Asian Drama

A university student has another identity - online she is "Sheng Sheng Man" who does music for the historical genre. Although she is still a nobody, it doesn't stop her from dreaming of the day she can collaborate with her favorite voice dubbing god "Qing Qing Ci."

Driven by her passion, Gu Sheng who is in her senior year is diligent in composing and creating music. Meanwhile, Mo Qing Cheng is the famous voice actor known as "Qing Qing Ci." Gu Sheng has never told anyone that her greatest wish is to be able to work with "Qing Qing Ci," yet one day, she unexpectedly encounters his voice. Mo Qing Cheng reads a recipe out loud to her, which stirs her heartstrings.

(Source: ChineseDrama.info)

Adapted from the novel “Really, Really Miss You” (很想很想你) by Mo Bao Fei Bao (墨宝非宝).

Episodes: 33

Gui Xiao and Lu Yan Chen met at school – in a middle school playground. They fell in love with one another at first sight. And as they grew older, their feelings for one another grew ever stronger. They became inseparable and hoped to spend the rest of their lives together. But life has other plans for them.

Gui Xiao’s family circumstances change. And Lu Yan Chen ends up training as a special police officer – which takes him to a completely different part of the country. Lu Yan Chen’s training is tough, physical, and intense. Gui Xiao, meanwhile, ends up on a career path that will take her into the world of finance. Despite the fact that they now live in different worlds, their love is still strong – and they try to keep up a long-distance relationship. This peters out – until one day, years later, Gui Xiao finds herself with a special reason to call Lu Yan Chen once more.

Adapted from the novel "The Road Home" (归路) by Mo Bao Fei Bao (墨宝非宝).

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Fortune has been very poor and do anything very bad palace M because they heard swindling, lip do not fly fortune teller Satsuma Aliyev guidance, and is therefore now a dream for a Oral marriage lover and brains, pressing for the fiscal Qin trick sister to form the "stay Meng look for her," the two groups, accidentally came to Singapore and would like to try their luck abroad, began their dream of getting rich. Got on a plane from the start, the two "funny than" all the way jokes abound, the storm continued, and even to make money playing the idea of ​​tunneling to the antique shop robbery, ironic.

Among the steady stream of new Chinese movies opening in America, “A Beautiful Life” stands out — rather than an overstuffed, jingoistic historical tale or martial-arts blowout, it’s a contemporary romantic melodrama with a plaintive pop soundtrack that might call to mind “Terms of Endearment,” “The Other Sister” or, most strongly, a Nora Ephron comedy minus most of the laughs. (There’s also a bit of “Memento” thrown in.) It’s no great shakes, but a substantial number of American moviegoers — soft-hearted, slightly masochistic and largely abandoned by Hollywood — would like it if they found their way to it. The first hour, especially, is charming, before the balance shifts from romance to melodrama to, in the final minutes, the kind of maudlin crescendo that Asian audiences are accustomed to. The director, Andrew Lau, gives further proof of his versatility, having already shown that he can make very good gangster movies (“Infernal Affairs”) and so-so kung-fu epics (“Legend of the Fist,” which opened in the United States last month). He practices heroic restraint and delicacy, given the five main characters he’s been handed: one’s blind, one’s autistic, one’s mute, one has early-onset dementia and one’s a healthy, bitter drunk. Mr. Lau is helped by his charismatic stars, Shu Qi and Liu Ye, both of whom are very appealing within the narrow range set for them. Mr. Liu plays an upright cop who’s slowly losing his memory and leaves himself notes to remind him of his daily tasks; Ms. Shu has the Holly Golightly role as a real estate agent trying to strike it rich in Beijing so that she can support her parasitic Hong Kong family. (One not very convincing theme of the film is Beijing incorruptibility versus Hong Kong decadence.) She’s a bit forced and shrill in her drunk scenes, but otherwise she underplays adroitly and flashes some sly humor.