and I have to agree with her assessment, that this director has a clear vision of what he wants to produce, and it shows.

Right from our first episodes, it is clear to see that there’s an economy of storytelling there, where there doesn’t seem to be any filler, and it feels like every scene contributes something towards our understanding of our characters and our story.

I also agree with Avenue X, that there’s an elegance about the way shots are framed, lit and set up, and that does add to an overall sense of coherence that comes through consistently.

Additionally, I appreciate how Show keeps things moving; it doesn’t feel like we’re spending too much time on a single plot point, and I don’t find myself feeling bored, so far, from a plot point overstaying its welcome.

[MINOR SPOILER ALERT]

E21-24. That scene where Shou Gu sends Song Mo off as he leaves with his troops to eradicate the bandits, is very prettily filmed.

I do love that the director had envisioned exactly how he’d wanted this scene: with Song Mo leaning down to kiss Shou Gu, from his horse; the two of them appearing to be frozen in time, as the rest of the world continued moving around them.

Apparently, the director had been inspired by a photograph taken in WWII, of a soldier kissing his beloved goodbye.

Yes, we love a director with a vision. ????

[END SPOILER]

Our story is pretty accessible

Like I alluded to earlier, I did feel a little bit disoriented from time to time, because this story world is pretty sprawling and we do have many characters and many moving narrative pieces.

However, I will also say that my feelings of lostness didn’t tend to last long; I might be all ??? for a little bit, like, who’s this, and what’s going on? – but given a little bit of time, I soon found myself rolling quite well, with the swing of things, all over again.

In that sense, I do feel that Show makes itself quite accessible, despite the narrative challenge for viewers who are likely still getting properly situated in our story world.

Our OTP

You know, I’d like to say that I’m not too OTP-focused, and am just as interested in the do-over portion of our story, but I have to confess: I really am mostly here for the OTP possibilities. ????

I guess that makes me a shallow fangirl, but I can’t help myself; I’m just ready to squee, every time we get another indication that Song Mo and Shou Gu have feelings for each other, or are a little closer than before.

I don’t know if that’s Show’s intention, but that’s basically how I digested this one, and I thought I should ‘fess up and let you know. ????????

I’ll talk more about our OTP in a later section, but for now, I just wanted to say that despite the slow-burn vibe of the loveline, the way Show is extremely deliberate with each of their run-ins, makes me feel like we’re making noticeable OTP progress, nonetheless.

This is very excellent in my books, because one of the things that makes my fangirl heart wilted and frustrated, is when a period c-drama loveline is slow-burn, and offers too little, in the way of emotional payoff.

That’s mostly not the case with this show and this OTP.

Additionally, Show is efficient at causing our OTP’s paths to cross on a regular basis, and I personally was quite delighted (and sometimes amused) with this. I really like it when they get to interact, even though I do like them individually as well.

I also appreciate that as things develop, we also get to understand our characters better, so it feels like Show is using these developments meaningfully.

STUFF THAT WAS OK

When Show stretches logic

From time to time, I found it necessary to suspend disbelief because Show was taking liberties with stretching logic.

I mostly didn’t mind so much, since it all helped to nudge our story forward, which is why it’s in this neutral zone.

For the record – and for some laughs ???? – here are some of the logic stretches that stood out to me extra. ????

[SPOILER ALERT]

E13-16. I’m pretty amused at the show that Song Mo puts on, of being degenerate and debauched, while actually using the opera house to keep his ear to the ground, since so many of the court officials love opera.

I did find it a stretch though, to think that Song Mo’s men have all seamlessly taken on cover personas as opera performers.

I mean, surely they all didn’t just happen to have talent for opera..? ????

But fine, I’m willing to just roll with it, for the sake of pushing our story forward. ????

E17-20. I thought it was quite entertaining, the way Shou Gu strategizes, so that Song Mo’s father actually chooses her as Song Mo’s bride – because, 1, he wants to prevent Song Mo from potentially becoming Prince Consort, and 2, he wants Song Mo to marry a difficult wife.

Heh. There’s a good amount of suspension of disbelief required here, because how could Shou Gu know for sure that this was how things would unfold, but I’m entertained enough to just roll with it.

E21-24. It’s a complete stretch, that Shou Gu would be able to bring a hot bowl of longevity noodles to Song Mo, out in the wilderness, on his birthday, but fine, I’ll roll with it since it makes Song Mo happy. ????

E25-28. I have to confess that I find it kind of a stretch, the way Show presents Song Han as being soooo outstanding in every way, all of a sudden, when he presents himself to Prince Qing and asks to serve him.

I mean. If he’d really been that outstanding all these years, how had he managed to hide it so well, such that everyone believed that he was far below Song Mo’s level in terms of aptitude and accomplishments?

And if he hadn’t been that outstanding all along, then how could he suddenly become so good at everything – to the point of being able to catch an arrow with his bare hands?

I think we really have to suspend some disbelief here. ????

[END SPOILER]

STUFF I DIDN’T LIKE SO MUCH

When Show’s sense of humor doesn’t work for me

You know how some people are fine when you make jokes about them – until you make jokes out of things that are actually important to them, and that’s when they stop being fine with it?

Yeah, that’s pretty much me and Show, in a nutshell.

I was fine with Show’s efforts at humor, even though I didn’t always find the Intended Comedy actually amusing.

But when Show started using humor to try to keep our OTP apart, I was definitely not pleased, and my displeasure only grew, as Show leaned into this particular niche of Intended Comedy.

Here are a few thoughts on that, just to illustrate what I mean.

[SPOILER ALERT]

E17-20. I’m glad that Shou Gu is all eager to share her map of information with Song Mo, but when he put the brakes on that, why did Shou Gu’s stomach have to growl, and then afterwards, why did Zhang Ru have to show up, and take over the matrimonial bed??

Listen, I would be very much mollified if Show would just make up for the teasing by giving us a proper kiss, and a little glimpse at married OTP skinship, but that isn’t forthcoming and I feel cheated. ????

E21-24. I was ruefully amused to watch our boy Song Mo get more and more frustrated at the lack of physical intimacy between him and his new wife. ????

I thought it was kind of silly, that Song Mo and Shou Gu staying up to look over ledgers, actually leads to all these rumors about the two of them being so loving that their night of passion lasted until the early morning – and a baby would likely soon be on the way.

I did feel kinda bad for Song Mo, that he would entertain the thought that Shou Gu must not love him like a wife loves her husband, since the sexytimes aren’t at all happening.

And then I honestly cringed through the scenes where Shou Gu’s all drunk and doing a lot of tipsy talk; that landed as quite stilted and awkward, to my eyes.

[END SPOILER]

SPOTLIGHT ON SELECTED CHARACTERS / RELATIONSHIPS

Meng Zi Yi as Dou Zhao / Shou Gu

This was my introduction to Meng Zi Yi, and I feel that she does a very solid job of the role of Shou Gu.

On that note, let me just say that because I got so used to so many characters addressing her as Shou Gu, that I’m basically referring to her as Shou Gu through this entire review, instead of Dou Zhao.

I love that Shou Gu is quickly established as a very smart and quick-thinking character, who also cares deeply for the people who are important to her. This gets reinforced a great deal, over the course of our story, which I appreciated.

I just really liked have a female lead who’s so wise and resourceful; it made me want to be more wise and resourceful too. ????

[SPOILER ALERT]

E1-4. I like the sense that we get right away, that Shou Gu’s very sharp and clear-minded, and is able to think quickly and strategically, even under pressure.

I also like that she’s very perceptive, like the way she understands Song Mo’s intent, in our opening scenes, even though, at this point, she’s never met him.

Layer on the fact that she’s self-sacrificial, even though she’s seriously ill, when it comes to protecting her husband and household, and it’s even more infuriating, when we see that said husband is cheating on her, and is just waiting for her to die, so that he can marry his mistress, her stepsister Dou Ming (Li Bai Hui).

It says a lot about Shou Gu, that her first reaction is to swallow the injustice, because this is a marriage alliance that would benefit both families – but then completely change her mind, once she realizes that Dou Ming and her mother are the whole reason that her own mother had died.

She’s ready to bear injustice, when it’s just to do with herself, but she will not tolerate injustice that’s done to her family, and that’s why she doesn’t waste a single minute, in bringing the cheating couple’s shameful dalliance to light – by having the servants declare that there’s a fire in the kitchen, which brings everyone running.

I really like that she’s so undaunted, as she faces them down, and then declares a divorce on her husband on the spot – and then leaves the mansion without delay, in order to get the divorce officially registered in her hometown.

I love that she possesses such a strong sense of self! ????

E1-4. I felt bad for Shou Gu, that her efforts to change things, didn’t end up saving her mother, but that does drive home the point, that small actions only make small ripples in the river, and to change the actual course of the river, you need to have the power to flatten mountains.

A very apt visual, I thought!

I do like that Shou Gu manages to change the course of her fate, in a pretty meaningful way, in that she manages to leave her father’s house, to live with her grandmother (Mu Li Yan).

In the subsequent years, which we see as a highlight reel, it’s pretty gratifying to see Shou Gu grow to be so experienced and conversant as a merchant; she’s no sheltered princess, that’s for sure. ????

I do love the detail, that Shou Gu uses her wisdom, and her knowledge of how larger events will unfold, in order to grow her fortune, as well as the fortunes of those close to her.

E1-4. I like how Shou Gu continues to show herself to be undaunted and self-possessed, even at that banquet where her supposed elders are trying to matchmake her off to some subpar dudes who aren’t worthy of her, all for the sake of getting her married off, so that stepsister Dou Ming can be matched with the ideal candidate that stepmother Wang Ying Xue (Alina Zhang) has in mind.

I like how she tries to lie low, but then, when put upon, makes her point loud and clear with that couplet, and then excuses herself – which is when she crosses paths with Song Mo, at the storytelling performance.

E5-8. I was very much interested in the goings-on with Shou Gu, because Stepmother’s doing everything she can, to force Shou Gu’s marriage to Wei Ting Yu, Shou Gu’s no-good husband from her first life, and I am sooo on Shou Gu’s side, that she must avoid this marriage at all costs.

And I do like that Show manages to link all this marriage talks stuff, to Dou Shi Shu’s (Wang Tong Hui) political ambition; in that way, it all feels very cohesive, even though the marriage talks stuff is way more watchable than actual political stuff. ????

I love how Shou Gu basically uses her knowledge of Wei Ting Yu’s ways, from her first life, and makes it such that he decides that he really doesn’t want to marry her, in this life. ????

There’s something very gratifying about Shou Gu not caring two whits about behaving decorously, and even taking some sly satisfaction in being sideways rude. ????

Like the way she shoots at those courtesy kites, and then languidly remarks that it’s because the strong wind, that her arrow flew that way.

And the way she puts Wei Ting Yu on the spot and gets him to showcase his subpar archery skills – which she already knows are subpar, from her first life. ????

E5-8. How shrewd of Shou Gu, to understand so deeply, that Wu Shan might be a good person, but that marrying him would mean losing all the little happinesses and freedoms that she enjoys.

I do think Shou Gu is also very insightful, in the way she says, later on, that the price of having one’s heart moved (with real attachment), is too high.

That’s so true, I find. Once your heart is invested, it becomes much too hard to think and act based on pure logic, and that’s when you can easily become hurt. ????

E5-8. I love that Shou Gu handles herself in such a confident, self-possessed sort of way.

When General Yan (Bai Hai Long) tries to threaten her into saving Song Mo, she turns around and basically indicates that she could save Song Mo, but not when she’s being threatened about it.

Isn’t it so gratifying, to then see General Yan change his tune immediately, and kneel, in order to ask respectfully, that Shou Gu save Song Mo? ????

And, isn’t it really smart of her, to tell Gu Yu to place himself in prison, to protect Song Mo? After all, since Gu Yu is the Empress’s nephew, he has a lot of personal power, which we absolutely see at play, once he gets to the prison.

After that, when General Yan and his men lose patience and tell Shou Gu they’re going to storm the prison to save Song Mo, I couldn’t help but snicker, that Shou Gu’s response, is to lock them up, because she’s grown tired of talking to them.

Hahaha! Ok, but to be fair, Shou Gu has been very patient with them, explaining her point of view to them, and helping them to see the logic and wisdom in her strategy of waiting for the Emperor to act.

It’s just that they’re too impatient to keep playing the waiting game.

E9-12. I’d wondered how Shou Gu would talk Wu Shan (Quan Yi Lun) around, and I must say, she’s very effective and wise.

It makes so much sense for her to get him to look beyond himself, and appreciate what his grandfather Grand Secretary Wu has been doing for him, and get him to think about how to earn his right to make his own decisions.

She’s not unkind, but she doesn’t coddle him either; she talks to him with compassion and care, but there is definitely a note in there, of challenging him to change the way he thinks about the world, and do better for himself.

I like the fact that she’s basically helping to empower him, and that any change that he makes, will not only help him, but also, settle his grandfather’s concerns for him.

She’s so wise. ????

E9-12. I do think it says a lot about Shou Gu, that even under torture, she refuses to make a false confession implicating the Miao family.

Her loyalty; it’s not just lip service, and we get reinforcement of this truth on a regular basis – which is great, because this is also positive reinforcement when it comes to Song Mo’s impression of her, yes?

E13-16. It’s satisfying to see Shou Gu be confident and self-possessed, and not let those other girls bully her, even though they succeed at getting Ming Er disqualified.

Of course, it’s just as satisfying to see Shou Gu stand up for herself when Lady Wei (Bai Qing Lin) tries to accuse her of improper behavior, because she’d placed a bet on the hunt – and then get backed up by the Princess Royal, Princess Shude (Zeng Yong Ti).

[END SPOILER]

Li Yun Rui as Song Mo / Yan Tang

I’d had Li Yun Rui on my screen before this, in Love Like The Galaxy (review here, and Open Threads here!), but I have to confess, my entire focus was on Wu Lei, at the time, and I didn’t really pay much attention to Li Yun Rui, oops. ????

And so, this was a great opportunity to get re-acquainted with Li Yun Rui, and just dipping my toes into episode 1, all I could think of, was that I’d never seen Li Yun Rui be so badass, heh.

Yes, I’m a shallow fangirl, because I was completely entranced by his silver-textured tousled mane of glory in episode 1; he looks so cool! ????

And it absolutely doesn’t hurt that Song Mo’s a skilled fighter and respected general, and has a commanding air about him, amidst all the angst that we see in episode 1.

Show is very smart to convince me early, that Song Mo is a compelling character, coz the promise of more of that to come in future episodes, definitely added to my interest in watching this show. ????

Besides being a skilled fighter with badassery coursing through his veins, I also very much appreciated that Song Mo was such a smart, shrewd sort of character, while also being extremely loyal.

Let’s just say that I ended up enjoying Li Yun Rui in this role, very well. ????????

[SPOILER ALERT]

E1-4. I feel bad for Song Mo, because he’s doing his best to be a good soldier, while also being a filial son, but it’s clear that Dad has little regard for him.

From the fact that Dad had kicked him out of the house, and that’s how Song Mo had ended up joining the army, to the way Dad turns around and blames Song Mo for his demotion, when it had been Song Mo who had offered to bear the beating that Dad’s misdeeds had earned him, it’s clear that Dad couldn’t care less about Song Mo, even though Song Mo is his son.

It’s little wonder that Song Mo has that troubled aura about him, when he’s alone. ????

E5-8. I feel like I learned an important thing about Song Mo, with the way he and his men seek shelter at Shou Gu’s countryside estate to seek shelter – and plan to kill everyone in the estate, so as not to leave any witnesses.

I mean, that’s dark. ????

I do appreciate that Show throws that nugget of information in there, that Song Mo typically wouldn’t do such a thing, but would decide to do this now, because the next generation, and therefore the future, of his uncle’s family line, is at stake.

It does add some dark lines to Song Mo as a character, but it does intrigue me, that he’s someone whose loyalty would allow him to blur the lines between right and wrong.

He’s known to be upright; who defends the country and protects the innocent – but if push comes to shove, he’s willing to put aside his values, in order to uphold loyalty.

E5-8. The way Song Mo bids his tearful, heartfelt farewell to Uncle, and then immediately takes Eunuch Wang hostage, and storms the palace in order to speak directly with the Emperor about Uncle’s death, is really fearless.

I was in awe of him, because it’s clear that he’s willing to die, if necessary, in order to ensure that Uncle isn’t maligned in death.

E9-12. I was shocked when, after that showdown, and Song Mo hands over the assassins to Eunuch Wang, Eunuch Wang silences them all, in order to cover up the case. Gasp!

And he’s got an imperial decree on him as well? Dang!

I feel so bad for Song Mo, because he’s done so much, to investigate the injustice behind Uncle’s death – only to have every bit of progress snatched from his hands, and covered up, by none other than the Emperor himself.

It’s no wonder he feels so disheartened and disillusioned, that he’d want to forsake everything. ????

I’m relieved that Shou Gu manages to offer him a new and different perspective; that the Emperor’s hand had been forced, and that he should return to the capital, to re-familiarize himself with the political landscape, in order to learn about the enemy.

And also, that he must carry on Uncle’s legacy, and essentially live for Uncle’s sake.

It’s all very stirring ????, and I’m glad that Song Mo realizes quickly, that Shou Gu’s analysis, that the Emperor feels guilty about Uncle’s death, is accurate.

[END SPOILER]

Song Mo and Shou Gu

This is as good a time as any, to mention that I basically kind of fell into the habit of referring to our leads as Shou Gu and Song Mo (instead of Dou Zhao and Song Mo, or Shou Gu and Yan Tang, thereby matching given name to given name, or courtesy name to courtesy name), because these were the most commonly used terms of address for these characters, in our story’s early stretch.

And, once I got into the habit, it just stuck. ???? I thought I should explain that at least once, in case any of you were wondering about it.

As I alluded to earlier, I was mostly in this for the OTP, because for a good stretch, there was just so much electric crackle between them each time Show served up a moment of hyper-proximity. ????

As an unabashed fangirl, I have to admit, these moments of breathless sizzle were the highlights of my watch, hands down. ????

Layered on top of that, was the thrill of seeing such smart leads coming into each other’s orbits, and affecting each other in ways that they never expected.

[SPOILER ALERT]

E1-4. I like how, seated next to each other, and behind their respective festive masks, they exchange thoughts on meaningful things, like the importance of duty, versus the importance of family.

Their meeting is quite brief, but it does land as quite meaningful.

I like that Shou Gu’s able to perceive Song Mo’s sadness and isolation, even though he doesn’t reveal any details about himself or his family.

And of course, there’s the synergy they show, when answering the various riddles that the show organizers throw open to the audience; they really are matched in cleverness and wit.

I like that Shou Gu sends her lantern prize to Song Mo, along with an empathetic message urging him to make amends with his family, if they are still around.

It’s little wonder that Song Mo feels a sense of connection with Shou Gu; she sees him, even when he’s behind a mask. ????

E1-4. Things look to be shaping up for Shou Gu and Song Mo to get even more connected than ever.

First, there’s the very significant way she experiences heart pains, when Song Mo hurts his head.

Nothing says “Intertwined Fate” more than that, yes? ????

Plus, it’s the incense from her perfume sachet, which had accidentally gotten hooked to Song Mo’s clothes, that eventually revives him, when all else fails.

Talk about a Meaningful Connection. ????

I’m glad that Song Mo understands that he is indebted to Shou Gu, even though he has no idea who she is.

E5-8. I’m in awe of Shou Gu, for her quick thinking and her courage, because in a highly dangerous situation where she could lose her life, she manages to put up a steady, calm front, and then negotiates with Song Mo, using her impressive insight and perceptiveness.

Gosh, the more I see her in action, the more I am impressed with her. ????

First, there’s the way she addresses Song Mo, right off the bat, by his usual title, “世子” (shìzǐ), which means “successor” or “heir” and typically refers to either the Crown Prince, but in this case, it’s because Song Mo is heir of his father, the Duke of Ying.

With just that term of address, Shou Gu establishes that she knows exactly who Song Mo is, versus the merchant story that his entourage has given.

And then she also quickly establishes that she understands the details around his uncle’s situation – and why Song Mo’s traveling in haste through the night, with an infant in tow.

Logically speaking, this would absolutely make her standing all the more dangerous, since, the more she knows, the more likely Song Mo would kill her to silence her.

And she does get into a rather dangerous spot there for a while, with Song Mo putting his blade to her throat – but that’s when it comes to light, that her whole conversation with Song Mo, had been but a diversion, so that her maids could take the infant hostage, which completely changes the game.

Gosh. I just love that Shou Gu’s able to think so quickly, clearly and sharply, under duress!

She makes so much sense, pointing out the the crux of the matter, is his uncle’s safety, and not the baby; that if Uncle is safe, the baby would naturally be safe as well.

Her thought, that the petitions submitted to the Emperor, shouldn’t be to acquit Uncle, but to accuse him of poor conduct, sounds counter-intuitive for sure, but her reasoning is solid; that if the Emperor saw so many people rallying in support of Uncle, it might well cause him to be even more suspicious of Uncle.

I do love that when Shou Gu starts to elaborate, Song Mo immediately starts to understand where she’s coming from, and see the wisdom in her thinking.

But it’s not just her cleverness that holds her in stead; it’s also her sincerity and her willingness to help.

It’s really the way she helps to calm and feed the baby, and her graciousness in preparing food for him and his party, despite their very recent death threats, that causes Song Mo to let down his guard and start to speak more openly with her.

After this incident, I can already see Song Mo’s intrigue towards Shou Gu begin to grow, with the way he remarks that she’s no ordinary lady, when his men report back after doing a background check on her.

And, there’s a note of solidarity there as well, when his men report that she’s been abandoned by her family, and he remarks that he’s also been cast out by his own father.

It’s clear that Song Mo still has some degree of guardedness towards Shou Gu, but with this, I feel like I can see that he’s slowly lowering his guard towards her, and even becoming more open towards her as well.

Plus, I do like that he’s intrigued by her gaze; as if she’s known him from before.

Of course, I also like the fact that his intrigue towards Shou Gu only increases, when her advice about rallying all those negative petitions, actually bring about the exact positive change, in the Emperor’s attitude towards Uncle.

And, I also like the detail, that now, whenever someone around him speculates something negative about Shou Gu, Song Mo’s quick to give Shou Gu the benefit of the doubt.

I love how all these little things are stacking up, and creating this overall effect, that Song Mo’s softening towards Shou Gu. ????

E5-8. I got really worried for Wu Shan, when Wei Ting Yu exchanges those tiger amulets, despite Wu Shan protesting that it’s improper, and Wu Shan ends up getting a dangerous reaction from the butterflies that are drawn to the tiger amulet embroidered by Shou Gu (thanks to Stepmother’s meddling trap-setting).

It’s a relief that Shou Gu knows exactly how to save him, and acts quickly, paying no attention to all the protests by the scandalized elders.

I kinda love that it makes perfect narrative sense, that Song Mo would happen to be there, because he’s confronting Dou Shi Shu about those bribery rice dumplings with hidden gold centers.

And I couldn’t help but hold my breath during that moment when Shou Gu grabs Song Mo by the collar, looks him in the eye, and asks him to judge her sincerity, in treating Wu Shan.

That was quite electric, if you ask me. ????

I love that he immediately moves to support her, by ordering his men to bring out screens for Wu Shan’s privacy, and then standing guard, while the treatment is ongoing.

He trusts her! ???? Well, at least in this moment, he’s choosing to trust her. ????

Yay that Shou Gu’s treatment saves Wu Shan, and yay that the doctor who arrives, verifies that her treatment had been correct, and had saved his life.

Also, big shout-out to Gran, who manages to diffuse the entire situation, by the power of her personal presence. ????

We get another pretty electric moment, when Song Mo asks Shou Gu about the tiger amulet, and I dig it, even though he concludes, after staring into her eyes, that she’s lying about not having anything to hide.

Even though he tells her that she owes him an explanation, we see later, during his conversation with Wu Shan, that he already has a pretty good inkling of what had really happened, and that Shou Gu had kept the truth from him, in order to protect her family.

And, I can’t help noting that when Wu Shan expresses an interest in Shou Gu, there’s a reactive look on Song Mo’s face, that very much suggests that he doesn’t quite like the idea of someone else being interested in Shou Gu. Ooh! ????

E5-8. Of course, after storming the palace, Song Mo ends up in prison, since the Emperor collapses from the shock of hearing about Uncle’s death – which is where Shou Gu comes in, heh.

I love the fact that Song Mo’s the one who needs rescuing, and Shou Gu’s the one who’s able to do so.

He’s not quite a damsel in distress, but I have to say, the idea that this is an overturning of the damsel-in-distress trope, tickles me greatly. ????

When Song Mo’s released from prison, I feel like you can definitely see that there’s a change in the way he regards Shou Gu; there’s a new sheen of respect and humility about him, when he talks to her, and I like that.

I also really like that moment of hyper-proximity and hyper-awareness, as Shou Gu puts that cloak on Song Mo; I definitely felt a bit of a crackle ???? there, at least from his perspective. ????

And, I did chuckle a little, at the way Shou Gu teases Song Mo, when he mutters his thanks, and pretends that she can’t hear him – twice! – so that he has to say it again, and then again.

Heh. I like this idea that they’re maybe beginning to be on teasing terms now. ????

PLUS. How about that leaked smile, as Song Mo watches Shou Gu walk away???

Leaked smiles say everythinggg and I am here for it. ????

It’s interesting that when Song Mo’s mother broaches the subject of marriage with him later that evening, Song Mo’s thoughts reflexively go to the masked lady at the storytelling session.

Looks like his heart is leaning more towards the masked lady, than Shou Gu.. And now I can’t wait for him to realize that Masked Lady IS Shou Gu!

E9-12. It’s really nice to see Song Mo softening towards Shou Gu, like in the way he says to Chen Qu Shui (Wu Qi), whom he’s been holding hostage, that Chen Qu Shui’s willingness to submit to Shou Gu, makes him even more curious about her.

Plus, there’s the fact that Song Mo actually seems to be looking forward to seeing her again, with all the gifts prepared for her and everything.

It’s just too bad that his tones changes and his expression darkens, when he learns that Shou Gu had impersonated Imperial Physician Li, and it sure doesn’t look good, that Physician Li’s all wet and cold, and looks to be stripped of his outer clothes.

It just makes it worse, that General Yan analyzes that Shou Gu had been hanging around Song Mo on her uncle’s orders, to keep Song Mo from returning to Futing, so that the troops under Uncle could be disarmed.

The problem here, is that Song Mo seems quite convinced by this analysis – and the interesting thing, to me, is that Shou Gu seems to know, ahead of meeting Song Mo, that she would lose his trust.

What she says is true; if he’d really trusted her to begin with, there wouldn’t have been the need to explain anything, and if he didn’t trust her, then any explanation she could offer, would be useless.

That’s why she says nothing, when Song Mo demands an explanation.

I did sigh at this point though, at the fact that Song Mo’s men inform Shou Gu, that the next time they meet, they will be enemies. Ack. ????

BUT STILL. I’m mollified by the fact that, despite his official stance, Song Mo expresses to his men, that the truth is still not certain, and that if Shou Gu had meant ill, she wouldn’t have had a reason to counsel Wu Shan.

Song Mo soon doesn’t have time to think about Shou Gu though, with the lead that he gets, about Uncle’s case, which takes him first to that ninth Jiying guard, to interrogate him around the circumstances of Uncle’s death, and then to Futing.

– which is where Shou Gu’s headed too, because the Maritime Trade Office has seized the ships belonging to her friend Miao An Su and her family, of which Shou Gu herself is the primary investor.

It really isn’t long before she and An Su are taken into custody, because shady eunuch (who also seems to be functioning as a magistrate? I’m not sure how that works) Ding Wei (on higher orders of course) is looking to incriminate An Su’s family for colluding with pirates, in order to cover up the case around the Duke of Ding’s death.

..Which is how Shou Gu ends up under finger torture in prison – which is when Song Mo shows up, to save her.

I must say, I do enjoy how Show keeps finding ways to place Shou Gu and Song Mo in the same place at the same time, while making sure to provide plausible reasons for it all. ????

And since I feel the most satisfaction and glee when Song Mo and Shou Gu are together, I have no complaints about this at all.

I love the fact that Song Mo goes in there, pretending that he’s going to torture Shou Gu, but is, in fact, there to help her and save her.

The way he gets all threatening about dissolving her fingers in acid, but actually puts in medicated powder to help heal her wounds, is quite thrilling, and Shou Gu’s dawning realization that her hands aren’t actually being dissolved, is quite cute. ????

What’s even cuter, is the way Song Mo reminds Shou Gu, that Ding Wei and his lackey are still spying on them, and so she should at least scream a little, and scold him.

And then her screams are so fake and ineffectual, that I had to laugh; is our Shou Gu not good at improv, therefore? ????

I must say, though, that all this furtive low whispering between them during this scene, in between putting on that show for Ding Wei and his lackey, really translates into some nicely crackly tension. ????

Also, I do love the fact that Song Mo is shrewd enough to discern that Shou Gu’s hiding something from him, and that something has something to do with him. That’s so on the money!

Mostly, though, I’m kind of feeling weak in the knees, from the penetrating sort of gaze that Song Mo’s wearing, while leaning in so close to Shou Gu. That, combined with the low tones of his voice, as he bites out his words in such a measured manner, is crackly-schemxy; can’t lie. ????????

And then, when Shou Gu promises to tell him everything if she survives, I feel like I detect a note of gentleness in him, as he looks at her and tells her that he’ll trust her one last time. ????

Afterwards, when Ji Yong arrives with Su Lan in tow, I found it all quite funny, the way he falls right in line with Song Mo, in putting up a big show for Ding Wei, even with fake blood on his hand and everything.

Tee hee hee! It feels like they’re having too much fun, for actually investigating a real case. ????

Also. I have to mention that moment when Ji Yong holds Shou Gu’s hand and asks if she’s applied medicine to it, and she quickly looks over at Song Mo, who quickly and gruffly looks away.

Ah! The undercurrents of meaning! ????

Song Mo very much minds that Ji Yong’s expressing all this concern for Shou Gu and holding her hand, and even insinuating that Song Mo’s medicine isn’t enough to properly heal Shou Gu’s wounds.

And Shou Gu seems to be keenly aware of how Song Mo must feel, to look askance in his direction, so reflexively. ????

Overall, though, Ji Yong proves to be a pretty helpful ally, despite his tendency to provoke Song Mo by being close to Shou Gu; the way he gains fake access to the ship for Song Mo and Shou Gu, is very useful indeed.

And then of course I got a huge kick out of Song Mo and Shou Gu pretending to be all lovey-dovey in order to gain access to the ship. ????

I’m really quite amused that this time, it’s Shou Gu who’s coaching Song Mo on how to give a convincing performance. Like I said, Shou Gu’s maybe just not great at improv, but does better when she goes in knowing that she’s putting on a show..?

In any case, I got a real kick out of her hamming it up and being all teary and sad, while prompting Song Mo to be more loving towards her. And, isn’t it so cute that Song Mo would be so obedient? Hee!

ALSO. How about that moment when Shou Gu informs Song Mo that lovers hold onto each other constantly, and never take their eyes off each other, and he responds by grabbing her by the waist, and then leaning in to gaze into her eyes?

Rawr. There’s definitely some crackle in the air there, yes? ????

And how fun, that when Song Mo asks if this is what she means, Shou Gu whispers that he’s a fast learner! Ha. I love this. ????

Of course, I also really like the fact that when it comes to looking for clues, both Song Mo and Shou Gu are active participants; our Shou Gu proves, once again, that she’s not just a damsel in distress. ????

Yet, Show makes sure to remember that I’m mostly here for the OTP connection, and serves up that Meaningful Moment, when Song Mo and Shou Gu catch sight of each other’s eyes between the wooden slats – thus mimicking the moment they’d shared at the storytelling session, where they could only see each other’s eyes.

It is a little tropey, sure, but I like the idea of Show building, layer by layer, a foundation that convinces Song Mo that Shou Gu is the masked lady with whom he’d conversed.

I also like the significance of Song Mo saving Shou Gu from an arrow, once again, thus mirroring the moment when Song Mo’s and Shou Gu’s fates had first become entwined.

It’s also quite nice, that we get some moments of OTP conversation, while Song Mo and Shou Gu dry off from their watery escape, though I am still uncertain of why Shou Gu demurs, when Song Mo asks her if she’s watched the storytelling performance of The Tale of the Silken Robe.

I wonder if it’s to protect him..? As in, she’d seen and spoken to his loneliness and isolation, during that encounter.. so could she be pretending that it hadn’t been her, in order to protect his privacy..?

Coz I can’t think of another reason, honestly, of why she can’t tell him that she’d been the one he’d met during that performance.

I mean, even if we take into account their intertwined fates, which Shou Gu is reluctant to talk about, that doesn’t automatically mean that she can’t reveal that she was the masked lady he’d met?

Although, after Song Mo pierces through Shou Gu’s earring with that arrow, while she’s being held hostage by Assassin Dude, it really feels like there’s a moment when she’s about to tell him about their fates, albeit dressed as a dream.

It’s too bad that they’re interrupted by that full-on attack on the ship, but I did find it quite swoony, that Song Mo tells Shou Gu, to tell him about her dream, the next time they meet.

I just love the idea that he’s that intent on finding out more about her, that he would even assign brainspace to her dream, while the entire ship is under military attack. ????

E9-12. I have to say, I find the idea of Song Mo protecting Shou Gu from the shadows, and ensuring safe and smooth journey for her, in her return home, quite melty. ????

Importantly, Shou Gu catches on quite quickly, that all of these little blessings, are actually from him, and smiles appreciatively, each time a new blessing presents itself, whether it’s not getting held up at the city gates, or receiving food and shelter, when they’re stuck in the middle of nowhere.

Song Mo.. is quite the romantic, in a way? ????

E9-12. In terms of Song Mo playing a tune while sitting in that tree in the garden of Shou Gu’s estate, I’m not sure; am I supposed to take it that Song Mo could hear the conversation between Gran, Shou Gu and cousin Zhang Ru, and promptly provided music, when they’d spoken wistfully about how they wouldn’t be able to listen to that particular song during Gran’s birthday, with Shou Gu away..?

I’m just rolling with it, because I like it anytime our OTP gets to interact, and Song Mo perched in Shou Gu’s tree, playing music, leads to an OTP interaction – so I’ll take it. ????

And honestly, the tone of their interactions definitely has a new layer of easy familiarity to it, that I’m digging.

Like the way Song Mo deadpan teases her about how she should be afraid that a man’s broken into her house at night, and the way she kind of teases him back, with a smile, that she’s not afraid, because she knows it’s him.

Aw. It’s kind of sweet, yes?

It’s also kind of sweet that he compliments her, saying that she’s the most sophisticated woman he’s met, being so capable of discerning the situation.

And I rather like that she returns that she’s not that sophisticated at handling her own affairs, and thus will learn from him, to be more vigorous and determined.

I do like this idea of them having positive effects on each other. ????

It does feel like some good assurance, to have Song Mo tell Shou Gu, that she can ask for his assistance anytime; surely this will come in handy later?

Also, doesn’t that thing with the Nine-Layered Purple seem symbolic as well?

Shou Gu says that Song Mo shouldn’t bother to tend to it, as it grows well on its own, but Song Mo replies that helping it along, will help it grow that much better.

Seems to me that this is quite metaphorical, because Shou Gu’s saying that she doesn’t need his help – and here he is, saying that helping the flower along, would help it grow much better. He’s telling her that having his help would be good for her, yes? ????

I do appreciate that through it all, Shou Gu continues to keep tabs on what’s happening with Song Mo, and when she receives news that things are taking an odd turn at Song Mo’s family estate, she does everything she can, to help him.

E9-12. I must admit that I am scratching my head as to how Song Mo would know that Shou Gu’s copying texts as punishment, and how he would even have the time, to copy some for her, and send them over, to help her..?

I can only conclude that he’s keeping tabs on her the way she’s keeping tabs on him, and it’s kinda like stalking, yet there’s something weirdly romantic about how they’re stalking each other. ????

E9-12. Unfortunately, when Song Mo’s mother passes away, Shou Gu’s effort to stop him from returning to his family estate fails – and of course it would, since Song Mo would urgently want to see his mother.

It looks like Dad’s literally out to exterminate Song Mo; such is the depth of his hatred. I am very confused by this, because I can’t figure out Dad’s reasoning or motivation.

I’m just relieved that Shou Gu manages to save Song Mo, because based on Song Mo’s assessment, the dudes wielding the whip, had been out for blood. ????

I’m honestly impressed that in the midst of all this life-or-death goings-on, Show finds an organic way to clue Song Mo in to the fact that Shou Gu is, indeed, the masked lady – because her handwriting on the secret note, matches the handwriting on the note that she’d previously sent along with the lantern.

I’m impressed, truly. (slow clap ????????????????????????)

But again, Shou Gu demurs and says that he’s mistaken, argh. I guess she’s being careful about guarding the secret of their past lives..?

E13-16. At the top of episode 13, when Shou Gu offers that pellet of medicine in response to Song Mo’s statement that he needs to have enough strength to hold a sword, and she starts by saying, “If you trust me..” – and he cuts her off, with that growl-whisper of, “I trust you,” accompanied by that unwavering gaze, before he swallows that pellet without hesitation, I basically swooned. ????

I mean, he’s literally putting his life in her hands; he trusts her that much.

That simple lack of doubt, completely unhesitating, really does make me weak in the knees. ????

And then, the way he reaches for her, and cups her face with his hands, and leans in, I totally held my breath (like, “Ahhh!! Is he going to – gasp – kiss her???”) – and he doesn’t kiss her, but checks behind her ear for the birthmark – but the crackly tension from the fact that he’s actually touching her face, is enough to have me pretty much flailing on the ground. ????

Poor Song Mo looks so lost, when he doesn’t find the birthmark behind Shou Gu’s ear, but I do love that he’s smart enough to soon figure out that she’d used makeup to cover up the birthmark.

Before that – and more importantly than that – is the way Shou Gu tells him, as he starts to leave, that no matter what he does, and what other people say about him, she’ll always stand on his side.

I find it all very stirring, like they reach an agreement that’s so fundamental, that nothing else really matters. ????

And then, when Song Mo realizes that Shou Gu’s used makeup to cover her birthmark, I do love the mix of gladness, wonder and amusement that crosses his features, and how he declares that if he lives, he will be back to look for her.

That thing about Song Mo, where he consistently shows that he absolutely has the mental bandwidth to be curious about and care for Shou Gu, never mind if the world is falling around him, is very swoony to me.

Like, no matter what’s happening, she’s important to him. I love that. ????

E9-12. It is a little drama tropey, the way Song Mo and Shou Gu are shown to just.. sense each other’s presence across the way, but I’ll buy it, because theirs is obviously a fated connection, even if Shou Gu is reluctant to embrace it.

And I can’t help clocking the way they basically hold onto each other, the minute they meet, with her hand on his arm, and his hand supporting her elbow.

It’s a very couple-like stance, and I find it so significant that they fall into this – even if the logical part of my brain is rationalizing that it’s likely because her feet are hurt, and that’s why she needs the extra support. ????

Plus, the way she looks into his eyes searchingly, as she earnestly reminds him of how he’d promised to value his life and look for a better way forward if she saved his life, is all very affecting. ????

And then, how about the scene where Song Mo helps to bandage up her feet??

I know she’s wounded and all, but this feels like a very intimate sort of moment nonetheless, and I’m quietly squeeing over here, while watching the scene. ????

I find Shou Gu’s awkward bashfulness very endearing, and then I also find it sweet, that she soon changes the subject to his wellbeing, and quickly checks his pulse – and then demurs, due to what looks to be hyper-awareness. It’s quite cute, isn’t it? ????

E13-16. After Shou Gu’s farewell with Wu Shan, I’m glad to see that Song Mo’s right there with Shou Gu, and that she opts to walk for a while more – which he takes as his cue to walk with her. Cute! ????

E13-16. We move onto the hunting competition and the noblewoman test, and I’m glad to see that Song Mo’s learned a thing or two from Shou Gu, with the way he holds himself back from hunting too well, and from doing too poorly, so as not to upset the Emperor’s delicate view of him, after everything that’s happened.

I just really like the idea that Song Mo’s listening to Shou Gu and taking her advice seriously.

It’s really quite cute how he really cares about whom she’s bet on, for the hunt, and how he basically won’t take his eyes off her, for as long as possible. ????

E13-16. We do get a moment of hyper-proximity in episode 15, when she and Song Mo go in search of Ming Er, who’s with Wei Ting Yu.

That stray arrow almost hits Shou Gu, and I do have hearts in my eyes over the way Song Mo grabs her in his arms and spins her to safety. ????

The way he whispers urgently, to ask if she’s alright, feels very crackly to me. ????

But of course, Shou Gu can’t help but be spooked, because this is already, what, the second time in this life, that he’s saved her from an oncoming arrow, and that’s also exactly how he’d died in their last life – while blocking her from an arrow.

With this, I’m feeling even more convinced of what you guys had said on Patreon, that the reason Shou Gu wants to keep her distance from Song Mo, is because she’s afraid that he’ll die again, because of her.

I do like that Song Mo is quick to pick up on the fact that Shou Gu is out of sorts.

When she claims that it’s because she’s hungry, I like that he gamely cooks her a hearty stew, and then even puts his new cloak around her, to keep her from feeling cold. ????

And then, when Shou Gu still shows signs of not quite being herself, I’m quite impressed that he’s able to guess that it’s about the arrow.

I feel bad for him that Shou Gu pushes back, asking if being able to read her gives him a lot of satisfaction, and I really appreciate his quiet, serious answer; that this is a skill he uses during interrogations, and that he’s never felt satisfaction from it.

He looks so earnest and serious, as he quietly tells her that he just sincerely wants to help her, that I can’t help but melt a little, y’know? ????

But then, Shou Gu breaks free from his grasp and tells him that the best way to help her is to stay away from her, ack.

I know she’s trying to protect him, but it’s still saddening to hear. ????

I’m relieved, though, that Song Mo isn’t someone who’s easily deterred; even though Shou Gu’s given him all these signals to keep his distance from her, his feelings don’t ever seem to waver, and I find that very swoony. ????

E13-16. Even though Shou Gu’s told Song Mo to keep his distance from her, I can’t help but detect a strong note of jealousy in her tone, when she runs into a tipsy Song Mo at the opera house, and ribs him for needing an opera performer to warm his feet at night.

With how Shou Gu’s been so studiously keeping a distance from Song Mo, I absolutely did get a bit of a thrill, to see that she’s definitely not happy about the idea of other people cozying up to Song Mo.

I also got a thrill when all the attendants discreetly leave the two of them alone, and Song Mo starts leaning in to speak in low, serious tones with Shou Gu, saying that she hasn’t answered his question – why is she running away?

Ooh. The crackle is the air is so sparky! ????

E13-16. I must admit that I find it quite affecting, the way Song Mo says, in his plea to the Emperor, that he’s lost everyone in his life whom he’s wished to protect or save, and now his only wish is that the one person he cares for the most, be granted a chance at true happiness.

The fact that he refers to Shou Gu as the one person for whom he cares the most, is so touching to me. ????

E13-16. I was also very tickled by the way Song Mo absolutely lights up, when he realizes, from the way the bride holds onto Wei Ting Yu’s sleeve, that it’s not Shou Gu.

It’s actually really funny the way Ji Yong pulls Song Mo into the bridal palanquin, to urge him not to make a scene, and Song Mo’s just got this look of delight on his face, as he tells Ji Yong that he’s just realized that the bride is not Shou Gu.

Cute!! ????????

E17-20. VERY importantly, we have Song Mo showing up to offer himself to Shou Gu, saying all gallantly, that he’ll marry her. ????

I just really like how earnest and serious Song Mo is, in urging Shou Gu to accept his proposal, telling her that he’s absolutely not acting on a whim.

And I love that when Shou Gu says that she doesn’t like him, and that’s why she can’t marry him, Song Mo immediately gets up and moves up close to look her in the eyes, in one fluid moment, then pronounces that she’s lying; that that’s not what he sees when he looks into her eyes.

He just comes across as so ardent, and I do love that. ????

I’m also glad that when Song Mo presses in and declares that the things she says about being terrified of love and marriage because of what had happened to her mother, isn’t all there is to it, Shou Gu finally tells him about the “dream” that she’d had, about how they’d both been shot through with an arrow, and had died together as a result.

Like, YES, finally!

And thennn. What an unexpected surprise, that the mole behind Shou Gu’s ear, which she brings up as evidence that it’s not “just” a dream, is no longer there!

It really does seem like enough things have changed, that the actual course of the river, has also changed. I sure hope that this hypothesis holds true! ????

On another note, I wanted to talk about the imperial decree that Song Mo hands Shou Gu.

Last set of episodes, I’d assumed, from the scenes of Song Mo making his earnest plea of the Emperor, that he’d been asking for the Emperor to bestow him Shou Gu’s hand in marriage, but that doesn’t turn out to be the case at all.

He hadn’t been asking for her hand in marriage; he’d been asking for the Emperor to give her the right to choose her own husband – something that was unheard of, in those times.

Ahhh! That is a very selfless, thoughtful, swoony thing indeed. ????

He’d pleaded for it so earnestly, even though he didn’t have anything to gain from it, personally. That is very touching.

I do love that Song Mo understands that Shou Gu needs time to think, and gives it to her, without hesitation.

That invitation, to tie a red or white ribbon around the tree, in five days’ time, depending on whether she accepts or declines his proposal, feels to me like Song Mo putting his heart out there.

There’s a very real chance that Shou Gu might turn him down, but he takes the risk anyway, and I do respect him for that. ????

I did chuckle, though, at how shrewd Song Mo is, to get his men to train their core riding strength, by having them deliver that famous tofu pudding from the capital, so that he can send the best ones to Shou Gu. ????

And, it does look like he’s successful at staying on Shou Gu’s mind, since we see that Shou Gu gets all perplexed at the fact that Song Mo is out investigating the smugglng of gunpowder, and basically doing his job, while everyone’s knocking on her door to propose marriage.

Heh. Our Shou Gu’s getting snippish because she wants Song Mo to be more present with her, and be there to support her through this, yes? ????

Also, look at how antsy she gets, when that white kite gets caught in the tree; she totally doesn’t want Song Mo to see it and misunderstand that she’s turning down his proposal! ????

AND THENNN.

When the fireworks factory is set on fire, and Shou Gu realizes that Song Mo could be in danger, look at the way she rushes over there, and goes right into the burning building, when she hears that he’s inside??

And how about the way he sees her as he’s coming out, and scoops her up with one arm, so that he can carry her to safety?? I found that quite swoony, not gonna lie. ????

I also love that when Song Mo asks Shou Gu if everything is alright, and if there’s something important that’s brought her to this dangerous place, she tells him the truth; that she now knows that she likes him, and doesn’t want to lose him, even though she’s afraid of living a life with an uncertain future.

The way Song Mo just looks at her so searchingly, and drinks in the words that she’s saying, with joyful realization growing in his gaze, is just so lovely. ????

I do love the promise that he makes to her, that with him, she can simply be herself; that he will respect her decisions, and protect her.

And how about that smile on his face, as he pulls her into his arms to embrace her?? He looks so joyful, and so.. content. ????

E17-20. I like that Song Mo goes to such lengths, to find the bangle, even though Shou Gu herself has said that it’s most likely a lost cause.

It’s all very dramatic, how he rushes in late, way past the auspicious hour, and insists on seeing Shou Gu, just so that he can slip the bangle onto her wrist. Awww! ????

After that, I’m glad that Shou Gu chooses to ignore tradition, so that she can treat Song Mo’s burned hand, coz he’d stuck his hand in the fire to retrieve the bangle. ????

In this moment, I do agree with Dad and Uncle, that they are a perfect match for each other.

At this point, it seems a pretty good time to talk about my disappointment in how Show handles our OTP connection.

Because, after all the wedding festivities, where is the crackly heat that I’m expecting, from an OTP kiss??

What makes it worse (pout) is that Show teases us, by having any potential OTP kiss get interrupted.

After a tease like that, you’d think that Show would then make up for the tease, by giving us a proper, crackly OTP kiss, because all of that electric tension that we’ve been seeing, episodes on end, has to get resolved somehow?

But that’s not how Show plays it. Show teases us with those interrupted almost-kisses, and then.. nothing. I cannot overstate how disappointed I am, in how Show plays this. ????

I am a tiny bit mollified by the scene where Shou Gu insists on helping Song Mo with his bath, because his hand is bleeding.

It’s sweet that she considers his scars with compassion and love, but.. where is the electricity??? ⚡️????

Putting that aside, I do like how Shou Gu and Song Mo are showing themselves to be great partners, and I especially like how Shou Gu acts the part of the demure, cooperative wife, but puts all the Song elders in their place.

Their collective awe at her impressive dowry, and her prowess at managing wealth, was satisfying to see indeed, heh.

What makes this even more meaningful, is the way Mr. Chen informs Song Mo, that the reason Shou Gu is doing all this, is to gain clues and insight towards the deaths of Song Mo’s mom and uncle.

Aw. She’s doing it for him! ????

In the end, in the scene where Song Mo asks Shou Gu to address him as “Husband,” we do get a proper OTP kiss, but I maintain that this is kind of.. bland? And certainly not enough to make up for the prolonged teasing that Show put us through. ????

That said, I do sincerely think that this very kiss is Show’s idea of giving us some proper post-wedding OTP skinship. Oh well.

E21-24. The scene where Song Mo hugs Shou Gu and praises her for doing well, was quite touching.

I liked that he doesn’t just check that she’s safe; he also makes sure to praise her for doing well under duress, and that just lands as so affirming to me. ????

E25-28. Now, Song Mo might only have a year left to live? That sucks – even though part of my fangirl brain is perking up at the possible return of Song Mo’s silver mane of glory. Sorry. ????

I do find it touching, how Song Mo’s main concern is his promise to Shou Gu, that he would protect her for a lifetime, and now, with his grim prognosis, he won’t be able to fulfill that promise.

I can understand that Song Mo wouldn’t want to tell Shou Gu about his condition, because he doesn’t want her to feel sad, or suffer with him, but I appreciate that Shou Gu slowly draws it out of him, with her gentle persistence.

That scene, where they finally talk about it, and Shou Gu tells him that if he really only has a year to live, then she will treat every day as if it’s a year, so that that year will become their lifetime together, was very moving, I thought. ????

I really like Shou Gu’s gentle and tender commitment to Song Mo; she is with him 100%, even if he only has a year to live, and I find that very touching. ????

[END SPOILER]

Li Bai Hui as Ming Er [BROAD SPOILERS]

I found it quite refreshing, actually, that Show would make Ming Er nothing at all like the Ming Er we see in the first timeline.

In that timeline, Ming Er had betrayed Shou Gu by stealing her then-husband, Wei Ting Yu, and had appeared a lot more on the scheming, catty side of things.

In second timeline, however, Ming Er turns out to be a much sweeter, much more sincere person, and I like the detail that Show provides – that Ming Er had grown up outside of her mom’s care – because that lines up nicely with Ming Er’s distinctly different personality in this timeline.

I mostly ended up feeling sorry for Ming Er, because she falls for Wei Ting Yu all over again, and he doesn’t turn out to be great husband material, even when he’s madly in love.

In this next spoiler section, are my evolving thoughts around this unfortunate loveline.

[SPOILER ALERT]

E13-16. We’re seeing love blossom between Ming Er and Wei Ting Yu, with him becoming more and more desperate to spend time with her and express his feelings for her, and I’m actually quite glad that they eventually do get married, in episode 16.

I’m actually quite surprised at Ji Yong’s meddling, where he basically locks Wei Ting Yu and Ming Er in a room together, so that the ensuing scandal would solve the marriage conundrum on all sides.

I have to admit that they do come across as sincere towards each other.

They may both be shortsighted and flawed, but they do love each other to the best of their ability, and that is kind of touching, in a way.

I appreciate the way Shou Gu talks to Ming Er, to try to warn her of the difficulties ahead of her, if she were to really marry Wei Ting Yu.

She’s not jumping at the chance to fob off Wei Ting Yu on Ming Er, just because Ming Er is willing, and blinded by love.

I found Ming Er’s earnest response – that she loves him, and wants to follow her heart, just once – quite touching. ????

..And then Show turns the moment on its head, with the way Ming Er knocks Shou Gu on the forehead with that tray, in order to follow through on the bride substitution. I was quite amused anyway. ????

E17-20. I do think that Wei Ting Yu’s sincerely trying to do his best by Ming Er, but that there’s a serious limit to what he’s able to do, because of his character shortcomings. ????

Also, it does seem, to my eyes, that he lacks stamina, when it comes to standing up for Ming Er.

And so, in the beginning, when the bride swap is first discovered, he’s quite vigorous in speaking up for Ming Er, and taking the blame on himself.

However, as our episodes progress, I feel like we see him doing this less and less, preferring to let Ming Er handle things on her own.

And, as we see, that’s not working out well for Ming Er at all, with Wei Ting Zhen growing more and more dissatisfied with Ming Er, as time passes, thanks to the fact that Stepmother’s not keeping her promise of giving her dividends from her loansharking business, after Dad puts a stop to it all.

When Ming Er informs Wei Ting Zhen that her mother’s secured a position for Wei Ting Yu, he certainly doesn’t look particularly pleased about it, from where we see him eavesdropping outside the window.

Which, again, tells me that he’s really not that interested in being a good husband to Ming Er, despite all of his earnest declarations and promises.

E21-24. I was right about Wei Ting Yu not wanting the post that Ming Er’s mother had gone to great lengths to secure for him, and I find him so frustratingly aggravating, at this point.

He’s idealistic and self-focused, and both to an extreme, which is why he so strenuously tries to avoid even talking to Ming Er about it – which I found frustrating in itself.

Like, yes, you have your principles and all – but the best you can do, is just pack your things and go off on a painting trip, and even try to leave without even saying goodbye to Ming Er..?

The only reason he actually expresses his thoughts to Ming Er about it, is because she sees him packing his painting things, and tries to stop him from leaving, which is when he tells her (and I paraphrase) that he despises this type of officials, and does she really want to turn him into the type of person he despises?

Face. Palm. ????????‍♀️

It truly annoys me, that he doesn’t seem to have the capacity to think about practical things like finances, and to care about how his sister is badgering and bullying Ming Er about money, which is the whole reason Ming Er’s reaching for this solution, where he actually has the chance to bring in money for the family, instead of just spend it.

The way he basically gaslights Ming Er into feeling guilty about even asking him to be an official, is awful.

It’s even more awful, the way Wei Ting Zhen then proceeds to punish Ming Er, to the point that she miscarries, and loses her baby.

After that, it’s galling how Wei Ting Zhen then blames Ming Er for not mentioning that she was pregnant to begin with. HUH. ????

At this point, after Ming Er’s conversation with Shou Gu, I’d really thought that Ming Er would go ahead and divorce Wei Ting Yu, and then learn how to be independent and self-sufficient, from Shou Gu.

That would have been a rather nice way to develop her arc, yes? And then maybe later, Show could have allowed her to meet an actually nice man, to build a life with?

BUT NO. That’s not what happens at all. ????

Ok, to Wei Ting Yu’s credit, I am convinced that he’s genuinely contrite for contributing to the loss of the baby, by allowing his sister to interfere in his household matters, despite having been married out of the family herself.

I do give Wei Ting Yu some credit for putting his foot down, and telling his sister that she’s no longer welcome to manage his household affairs.

And, I do give him some credit too, for agreeing to take up that official post for Ming Er’s sake, which he’d been so strongly against, in the first place.

HOWEVERR.

He doesn’t even try to do a proper job, and goes off drinking with those friends of his, with strict instructions that they are not to be disturbed – which is how the bandits end up running rife, which is how Ming Er ends up dying.

E21-24. I’m reasonably satisfied with the fact that Wei Ting Yu dies, and appears to reunite with Ming Er, in the afterlife.

After all that he’s done (or rather, not done), it would have been hard for Show to redeem him as a character.

Plus, he’s just so completely spineless and gutless, and so unreasonably attached to his holier-than-thou principles, that he just didn’t have it in him, to survive in this world.

Yet, his love for Ming Er was as sincere as he could muster, in his very limited and flawed capacity, so it makes sense that he would die like that, after losing everything, and be reunited with Ming Er, in death.

[END SPOILER]

Xia Zhi Guang as Ji Yong [SPOILERS]

On hindsight, I’d say that I feel a bit bad towards Ji Yong, because Show sets him up to be misunderstood by us as viewers for a good stretch, in service of the Big Twist in our finale.

I spent a good chunk of my watch feeling quite perplexed at Ji Yong as a character, to the point of thinking of him as being rather sociopathic, for the way he seems willing to destroy Song Mo, even though Song Mo is married to Shou Gu, who’s his childhood friend, and that Shou Gu loves him and wouldn’t want to lose him.

I found it all very cruel, and it just boggled my mind to think that Ji Yong didn’t care enough about Shou Gu, to take into consideration how losing Song Mo would affect her.

In the end, though, Show proves that Ji Yong had never been evil nor cruel, so it all works out. ????

Mu Li Yan as Gran

I just wanted to say that I really liked Gran, who’s basically a pretty awesome person, and a kickass grandmother to Shou Gu. ????

She always had Shou Gu’s back, and never hesitated to stand up for Shou Gu.

What a star! ????

Quan Yi Lun as Wu Shan

I wanted to give Wu Shan a quick shout-out, for the pure soul that he was. ????

[SPOILER ALERT]

I really liked his natural and easy appreciation for Shou Gu, in exactly the things that were turning off Wei Ting Yu.

I love how he doesn’t even need to try, to see how special Shou Gu is. Our boy Wu Shan’s got a good eye. ????

I thought it was very cute how he actually shoots down one of the courtesy kites – and then remarks, pretend-quizzically, that the wind is indeed strong. HA. ????

And then how about the way Wu Shan’s quick to appreciate Shou Gu’s unique embroidery, which Wei Ting Yu’s so quick to criticize?

You just can’t help but like a character like that, yes? ????

Later, when Wu Shan gets thrown into prison for trying to help Shou Gu, I was really touched by Wu Shan’s declaration to Shou Gu, that even if he’d had to do it over again, he would have chosen to help her – because he just can’t take a chance on her safety. ????

When Shou Gu apologizes and says that he never would have been in this situation if he’d never met her, I also found it touching to hear him tell Shou Gu that he’s lucky to have met her, and that his life would have been dull and mediocre, if he’d never met her.

Augh, he’s got such a good heart, doesn’t he? ????

I’m just really relieved that Wu Shan is saved in the end, by just-in-time decree from the Emperor, delivered by Song Mo.

I really liked his goodbye scene with Shou Gu, with her wishing for him to be safe and happy in the future, and with him wishing for her to be able to do what she wants to do – and love whom she wants to love.

Aw. That is very sweet and wholesome. ????

[END SPOILER]

Alina Zhang as Wang Ying Xue [SPOILERS]

Wang Ying Xue was a character that I loved to hate, so I’d say Alina Zhang did a good job of the role. ????

Also, I just wanted to say that she had a big part to play in Ming Er’s death too, coz she’s the one colluding with the bandits, and helping them to get into the capital, in the first place.

Here she thought she was being so smart, directing the bandits to go rob Shou Gu of her impressive dowry – but instead, she ends up causing the death of her own daughter.

Wang Ying Xue regaining her sanity, and then committing herself to that arduous daily prayer walk up the mountain, in order to free Ming Er from the suffering of the afterlife, feels like a fitting end for her character.

At least in this way, she’s conscious of all that she’s done, and earnestly working to do something, to ease her conscience.

Ji Chen Mu as Dou Shi Ying [BROAD SPOILERS]

I’d say that Show does a pretty good job of redeeming Dou Shi Ying as a character.

From being a spineless father who cared more about his mistress than his own wife and daughter, he becomes someone who’d put himself at risk, in order to protect his daughter.

I honestly didn’t think I’d be sold on his character turnaround, but I was.

I like that he chooses to take responsibility for having coddled Stepmother, over all these years, and pledges to make things right by protecting Shou Gu.

He can’t go back to undo the damage that he’d once done to Shou Gu’s mom, but this is really the best that he can do, in the present, and I give him props for choosing the right thing. ????

I’m overall pretty pleased that we see him come around so much, to be on Shou Gu’s side.

Yan An as Song Han [SPOILERS]

In our late stretch, Song Han takes a big turn for the dark side, and I honestly did not see it coming.

I think opinions are divided on how convincing this whole arc was, but I did find myself quite fascinated by the change in Song Han, and found it interesting to try to understand what was really going on, with him.

Sometimes, he strikes me as possibly being mentally unstable, which makes me feel a little bit sorry for him, despite the terrible things that he does.

On the other hand, if he’s only pretending to be mentally unstable, then how long exactly has he been plotting to go independent like this, to outshine his father and brother?

The way Show portrays it, it seems like the Song Yi Chun had had a heart flare-up while Song Han had been visiting him in prison, and the likelihood that Show suggests, is that Song Han doesn’t hand over the medicine that he needs, and that’s how Song Yi Chun had ended up dying in prison.

We don’t actually see this bit, only the fact that the container of pills is within Song Han’s reach, but circumstantially, with the way Song Han actually gloats while pretending to mourn in front of Song Yi Chun’s memorial tablet, it does seem to suggest that Song Han had decided that it was better to let Song Yi Chun die, than to help him live. ????

And then there’s the way takes pleasure in hurting people for real, during the sparring sessions in the imperial examinations, which is very disturbing.

And let’s not forget the way he literally almost strangles An Su to death on their wedding night, because he’s so on edge from all the gossip that he thinks all the wedding guests are whispering  about him, and therefore extra suspicious of her actions and thinks that she’s trying to kill him.

Overall, I found it morbidly fascinating, to try to figure out Song Han.

SPOTLIGHT ON THE PENULTIMATE EPISODES [SPOILERS]

E29-32. Woah. A LOT of stuff happens, these episodes, which doesn’t surprise me in principle, because we need to get a lot of stuff sorted out, before we get to the finish line of our story, but it’s still quite a bit to digest.

One of the main concerns I’d had, after our last set of episodes, was that An Su would get properly brainwashed by Song Han, and that that would lead to a real breakdown in her relationship with Shou Gu, so I’m really grateful that that isn’t the case.

At least, that isn’t the case where we end episode 32, but for a while there, I think it was reasonable for me to get concerned, what with her being sincerely in love with Song Han, and Song Han turning out to be as shady and manipulative as he is.

Last set of episodes, I’d wondered whether Song Han had always been this dark-hearted and ambitious, and had simply been hiding it, and these episodes, it’s looking like that indeed is the case.

Sometimes, I would wonder if he was having some kind of mental illness episode, like what we saw last set of episodes, when he wasn’t eating, and had locked himself in the study.

In that scene, it had really looked like he was overwhelmed by all kinds of thoughts and feelings and memories, and perhaps not quite being himself.

Additionally, we have that scene in these episodes, where An Su goes to the study while he’s sleeping, and he reflexively draws his sword on her, and ends up leaving a cut wound on her neck.

In that moment, it had almost seemed like he was kinda-sorta switching between personalities, almost?

Like, his more bloodthirsty personality had been in control, and it had taken his softer, more humane personality a while to wake up to the fact that he had his sword at An Su’s neck.

Aside from that, however, I don’t feel like we have other hints of Song Han having a split personality, and mostly, it just feels like he’s actually ambitious, manipulative and bloodthirsty, and is just putting on an act with An Su, of being a tender, considerate husband.

And that really is just an act, given how he essentially has her brother killed, for daring to speak condescendingly of him

I mean, yes, Song Han does frown when he hears An Ping criticizing his sister An Su, but I do think that the key reason that Song Han decides that he will get rid of An Ping, is the fact that An Ping disdains him, as his brother-in-law.

We don’t know the full scoop yet, of how An Ping had died, but just from the fact that Song Han had taken An Ping to Zuixian Pavilion for drinks, and had looked darkly satisfied when An Ping had started to pick a fight with that other patron, tells me that Song Han had been behind An Ping’s death.

How hypocritical of him, to then comfort An Su on her brother’s death, when he’d been the one to engineer his death.

Backing up a bit, I’m glad that An Su and Shou Gu manage to reconcile at the temple, before Song Han appears to whisk An Su away.

It’s so obvious that he’s doing everything he can, to keep An Su away from Shou Gu – but he’s underestimating the years of sisterhood that An Su and Shou Gu share, and I’m relieved that by the time we get to the end of these episodes, we get to see that sisterhood wins out in the end.

Although, doesn’t Song Han low-key threaten Shou Gu, in saying that she’s minding more than her own business, and she should be careful, lest she get hurt?

Elsewhere, I’m mind-boggled to realize that the whole ploy earlier, when Song Mo had been put in that difficult position, where his detractors had hoped that he would abandon his duties and rush back to save Shou Gu from the bandits, had actually been from Ji Yong.

It makes logical sense on hindsight, since we now know that Ji Yong’s been acting as Prince Qing’s teacher and strategist, and that Prince Qing had been behind the actions taken by that shady trio, but I hadn’t realized it at the time, so it kind of blows my mind now.

Again, it has to do with just how indifferent Ji Yong is, at the fact that he’s trying to pin Shou Gu’s husband, for treason – which would result in his death, and very likely, Shou Gu’s death too, since treason is a crime that implicates the entire family.

And his defense, is that he’d given Shou Gu many chances to leave with him, which would have secured her safety?

Honestly, Ji Yong’s way of looking at things, makes a kind of longsighted sense; it’s possible, that he could make big changes to the country, in two generations.

But, the lack of consideration for how real people would die real deaths, in service of this vision, is really quite unsettling. It makes him come across as heartless, mostly.

I can understand why Shou Gu would formally sever ties with Ji Yong; his way of looking at the world is just completely different from hers, and more importantly, his way entails Song Mo’s downfall.

How could she ever be aligned with someone who’s plotting the downfall and probable death of her own husband?

These episodes, Shou Gu and Song Mo focus on becoming allies with the Crown Prince, in order to gain better leverage in the fight against Prince Qing.

I liked how Shou Gu bonds with the Crown Princess, not just over the preparation of the banquet, but beyond that, as women who are both experiencing pregnancy at the same time.

Not only that, there’s also the thing where Shou Gu insists on doing acupuncture on the Crown Princess when she feels unwell, while refusing to let shady Eunuch Wang stop her, because that would have led to serious harm to both the princess and the baby.

As a result of this, things between the ladies are much more stable compared to things among the men, with Prince Qing stirring up a fight with the Crown Prince, and Song Mo getting dragged into things, being stuck in the middle.

I did chuckle out loud, though, when Song Mo gets in there and punches each prince soundly, once each. Hahaha! They sure hadn’t seen that coming! ????

And thankfully, the Crown Princess asserts herself and takes control when the Crown Prince is berating Song Mo for his “betrayal” – and smooths things over quickly.

Not only that, we get some important information about what had happened with the Duke of Ding, thanks to the Crown Princess, and I’m sighing in resignation, that the Emperor had thought of such a roundabout plan to get the Duke of Ding to become loyal to the Crown Prince.

Like, what, put your trusted friend in prison, just so that the Crown Prince could release him and give him lots of power after your death?

Yeah, I get the logic of it, but the fact that the Emperor would choose to do this to his most trusted friend, is not making me feel very kindly towards him. I mean, with friends like this, who needs enemies, right?

Likewise with the whole logic behind why the Emperor had declared that the Duke of Ding was guilty, upon his death – all for the sake of preserving the reputation and credibility of the throne.

It sucks, basically, even though I get the logic of it. ????

These episodes, we also get insight into the elusive letter which we now learn that everyone’s been searching for; it turns out to be a list of people who are involved in treasonous activities – and a surprise name on the list, is Dou Shi Ying.

Which is how we spend a chunk of episode 31 with Shou Gu and Yan Tang working to uncover the dirty truth behind the jewelry shop that’s under Lady Wei’s care; that it’s just a front for treasonous activities.

It’s just like Prince Qing to trick Song Mo into a meeting at the jewelry shop – only to set armed men on him, when Song Mo refuses to cooperate.

I have to admit, I found it quite thrilling to see Song Mo quickly take Prince Qing hostage, while Shou Gu blows up the secret room to gain access to the contracts which are hidden there.

But, in the end, it’s quite perplexing that Prince Qing falsely accuses Song Mo of trying to assassinate him, while setting off explosives. Ugh. That’s rich, considering that Prince Qing had been the one trying to kill Song Mo. ????

I’d originally been relieved that everyone gets brought before the Emperor, but in the end, that doesn’t really get us anywhere, with the Emperor being so ill, and everyone in the royal family being so vocal in backing up Prince Qing’s false claims.

That beat, where Song Mo draws his sword and speaks righteously, and that makes the Emperor feel like he’s seeing the young Duke of Ding before him, wielding that half of the ruler, feels potentially like a double-edged sword.

In the present, it triggers a health attack on the Emperor and renders him unable to act any further on the situation – which allows Empress Wan to take charge as she pleases, which is not great.

However, I’m hoping that when the Emperor comes around, that this vision of the young Duke of Ding, would rouse a sense of righteousness in him, that would drive him to do the right thing, and uphold the truth, instead of bury it in order to protect his son.

I know it’s a long shot, but it doesn’t hurt to hope?

In the meantime, I am even more displeased with Ji Yong, for the way he basically twists the facts, in order to force Chen Jia to join Prince Qing’s side.

I’d like to believe in Chen Jia despite the glimpses of his betrayal that we saw in the past life, so I’m hoping that he’s now a double agent, and is still loyal to Song Mo.

However, the fact that Ji Yong saves Shou Gu and brings her to safety with Gran, does mollify me somewhat.

I dunno; it’s like, if he hadn’t been so ruthless in his scheming, would Shou Gu even have had reason to flee? It’s that old saying, where you give the sickness, and then you give the medicine as well, kind of?

That whole sequence, where Shou Gu and Song Mo meet each other, in that virtual realm, while they’re both unconscious, definitely brings us back to the fantasy roots of our story.

It did feel a little.. out of place, in a way, but that beat where Song Mo, with his silver mane of glory, runs into a kneeling position to catch Shou Gu in an embrace, is so beautifully done, that I can only gawk in appreciation. ????

I don’t know what it means in that sequence, that Shady Eunuch Wang’s arrow gets turned into flower petals, but it can only be a good omen, yes?

After all, it had been Eunuch Wang’s arrow that had killed them both, in the past life.

The big event in episode 32 is the death of Dou Shi Shu, and I have mixed feelings about it.

On the one hand, it feels like he had it coming to him, when Empress Wan decides to abandon him, and pin all the blame on him, in order to protect Prince Qing from the investigation that’s going on.

At the same time, there’s an unexpected sense of pathos about it all, because Dou Shi Shu gets dressed, knowing that he’s going to die.

And then there’s how he reveals to Princess Shude, that he’d made himself the sacrificial pawn, in order to push Shi Ying to the other side – which would eventually lead to a glorious history for the Dou family.

Um. What?

Is he saying that all of his treasonous actions were just a cover..? In order to push Shi Ying to eventual promotion..? That’s wild. ????

Adding on the way he takes Princess Shude hostage, in order to secure her innocence in relation to him, and the way he then takes all the arrows on his back, in order to secure her full safety, it all lands as very poignant.

Suddenly, Dou Shi Shu doesn’t seem like such a terrible person anymore, and I don’t know how I feel about that, because he has definitely done some terrible things – like offer up Shou Gu as a sacrificial pawn.

As we close out these episodes, I’m relieved that, thanks to Dou Shi Ying’s petition, Song Mo is back at home in Yizhi Hall with Shou Gu, even though Song Mo is awaiting further punishment.

At least our OTP is resting together, and spending some quality time together, yes? ????

Lastly, I’m glad that An Su manages to find a way to enter the heavily guarded Yizhi Hall, in order to speak with Shou Gu.

That’s how she ends up getting Chen Jia’s help, to track down that man who’d run away with fright at the sight of her – and he turns out to know the circumstances around An Ping’s death.

Dun dun DUNNN. Looks like An Su’s going to find out about Song Han having An Ping killed.

Surely that will change everything..?

THOUGHTS ON THE ENDING [SPOILERS]

E33-34. I’d heard that Show manages to serve up a solidly satisfying ending, but y’know, given just how much Show had going on in the last couple of episodes, I honestly wasn’t sure how Show would manage it. ????

But, manage it did, and I have to say that I’m quite pleasantly surprised at how it’s an ending that actually makes sense, even. ????

The big twist – that Ji Yong’s really working for the Emperor instead of Prince Qing – really worked, as far as I’m concerned.

In one single swoop of new context, so much gets turned on its head, and I’m left marveling at how everything now lands completely differently.

Now, everything makes a different kind of sense, and I do love the effect of that.

Instead of being a victim, the Emperor turns out to be the mastermind who’s determined to not only bring to justice the ones who killed the Duke of Ding, but also, root out all the traitors from the woodwork as well.

Emperor’s been playing a long game indeed, and I’m glad that it pays off, finally, with Prince Qing and Empress Wan being completely defeated.

I thought Song Mo’s requested punishment for Prince Qing – that Prince Qing be confined to a small room for the rest of his days, and receive daily updates of the Emperor’s and Crown Prince’s achievements – was novel, and fitting, without requiring Prince Qing’s death.

Quite genius.

Empress Wan requesting to be made a commoner so that she can receive the death sentence, feels fitting too, because I can’t imagine her being content to just live out her days in exile.

As for Song Han, his end feels fitting too.

After all the terrible, cruel, treacherous things he’s done, and after killing An Ping, it feels about right, that An Su kills him with her own hands, instead of leaving him to be killed by soldiers.

The thing that doesn’t quite add up for me, is the fact that there’s an antidote. ????

Don’t get me wrong; I’m happy that Song Mo doesn’t have to die, but.. weren’t we told in an earlier episode, when the Queen had tried to tempt Shou Gu with the Snow Essence pill, that the Snow Mushroom can’t eradicate the poison from Song Mo, but can only provide temporary relief?

How is it, that now an actual antidote can be made from the Snow Mushroom? If I missed something, please explain it to me in the comments!

That said, this is something that my brain is quite happy to jump through mental hoops to rationalize, because the one thing I’ve been uncertain about, is whether Show would enable Song Mo to live, despite that terrible poison that’s been planted in his body.

Five year time-skip later, it’s nice to see everyone happy and doing well.

We’ve got An Su still independent and successful, and choosing to be single despite the many marriage offers coming her way; we’ve also got Chen Jia and Zhang Ru happily married; we’ve got Ji Yong opting for monkhood in the end after all, because he’s gotten bored with worldly things, after achieving his dream of becoming Grand Secretary.

Last but not least, we’ve also got Song Mo and Shou Gu, still very happy together, while dealing with the daily trials and tribulations of parenting a young daughter – who’s just like her mom, aw. ????

It’s also poignant and bittersweet, to see that the Duke of Ding’s baby that Song Mo had once saved, is now a little boy. ????

Lastly, I liked seeing Song Mo and Shou Gu take time for themselves to sneak away for a little trip to the mountains.

It feels like they are living Shou Gu’s early dreams, of being carefree, and sipping wine in the midst of nature – except that now, she’s living that dream with Song Mo by her side, instead of on her own, as she’d once imagined.

It’s quite perfect that at Song Mo’s suggestion, Shou Gu now makes a new wish, that they will always be together, as a loving couple – and they seal that new wish, with a kiss. ????

THE FINAL VERDICT:

A touch shaky in spots, but overall, a solid – sometimes even rather thrilling – ride.

FINAL GRADE: B++

TRAILER:

MV:

PATREON UPDATE!

The next drama I’m covering on Patreon, in place of  Blossom, is Buried Hearts [Korea].

You can check out my episode 1-2 notes on Buried Hearts on Patreon here.

Here’s an overview of what I’m covering on Patreon right now (Tier benefits are cumulative)!

Foundation Tier (US$1): Entertainment Drop (Sundays) + the first set notes of all shows covered on Patreon (that’s 2 episodes for kdramas and 4 episodes for cdramas)

Early Access (US$5): +Buried Hearts [Korea]

Early Access Plus (US$10): +Undercover High School [Korea]

VIP (US$15): +The First Frost [China]

Related