My Page in the 90s (2026) Chinese Drama Review | Plot & Ending

Details RATING: (6.5/10) NATIVE TITLE: 突然的喜欢 – Túrán de xǐhuān YEAR: 2026 EPISODES: 24 DURATION: 39’ DIRECTOR: Lin Zi Ping SCREENWRITER: Huang Lei ORIGINAL CREATOR: Zhang Xiao Xian (再见野鼬鼠 - Goodbye Wild Weasel)

My Page in the 90s presents itself as a tale suspended between fiction and reality, in which the protagonists' love story unfolds: a relationship born out of necessity, tinged with irony and mistrust, which gradually transforms into a deeper feeling, punctuated by alternating moments of tenderness and melancholy. The drama manages to leave a sincere and authentic emotional mark, building a sentimental bond that is captivating despite the fragile narrative framework within which it is set.

In this review of My Page in the 90s, I will explore precisely this duality: on the one hand, the structural limitations, on the other, the ability to evoke intense emotions that touch and move.

"Don’t always aspect the perfect moment. I believe... Timing trumps ceremony. Cherish the present. Actually, every moment is the perfect moment."

Plot

Lin Huan Er is a love advisor who works as a streamer for a television network.

During a live broadcast where she demolishes the dated love dynamics of the 1999 novel Goodbye Wild Weasel, she suddenly finds herself dragged into the story. To return to her own reality, she must make the male protagonist, the impassive Gao Hai Ming, fall in love with her until he makes her an official love declaration.

Thus begins a complicated challenge: Lin Huan Er must implement all the romantic strategies she knows to win over the cold and aloof CEO, without altering the book's plot or revealing details to the other characters, or she will be immediately rewinded to the moment before the alteration.

Working side by side with Gao Hai Ming and helping him achieve his ambitious professional goals to earn his respect, Lin Huan Er slowly begins to grow fond of him.

What was initially a mission becomes a genuine feeling: daily proximity undermines her certainties, and the idea of ​​returning to 2025 gradually loses its appeal, pushing her to try to postpone the moment of declaration, knowing that such a confession would mark the end of her stay.

The realization of the conclusion, however, is inevitable: Lin Huan Er is forced, against her will, to return to her own time, leaving Gao Hai Ming alone in 1999, suspended in a reality that for her is merely the page of a story.

Fun Fact: What is the Wild Weasel that gives the novel its title?

My Page in the 90s Drama Review (No Spoilers)

My Page in the 90s is a modern drama presented as a tale suspended between two worlds, where the line between what is written and what is experienced becomes progressively more blurred and where reality cracks, allowing a perfect fiction to filter through, populated by feelings more solid than the world that hosts them.

It is in this suspended space that a bond is formed, born of irony and resistance, developing through unexpected attractions and small stratagems, and deepening until it transforms into something painful. Through moments of lightheartedness, sudden romantic outbursts, and scenes charged with melancholy, the drama constructs a sentimental journey that manages to engage even when the narrative framework shows its limits.

More than telling a story, My Page in the 90s invites the viewer to experience a series of emotions, leaving them with the sensation of an engaging and intense experience, one that finds its truest center in love—and its inevitable impermanence.

Plot

The plot is fairly simple and in keeping with the typical structure of transmigration stories, but it suffers from a lack of contextualization: the protagonist is thrust into a novel she should theoretically know in detail, but neither she nor the production truly care to introduce the viewer to it. This results in a general sense of vagueness, as if the characters emerge from nowhere, lacking a clearly delineated past or solid character traits.

This lack of grounding is also reflected in the narrative itself, where the protagonist seems to adapt surprisingly quickly to the fictional reality of Goodbye Wild Weasel: after an initial inability to remember names and key information from the novel, Lin Huan Er later seems to move naturally in a world that until recently was foreign to her, embarking on a career path marked by an all-too-simple professional ascent, in which her talent takes on almost mystical overtones, capable of transcending hierarchies and common sense.

The backdrop to this astonishing personal evolution is a weak and highly simplified corporate storyline, built more on rhetoric than realistic dynamics, and which exists primarily to bolster the protagonists' positive image and foster the development of their relationship by creating obstacles that serve to bring them closer together.

Love Stories

It's only on the sentimental level that the drama manages to redeem itself: the love story breaks away decisively from the dullness of the corporate context and establishes itself as one of the series' most successful elements. The development of the relationship between the two main characters is punctuated by subtle wiles, effective plot twists, and numerous moments of sweet romance, capable of restoring movement and warmth to the narrative.

The secondary love story, more discreet but no less heartfelt, also contributes to this emotional balance: despite lacking the central couple's charisma, the secondary couple experiences ups and downs that captivate and generate a sincere emotional attachment.

Cast

The cast proved surprisingly capable of convincingly supporting a less-than-perfect plot and fleshing out genre stereotypes without reducing them to mere caricatures. Together, they managed to bring emotional depth to a story that finds its most sincere truth in bonds and relationships.

Even though this is my third consecutive drama with Chen Xing Xu, I must say I haven't tired of his presence yet: it's true, his role always seems to revolve around the same figure—that of the distant and inscrutable CEO—but it's an archetype that fits him so naturally, so much so that he could ideally be called the "Charming CEO" of Chinese dramas. His acting alternates carefully between moments of composed austerity and sudden bursts of sweetness, and it is precisely in this balance between control and abandon that he finds his most authentic signature.

Wang Yu Wen, for her part, continues to prove herself a magnetic presence: she infuses her characters with charisma, spontaneity, and a subtle nonconformist streak that I already loved in The Chan'An Youth, where she starred alongside Wu Xi Ze.

Zeng Meng Xue and Ma Si Chao — the latter again alongside Chen Xing Xu after Love Between Lines — even without playing groundbreaking roles manage to captivate the viewer with a disarming sweetness, made up of shyness and simplicity.

Also noteworthy are the performances of Wang Ce, intense in the role of the rigid and inflexible father, and Yu Xiang, who portrays a calculating and ambiguous boyfriend, particularly believable in the scenes of deception and madness.

Finally, Zhao Qian imbues the protagonist's mother with a profound and disillusioned vulnerability that leaves a silent mark on the narrative.

Visual Aspects and Soundtrack

The settings of My Page in the 90s, with their bright colors and contemporary yet not overly futuristic buildings, seek to evoke a turn-of-the-millennium atmosphere poised between nostalgia and imminent modernity. Some artfully placed props truly manage to suggest that transitional era, one of still-analog dreams and newly embraced digital promises. Yet, for those who lived through those years — albeit from a different geographical perspective — a subtle sense of inconsistency lingers, a misplaced detail that shatters the illusion: perhaps the overly casual use of mobile devices and the internet, or perhaps the widespread presence of overly luxurious cars, elements that convey a slightly glossy and anachronistic image of that era.

The costumes also contribute to this perception: the women's clothing sometimes appears too elaborate for a comedy whose protagonist, despite frequenting privileged circles, is not portrayed as a true fashionista. Once again, the men's costumes are more coherent and convincing, less ambitious but more believable in their simplicity.

From a directorial perspective, however, a certain refinement emerges: the shots are carefully crafted, and the choice of locations lends the story a certain internal solidity, capable of enhancing even the most ordinary moments.

The soundtrack, as is customary for this type of series, moves along romantic notes, with slow and passionate melodies; however, the less conventional sounds of the main theme 梦的边界 (The Boundaries of Dreams) stand out, adding a more cheerful and light-hearted nuance to the story. The use of music appears overall measured and coherent, accompanying the scenes without overwhelming them, like an emotional echo that amplifies—without forcing—what is happening on the screen.

My Page in the 90s Drama Review (Spoilers)

What Works: The Love Stories

The love story stands out as one of the most successful aspects of My Page in the 90s, proving more lively, engaging, and narratively generous than the corporate storyline. This is despite the unnecessary "challenges" imposed on Lin Huan Er by the system—forced and uninspired expedients, such as being rescued by the ML or snatching a kiss or even his clothes within a set time limit—and the insistent use of numerous romantic clichés. Given FL's ironic and irreverent attitude toward romantic plots, one might expect to see them dismantled or mocked, but instead they are presented and slavishly respected by the screenwriters, as if their presence were indispensable to demonstrate that the protagonist's (and part of the audience's) contempt for them is unfounded.

Despite these small flaws, the developing bond between Lin Huan Er and Gao Hai Ming still manages to find its authentic dimension, building through the small tricks deployed by FL, a progressive increase in complicity between the two, and well-calibrated twists. What emerges is a sentimental plot punctuated by moments of unintentional comedy, genuine concern, and sweet romance, capable of restoring movement to a narrative that otherwise struggles to find depth and momentum.

Unlike Love Between Lines, this time even the secondary love story manages to carve out a space of genuine tenderness, proving surprisingly engaging.

Despite lacking the magnetic charisma of the main couple, the secondary protagonists build a bond made of hesitations, impulses, and fragilities that, episode after episode, manages to captivate and draw the viewer into a delicate whirlwind of emotions.

Their ups and downs, more subtle but no less intense, lead to a tragic epilogue with the death of Hu Tie Han, an event that bursts into the narrative with the force of a sudden wound. The drama, however, does not give the viewer the time necessary to truly experience this pain and fully metabolize it: Lin Huan Er's return to her reality abruptly breaks the emotional thread, leaving that loss suspended, like the distant echo of a reality that no longer seems to have any connection with the story being narrated.

What Doesn't Work: Contextualization and the Corporate Storyline

One of the most problematic aspects of My Page in the 90s is the story's poor contextualization. It's true that the protagonist is catapulted into a novel whose details, at least in theory, she knows, yet neither she nor the screenwriters truly care to convey this information to the viewer. The result is a narrative that often feels like it's on a stage, populated by characters emerging from behind the scenes, yet lacking a clearly delineated backstory or a well-defined internal complexity. This lack of direction makes it difficult to orient oneself within the story and weakens emotional engagement, leaving the viewer with the constant sensation of observing characters whose reactions are shown, but not the thoughts that spark them.

Another crucial flaw of the drama is the presence of a deadly boring corporate storyline, in which business deals and rivalries are reduced to a predictable, tension-free show. The economic dynamics are simplified to the bare minimum, so that their developments end up following the narrative's needs exclusively, creating obstacles that serve to bring the male protagonist closer to the female protagonist and increase his respect for her, even professionally.

This already weak structure is further compounded by several sequences marked by strong feminist and populist rhetoric that seem to distort the naturally lucrative goals of ML society in terms of social and technological development. This intent is certainly aimed at elevating the protagonist's character, but it ends up further burdening the narrative and, at times, even making it irritating.

The overall result is an idealized economic world, frictionless and devoid of credibility, which exists solely to highlight the protagonists' work abilities and serve the romantic inevitability of the script.

Making matters worse is the protagonist's professional trajectory, which in the space of a few episodes goes from the drab anonymity of an ordinary employee to the unlikely role of sole PR representative for two of the city's major import companies, bordering on the ridiculous with an almost touching seriousness.

At the beginning, it must be acknowledged, the writers at least show the decency to justify this miraculous rise by attributing a "boost" provided by the system, an external intervention that justifies the exception. As the plot progresses, however, any need for explanation seems superfluous, and FL's professional successes are attributed exclusively to her unparalleled talent, transformed into a mystical force capable of deciphering the market, bypassing corporate hierarchies, and overriding common sense.

Moreover, towards the end, the story seems to insist a bit too much on FL's changed perspective, resorting to devices that stretch the narrative beyond what is necessary. The protagonist's evasive attitude, aimed at delaying the male protagonist's declaration, and his sudden amnesia, imposed by the system as a further obstacle, introduce an artificial suspension that ultimately undermines the narrative's naturalness.

While these stratagems appear consistent with Lin Huan Er's profound desire not to separate from the man she has learned to love, they also betray a certain narrative strain, as if the story fears reaching its conclusion and chooses to hold back a moment too long. The result is a tension that no longer arises spontaneously from the characters, but from the need to prolong the wait, leaving the viewer with a slight sense of artifice where previously authenticity pulsed.

Ending

The ending is part of the now consolidated practice of transmigration stories, closely recalling the outcome already seen in Returning Pearl, but also in A Dream Within a Dream: the threat according to which if the protagonist does not complete the mission by returning to her reality within a pre-established time, the world of Goodbye Wild Weasel will collapse on itself, dragging all the characters who inhabit it.

In My Page in the 90s, this conclusion seems to leave no room for deviations or alternative endings: Lin Huan Er returns to 2025, while Gao Hai Ming remains confined to the silent solitude of the novel.

It's a farewell that seems definitive, full of melancholy and regret, but only for the duration of a narrative breath. The final twist — actually anticipated since the first episode — reverses the epilogue: Gao Hai Ming manages, in a way as unexpected as it is inexplicable, to cross the boundary between dimensions and reunite with Lin Huan Er.

As is tradition, the screenwriters avoid any clarification (dismissing the miracle as "another story") and let sentiment (and the viewer's indulgence), rather than logic, seal the protagonists' final reunion.

This epilogue is nevertheless a little more original than that of similar dramas, leaving a vague sense of novelty that makes the audience less critical of yet another transmigration plot fed to them in recent years.

Characters and Cast

Primary Characters

Lin Huan Er (Wang Yu Wen) modern-day streamer who, during a livestream about the 1990s novel Goodbye Wild Weasel, suddenly finds herself sucked into the story and discovers the only way out is by making the male protagonist fall in love with her. Despite her aversion to romantic clichés, she uses every means at her disposal to charm Gao Hai Ming, only to discover that she, too, has fallen in love with the cold CEO and refuses to give him up.

Gao Hai Ming (Chen Xing Xu) General Manager of the Letao Group, a company importing products for women, ironically nicknamed the "King of Sanitary Pads" by his competitors due to his modern attitude toward these products. He falls in love with Lin Huan Er's frankness and determination, so much so that he won't give up on her even after her return in 2025.

Zhu Meng Meng (Zeng Meng Xue) Lin Huan Er's childhood friend. She's a rich daddy's girl and the comic book artist behind the hit comic book Star and Firefly. Later, thanks to the support of her friend and her longtime love, Hu Tie Han, manages to break into the music world by winning a singing competition.

Hu Tie Han (Ma Si Chao) schoolmate of Lin Huan Er, Zhu Meng Meng, and Ou Xiao Jue and Gao Hai Ming's friend. He's a traffic policeman in Bozhou who gave up his dream of becoming a detective so as not to worry his mother after his father, a police officer, died on duty. He has always been in love with Zhu Meng Meng, but he never wanted to declare it because of his humble origins, not suspecting that she had also loved him since school.

Supporting Characters

Lin Le Er, Lin Huan Er's younger sister. She is a bright and intelligent girl, very close to her sister, who will help her win Gao Hai Ming's affections once and for all.

Ou Xiao Jue (Yu Xiang) Lin Huan Er's longtime boyfriend and a longtime friend of Zhu Meng Meng and Hu Tie Han. He has been living in England for years at his fiancée's expense, and in addition to dropping out of school, he cheats on her with the heir of a wealthy Chinese family whose favors he hopes to gain. Lin Huan Er eventually exposes him, distancing herself from him for good.

Cheng Die En (Ding Ran) Gao Hai Ming's friend and Ou Xiao Jue's girlfriend of three years. She is a designer who met Ou Xiao Jue during her studies in England and plans to marry him as soon as they return home. Thanks to Lin Huan Er, she discovers her fiancé's true nature and leaves him before it's too late.

Qiu Zi, Zi Qiang, and Zhou Yuan, classmates of Lin Huan Er, Ou Xiao Jue, Zhu Meng Meng, and Hu Tie Han.

Gao Ming Shan (Wang Ce) Chairman of Letao and strict father of Gao Hai Ming. He has always had high expectations of his son, believing that he would lead the family business in the direction he envisioned, but he is very displeased when his son attempts to launch his own brand of feminine products and abandons a marriage of convenience with Xie Wan Jun. Although he initially makes Lin Huan Er's life difficult, in the end, also for his wife's sake, he decides to indulge his son's wishes.

Mei Yun Zhi (Zhao Qian) is Gao Hai Ming's mother. She is a very fragile and disillusioned woman who has always tried to please her husband despite his low regard for him. She feels terribly guilty toward her son for the suicide attempt that nearly cost them both their lives, and is extremely happy to see Hai Ming truly in love with Lin Huan Er.

Mrs. Fang and Mr. Lu domestic assistants in the Gao household.

Luo Zhou/Xiao Luo (Wang Han Wen) Gao Hai Ming's personal assistant.

Mr. Li (Zhao Yan Song) senior member of the Letao Board of Directors and a family friend of Gao Hai Ming. Despite his apparent support for the guy, he is actually trying his best to boycott his new production line.

Dr. Wei Da Zhuang, polymer chemist and former researcher at the Chuantu Institute, whom Gao Hai Ming recruits to develop the new line of feminine products he wants to launch.

Wei Da Qiang (Yang Kai Cheng) Wei Da Zhuang's older brother, a motorcycle enthusiast and owner of the B&B We Strong.

Zhao Jia, Qian Bing, and Sun Yi, Lin Huan Er's colleagues at Letao.

Mr. Xie (He Yong Sheng) President of Fuchuang Company, the bigger domestic distributor of foreign products and a future business partner of Letao.

Xie Wan Jun (Mi Zhuo Qing) Mr. Xie's daughter, who has long been secretly in love with Gao Hai Ming. To avoid marrying her, Hai Ming will repeatedly rely on Lin Huan Er's willing and unwilling cooperation.

Fang Yuan (Leng Hai Ming) boss of the Yunsheng PR agency where Lin Huan Er is hired and which handles communications for Letao and Fuchuang.

Xiang Ling Ling (Yu Xin He) Yunsheng's PR Department Manager and Lin Huan Er's hot-tempered boss.

Wang Zhen, Lin Huan Er's colleague at Yunsheng.

Ceng Qi Feng (Wang Ya Chao) General Manager of the company Lin Huan Er works for in 2025.

Ai Qing (Du Yu Chen) present-day streamer, Lin Huan Er's colleague and rival.

Favorite Character: Gao Hai Ming

He's an inscrutable and reserved man, shrouded in an aura of detachment that seems to shield him from any emotional involvement. Yet, beneath that controlled surface lies a profoundly human soul, marked by a far from carefree childhood.

The sole heir to his father's fortune, he grew up under constant pressure, molded from childhood to become a charismatic leader and impeccable entrepreneur, forced to repress his fragility and uncertainty.

The trauma of his mother's attempted suicide—who threw herself into the sea with him as a baby in her arms—has indelibly affected his sensibilities, leaving him with a fear of water that resurfaces violently in moments of crisis. Yet, when he believes Lin Huan Er is in danger, he doesn't hesitate to jump into the sea despite not knowing how to swim: an instinctive gesture that reveals the genuineness and depth of his feelings for her.

Building model airplanes is his only, secret outlet: a patient and meticulous activity that allows him to regain his balance and ease the burden of expectations that weigh on him daily.

He is a modern and visionary entrepreneur, willing to explore new markets and to address taboo topics, such as feminine hygiene products, without embarrassment—a choice that often puts him at odds with his father and a board of directors anchored in conservative thinking. But it is precisely this ability to see beyond that defines his lofty moral and professional stature.

In love, behind his initial reserve, he reveals himself to be a tender and passionate man, willing to make gestures bordering on poetry to make his loved one happy: such as the trip to Como, during a trip to Italy, to buy a box of "Aria del Destino," the aria of the romantic lakeside town, to give to Lin Huan Er as a promise to share the same breath with her in every moment of their lives.

And the fact that he manages, with unwavering willpower, to find a way to reach his beloved in 2025 is perhaps the most shining proof of his perseverance: it shows that he is a man capable of loving with determination and that, when he chooses someone, he does so without hesitation and without turning back.

Un-Favorite Character: Ou Xiao Jue

He is undoubtedly one of the most detestable characters in the drama, the embodiment of unscrupulous ambition and a selfishness bordering on cruelty.

Deceitful and calculating, he is willing to sacrifice anyone to pursue the fame and wealth he aspires to.

During his study trip to England, he is financially supported by Lin Huan Er, forcing her to work multiple jobs and frequently arguing with her father over this choice, only to be expelled from college for his poor academic results. During the same period, he strategically approaches Cheng Die En, the heir to a wealthy Chinese family, in the hope of securing a more prosperous future.

Upon returning home, he even asks Lin Huan Er to fake a breakup so he can formalize his engagement to Cheng Die En and exploit her connections to secure a prestigious job.

Then, he publicly accuses Lin Huan Er of infidelity and opportunism to clear his name, while manipulating Cheng Die En into granting him a loan under the pretext of paying for his father's medical treatment—money he actually uses to clear himself of all material and moral debts to his ex-girlfriend.

After being exposed, he displays the height of his baseness by kidnapping Lin Le Er and reacting violently against Lin Huan Er, who arrives to save her sister, ultimately sending Gao Hai Ming, who intervened to protect the girls, to the hospital.

While he initially rivaled Gao Ming Shan for the title of worst character, the latter's repentance is unmatched by Ou Xiao Jue, who remains impervious to any form of repentance and, apparently, humanity to the very end.