Wisdom and ability could help him sweep away the enemies in the court and the harem. Making a woman without a family background the Empress would pose no threat to his imperial power.
This was Li Zhi in the drama, an emperor who outwardly wore the guise of filial piety and weakness, but was in reality deeply calculating, capable of moving mountains with a flip of his hand – a terrifying emperor.
The story of "The Twin Saints of Great Tang" was full of dramatic tension and was captivating, almost exhaustively detailing the scheming and backstabbing in both the court and the harem.
However, what impressed Jiang Lingpei the most was not the plot's conception, but the screenwriter's respect for women.
In previous dramas related to Wu Zetian, no matter how they were filmed, they invariably involved the trope of a seductive woman manipulating the ruler, as if women could only rise to power through beauty and by selling their bodies.
This was not just true for ancient Chinese women but also for those in foreign lands.
Take Cleopatra VII of Egypt, for example. In Western films and literature, it was believed that she kept her country from being annexed by the Roman Empire by seducing Julius Caesar and Mark Antony, her subordinate. This led to a series of romantic entanglements, portraying her as a woman of unparalleled beauty who captivated countless men – a siren of the mortal world.
Yet, the results of archaeological excavations shocked the world.
The Cleopatra of popular imagination was not beautiful. She was short, had a flattened nose, was large and clumsy, lacked any sense of fashion, and even had dental problems requiring repair by a dentist.
How could such a woman, plain and devoid of aesthetic appeal, have seduced Julius Caesar and Antony?
Later, after a series of meticulous historical investigations, people discovered that Cleopatra had bribed Caesar and Antony with money and interests, rather than seducing them. With her unremarkable appearance, she probably wouldn't have been desired even if she offered herself freely.
Cleopatra’s attraction stemmed from her intellect, not her beauty; this was the most charming aspect of this legendary woman.
Unfortunately, many men, blinded by their own narrow views, tend to look at people with colored glasses. Whenever a woman achieves prominence in politics, she is directly labeled as a femme fatale who brings disaster.
Furthermore, the translation of "Egyptian Cleopatra" is also incorrect.
"Cleopatra" implies a beautiful queen. Cleopatra VII was the female pharaoh of Egypt, not the consort of a pharaoh, so she should not be called "Cleopatra."
Translating it as "Egyptian Female Pharaoh," "Egyptian Queen Consort," or "Egyptian Queen" would be more appropriate than "Egyptian Cleopatra."
Cleopatra protected her country with her wisdom, not her beauty.
In the drama "The Twin Saints of Great Tang," the female protagonist Wu Zetian rises to power, becoming Li Zhi's Empress, and eventually the future Empress of the Great Zhou, relying on her extraordinary intelligence.
The script glossed over Wu Meiniang's beauty, emphasizing her wisdom, capabilities, and political vision. httpδ:/m.kuAisugg.nět
As for Empress Wang and Concubine Xiao, their scheming in the harem was not for Li Zhi, but for their respective families.
None of the women in the palace lived for themselves. Their parents, relatives, and family glory were always their concerns.
Their harem struggles were not about female rivalry or the catfights of village gossip, but about political power plays.
This character portrayal was undoubtedly the screenwriter's greatest respect for women.
Jiang Ling's heart surged with emotion as she thought to herself.
With such a brilliant script, even without system reminders or any payment, she would be willing to act in it.
Jiang Ling immediately bypassed Sister Sa and called Ge Ying back: "I'll take this role. You can name your price."