Too lavish, too nasty: Chinese
state media goes to war against Yanxi Palace and other period dramas
Imperial dramas blamed for
promoting extravagance, glamour and pleasure-seeking over the virtues of
frugality and hard work
Programme makers also accused
of putting commercial profits above providing spiritual guidance to audiences
Some of China’s most popular
historical dramas have been taken down from television channels after state
media launched an unusual attack on the genre for its extravagance and
“negative influence on society”.
The extravagant series Ruyi’s
Royal Love in the Palace about a girl strategically climbing above her
rank to become Empress of the Qing Dynasty was scheduled for Monday afternoon
on Dragon TV, but was replaced by a reality show, Joyful Comedians.
Some online commentators also
claimed Shandong TV had replaced its regular evening showing of the hit
series Story of Yanxi Palace with Ode to Joy, a
contemporary drama series about five women seeking love and career success in
Shanghai.
The change in programming
schedules followed an article in Friday’s edition of the Beijing Daily magazine Theory
Weekly which called out the “sins” of imperial dramas, claiming they
encouraged viewers to pursue the glamorous lifestyles of China’s past monarchs
and promoted pleasure and luxury above the “virtues of frugality and hard
work”.
The article singled out a
number of period dramas – including Story
of Yanxi Palaceand Ruyi’s Royal Love in the
Palace – and said a close following of the plots of these series – which
usually involve elaborate schemes hatched by back-stabbing courtiers – would
worsen the “balance” of society.
The programme makers were also
accused of putting commercial profits above providing spiritual guidance to
their audiences.
Story of Yanxi Palace broke
all viewing records when it was released last summer on video streaming site
iQiyi. The 70-episode series has since racked up more than 5 billion views on Chinese
streaming services and is especially popular with women.
The drama – set in the Qing
dynasty court, where the emperor’s concubines vie for power – became an
overnight sensation for its elaborate costumes and set design, as well as its
strong-willed and cunning female protagonist, a rarity in typical Chinese court
dramas, which usually feature pure and innocent women characters.
Online commentators on China’s
social media platform Weibo defended their favourite television drama.
“Yanxi Palace’s contribution
to the feminist movement has been hugely underestimated. From little angel
Fucha’s silent protest against feudal etiquette … to sister Wei’s leveraging of
imperial power to reach the peak of human life, they have reached the limits of
what women could do in a feudal society,” one user said.
“The integrity of sister Wei’s
character and her independence in love are what many so-called big female
protagonists [of other dramas] can only dream of having,” another said.
One top-rated comment on Weibo
read: “OK, let’s watch the anti-Japanese dramas they broadcast every day then.”
However, Chinese social
commentator Zhang Lijia said she understood the concerns of the people and the
authorities.
“I do see some points that the
article made. To go far in life, you have to play tricks and be ruthless and
nasty to each other. Already there’s moral decline in today’s China,” she said.
Zhang also saw the article’s
criticism as a reflection of the current general crackdown, recalling that some
conservatives had made similar noises in the past when the political atmosphere
was tightened.
For example, a few years ago a
senior retired official had criticised young girls with dyed hair clad in sexy
outfits on a talent show for being out of line with socialist values.
“These costume dramas are
hugely popular and therefore money makers. I’d be very surprised if they are
banned. Then, who knows. The top leaders have become less predictable,” Zhang
said.
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