| Runtime: | |
|---|---|
| Release Date: | 04.07.2026 15:00 |
| Watched by: | 33852.32% |
- CountryStreaming services
Log In
My Shows
My Movies
Calendar
Connections
Favorites
Recommendations
A leading TV show tracker Β© 2026 18+
en
myshows.me is an informational TV & movie catalog and watch-tracking service. We do not host, store, stream, or distribute any video content, and we do not provide download links. All information is reference material only.
Discussion: Season 1, Episode 5 Join the Discussion
66This is the man who shot this masterpiece.π
If I die, you'll know who it's because of.
In general, there was more glass and some kind of tin in the expectations, but in fact such a harmonious warm series came out, well, except for the hot scenes, all the thermometers burst on them. It's over))))
But I'm just pleasantly shocked by the saturation and volume of the plot, the scenes are generally gorgeous, you can't even find fault with them, but against the background of the whole plot, for me they were like a "round excellent student" being called to the blackboard, he gives the perfect answer to 10/10 and the teacher nods proudly and says well done, sit down 5" that is, you already seem to know you know what, well, they will definitely perform on everything of all, well done, everything is perfect, everything is just beautiful!π€πΌ
And then, on episode 2/3, you realize that there's just a warm fireplace here on a winter evening, and you sit down and feel so comfortable that you can watch forever and melt. And against the background of the whole plot in this series and all its colorfulness, it's amazing for me to admire not the "super hot scenes" but the fullness, well, as if you can use as an example how to squeeze the maximum out of 37 minutes.
Although I had a spoon ready to crunch and cry, but I'm not taking it away.....π₯²
It's amazing that despite the initial arrogant impression of Xin, how he reveals himself to be caring, protective, defending the position of a person who is close to him, such a stream of warmth of love and care reeks from him, not that it smells from a kilometer away, but through the screen from Chinaπ€£
The alpha is really cool, while the little one is mumbling something under his breath about rehearsals, he honestly says: yes!If
you don't put the spoon away correctly, the guys went live and warned the fans that episodes 6 and 7 would be very dramatic. By the time his wife arrives, one hundred percent will come (of course!! It's not fate to put down the phone. No, you need to jerk off on a small one while she's talking about something uninteresting about herself).
Well, according to tradition, someone will come to the little one's room again, not shixiong, but some kind of third-rate uncle of some illuminator, he probably has honey smeared there.
Thank you for the detailed answer.
Oh, I don't like that I have to chew glass for 2 weeksπ₯² as always, you have the best information! Thanks to each other
And the director is also a bad boy, somehow I had doubts that he was watching with director's eyes. π€£π€£
Who knows how to switch now?? I've got ongoings already looking over each other's shoulders at me, and I'm kind of in a daze π€ͺπ€ͺπ€ͺ
And the director there is incredibly happy that he decided to shoot this masterpiece. He sits, smokes on the sidelines and gets high with us. I almost burned my thighs, okay, I was in my pants. I hope you've prepared yourself today, too.
But back to our sheep: once again, someone is preventing the guys from finishing what they started, it's already infuriating. Now here's Dania (or whatever her name is) She sent someone to watch Zhang. Can the director not only remove everyone from the set there so that they don't interfere, but also outside it?! We tearfully ask for this favor.π Put all these girls, assistants, shixiuns, etc. in the furnace, let the guys jump headlong into the abyss of forbidden pleasures.
But seriously, I've never seen such a vulgar China before. I'm probably going to watch the next episode in front of the mirror, I'm really curious how I look when watching this drama.π€£
It's better to record it on camera, otherwise I'm afraid the next scene will take so long that you'll forget later why you and the mirror are here at all. π
I agree with you, we need to remove the reagents, to our reactions from what we saw here, I really think that later we will be ashamed of ourselves into the bargain
The girl sent a guardian, now it will be even more difficult for Blue to get to his tasty morsel.
I'm sorry, but do they have to leave hickeys at the age of 14? That's how the Chinese like to designate it, of course.
Besides, they've had plenty of passionate kisses. And the hickeys supposedly remain. Well, dissonance every time, by God.
All these analogies of characters on the personalities of the characters, their phrases to each other.π€πΌ
37 minutes seemed to have passed in an instant, but with such a filling of the plot, as if the whole hour, if the series could be called rich, then it would be
I wonder why hh was so surprised peeking under the door? Hypothetically, of course, I assume that in the script there were no kissing scenes between the doctor + his ex in front of the door when she drove him, and he was surprised (even more from the side of jealousy) That they bumped their shoes there in a position as if they were kissing, it's like some kind of Easter egg this time.
And why did they show me the director....
But there's a peculiar thing there, of course, they offend the little ones, everyone is not lazy, even his prince, no, no, he gets off his horse, and there too.
There's a famous actor in China filming, Ryu is something there..I do not remember. He was in the get before that, people say he fit in like a native π€π€
What now, to take Retribution? there are 2000 pages...
β’β’β’
I feel impotent at this celebration of life, because after watching this episode, I had only one desire β to watch all five episodes first.
I've been trying for a long time to figure out why the plot so persistently returns to the topic of the name. Most likely, this line will continue to develop further, but within the framework of the main characters' relationship, it has already reached a point that, I think, can be considered an important milestone.
The story begins with a man who seems to have no name.
Seven years ago, Zhang Zhun was working as an understudy on the set. Zhen Xin notices him back then because he is attracted to a man who genuinely enjoys the filming process itself. He is already glad that he was able to be on the court, even if others do not perceive him as a full-fledged part of the team.
After filming, Zhen Xin even tries to find out his name, but the site employee couldn't answer. It's like the name doesn't exist. There is only an image of a person
At that moment, this scene seemed to me just a beautiful detail. Rather, it was an explanation of why, years later, Zhen Xin even remembered Zhang Zhong after seeing his picture among the casting candidates, but then the story returns to this topic more than once.
After the credits, there was a small scene with a journalist. She addresses Zhang Zhong formally as "Zhang Laoshi," pays almost no attention to him, and mostly talks to Zhen Xin. And gradually it starts to boil. But it's not the number of questions that annoys him, it's something else entirely.
"Zhang Zhun! Zhang Zhun! Why is it so hard to remember the name?!"
He repeats his name several times in a row, as if it is important for him not only to correct the address, but to make others finally remember it.
Later, Jiang Han appears.
He intervenes in the conversation and instead of the name throws a dismissive: "you, what's your name." Of course, this is just a way to show the character's arrogance, but next to the previous scenes, this line starts to work differently. Another person enters the story, for whom Zhang Zhun is not important enough to remember his name.
It seems to me that the plot does this quite consciously. Time after time, he shows the same Zhang Zhong through the eyes of others. For some, he's just a stand-in. For others, he is a little-known actor. For others, it's a person whose name you don't have to remember at all. And only Zhen Xin seems to stubbornly refuse to accept this namelessness from the very beginning. It's important to him that the industry finally sees Zhang Zhong.
But this theme does not remain only within the framework of the outside world, and over time it penetrates into the relationships of the characters themselves.
During that drunken night, Zhang Zhun stops distinguishing not only the person in front of him, but also himself. This was no longer Zhen Xin, but Fan Chi. And he himself is no longer Zhang Zhun, but Gao Zhun. It turns out a strange thing: even inside his own feelings, he continues to exist without a name. Just as he once remained an anonymous understudy for the entire industry on the set, now he hides in the shadow of his character.
And this time, Zhen Xin accepts these rules of the game. He also allows himself to linger a little longer in this gray area between the actor and his role.
But if Zhang Zhun is still a man whose name can be forgotten for the film industry, then feelings can no longer exist in this namelessness. They require you to see a specific person in front of you. Not the characters, namely Zhang Zhong and Zhen Xin
That's why the scene in which Zhang Zhun accidentally says Zhen Xin's name during a bed scene with Wu Rong works so much. Not Fan Chi's name. Not a scripted remark. The name of the person about whom there should be no thoughts at all at this moment.
It wasn't even the name itself that got me hooked.
The place where it sounded is much more interesting. The last time Zhang Zhun tries to be himself is during the take. He speaks in other people's words, lives someone else's story, and exists inside another person. It would seem that after this, nothing should remain of the real Zhang Zhong, but a personal feeling breaks through several layers at once: through the feelings that Gao Zhun should feel for another person according to the script; through the image of Fan Chi, whom Zhang Zhun should see in front of him; and finally through Gao Zhong himself, inside whom he It should exist at this moment. But the opposite happens. It is Zhang Zhun who suddenly comes to the fore, and naturally it is noticed by those who should have noticed.
Later, during their next scene together, Zhen Xin changes his line to, "Tell me the name." Formally, this is just a successful acting improvisation that remains inside the film. But at this moment, Zhen Xin and Zhang Zhun are already talking through their characters. And this short conversation turns out to be surprisingly personal: it's about doubt, about fear, and about recognizing one's own desire.
Well, the scene in the room is gold
Zhen Xin does not come to Zhang Zhong for an answer. He comes with the answer
And the moment when he breaks the kiss for just a second to say Zhang Jun's name is chefs's kiss.
Not Gao Zhong's name. Not a line. The name of the person to whom Zhen Xin's entire desire is now directed
And no less eloquent is the tacit consent of Zhang Zhong himself, who then simply closes his eyes and responds to the kiss.
It is here, in my eyes, that the personal story of the characters can end. It starts with a man whose name no one knows, and ends with a man who can no longer be confused with his own role.
And this moment makes an even stronger impression on me than the kiss itself.
A kiss could still be tried to hide behind Fang Chi, but Zhang Zhong's name is no longer possible to pull into their film. At this moment, Zhen Xin is not kissing a character. He finally confesses his feelings to a man whom he could not find by name seven years ago.
Zhen Xin does not break the scene, but on the contrary, very accurately continues the logic of his character. Not long before, Fang Chi had already asked Gao Zhong to call him not "Dr. Fan", but "Fang Chi". In itself, switching to using your first name is a very personal moment. It erases professional distance and assumes a completely different level of intimacy between people.
Therefore, the dream in which Fan Chi asks for his name again seems to me even deeper than the initial "beg me" remark
"Beg me" is a wish expressed directly. The viewer already understands that this is Gao Zhong's dream, which means that everything that happens reflects his inner desires, and Fan Chi's remark only says it out loud.
The "call my name" line works much more subtly. It doesn't sound like a demand, but an invitation to finally stop hiding: don't "beg me," but "allow yourself." Allow yourself to admit what you've been feeling for a long time. First, you accept your desires, and then I'll take a step forward.
That is, Zhen Xin's improvisation shifts the center of gravity of the entire scene. What comes to the fore is not what Fan Chi wants to hear from Gao Zhong, but turns into a story about Gao Zhong's own inner willingness to accept his own desires and feelings.
That's why this replica replacement seems so successful to me.
She doesn't make the scene more spectacular for the sake of effect. She makes it more accurate in terms of the dramaturgy of the characters.
It's at moments like this that I understand why Zhen Xin is considered a top actor inside this story. He feels the story and characters so well that he managed to fit his rather brazen improvisation in such a way that it simultaneously remains organic to Fan Chi, enhances the inner arc of Gao Zhong and at the same time becomes a very beautiful author's interpretation of their relationship within this storyline.
P.S. I also really liked how dorama talks to the audience through the language of cinema.
During the filming of the Fan Chi and Lin-Lin scene, the actress improvises and kisses Zhen Xin. The director approves of this change, asks the cameraman to put the camera at a different angle, and then explains that he wants to see the internal imbalance of Fan Chi. It turns out such a small professional educational program
And after a while, the drama itself uses the same technique: in the scene where Zhen Xin is left alone in the bathroom after another scene with Zhang Zhong, the frame goes back to the Dutch corner. Only now this camerawork technique is no longer explained in words β the drama simply begins to speak to the viewer in a language that he himself taught a few scenes earlier.
I love such details because they create the feeling that the authors are using the story of the filming of a movie not just as a backdrop for the characters' relationship, but also as an opportunity to introduce the viewer to the language of cinema.
My first impression was quite simple: a secure internal border. I still don't rule out this reason, but after this episode, something completely different got to me. It seems that the word "rehearsal" in this story is gradually changing its meaning.
At the very beginning, it exists as a way to draw a clear line between work and feelings. As long as everything can be called a rehearsal, the characters don't have to ask themselves and each other uncomfortable questions. This arrangement makes intimacy safe and allows you to move on without jeopardizing either your job or yourself. But after the first conscious kiss, the optics shift a little.
When Wu Rong finds them together, Zhang Zhun almost instantly finds a suitable excuse.: "we've been rehearsing." The rehearsal remains a familiar safety zone, but the meaning of this excuse is completely different. If she used to protect the heroes themselves, now she protects what arose between them. It is here, it seems to me, that Zhang Zhun stops thinking only about himself for the first time. He almost instinctively creates a shelter for them, because he understands that if someone intervenes now, the feelings that they have not yet had time to name themselves may end before they even begin. And the thought that Zhen Xin's reputation might suffer because of him clearly does not allow him to do otherwise.
And I wasn't upset at all that they were interrupted.
Rather the opposite
After a drunken rehearsal, there was only uncertainty between the characters. Zhen Xin woke up ready to talk, and received Zhang Zhong's alcoholic amnesia and was forced to take a step back again, but now everything is different: this kiss was conscious on both sides. No one mistook anyone, no one was drunk, and no one was hiding behind the character anymore. Now they both know exactly what really happened.
That's why the line about the rehearsal seems so important to me. Now she is no longer addressed to themselves, but to others. Up to this point, the characters had to deal with their own feelings first. Now, the "rehearsal" begins to protect not only themselves, but also what has arisen between them. They only need to close their feelings from the eyes of others to give them the opportunity to calmly grow stronger.
But, as it turned out, they didn't need much time for this. The very next morning, Zhen Xin realizes that much more has changed between them than he could have imagined. He no longer has to wander among guesses and doubts, and now he can look at Zhang Zhong's actions in a completely different way.
Zhang Zhun is now thinking not only about his own awkwardness, but also about the feelings of the person next to him. He is interested in Zhen Xin's condition, makes excuses for spending the night with Wu Rong, asks Zhen Xin not to watch their bed scene... and, of course, a name that speaks volumes about who occupies all Zhang Zhong's thoughts.
But as far as I'm concerned, Zhen Xin didn't go to the hotel room because of the name. And not only because of the orgasm during the bed scene. All of this became just the last fragments, after which he no longer had any room for doubt. The answer gradually formed out of the many small actions of Zhang Zhong, which one by one formed a single picture.
But this clarity only appears in Zhen Xin, and Zhang Zhong's head is still a much more confusing place, and Zhen Xin knows this very well. He comes to talk, but as soon as he realizes that Zhang Zhun is shutting down again and hiding behind his usual "it's just a job," he pulls a trump card out of his sleeve. More precisely, the ointment from my pocket. And I think it's a very beautiful detail.
Throughout history, there have been similar buffers between them that have relieved emotional tension: a towel, a pillow, a rehearsal. Now an ointment is added to them. Technically, Zhen Xin is only taking care of a colleague who overworked during filming. But in fact, he is once again using work as a safe language in which to approach Zhang Zhong without forcing him to leave the safety zone in which he is still able to accept this closeness.
But hiding behind these buffers for a long time still won't work. Very soon, you will have to defend yourself not from awkwardness, not from work, and not from your own feelings, but from reality itself. But not an abstract one, but one that exists outside the set and to which Zhang Zhun belongs.
So now it seems to me that the appearance of Zhen Xin's girlfriend would have been even easier for her and Zhang Zhong. At least Zhen Xin himself already understands much better what he wants, but for Zhang Zhong, Danyi's initiative will not just be a step back. More like two at once
And I really hope that under the new circumstances, Zhen Xin will find a way to get closer to Zhang Zhong again.
First, Zhen Xin creates a very convincing coordinate system, and then the script shows step by step how it stops working. For him, the body is part of the profession. It can react, and it doesn't mean anything, so after the first rehearsal, he doesn't even try to hide his own arousal, and the masturbation scene has a completely different effect on me than you usually expect from such episodes. Zhen Xin could have left the room and Zhang Zhun would have realized what had happened anyway. But then there would inevitably be embarrassment in this reaction, and with it the feeling that physiology had already touched on something personal. Instead, Zhen Xin stays by their side with such calmness, as if what is happening has nothing to do with them at all. He doesn't just say that the body can react on its own, he confirms these words with his own behavior.
If Zhen Xin had been confused for even a second, this whole system would have crumbled at the very beginning. But he is so consistent that he creates a reliable support for both of them: everything that happens between their bodies does not have to have to do with feelings.
The next rehearsal becomes the first test of this rule.
After thirteen days of preparation, the last thing that made Zhang Zhong feel safe was the towel. There's a naked bed scene ahead, where there won't be such insurance anymore. And Zhang Zhun says the phrase: "it's like we're really making love right now." To me, this sounds primarily like a confession of his own confusion, but Zhen Xin remains true to himself: "good means good. What's the big deal here?" Zhen Xin does not argue, explain, or try to calm Zhang Zhong down. Instead, he responds the way he always does, with his own body. The kiss becomes more intense, but after a few seconds, a phone call brings him back to his usual coordinate system. Next, he comes to Zhang Zhong in the shower with his joke about a "helping hand" and gets a well-deserved black eye.
In my eyes, history deliberately leaves this check incomplete. The rule still holds up. Zhen Xin is still in control of the situation, and therefore he himself does not see any reason to change his attitude to what is happening, but it does not pass the next check.
During sudden repeat auditions, Zhang Zhong is asked to take the initiative, and this time he unexpectedly begins to rely not on acting skills, but on personal personal experience. Zhang Zhun is not remembering the mechanics of the scene, not how he should look from the outside, not how he should move. He remembers how he should feel. Therefore, the trial take is getting out of control. The pillow, which had recently helped keep the distance, soon falls to the floor, and the director says "cut" three times before realizing that none of them can hear him anymore.
At this point, professional methods of role immersion lose out to practice for the first time, and the work framework stops coping with what is already happening between two specific people. The outside world is still trying to bring everything back to its usual framework: the director stops the take, settles the actors, as if trying to re-establish the boundaries that have just ceased to exist for the characters themselves. Only for Zhen Xin himself, these boundaries no longer exist.
And I like how the dialogue in the hotel room mirrors the beginning of the story.: the body again, the orgasm again... only now the man who once convinced that it meant nothing can no longer agree with it himself - "I came on you, and you're all about the role and the game?"
Here I saw a very beautiful director's irony. After all, Zhang Zhun is doing exactly what Zhen Xin taught him - he continues to explain what is happening with his work, hides behind his roles, and still adheres to the framework that once helped them both go through their first rehearsals.
The ironic thing is that Zhang Zhun is not mistaken, he just happens to be Zhen Xin's most consistent student. That is why Zhen Xin's question sounds almost paradoxical. Zhang Zhun continues to live by the rules that he once heard from Zhen Xin himself.
As long as the body remained just a part of the profession, everything could still be explained by work, continue playing and not ask yourself unnecessary questions. Only feelings have long ceased to exist within these rules.
That's why the scriptwriters so elegantly rhyme the beginning and the end of this line. They open it with an orgasm that means nothing, and end with an orgasm that is impossible not to attach importance to.
Almost nothing changes externally between these two episodes of the story. The characters themselves are changing, as well as the framework that once helped them not to be afraid of intimacy, over time it became too tight for the feelings that had grown inside their own rules.
But now I don't know what I don't like about this situation anymore.β¦
The fact that the arrogant Jiang Han got the role of a character who nightmares Gao Zhong, which means that there are some pretty tough scenes ahead between him and Zhang Zhong. And I really don't want to think that Jiang Han can take it out on Zhang Zhong for not giving up the role to him.
Or the fact that Wu Rong and Zhang Zhun filmed scenes in a rented apartment. If I put the puzzle together correctly, it turns out that Gao Zhun has to meet his rapist again. The first attack took place in a parking lot in a car, where he could not see his face. So there's another meeting ahead of them.π€¨
And I like this prospect much less than the potentially strained relationship between Jiang Han and Zhang Zhong. The very thought that a person can experience violence from the same person twice, and then also end up at his house, gives me chills.
But the chain is still developing exactly like this.
First, this nouname pays attention to Gao Zhong. Then he notices how he behaves next to Fang Chi. Later, fig knows under what circumstances, he finds Gao Zhong again and everything repeats itself. Apparently, this is where the bed scene that he and Wu Joong filmed comes from. And after that, Gao Zhun wakes up at his house and then there's a scene with morning hugs. π
And I don't even know what gives me the creeps the most: the very thought that Gao Zhun would face his rapist again, who decided that he could repeat the attack just because he saw him with another man, or the fact that this was the first version that formed in my head.
But I don't have any other options for how to connect the scenes with Wu Rong right now: nongame attacked Gao Zhong for the first time, then met him again and, apparently, dragged him to his home π€·πΌβοΈ
I really miss the timeline of the movie itself to understand this for sure. After all, movies are shot out of order: they assembled the location β they shot everything they needed on it; they allocated several shooting days for a specific actor β they closed all his scenes. Therefore, it is now quite difficult to figure out for sure which stage of the history of Fan Chi and Gao Zhong each scene with Wu Rong belongs to.
P.S.
@dib_exo: I hope there are enough letters
And in general, I liked what a quick-witted and understanding director. The guy clearly has experience in shooting homo-passions, I can't explain it any other way! I immediately realized that the actor had built chemistry, but they overdid it in the end. π
"I'm done with you, colleague, and you're all about the role and the game," she yelled at this remark, but she's talking about the point!
Well, the moment when one came to the other in the room and at the juiciest moment of their breaks, the Cossack sent from the bride is the bummer of the year! But to be fair, there are so many intimate scenes in this series that I'm amazed it's China at all. π