Tan SongYun was in her early 30s when she shot this but does look a lot younger than her age. its a very good…
Oh darling, your commitment to doubling down is truly a case study in long-term brand consistency. Bold strategy. But since you’re so passionately invested in an age-gap discourse without — how shall I put it — baseline contextual data, let me give you a quick executive briefing.
First off, if age gaps trigger you in fiction, I genuinely wonder how you navigate the real-world relationship landscape. Couples with that difference exist outside your streaming queue, shocking as that may be. And frankly, he looks exceptionally good for his age; let’s not pretend aesthetic ROI isn’t part of the entertainment value proposition.
Now, to the actual substance — because you’ve been operating on… let’s call it a low-information diet.
In The Sword and the Brocade, the age gap isn’t random, creepy, or some Hollywood thrill attempt. Her older sister — terminally ill and fully aware of her exit timeline — chooses her younger sister as the next wife because she believes the girl matches his intellect, temperament, and capability. She wants someone she trusts to protect her children and household after she’s gone. That’s not scandal; that’s a historically logical succession plan.
You also keep referencing “romanticising the treatment,” but between the lines, what you’re actually accusing the show of is romanticising mistreatment. And that would only hold water if the narrative framed abuse as desirable. It doesn’t. Not even close. The drama portrays duty, family politics, and power dynamics within a historical framework — not a how-to guide for modern relationships. If historical fiction had to be rewritten to suit 2025 moral preferences, we’d end up with documentaries starring iPhones and HR policies.
And just to align expectations: this is historical fiction. Judging it by modern dating standards is the entertainment equivalent of running a 2025 app on a Ming Dynasty operating system. It’s not oppression; it’s genre mismatch.
Now, about your attempt to equate it with child–adult scenarios: In the drama, she’s portraying a younger girl, and he’s portraying an older widower. That is accurate for the setting. But here’s the operational detail you keep skipping: minor actors cannot legally perform romantic or intimate adult storylines in many countries. This is why adults portray teens, not because someone is trying to “romanticise the treatment,” but because it is literally illegal to cast actual minors in those scenes.
And while we’re on relationship dynamics: If you had actually watched the show, you’d know their marriage evolves into one of the healthiest dynamics ever put on screen in this genre. Despite endless scheming from everyone around her, he learns to trust her, support her, defend her, and value her input. This man is not a red flag; he is a neon-lit green flag, which is practically a collector’s item in historical dramas. Their connection becomes respectful, loyal, and protective — something far more progressive than the “mistreatment” narrative you’re trying to project.
So if you’re evaluating a period drama through a modern lens, skipping context, production law, cultural relevance, narrative logic and the actual character development… well. That’s like complaining your coffee tastes bitter and then revealing you swallowed the grounds.
Anyway, thank you for your engagement — it’s been a fascinating masterclass in how confidently one can argue without consuming the material.
Honestly, when we watch Chinese dramas, it’s easy to judge an actor’s performance without realizing how the…
That’s fair — it’s rarely never the actor’s fault. But it’s also too early to tell how much of what we see is Victoria Song’s choice versus the director’s vision or the editing.
Let’s see where her character goes first — that’ll tell us whether the restraint was buildup or limitation. 😉
Honestly, when we watch Chinese dramas, it’s easy to judge an actor’s performance without realizing how the…
I wouldn’t call it “making excuses.” It’s about context — not deflection. Sure, all Chinese actors work under the same production constraints, but not under identical creative direction. Some directors actually allow actors to breathe life into their roles; others dictate every blink, tone, and breath. So yes, some actors shine despite those limits, while others get boxed in by rigid directing and choppy editing. Pointing that out isn’t defending anyone — it’s just being honest about how the industry works behind the curtain.
Actors deal with constraints differently, and that’s not a matter of talent — it’s about interpretation. Acting is never a one-person show; it’s a choreography between directors, editors, and producers. When multiple directors are involved — often shooting scenes out of sequence — you can easily lose emotional continuity. That’s when certain scenes feel a bit “off”: not because the actor can’t deliver, but because the emotional rhythm depends on how aligned everyone is in reading the character’s inner world.
Now, let’s talk about the character — Chu Yu, played by Victoria Song. Her portrayal actually makes psychological sense. I get where the criticism comes from, especially when you stack her next to Wei Yun. Wei Yun’s arc is designed to wear his heart on his sleeve — grief, loyalty, longing — and Ding Yu Xi’s acting style amplifies that perfectly. Chu Yu, on the other hand, carries the weight of multiple betrayals and losses. She’s learned that control is safer than vulnerability — and that’s exactly what we’re seeing on screen.
The timeline doesn’t make it easier to track, either. We still don’t know whether her father’s death came before or after her breakup with Gu Chu Sheng. What we do know is that her brother uncovered a betrayal within the government — someone leaked their weapon blueprints to the enemy. That means Chu Yu’s not just seeking revenge; she’s untangling a web of lies tied to her father’s death. Then there’s the emotional blow: the man she once loved, Gu Chu Sheng, seemingly chose ambition over integrity — marrying up after she’d stood by him through his family’s fall from imperial favor. That kind of disillusionment breaks trust on every level, including with herself.
From a psychological standpoint, her restraint tracks perfectly. People process trauma in wildly different ways. Some, like Wei Yun, stay emotionally transparent. Others, like Chu Yu, retreat inward — emotion becomes a threat to stability. Both are survival strategies. Her stiffness isn’t emptiness; it’s armor. It’s what happens when self-preservation takes the wheel.
When you’ve lost nearly everything, emotion stops feeling safe — it becomes a luxury. Suppression turns into strategy: stay composed, stay useful, stay alive. And narratively, that checks out. Her love story with Wei Yun is still in its infancy. Her restraint feels intentional — the quiet before the thaw. She’s fully aware of what she feels; she’s just not ready to let those emotions derail her mission.
So before assuming it “calls her abilities into question,” it’s fairer to see how the full arc unfolds. If Chu Yu’s journey is about rediscovering trust and emotion, her restraint right now isn’t weakness — it’s buildup. We’re not watching a flaw. We’re watching a process. And honestly, only after the drama has fully aired can we make a real assessment of Victoria Song’s performance. Until then, it’s better to wait and see how Chu Yu continues to evolve — whether she opens up or remains guarded. Either way, that progression (or lack thereof) will tell us far more about the intent behind her portrayal than a mid-series snapshot ever could.
There will be critiquing of the show in this comment. If you don't want to read that, just close this back up…
I totally get what you mean, and honestly, a lot of that “disjointed” feeling comes from production constraints, not really from creative choices. (Directors usually know what’s allowed and what isn’t, and they can sometimes push the system a bit within that framework.) For TV dramas, the main reason scenes get cut isn’t censorship — it’s runtime rules. A drama can have up to 40 episodes at 45 minutes each, or unlimited episodes as long as the total runtime doesn’t exceed 1,800 minutes. Scripts are submitted before filming even starts, so any changes during production or editing have to stay within that framework — small tweaks are fine, but nothing that completely rewrites the story.
Filming in China makes this even trickier. Actors often have very little room to shape their characters. Directors control blocking, line delivery, emotional tone, and even facial expressions are often guided or corrected. Scenes are frequently shot out of order, sometimes in parallel with other episodes, and with multiple directors, they can be filming several scenes at the same time. That can make consistency tricky, and it’s one reason why the show can feel slightly “off” — we really don’t know how well the directors communicated with each other. By the time editing is done, some of the cracks you notice aren’t the actors’ fault at all; it’s just how fragmented the process can be.
So yes, a lot of scenes got trimmed, but it’s mostly about fitting into the allowed airtime, not because anything was inappropriate. Since 2022, censorship rules for TV and online dramas have been the same, which is why dramas now start with that official insignia. The red insignia for dramas and green dragon for movies were introduced to show that a production passed review and can actually air on TV.
The runtime restrictions have now been completely lifted, but this only applies to future productions. The review process has also been decentralized, so dramas can get released faster without waiting for central approval. Productions still filming under the old rules are bound by the previous limits, so schedules, pre-planned edits, and director oversight continue to shape what makes it to screen.
That said, we still don’t know how far the team revised the script after leaks, or how much the director influenced what stayed or got cut. In Chinese productions, the final version is shaped by a mix of director oversight, filming schedules, script tweaks, and editing constraints. So while it’s frustrating to think about some of the leaked scenes that might have been stronger, the version we see is the result of many moving parts, not just the story’s potential or the actors’ abilities.
In short, the story can feel uneven because of runtime limits, production constraints, multiple directors, filming practices, and editing, but that doesn’t mean the drama couldn’t have been stronger — it’s just the version that fit the rules and schedule. That said, I’m still enjoying it. For me, I can usually see past the rough edges and appreciate the parts that really work.
Well well, I put it on hold because synopsis and the three first episodes was totally different and very confusing.…
I completely agree with you! We’re only halfway through the drama, so it’s really too early to judge everything yet. We don’t know how the characters and storylines will develop, and it’s great that you gave it another chance with a fresh mindset. I’m with you — Victoria Song seems to be doing a solid job so far, and the chemistry is definitely starting to build. Sometimes it just takes a few episodes for everything to click, and it sounds like that’s exactly what’s happening here.
How he even gets casted as a hero is a wonder to me😂😂😂... with that face n physique 🤭. Ppl sure have…
Actually, it’s worth looking at this from a structural and functional perspective rather than just first impressions. Many East Asian men naturally have slender bone structures — narrower shoulders, smaller rib cages, and slimmer limbs — which makes their muscles appear leaner on screen, even when they are very strong. This skeletal structure means that even very muscular actors can look slim or “slight” compared to the bulkier Western action-hero ideal, but that doesn’t reflect their actual strength or fitness.
On top of that, actors in Chinese dramas often train for toned, functional muscles rather than bulk. Their routines frequently include martial arts, acrobatics, dance, or other movement-based training, which builds strength, endurance, core stability, and agility rather than just visual size. This creates long, defined muscles that support movement and stunts, giving them the physical capability to handle demanding action sequences while maintaining an elegant silhouette.
Because of this combination — naturally lean bone structure and functional, toned muscles — it can look like they’re “too slender” or “not muscular,” even though they are extremely fit. Many of these actors also perform the majority of their own stunts, which requires serious physical conditioning, precise control, and endurance. This makes their lean physiques not only visually appealing but also highly functional for the kind of roles they play, particularly in historical, fantasy, or action-heavy dramas.
So while someone like him may look slim or youthful, this appearance is deliberate and aligned with the aesthetic of Chinese dramas, where agility, grace, and a lean silhouette are often prioritized over raw bulk. It also perfectly suits the character he’s playing. In other words, the perception that he “doesn’t have muscles” or “shouldn’t be cast as a hero” is more about different cultural and aesthetic standards than a reflection of his actual fitness, physical capability, or acting skills.
Some thoughts. I am currently up to ep 19 at the time of this post. I am still entertained by this series but…
Honestly, when we watch Chinese dramas, it’s easy to judge an actor’s performance without realizing how the system works over there. In China, directors usually have almost full control over everything — the pacing, the blocking, how lines are delivered, even the emotional tone of a scene. Scripts get changed on the fly, editors cut scenes however they see fit, and actors often just have to follow along. There’s a saying in the industry: “导演说了算” (dǎoyǎn shuō le suàn) — literally, “the director calls the shots” — and actors are basically expected to be “执行者” (zhíxíng zhě), just carrying out the director’s vision.
That’s why subtle emotions or romantic nuance can come across as stiff or flat — it might not be the actor’s fault at all. We don’t know how much room they actually had to shape the character, so we always need to keep this in mind: the Chinese drama business works very differently from the Western one.
Take Victoria Song in Fight for Love and Luoyang, for example. In Fight for Love some viewers feel her romantic and emotional expressions are limited, while in Luoyang her physicality, confidence, and action-oriented presence get a lot of praise. The difference isn’t just her skill — it’s also how the directors and editors framed her performance.
So yeah, when we watch these shows, it’s better to look at the bigger picture: the final product is as much about production choices as it is about the actor.
She wanted to seek medical help, but while lying on the floor her manager shouted at her to stop her from going. This is not management. This is obstruction of medical care—what can be described as a failure to assist a person in danger.
Instead of dismissing her as “fragile and sick,” the focus should be on re-evaluating her management. A professional agency ensures an artist’s health and wellbeing; it does not exploit, abuse, or endanger them.
This is not just Zhao Lusi’s story—it is a wake-up call for accountability and reform in talent management practices across the industry.
She definitely needs to eat! She is skin and bones and that's just not healthy much less attractive.
You have probably never heard of an eating disorder being caused by abuse, bullying and mental health problems. Anyone in the same situation would have developed some sort of unhealthy eating habits. Especially when the agency kept telling her that she was too fat.
Try to put yourself in her shoes and then you can make such a comment. If you have never experienced anything like this in your life, you should be happy and acknowledge the fact that she has recognised the reason why she is suffering from tremendous mental health problems.
Now she is trying to recover. But believe me, depression never leaves you. It will always be there, but people learn to live with it and learn ways to make sure they never have to go through such a bad experience again in their lives. Because the wounds heal, but the scars will always be there - because those memories never fade.
Mostly Youtube tbh..or dailymotion but Hello Saturday on YT always have eng subs uploaded few days later
WeTV, Youku and iQIYI have their own variety sections. But most of them can be found on either HunanTV or MangoTV (basically the same). But for MangoTV (as on their own website) the subs are not good as they are automatically translated and God knows what translator they use.
Youtube is still a better choice. If you know the name of the Chinese variety show, you can usually find it there. Are you looking for something specific?
I think one the low score contribution is the very useless and weak Female Lead character... LOL her character…
In the drama, it was said that ‘Baize goodness’ is a title. It is not the literal form of a goddess as we might imagine. Each goddess only has one demon, not two. There will always be characters who are dependent on others. There will always be characters who are sicker. Does that mean they have no right to exist in a drama? Yes, they also have the right. Because they show the transience of life.
I know that Wen Zong Yu wasn't strong in the mental sense because he was all about revenge. It has nothing to do with strength or willpower because he didn't overcome his inner demon or let's say it more modernly, his obstacles. Although he remained true to his attitude, he did not develop beyond that at all. Otherwise he would not have caused so much suffering to others. If he had developed, he would have become a very good doctor and would have treated anyone who was worth it, whether demon or human. Instead, he combined all the negative attributes of all of them. His clear aim was to commit genocide on a group where not everyone was responsible for his situation.
We are not quarrelling. This is a logical discussion about a character who has just as much right to exist as anyone else. This character exists to show that not everyone goes through the same development as everyone else. That's also an important perspective to keep in mind. Not everyone is equally strong, but has different attributes. The difference between the two of us is that you see the drama as pure entertainment and I do not. In my opinion, it needs to be viewed in a more differentiated way.
How old are you, since you see it as a compliment?
I think one the low score contribution is the very useless and weak Female Lead character... LOL her character…
So I'll just copy the answer from my long text again. Why am I doing this? Because your answer suggests that although you said you had read the text, you didn't read it. I think that's a pity, by the way, because everyone can learn from everyone. That's why the origin or ancestry is not crucial. Someone who has studied Sinology or Chinese philosophy will have something over the others without this knowledge, even if they are of Chinese origin. Why? Because there are always going to be people who are better than you and therefore more educated than you.
Even if the ‘you’ is used here, I don't mean you, I mean everyone.
You definitely want each character to develop a certain form of physical ‘strength’. However, strength comes in different forms.
I am assuming that you are still too young to understand these points. In the future, I'm sure you'll understand at some point.
Now to Wen Xiao, who you have very often described as 'weak' in various comments. Here I ask myself the question: Have you seen the latest episodes? ZYZ even gives the answer to why she is so 'weak' 😊.
Her power depends on the demon she is working with - in this case, ZYZ. When he is weak, she is weak. When he is strong, she is strong.
With ZYZ in particular, we can see his health slowly deteriorating. Therefore, the power of the Baize Goddess will naturally decrease. (Yin and Yang)
It was also explained that the Baize Goddess is chosen for certain characteristics: She is pure (pure in thought), she remains true to her ideals and she is also there to maintain the balance between the worlds. So again we have characteristics of Taoism and Confucianism.
Then, of course, there is the flute, which is destroyed, and the fact that the flute has been poisoned - which is why her health is also suffering. This also explains why she is physically weak. However, this does not mean that she is mentally weak.
I think one the low score contribution is the very useless and weak Female Lead character... LOL her character…
Please add 'Spoiler' to your comment. There may be some people who haven't seen the drama yet and don't want to be spoiled.
“However, this is not a philosophical drama only. This drama contains lots of magical power and conflicts of two different world.”
You are wrong in this statement. I warn you that this post will be very long to describe why this drama contains much more philosophy and what actually makes this world so magical - the metaphors. Therefore, I will go into the different philosophies first, so that you can get an overview and describe some of the mystical beings from 'Classics of Mountains and Seas' and what they actually mean. I will then go into the drama and briefly explain something about the book. Please be aware that you also need to have an understanding of the Chinese language - that's why I've explained a few things.
First things first: Chinese fantasy embodies the philosophical and spiritual beliefs of Chinese culture.
Unlike the linear narratives of the West, Chinese fantasy often depicts time and events as cyclical, reflecting Buddhist and Daoist cosmology - a cyclical view of time and existence. The stories emphasise that time and events run in cycles and that endings and beginnings are often linked.
Confucianism is concerned with the duty, loyalty and justice of characters - especially in moral dilemmas. Confucian ethics often challenge characters to manage relationships, loyalty and duty, and present a nuanced view of morality, which is the moral complexity of these dramas. In particular, social harmony, hierarchy and the importance of filial loyalty are at play, influencing the characters' relationships and moral dilemmas. The dramas illustrate how moral values and social obligations influence people's lives and choices.
Daoist philosophy sees humans as part of nature, not the rulers of it - it emphasises harmony with nature, the balance of yin and yang, and the idea of 'wu wei' (无为 - effortless action). This is reflected in depictions of figures learning from the elements, practising qigong or drawing strength from the natural world. In Daoism in particular, the line between heroes and villains can be blurred, reflecting the cyclical nature of good and evil. The protagonists often face trials that force them to overcome inner conflicts or come to terms with external forces. This theme is about universal harmony and balance. It emphasises the need for self-reflection and inner strength.
Taoism is present in all Chinese fantasy dramas as it emphasises the balance between things. These stories show the importance of living in harmony with nature and finding inner peace. (Please note that the beliefs of Daoism and the philosophical teachings of Daoism must be considered independently).
Buddhism is about the quest to overcome suffering. Buddhism has the themes of reincarnation, karma and the concept of overcoming worldly suffering as central elements of the narrative. These stories emphasise the importance of patience and the search for spiritual enlightenment. These are the reasons why such dramas often focus on power relations, destinies and people's personal growth - in whatever way.
To make it clear to you that the ‘magical beings’ play a very philosophical role, I have brought you a few, including their meaning:
Dragon (龙, Lóng) Meaning: Dragons are powerful and benevolent creatures often associated with water, rain and fertility. They symbolise strength, power and good fortune. Philosophical aspect: The dragon represents harmony between heaven and earth, the balance of yin and yang, and is often seen as a protector and bringer of prosperity.
Phoenix (凤凰, Fènghuáng) Meaning: The phoenix symbolises rebirth, immortality and renewal. It is a symbol of virtue and mercy. Philosophical aspect: The phoenix represents the ability to transform and renew, often associated with Daoist ideas of immortality and constant change.
Qilin (麒麟, Qílín) Meaning: The qilin is a mythical animal symbolising goodness and benevolence. It is regarded as an omen of peace and prosperity. Philosophical aspect: The Qilin represents harmony and a peaceful era. It is often seen as a symbol of the arrival of a wise ruler or great change.
Fox Spirit (狐狸精, Húlijīng) Meaning: Fox spirits, especially nine-tailed foxes, are well-known tricksters and shape-shifters. They can be both benevolent and malevolent. Philosophical aspect: These creatures embody the dual nature of the world, in which both positive and negative forces exist. They symbolise deception and seduction, but also wisdom and protection.
Crane (鹤, Hè) Meaning: Cranes are symbols of longevity and wisdom. They are considered holy animals. Philosophical aspect: The crane represents the quest for immortality and spiritual enlightenment, which is closely related to Daoist practices of meditation and cultivation.
These mythological beings are deeply rooted in Chinese culture and philosophy and offer insights into the values and belief systems that have shaped Chinese civilisation for millennia. They are not only literary figures, but also carry deep symbolic meanings that influence the understanding of nature, the cosmos and human life.
As we know, Chinese wuxia, xianxia and xuanhuan dramas are often set in the Jianghu world - this is nothing new. These worlds are inspired by Daoist and Buddhist cosmology, including, for example, heavenly palaces, immortal mountains, the underworld and demons. We are of course aware that themes such as 'cultivation' (gradual development), personal enlightenment, immortality and the cyclical nature of life play a central role. The world is characterised by Chinese mythological creatures (dragons, fox spirits, etc. - demons), artefacts and martial arts traditions. Nature plays an important role, with mountains, rivers and celestial phenomena often serving as metaphors for inner balance and universal harmony. Cultivation is therefore a metaphor for the progressive development and self-discovery of characters. Individuals often begin as ordinary or flawed individuals who, through hard work and perseverance, achieve the goal they seek, such as immortality, enlightenment or self-realisation.
These stories are about the unity of opposites - and that is exactly what our main characters are. The characters can change through hard blows of fate, showing the correlation between destruction and growth. The principle that challenges and crises can often lead to personal growth.
Having said that, it is clear that the dramas are very much shaped by the philosophies that exist in this language area.
Philosophy resonates in these dramas for the following reasons:
1. cultural heritage: the fusion of historical settings, mythologies and philosophical ideals makes these genres relatable to Chinese audiences.
2. moral complexity: the interplay of personal ambition and moral responsibility mirrors real-life struggles, making the stories both universal and deeply rooted in the Chinese mindset.
3. aesthetic appeal: The Daoist reverence for nature and balance is often visualised in these dramas through lush landscapes, celestial battles and complex choreography.
In essence, the philosophical underpinnings discussed earlier permeate these dramas, making them not only entertainment but also a medium for exploring and celebrating China's rich intellectual and cultural heritage.
Now to the drama itself:
大梦归离 - the name says it all. Traditionally, Chinese idols consist of 4 characters, as in this case. The expression 'Da Meng Gui Li' means to leave the dream and return to reality. It describes the transition from dream to reality, from illusion to reality, and also reflects the psychological changes that people go through when they pursue their dreams and goals. Basically, the title reflects the deeper meaning of the whole drama and is therefore a damn good choice, as it is the recurring theme.
After all, it also means that people who have lost their way can find their way back to the right path (e.g. Bai Jiu and Li Lun). And with all the characters, it becomes clear that they all have to find their way back to reality in some way, as each of them has experienced something that you wouldn't even wish on your arch-enemy. The name of the drama is therefore very well chosen, and the theme recurs to the proverbial bitter end.
In these dramas you can clearly see the Confucian teachings of duty, loyalty and justice of the characters. The point is that each of the characters has suffered a blow of fate that they must overcome together. The nuanced view of morality is that ZYZ later becomes their friend, even though he creates the moral dilemma for them - the murder of the former goddess and the murder of ZYC's brother. The importance of childhood loyalty is particularly important here, as children perceive right and wrong, evil and good differently to us adults. They instinctively decide if something is right or wrong, or if someone is bad or good. They are loyal to their ideals.
That's why you should always ask yourself the following questions about these dramas: For example, do we know the whole truth? Is what we see really true, or do we need to know the background to be able to judge the whole situation?
The Taoist influence can be seen in drama through the cyclical nature of good and evil. Good and evil are not fixed states - we learn this particularly through ZYZ - but flow into each other. They are intertwined and interdependent. So what is perceived as good or evil often depends on the perspective and its experiences. It also comes into play that the characters have to overcome inner conflicts, which is also a central theme of the drama. Zhao Yuan Zhou, Wen Xiao, Zhuo Yi Chen, Pei Si Jing, Bai Jiu and Li Lun show that they are haunted by their inner demons and must first overcome them in order to grow beyond themselves. This, by the way, is the moral component of the title - going through psychological changes - Everything is in a state of constant flux (changes). So the characters all have one thing in common - it's about them reflecting on themselves, putting their inner conflicts behind them, changing their perspective, putting themselves in the other person's shoes and then deciding what's right and what's wrong.
The drama even mentions that ZYZ is a vessel that collects all negative energy. He thus becomes the leading figure of the 'balance' between good and evil. But this has a negative consequence... What he collects is not the negative energy, it is just a metaphor for all the negative emotions that people experience. When a person is guided only by negative emotions, they are of course not in control, as in the case of ZYZ during the Blood Moon.
Now to Wen Xiao, who you have very often described as 'weak' in various comments. Here I ask myself the question: Have you seen the latest episodes? ZYZ even gives the answer to why she is so 'weak' 😊.
Her power depends on the demon she is working with - in this case, ZYZ. When he is weak, she is weak. When he is strong, she is strong.
With ZYZ in particular, we can see his health slowly deteriorating. Therefore, the power of the Baize Goddess will naturally decrease. (Yin and Yang)
It was also explained that the Baize Goddess is chosen for certain characteristics: She is pure (pure in thought), she remains true to her ideals and she is also there to maintain the balance between the worlds. So again we have characteristics of Taoism and Confucianism.
Then, of course, there is the flute, which is destroyed, and the fact that the flute has been poisoned - which is why her health is also suffering. This also explains why she is physically weak. However, this does not mean that she is mentally weak.
The bottom line is that there are reasons why the character is so 'physically' weak. However, she remains true to the criteria for being chosen as the Baize Goddess.
The drama is based on the book 'Classic of Mountains and Seas', so here are a few facts about the book. It brings together these mythological creatures and their symbolic meanings into a rich cultural and philosophical work. The descriptions of these creatures are not only meant to entertain, but also to convey deep philosophical principles (the following principles):
Nature and Cosmos: The creatures symbolise the close connection between the natural world and the cosmos, as taught in Daoist philosophy.
Moral lessons: The actions and characteristics of these creatures offer moral lessons that relate to the Confucian values of virtue, duty and social harmony.
Spiritual enlightenment: Many creatures represent spiritual principles, such as the pursuit of enlightenment and an understanding of the cyclical nature of life, reflecting Buddhist influences.
The mythological descriptions in the 'Classics of Mountains and Seas' provide a deep insight into the philosophical and cultural values of ancient Chinese civilisation. These texts are therefore not only of literary value, but also a key to understanding Chinese philosophy.
These dramas are therefore not only entertainment, but also a medium for exploring and celebrating China's rich intellectual and cultural heritage. They offer deep insights into the philosophical and spiritual beliefs of Chinese culture and illustrate universal themes through a unique cultural lens.
I've read some of stuff on douban and mostly its- hate towards director - hate for costumes and heavy make up-…
In my opinion, it's the same, because I've seen many, many antis commenting in the comments section. They start rating dramas very early and either give low ratings or rant about the drama. Just don't listen to them and make sure you watch the drama instead of being influenced by others.
Sometimes even fans of dramas miss the key points. Because Chinese Wuxia, Xianxia and Xuanhuan dramas are more complicated to understand than it seems. So they judge a drama based on what they see and hear. But they don't understand the philosophy behind it. I am actually preparing an answer to someone here about this. To make them understand why we should open our hearts to the culture when judging such dramas, and especially to wait until the very end before rating a drama.
But since you’re so passionately invested in an age-gap discourse without — how shall I put it — baseline contextual data, let me give you a quick executive briefing.
First off, if age gaps trigger you in fiction, I genuinely wonder how you navigate the real-world relationship landscape. Couples with that difference exist outside your streaming queue, shocking as that may be. And frankly, he looks exceptionally good for his age; let’s not pretend aesthetic ROI isn’t part of the entertainment value proposition.
Now, to the actual substance — because you’ve been operating on… let’s call it a low-information diet.
In The Sword and the Brocade, the age gap isn’t random, creepy, or some Hollywood thrill attempt. Her older sister — terminally ill and fully aware of her exit timeline — chooses her younger sister as the next wife because she believes the girl matches his intellect, temperament, and capability. She wants someone she trusts to protect her children and household after she’s gone. That’s not scandal; that’s a historically logical succession plan.
You also keep referencing “romanticising the treatment,” but between the lines, what you’re actually accusing the show of is romanticising mistreatment. And that would only hold water if the narrative framed abuse as desirable. It doesn’t. Not even close. The drama portrays duty, family politics, and power dynamics within a historical framework — not a how-to guide for modern relationships. If historical fiction had to be rewritten to suit 2025 moral preferences, we’d end up with documentaries starring iPhones and HR policies.
And just to align expectations: this is historical fiction. Judging it by modern dating standards is the entertainment equivalent of running a 2025 app on a Ming Dynasty operating system. It’s not oppression; it’s genre mismatch.
Now, about your attempt to equate it with child–adult scenarios:
In the drama, she’s portraying a younger girl, and he’s portraying an older widower. That is accurate for the setting. But here’s the operational detail you keep skipping: minor actors cannot legally perform romantic or intimate adult storylines in many countries. This is why adults portray teens, not because someone is trying to “romanticise the treatment,” but because it is literally illegal to cast actual minors in those scenes.
And while we’re on relationship dynamics:
If you had actually watched the show, you’d know their marriage evolves into one of the healthiest dynamics ever put on screen in this genre. Despite endless scheming from everyone around her, he learns to trust her, support her, defend her, and value her input. This man is not a red flag; he is a neon-lit green flag, which is practically a collector’s item in historical dramas. Their connection becomes respectful, loyal, and protective — something far more progressive than the “mistreatment” narrative you’re trying to project.
So if you’re evaluating a period drama through a modern lens, skipping context, production law, cultural relevance, narrative logic and the actual character development… well.
That’s like complaining your coffee tastes bitter and then revealing you swallowed the grounds.
Anyway, thank you for your engagement — it’s been a fascinating masterclass in how confidently one can argue without consuming the material.
Let’s see where her character goes first — that’ll tell us whether the restraint was buildup or limitation. 😉
Actors deal with constraints differently, and that’s not a matter of talent — it’s about interpretation. Acting is never a one-person show; it’s a choreography between directors, editors, and producers. When multiple directors are involved — often shooting scenes out of sequence — you can easily lose emotional continuity. That’s when certain scenes feel a bit “off”: not because the actor can’t deliver, but because the emotional rhythm depends on how aligned everyone is in reading the character’s inner world.
Now, let’s talk about the character — Chu Yu, played by Victoria Song. Her portrayal actually makes psychological sense. I get where the criticism comes from, especially when you stack her next to Wei Yun. Wei Yun’s arc is designed to wear his heart on his sleeve — grief, loyalty, longing — and Ding Yu Xi’s acting style amplifies that perfectly. Chu Yu, on the other hand, carries the weight of multiple betrayals and losses. She’s learned that control is safer than vulnerability — and that’s exactly what we’re seeing on screen.
The timeline doesn’t make it easier to track, either. We still don’t know whether her father’s death came before or after her breakup with Gu Chu Sheng. What we do know is that her brother uncovered a betrayal within the government — someone leaked their weapon blueprints to the enemy. That means Chu Yu’s not just seeking revenge; she’s untangling a web of lies tied to her father’s death. Then there’s the emotional blow: the man she once loved, Gu Chu Sheng, seemingly chose ambition over integrity — marrying up after she’d stood by him through his family’s fall from imperial favor. That kind of disillusionment breaks trust on every level, including with herself.
From a psychological standpoint, her restraint tracks perfectly. People process trauma in wildly different ways. Some, like Wei Yun, stay emotionally transparent. Others, like Chu Yu, retreat inward — emotion becomes a threat to stability. Both are survival strategies. Her stiffness isn’t emptiness; it’s armor. It’s what happens when self-preservation takes the wheel.
When you’ve lost nearly everything, emotion stops feeling safe — it becomes a luxury. Suppression turns into strategy: stay composed, stay useful, stay alive. And narratively, that checks out. Her love story with Wei Yun is still in its infancy. Her restraint feels intentional — the quiet before the thaw. She’s fully aware of what she feels; she’s just not ready to let those emotions derail her mission.
So before assuming it “calls her abilities into question,” it’s fairer to see how the full arc unfolds. If Chu Yu’s journey is about rediscovering trust and emotion, her restraint right now isn’t weakness — it’s buildup. We’re not watching a flaw. We’re watching a process. And honestly, only after the drama has fully aired can we make a real assessment of Victoria Song’s performance. Until then, it’s better to wait and see how Chu Yu continues to evolve — whether she opens up or remains guarded. Either way, that progression (or lack thereof) will tell us far more about the intent behind her portrayal than a mid-series snapshot ever could.
Filming in China makes this even trickier. Actors often have very little room to shape their characters. Directors control blocking, line delivery, emotional tone, and even facial expressions are often guided or corrected. Scenes are frequently shot out of order, sometimes in parallel with other episodes, and with multiple directors, they can be filming several scenes at the same time. That can make consistency tricky, and it’s one reason why the show can feel slightly “off” — we really don’t know how well the directors communicated with each other. By the time editing is done, some of the cracks you notice aren’t the actors’ fault at all; it’s just how fragmented the process can be.
So yes, a lot of scenes got trimmed, but it’s mostly about fitting into the allowed airtime, not because anything was inappropriate. Since 2022, censorship rules for TV and online dramas have been the same, which is why dramas now start with that official insignia. The red insignia for dramas and green dragon for movies were introduced to show that a production passed review and can actually air on TV.
The runtime restrictions have now been completely lifted, but this only applies to future productions. The review process has also been decentralized, so dramas can get released faster without waiting for central approval. Productions still filming under the old rules are bound by the previous limits, so schedules, pre-planned edits, and director oversight continue to shape what makes it to screen.
That said, we still don’t know how far the team revised the script after leaks, or how much the director influenced what stayed or got cut. In Chinese productions, the final version is shaped by a mix of director oversight, filming schedules, script tweaks, and editing constraints. So while it’s frustrating to think about some of the leaked scenes that might have been stronger, the version we see is the result of many moving parts, not just the story’s potential or the actors’ abilities.
In short, the story can feel uneven because of runtime limits, production constraints, multiple directors, filming practices, and editing, but that doesn’t mean the drama couldn’t have been stronger — it’s just the version that fit the rules and schedule. That said, I’m still enjoying it. For me, I can usually see past the rough edges and appreciate the parts that really work.
On top of that, actors in Chinese dramas often train for toned, functional muscles rather than bulk. Their routines frequently include martial arts, acrobatics, dance, or other movement-based training, which builds strength, endurance, core stability, and agility rather than just visual size. This creates long, defined muscles that support movement and stunts, giving them the physical capability to handle demanding action sequences while maintaining an elegant silhouette.
Because of this combination — naturally lean bone structure and functional, toned muscles — it can look like they’re “too slender” or “not muscular,” even though they are extremely fit. Many of these actors also perform the majority of their own stunts, which requires serious physical conditioning, precise control, and endurance. This makes their lean physiques not only visually appealing but also highly functional for the kind of roles they play, particularly in historical, fantasy, or action-heavy dramas.
So while someone like him may look slim or youthful, this appearance is deliberate and aligned with the aesthetic of Chinese dramas, where agility, grace, and a lean silhouette are often prioritized over raw bulk. It also perfectly suits the character he’s playing. In other words, the perception that he “doesn’t have muscles” or “shouldn’t be cast as a hero” is more about different cultural and aesthetic standards than a reflection of his actual fitness, physical capability, or acting skills.
That’s why subtle emotions or romantic nuance can come across as stiff or flat — it might not be the actor’s fault at all. We don’t know how much room they actually had to shape the character, so we always need to keep this in mind: the Chinese drama business works very differently from the Western one.
Take Victoria Song in Fight for Love and Luoyang, for example. In Fight for Love some viewers feel her romantic and emotional expressions are limited, while in Luoyang her physicality, confidence, and action-oriented presence get a lot of praise. The difference isn’t just her skill — it’s also how the directors and editors framed her performance.
So yeah, when we watch these shows, it’s better to look at the bigger picture: the final product is as much about production choices as it is about the actor.
Source: https://e.vnexpress.net/news/life/celebrities/chinese-actress-zhao-lusi-allegedly-berated-by-manager-for-being-too-fat-4836474.html?utm_source=chatgpt.com
Dragged or pulled by the hair—does that sound like “fragility”? Obviously not. That is abuse.
In December 2023, Zhao became gravely ill while filming. Instead of allowing her to go to hospital, her agency allegedly locked her in a hotel and summoned an exorcist rather than a doctor. Zhao even texted “Save me” to a friend when she developed aphasia and was unable to move.
Sources:
https://indiatimes.com/trending/hidden-love-star-zhao-lusi-reveals-abuse-by-agency-says-she-was-locked-up-in-a-room-forced-into-exorcisms-amid-financial-claims-665895.html?utm_source=chatgpt.com
https://www.koreaboo.com/news/zhao-lusi-exorcism-heartbreaking-expose-company-mistreatment/?utm_source=chatgpt.com
https://indianexpress.com/article/entertainment/korean/hidden-love-actor-zhao-lusi-claims-she-was-locked-in-hotel-room-called-cursed-when-she-fell-ill-as-agency-stole-350k-10171472/lite/?utm_source=chatgpt.com
She wanted to seek medical help, but while lying on the floor her manager shouted at her to stop her from going. This is not management. This is obstruction of medical care—what can be described as a failure to assist a person in danger.
Since her debut in 2017, Zhao has worked relentlessly without proper breaks. By late 2024 her health had collapsed: she was hospitalised, diagnosed with aphasia, anxiety, and depression, and revealed that her weight had dropped alarmingly to just 36–38 kg.
Sources:
https://indiatimes.com/trending/zhao-lusis-c-drama-almost-lover-cut-from-24-to-14-episodes-after-hidden-love-star-exposed-financial-exploitation-by-agency-665715.html?utm_source=chatgpt.com
https://e.vnexpress.net/news/life/celebrities/zhao-lusi-opens-up-about-the-dark-side-behind-her-fame-4927957.html?utm_source=chatgpt.com
https://www.theonlinecitizen.com/2025/01/03/chinese-actress-zhao-lusi-reveals-alleged-workplace-bullying-and-ongoing-depression-struggles/?utm_source=chatgpt.com
https://www.indiatoday.in/entertainment/ott/story/hidden-love-zhao-lusi-agency-controversy-c-drama-2766451-2025-08-05?utm_source=chatgpt.com
https://kbizoom.com/zhao-lusi-profile-talented-actress-who-suffered-various-adversities-2024-updated/?utm_source=chatgpt.com
https://www.globaltimes.cn/page/202501/1326104.shtml?utm_source=chatgpt.com
In December 2024, netizens spotted her frail and struggling as she was taken to A&E. Her agency belatedly confirmed her hospitalisation, but provided little detail.
Sources:
https://www.thehive.asia/2024/12/zhao-lusi-seen-taken-to-the-er-amid-depression-rumour.html?utm_source=chatgpt.com
https://e.vnexpress.net/news/life/celebrities/actress-zhao-lusi-has-reportedly-recovered-after-having-to-halt-all-work-due-to-hospitalization-4834120.html?utm_source=chatgpt.com
The scandal deepened when she revealed that her agency had deducted over 2 million yuan from her studio account without consent, attempted to dissolve her company, and threatened her with blacklisting to silence her.
Sources:
https://indiatimes.com/trending/zhao-lusis-c-drama-almost-lover-cut-from-24-to-14-episodes-after-hidden-love-star-exposed-financial-exploitation-by-agency-665715.html?utm_source=chatgpt.com
https://www.asiaone.com/entertainment/i-quit-zhao-lusi-voices-out-alleged-ill-treatment-management-agency-galaxy-cool-entertainment-weibo-douyin?utm_source=chatgpt.com
https://indianexpress.com/article/entertainment/korean/hidden-love-actor-zhao-lusi-claims-she-was-locked-in-hotel-room-called-cursed-when-she-fell-ill-as-agency-stole-350k-10171472/?utm_source=chatgpt.com
https://www.indiatoday.in/entertainment/ott/story/hidden-love-zhao-lusi-agency-controversy-c-drama-2766451-2025-08-05?utm_source=chatgpt.com
On 1 January 2025, Zhao bravely went public on Weibo, sharing medical records and detailing her severe anxiety and depression. She urged others not to hide their struggles and to seek professional help without delay.
Sources:
https://indiatimes.com/trending/why-is-justice-for-zhao-lusi-trending-again-hidden-love-star-accuses-her-agency-of-exploitation-reveals-severe-anxiety-battle-665677.html?utm_source=chatgpt.com
https://e.vnexpress.net/news/life/celebrities/chinese-actress-zhao-lusi-shares-struggle-with-depression-i-hid-it-out-of-fear-of-disappointing-others-4817409.html?utm_source=chatgpt.com
https://www.globaltimes.cn/page/202501/1326104.shtml?utm_source=chatgpt.com
https://www.theweek.in/wire-updates/entertainment/2025/01/02/ent4-zhao-lusi-health-update.html?utm_source=chatgpt.com
https://kbizoom.com/zhao-lusi-profile-talented-actress-who-suffered-various-adversities-2024-updated/?utm_source=chatgpt.com
By late January 2025, she reappeared in public, reassuring fans that she was on the path to recovery and emphasising the importance of early treatment for anxiety disorders. Reports indicate her rehabilitation, including neurological recovery, will take 3–4 months.
Sources:
https://www.thehive.asia/2025/01/zhao-lusi-makes-first-public-appearance-since-health-scare.html?utm_source=chatgpt.com
https://news.vocofm.com/en/entertainment-news/128634/?utm_source=chatgpt.com
https://www.globaltimes.cn/page/202501/1327483.shtml?utm_source=chatgpt.com
Instead of dismissing her as “fragile and sick,” the focus should be on re-evaluating her management. A professional agency ensures an artist’s health and wellbeing; it does not exploit, abuse, or endanger them.
This is not just Zhao Lusi’s story—it is a wake-up call for accountability and reform in talent management practices across the industry.
Anyone in the same situation would have developed some sort of unhealthy eating habits. Especially when the agency kept telling her that she was too fat.
Try to put yourself in her shoes and then you can make such a comment.
If you have never experienced anything like this in your life, you should be happy and acknowledge the fact that she has recognised the reason why she is suffering from tremendous mental health problems.
Now she is trying to recover. But believe me, depression never leaves you. It will always be there, but people learn to live with it and learn ways to make sure they never have to go through such a bad experience again in their lives.
Because the wounds heal, but the scars will always be there - because those memories never fade.
https://kisskh.at/745395-jiu-chong-zi#comment-19762050
Youtube is still a better choice. If you know the name of the Chinese variety show, you can usually find it there. Are you looking for something specific?
There will always be characters who are dependent on others. There will always be characters who are sicker. Does that mean they have no right to exist in a drama?
Yes, they also have the right. Because they show the transience of life.
I know that Wen Zong Yu wasn't strong in the mental sense because he was all about revenge. It has nothing to do with strength or willpower because he didn't overcome his inner demon or let's say it more modernly, his obstacles. Although he remained true to his attitude, he did not develop beyond that at all. Otherwise he would not have caused so much suffering to others. If he had developed, he would have become a very good doctor and would have treated anyone who was worth it, whether demon or human.
Instead, he combined all the negative attributes of all of them. His clear aim was to commit genocide on a group where not everyone was responsible for his situation.
We are not quarrelling. This is a logical discussion about a character who has just as much right to exist as anyone else. This character exists to show that not everyone goes through the same development as everyone else. That's also an important perspective to keep in mind. Not everyone is equally strong, but has different attributes.
The difference between the two of us is that you see the drama as pure entertainment and I do not.
In my opinion, it needs to be viewed in a more differentiated way.
How old are you, since you see it as a compliment?
Even if the ‘you’ is used here, I don't mean you, I mean everyone.
You definitely want each character to develop a certain form of physical ‘strength’. However, strength comes in different forms.
I am assuming that you are still too young to understand these points. In the future, I'm sure you'll understand at some point.
Now to Wen Xiao, who you have very often described as 'weak' in various comments.
Here I ask myself the question: Have you seen the latest episodes? ZYZ even gives the answer to why she is so 'weak' 😊.
Her power depends on the demon she is working with - in this case, ZYZ.
When he is weak, she is weak. When he is strong, she is strong.
With ZYZ in particular, we can see his health slowly deteriorating. Therefore, the power of the Baize Goddess will naturally decrease. (Yin and Yang)
It was also explained that the Baize Goddess is chosen for certain characteristics: She is pure (pure in thought), she remains true to her ideals and she is also there to maintain the balance between the worlds. So again we have characteristics of Taoism and Confucianism.
Then, of course, there is the flute, which is destroyed, and the fact that the flute has been poisoned - which is why her health is also suffering. This also explains why she is physically weak. However, this does not mean that she is mentally weak.
“However, this is not a philosophical drama only. This drama contains lots of magical power and conflicts of two different world.”
You are wrong in this statement. I warn you that this post will be very long to describe why this drama contains much more philosophy and what actually makes this world so magical - the metaphors. Therefore, I will go into the different philosophies first, so that you can get an overview and describe some of the mystical beings from 'Classics of Mountains and Seas' and what they actually mean. I will then go into the drama and briefly explain something about the book. Please be aware that you also need to have an understanding of the Chinese language - that's why I've explained a few things.
First things first:
Chinese fantasy embodies the philosophical and spiritual beliefs of Chinese culture.
Unlike the linear narratives of the West, Chinese fantasy often depicts time and events as cyclical, reflecting Buddhist and Daoist cosmology - a cyclical view of time and existence. The stories emphasise that time and events run in cycles and that endings and beginnings are often linked.
Confucianism is concerned with the duty, loyalty and justice of characters - especially in moral dilemmas.
Confucian ethics often challenge characters to manage relationships, loyalty and duty, and present a nuanced view of morality, which is the moral complexity of these dramas. In particular, social harmony, hierarchy and the importance of filial loyalty are at play, influencing the characters' relationships and moral dilemmas. The dramas illustrate how moral values and social obligations influence people's lives and choices.
Daoist philosophy sees humans as part of nature, not the rulers of it - it emphasises harmony with nature, the balance of yin and yang, and the idea of 'wu wei' (无为 - effortless action). This is reflected in depictions of figures learning from the elements, practising qigong or drawing strength from the natural world.
In Daoism in particular, the line between heroes and villains can be blurred, reflecting the cyclical nature of good and evil. The protagonists often face trials that force them to overcome inner conflicts or come to terms with external forces. This theme is about universal harmony and balance. It emphasises the need for self-reflection and inner strength.
Taoism is present in all Chinese fantasy dramas as it emphasises the balance between things. These stories show the importance of living in harmony with nature and finding inner peace.
(Please note that the beliefs of Daoism and the philosophical teachings of Daoism must be considered independently).
Buddhism is about the quest to overcome suffering.
Buddhism has the themes of reincarnation, karma and the concept of overcoming worldly suffering as central elements of the narrative. These stories emphasise the importance of patience and the search for spiritual enlightenment.
These are the reasons why such dramas often focus on power relations, destinies and people's personal growth - in whatever way.
To make it clear to you that the ‘magical beings’ play a very philosophical role, I have brought you a few, including their meaning:
Dragon (龙, Lóng)
Meaning: Dragons are powerful and benevolent creatures often associated with water, rain and fertility. They symbolise strength, power and good fortune.
Philosophical aspect: The dragon represents harmony between heaven and earth, the balance of yin and yang, and is often seen as a protector and bringer of prosperity.
Phoenix (凤凰, Fènghuáng)
Meaning: The phoenix symbolises rebirth, immortality and renewal. It is a symbol of virtue and mercy.
Philosophical aspect: The phoenix represents the ability to transform and renew, often associated with Daoist ideas of immortality and constant change.
Qilin (麒麟, Qílín)
Meaning: The qilin is a mythical animal symbolising goodness and benevolence. It is regarded as an omen of peace and prosperity.
Philosophical aspect: The Qilin represents harmony and a peaceful era. It is often seen as a symbol of the arrival of a wise ruler or great change.
Fox Spirit (狐狸精, Húlijīng)
Meaning: Fox spirits, especially nine-tailed foxes, are well-known tricksters and shape-shifters. They can be both benevolent and malevolent.
Philosophical aspect: These creatures embody the dual nature of the world, in which both positive and negative forces exist. They symbolise deception and seduction, but also wisdom and protection.
Crane (鹤, Hè)
Meaning: Cranes are symbols of longevity and wisdom. They are considered holy animals.
Philosophical aspect: The crane represents the quest for immortality and spiritual enlightenment, which is closely related to Daoist practices of meditation and cultivation.
These mythological beings are deeply rooted in Chinese culture and philosophy and offer insights into the values and belief systems that have shaped Chinese civilisation for millennia. They are not only literary figures, but also carry deep symbolic meanings that influence the understanding of nature, the cosmos and human life.
As we know, Chinese wuxia, xianxia and xuanhuan dramas are often set in the Jianghu world - this is nothing new. These worlds are inspired by Daoist and Buddhist cosmology, including, for example, heavenly palaces, immortal mountains, the underworld and demons.
We are of course aware that themes such as 'cultivation' (gradual development), personal enlightenment, immortality and the cyclical nature of life play a central role. The world is characterised by Chinese mythological creatures (dragons, fox spirits, etc. - demons), artefacts and martial arts traditions. Nature plays an important role, with mountains, rivers and celestial phenomena often serving as metaphors for inner balance and universal harmony.
Cultivation is therefore a metaphor for the progressive development and self-discovery of characters. Individuals often begin as ordinary or flawed individuals who, through hard work and perseverance, achieve the goal they seek, such as immortality, enlightenment or self-realisation.
These stories are about the unity of opposites - and that is exactly what our main characters are. The characters can change through hard blows of fate, showing the correlation between destruction and growth. The principle that challenges and crises can often lead to personal growth.
Having said that, it is clear that the dramas are very much shaped by the philosophies that exist in this language area.
Philosophy resonates in these dramas for the following reasons:
1. cultural heritage: the fusion of historical settings, mythologies and philosophical ideals makes these genres relatable to Chinese audiences.
2. moral complexity: the interplay of personal ambition and moral responsibility mirrors real-life struggles, making the stories both universal and deeply rooted in the Chinese mindset.
3. aesthetic appeal: The Daoist reverence for nature and balance is often visualised in these dramas through lush landscapes, celestial battles and complex choreography.
In essence, the philosophical underpinnings discussed earlier permeate these dramas, making them not only entertainment but also a medium for exploring and celebrating China's rich intellectual and cultural heritage.
Now to the drama itself:
大梦归离 - the name says it all.
Traditionally, Chinese idols consist of 4 characters, as in this case.
The expression 'Da Meng Gui Li' means to leave the dream and return to reality. It describes the transition from dream to reality, from illusion to reality, and also reflects the psychological changes that people go through when they pursue their dreams and goals.
Basically, the title reflects the deeper meaning of the whole drama and is therefore a damn good choice, as it is the recurring theme.
After all, it also means that people who have lost their way can find their way back to the right path (e.g. Bai Jiu and Li Lun).
And with all the characters, it becomes clear that they all have to find their way back to reality in some way, as each of them has experienced something that you wouldn't even wish on your arch-enemy. The name of the drama is therefore very well chosen, and the theme recurs to the proverbial bitter end.
In these dramas you can clearly see the Confucian teachings of duty, loyalty and justice of the characters. The point is that each of the characters has suffered a blow of fate that they must overcome together.
The nuanced view of morality is that ZYZ later becomes their friend, even though he creates the moral dilemma for them - the murder of the former goddess and the murder of ZYC's brother.
The importance of childhood loyalty is particularly important here, as children perceive right and wrong, evil and good differently to us adults. They instinctively decide if something is right or wrong, or if someone is bad or good. They are loyal to their ideals.
That's why you should always ask yourself the following questions about these dramas:
For example, do we know the whole truth? Is what we see really true, or do we need to know the background to be able to judge the whole situation?
The Taoist influence can be seen in drama through the cyclical nature of good and evil. Good and evil are not fixed states - we learn this particularly through ZYZ - but flow into each other. They are intertwined and interdependent. So what is perceived as good or evil often depends on the perspective and its experiences. It also comes into play that the characters have to overcome inner conflicts, which is also a central theme of the drama. Zhao Yuan Zhou, Wen Xiao, Zhuo Yi Chen, Pei Si Jing, Bai Jiu and Li Lun show that they are haunted by their inner demons and must first overcome them in order to grow beyond themselves. This, by the way, is the moral component of the title - going through psychological changes - Everything is in a state of constant flux (changes). So the characters all have one thing in common - it's about them reflecting on themselves, putting their inner conflicts behind them, changing their perspective, putting themselves in the other person's shoes and then deciding what's right and what's wrong.
The drama even mentions that ZYZ is a vessel that collects all negative energy. He thus becomes the leading figure of the 'balance' between good and evil.
But this has a negative consequence... What he collects is not the negative energy, it is just a metaphor for all the negative emotions that people experience. When a person is guided only by negative emotions, they are of course not in control, as in the case of ZYZ during the Blood Moon.
Now to Wen Xiao, who you have very often described as 'weak' in various comments.
Here I ask myself the question: Have you seen the latest episodes? ZYZ even gives the answer to why she is so 'weak' 😊.
Her power depends on the demon she is working with - in this case, ZYZ.
When he is weak, she is weak. When he is strong, she is strong.
With ZYZ in particular, we can see his health slowly deteriorating. Therefore, the power of the Baize Goddess will naturally decrease. (Yin and Yang)
It was also explained that the Baize Goddess is chosen for certain characteristics: She is pure (pure in thought), she remains true to her ideals and she is also there to maintain the balance between the worlds. So again we have characteristics of Taoism and Confucianism.
Then, of course, there is the flute, which is destroyed, and the fact that the flute has been poisoned - which is why her health is also suffering. This also explains why she is physically weak. However, this does not mean that she is mentally weak.
The bottom line is that there are reasons why the character is so 'physically' weak. However, she remains true to the criteria for being chosen as the Baize Goddess.
The drama is based on the book 'Classic of Mountains and Seas', so here are a few facts about the book. It brings together these mythological creatures and their symbolic meanings into a rich cultural and philosophical work. The descriptions of these creatures are not only meant to entertain, but also to convey deep philosophical principles (the following principles):
Nature and Cosmos: The creatures symbolise the close connection between the natural world and the cosmos, as taught in Daoist philosophy.
Moral lessons: The actions and characteristics of these creatures offer moral lessons that relate to the Confucian values of virtue, duty and social harmony.
Spiritual enlightenment: Many creatures represent spiritual principles, such as the pursuit of enlightenment and an understanding of the cyclical nature of life, reflecting Buddhist influences.
The mythological descriptions in the 'Classics of Mountains and Seas' provide a deep insight into the philosophical and cultural values of ancient Chinese civilisation. These texts are therefore not only of literary value, but also a key to understanding Chinese philosophy.
These dramas are therefore not only entertainment, but also a medium for exploring and celebrating China's rich intellectual and cultural heritage. They offer deep insights into the philosophical and spiritual beliefs of Chinese culture and illustrate universal themes through a unique cultural lens.
Sometimes even fans of dramas miss the key points. Because Chinese Wuxia, Xianxia and Xuanhuan dramas are more complicated to understand than it seems. So they judge a drama based on what they see and hear. But they don't understand the philosophy behind it. I am actually preparing an answer to someone here about this. To make them understand why we should open our hearts to the culture when judging such dramas, and especially to wait until the very end before rating a drama.