With full-size replicas of palaces from China’s imperial past, the world’s largest film studio is normally teeming with actors making historical costume dramas that are wildly popular with the country’s television audiences. But as the Communist Party prepares for the 70th anniversary of the establishment of the People’s Republic of China on Oct. 1, Hengdian World Studios, a complex covering 11 square miles in the country’s east, is eerily quiet.
China’s top media regulator last month announced a 100-day ban on broadcasts of dramas judged to be “entertainment-focused,” singling out costume dramas, which celebrate what the party sees as the country’s decadent pre-communist past, and “idol dramas” — soap operas starring celebrities. Instead, the National Radio and Television Administration ordered the production of 86 dramas focusing on the Communist Party’s achievements, such as its victory in China’s civil war, its technological and military triumphs and the positive impact of recent economic reforms on ordinary people.
“I haven’t got any work at all this year,” says Li Jin, a member of a group of amateur actors known as the “Hengdian drifters,” who live near the studio and normally find roles as extras.
Entertainment is just one of the industries feeling the fallout from preparations for China’s National Day, which culminates in a military parade in Beijing on Tuesday. The government has tightened internet censorship across the country and increased efforts to interfere with internet services used by individuals and businesses to evade the country’s “Great Firewall” of blocked websites. Online celebrities in China who sometimes appear in revealing clothing on local equivalents of YouTube and Instagram have been warned not to appear “too sexy” during the National Day period, according to online marketing executives. “It’s being enforced at the platform level,” says one executive who did not wish to be identified.
The Beijing government said on Sept. 15 that flying pigeons, kites, drones and balloons would be banned in seven districts to ensure safety ahead of a military parade on Oct. 1. In Tangshan, China’s biggest steel-producing city, which is near Beijing, steelmakers have been ordered to cut production to ensure blue skies in the capital for the parade, at which President Xi Jinping is set to address the nation.
But the entertainment industry has felt a more severe impact. Communist Party officials began to turn against costume dramas after Story of Yanxi Palace, a tale of backstabbing imperial concubines, attracted 530 million online views per episode last year. Costume dramas attract huge audiences in China for their sensational soap opera themes, love affairs and murder plots that draw on nostalgia for China’s imperial past — all elements that have attracted the ire of censors, according to industry insiders.
“There is an effort to curtail what has been perceived as junk-food content … to refocus people on more ideological content,” says one entertainment industry executive, adding that historical dramas threatened the viewership for communist-related material. “If you have a choice to watch a historical drama about Mao Zedong, or who a prince is having sex with, what are you going to watch?” the executive asked.
The Chinese Netflix equivalent iQiyi, which last year reported a big revenue boost from Story of Yanxi Palace, this year is focusing on Me and My Motherland, a series in which celebrities comment on short videos about the country’s progress since 1949.
“We needed to capture young people’s attention while showing respect and saluting the country for its 70th anniversary,” Wang Zhaonan, iQiyi editor in chief, told the state-run Global Times newspaper.
In cinemas, National Day releases focusing on patriotism include The Climbers — about a Chinese team that ascends Mount Everest — and The Chinese Pilot, a heroic tale of aviation.
Analysts expect box-office receipts over the National Day holiday week to reach up to 4 billion RMB ($562 million) compared with 1.9 billion RMB last year. But tighter film censorship this year ahead of National Day has hurt business for several film companies.
Shanghai-listed Hengdian Film and Television, which owns the studio complex, said last month its net profit had fallen 24 percent in the most recent quarter from the same period of the previous year to 173 million RMB.
“Since the ban on historic dramas, the industry has been going downhill this year, and a lot of people have left. I may return to my home city next year,” says Hengdian actor Ma Bin. “It’s become a ghost town here.”
Thursday, January 2, 2020
Wednesday, September 18, 2019
Chinese fashion show amazes Egyptian audience in Cairo
A Chinese costume fashion show captivated on Saturday the Egyptian audience who highly admired the Chinese designs.
The show, dubbed Silk Road Impression China Fashion Show, was held at the open-air theatre of Cairo's renowned Opera House and was attended by dozens of Chinese and Egyptian visitors.
The show, which was organized by the Chinese Cultural Center in Cairo, featured a large collection of colorful dresses and costumes that represent China and its culture.
Dressed in colorful dresses decorated with Chinese embroidery, Chinese and Egyptian models won the applause of the audience who showed admiration for the Chinese costumes.
"The fashion show is really amazing. The dresses are so beautiful and the colors are eye-catching," Mayar Mahmoud, a college student who came with her friends to attend the fashion show, told Xinhua.
Mahmoud said that it was her first time ever to attend a fashion show, noting that she was lucky enough that it was a Chinese fashion show.
"I loved the dresses, their colors and styles. They look very traditional, but at the same time they suit non-Chinese very much and can be dressed in several occasions," the young lady added.
The designs and colors of the costume did not only grab the attention of fashion lover, but also professional fashion designers.
Egyptian world-class fashion designer Hani Beheiri said that the show was a good message to introduce Chinese fashion to Egypt.
"I loved this fashion show because it reflected the spirit of China and it is really amazing to have such events in Egypt," the renowned fashion designer told Xinhua.
Beheiri noted that this show helped Egyptians know what Chinese fashion designs look like, adding that the collection was breathtaking.
"It showed that Chinese women love colorful silk clothes. Although the collection is generally modern, it bears very unique cultural characteristics that took us back in history," Beheiri said.
Famous Chinese fashion designer and the curator of the show Yang Beibei said the costumes on the show are a series that reflect China's 24 solar terms, which is very important in China's traditional culture.
"I designed one set of clothes for each solar term and decorated them with different flowers and plants according to the seasons. This is very representative of Chinese culture, so I want to show it to the Egyptian friends," she said.
The 24 solar terms, based on the sun's position in the zodiac, were created by farmers in ancient China to guide the agricultural affairs and farming activities.
The 24 solar terms reflect the changes in climate, natural phenomena, agricultural production, and other aspects of human life, including clothing, food, housing, and transportation.
The solar terms play important roles and have greatly influenced people's basic needs in life, and they still have an important function nowadays.
"I invited six Egyptian models and six Chinese models, reflecting the friendship and cultural exchanges between China and Egypt," she said.
"This is my second visit to Egypt. The last time was for an exhibition. I was very happy this time because I came with my designs," the Chinese designer said.
She stressed that Egypt is a country with an ancient civilization, expressing hope that she could integrate the Egyptian culture with the Chinese culture in future designs.
The show, dubbed Silk Road Impression China Fashion Show, was held at the open-air theatre of Cairo's renowned Opera House and was attended by dozens of Chinese and Egyptian visitors.
The show, which was organized by the Chinese Cultural Center in Cairo, featured a large collection of colorful dresses and costumes that represent China and its culture.
Dressed in colorful dresses decorated with Chinese embroidery, Chinese and Egyptian models won the applause of the audience who showed admiration for the Chinese costumes.
"The fashion show is really amazing. The dresses are so beautiful and the colors are eye-catching," Mayar Mahmoud, a college student who came with her friends to attend the fashion show, told Xinhua.
Mahmoud said that it was her first time ever to attend a fashion show, noting that she was lucky enough that it was a Chinese fashion show.
"I loved the dresses, their colors and styles. They look very traditional, but at the same time they suit non-Chinese very much and can be dressed in several occasions," the young lady added.
The designs and colors of the costume did not only grab the attention of fashion lover, but also professional fashion designers.
Egyptian world-class fashion designer Hani Beheiri said that the show was a good message to introduce Chinese fashion to Egypt.
"I loved this fashion show because it reflected the spirit of China and it is really amazing to have such events in Egypt," the renowned fashion designer told Xinhua.
Beheiri noted that this show helped Egyptians know what Chinese fashion designs look like, adding that the collection was breathtaking.
"It showed that Chinese women love colorful silk clothes. Although the collection is generally modern, it bears very unique cultural characteristics that took us back in history," Beheiri said.
Famous Chinese fashion designer and the curator of the show Yang Beibei said the costumes on the show are a series that reflect China's 24 solar terms, which is very important in China's traditional culture.
"I designed one set of clothes for each solar term and decorated them with different flowers and plants according to the seasons. This is very representative of Chinese culture, so I want to show it to the Egyptian friends," she said.
The 24 solar terms, based on the sun's position in the zodiac, were created by farmers in ancient China to guide the agricultural affairs and farming activities.
The 24 solar terms reflect the changes in climate, natural phenomena, agricultural production, and other aspects of human life, including clothing, food, housing, and transportation.
The solar terms play important roles and have greatly influenced people's basic needs in life, and they still have an important function nowadays.
"I invited six Egyptian models and six Chinese models, reflecting the friendship and cultural exchanges between China and Egypt," she said.
"This is my second visit to Egypt. The last time was for an exhibition. I was very happy this time because I came with my designs," the Chinese designer said.
She stressed that Egypt is a country with an ancient civilization, expressing hope that she could integrate the Egyptian culture with the Chinese culture in future designs.
Wednesday, May 22, 2019
The Best and Most Outrageous Looks of the 2019 Met Gala
With a theme that celebrated the outrageous and over-the top nature of camp as a sensibility, it should come as no surprise that the looks at the 2019 Met Gala were not for the faint of heart, with noted red carpet champs, Lady Gaga, Billy Porter and Celine Dion swanning and showing out at the annual event on Monday night in New York City.
The Metropolitan Museum of Art’s Costume Institute Benefit’s theme, Camp: Notes on Fashion, was inspired by Susan Sontag’s iconic 1964 essay, Notes on “Camp,” which describes the essence of camp as “love of the unnatural: of artifice and exaggeration.” At the Met Gala, this translated to a red carpet filled with over-the-top looks and many a performance art of an entrance. From Lady Gaga, one of the co-hosts of the night, who established her dominion as a camp champ with a flamboyant striptease on the red carpet of four different Brandon Maxwell looks to the inimitable Billy Porter, who showed up in a Sun God-inspired ensemble, carried in on a golden litter by muscled attendants, this Met Gala was one for the books.
Here, we’ve done best dressed people at the 2019 Met Gala — and given awards for each. Read on to see who scored big on this year’s Met Gala red carpet.
When Life Imitates Art: Lady Gaga and Billy Porter
While over-the-top fashion was par for the course at the 2019 Met Gala, for red carpet MVPs Lady Gaga and Billy Porter, Met Gala fashion was also a vehicle for performance art.
Gaga, one of the co-hosts of the night, vamped on the red carpet in not one, not two, not three, but four different looks by Brandon Maxwell, which she alternately shed and donned as part of a playful routine that included a wagon full of champagne, dancers, umbrellas and a flirty striptease.
Meanwhile, Billy Porter confirmed his red carpet reign with a regal, opulent look from the Blonds that appeared to be inspired by a sun deity. The outfit consisted of an embellished catsuit, 10-ft wings and a 24-karat gold headpiece — casual! His royal status was only heightened by the fact that he was carried in on a black velvet and gold litter by six chiseled and shirtless bearers.
Camp All-Stars: Bette Midler, Katy Perry and Joan Collins
For most stars, the camp theme might have been a foreign or daunting concept. Not so for Katy Perry, whose Met Gala looks every year are usually campier than a John Waters movie; Bette Midler, the veritable patron saint of all things camp; or Joan Collins, a camp icon so legendary, she basically showed up as herself to the gala, much to the delight of Dynasty fans (and everyone else).
Perry’s look for the 2019 Met Gala, as the kids say, was “lit” — but literally. Dressed in a Moschino chandelier-as-dress designed by Jeremy Scott that was actually illuminated, Perry’s trademark campy style was in full effect on the red carpet. How she was able to sit for the dinner, however, remains a mystery.
Bette Midler, ever a camp queen, showed up for the Met Gala red carpet in a glamorous remix of her Hocus Pocus character, Winifred Sanderson.
Collins referenced her iconic looks on Dynasty when she showed up on the 2019 Met Gala with Valentino designer Pierpaolo Piccioli, who designed her voluminous white feathered gown.
Master Accessorizers: Kacey Musgraves and Jared Leto
For Kacey Musgraves and Jared Leto, the 2019 Met Gala camp theme wasn’t just something they were considering with their outfits, but their full looks — which is why both showed up with some scene-stealing accessories.
Musgraves, who’s already shown us she’s a camp MVP in past red carpet appearances and on her hilarious Twitter account, made for a perfect Moschino Barbie doll, complete with a blonde wig — and a matching pink convertible, quite possibly the most on-theme accessory that’s ever shown up to a Met Gala.
Leto, on the other hand, took self-love to the next level when he toted along a replica of his own head to pair with his rich red Gucci ensemble and crystal harness, an obvious nod the Gucci A/W 2018 runway.
Executive Realness: Tiffany Haddish and RuPaul
RuPaul and Tiffany Haddish made the case for suits, camp-style when they both appeared on the Met Gala red carpet in suits that were anything but business casual.
While Ru has famously said that “we’re all born naked and the rest is drag,” the world’s most famous drag queen chose to appear at the Met Gala in a rainbow-colored suit with a fun Zebra-inspired sleeve embellishment.
Tiffany Haddish’s sparkling Michael Kors zebra print tuxedo suit and tiny feathered fedora weren’t the only reason why she caused waves of excitement on the Met Gala red carpet; the comedian shared that she had brought some chicken in her bag this year because last year, as she told People, “it was not enough food!”
That’s a Wrap: Hamish Bowles, Ryan Murphy and Florence Welch
Camp’s flamboyant nature is no stranger to drama and nothing says drama quite like a cape — at least, that’s the conclusion that we came to after seeing the sweeping, show-stopping looks on Vogue editor Hamish Bowles, Ryan Murphy and Florence Welch.
Bowles’s magnificent Maison Margiela cape was edged with multi-colored feathers and featured a pattern that made him look like a psychedelic dandy — a style concept that was driven home with his rainbow-colored hairstyle.
Murphy opted for a Liberace meets Elizabeth I realness with a crystal and pearl embellished Christian Siriano cape in a warm rose gold shade that featured an impressive ruff; Murphy styled the look with a matching vest, bow tie and trousers...
The Metropolitan Museum of Art’s Costume Institute Benefit’s theme, Camp: Notes on Fashion, was inspired by Susan Sontag’s iconic 1964 essay, Notes on “Camp,” which describes the essence of camp as “love of the unnatural: of artifice and exaggeration.” At the Met Gala, this translated to a red carpet filled with over-the-top looks and many a performance art of an entrance. From Lady Gaga, one of the co-hosts of the night, who established her dominion as a camp champ with a flamboyant striptease on the red carpet of four different Brandon Maxwell looks to the inimitable Billy Porter, who showed up in a Sun God-inspired ensemble, carried in on a golden litter by muscled attendants, this Met Gala was one for the books.
Here, we’ve done best dressed people at the 2019 Met Gala — and given awards for each. Read on to see who scored big on this year’s Met Gala red carpet.
When Life Imitates Art: Lady Gaga and Billy Porter
While over-the-top fashion was par for the course at the 2019 Met Gala, for red carpet MVPs Lady Gaga and Billy Porter, Met Gala fashion was also a vehicle for performance art.
Gaga, one of the co-hosts of the night, vamped on the red carpet in not one, not two, not three, but four different looks by Brandon Maxwell, which she alternately shed and donned as part of a playful routine that included a wagon full of champagne, dancers, umbrellas and a flirty striptease.
Meanwhile, Billy Porter confirmed his red carpet reign with a regal, opulent look from the Blonds that appeared to be inspired by a sun deity. The outfit consisted of an embellished catsuit, 10-ft wings and a 24-karat gold headpiece — casual! His royal status was only heightened by the fact that he was carried in on a black velvet and gold litter by six chiseled and shirtless bearers.
Camp All-Stars: Bette Midler, Katy Perry and Joan Collins
For most stars, the camp theme might have been a foreign or daunting concept. Not so for Katy Perry, whose Met Gala looks every year are usually campier than a John Waters movie; Bette Midler, the veritable patron saint of all things camp; or Joan Collins, a camp icon so legendary, she basically showed up as herself to the gala, much to the delight of Dynasty fans (and everyone else).
Perry’s look for the 2019 Met Gala, as the kids say, was “lit” — but literally. Dressed in a Moschino chandelier-as-dress designed by Jeremy Scott that was actually illuminated, Perry’s trademark campy style was in full effect on the red carpet. How she was able to sit for the dinner, however, remains a mystery.
Bette Midler, ever a camp queen, showed up for the Met Gala red carpet in a glamorous remix of her Hocus Pocus character, Winifred Sanderson.
Collins referenced her iconic looks on Dynasty when she showed up on the 2019 Met Gala with Valentino designer Pierpaolo Piccioli, who designed her voluminous white feathered gown.
Master Accessorizers: Kacey Musgraves and Jared Leto
For Kacey Musgraves and Jared Leto, the 2019 Met Gala camp theme wasn’t just something they were considering with their outfits, but their full looks — which is why both showed up with some scene-stealing accessories.
Musgraves, who’s already shown us she’s a camp MVP in past red carpet appearances and on her hilarious Twitter account, made for a perfect Moschino Barbie doll, complete with a blonde wig — and a matching pink convertible, quite possibly the most on-theme accessory that’s ever shown up to a Met Gala.
Leto, on the other hand, took self-love to the next level when he toted along a replica of his own head to pair with his rich red Gucci ensemble and crystal harness, an obvious nod the Gucci A/W 2018 runway.
Executive Realness: Tiffany Haddish and RuPaul
RuPaul and Tiffany Haddish made the case for suits, camp-style when they both appeared on the Met Gala red carpet in suits that were anything but business casual.
While Ru has famously said that “we’re all born naked and the rest is drag,” the world’s most famous drag queen chose to appear at the Met Gala in a rainbow-colored suit with a fun Zebra-inspired sleeve embellishment.
Tiffany Haddish’s sparkling Michael Kors zebra print tuxedo suit and tiny feathered fedora weren’t the only reason why she caused waves of excitement on the Met Gala red carpet; the comedian shared that she had brought some chicken in her bag this year because last year, as she told People, “it was not enough food!”
That’s a Wrap: Hamish Bowles, Ryan Murphy and Florence Welch
Camp’s flamboyant nature is no stranger to drama and nothing says drama quite like a cape — at least, that’s the conclusion that we came to after seeing the sweeping, show-stopping looks on Vogue editor Hamish Bowles, Ryan Murphy and Florence Welch.
Bowles’s magnificent Maison Margiela cape was edged with multi-colored feathers and featured a pattern that made him look like a psychedelic dandy — a style concept that was driven home with his rainbow-colored hairstyle.
Murphy opted for a Liberace meets Elizabeth I realness with a crystal and pearl embellished Christian Siriano cape in a warm rose gold shade that featured an impressive ruff; Murphy styled the look with a matching vest, bow tie and trousers...
Tuesday, January 22, 2019
Political barbs of dramas Yanxi Palace and White Snake enthral Chinese viewers
Imagine the script of Downton Abbey, the lavish UK television period drama, tickled to launch subtle barbs at the administration of Theresa May and, say, her handling of Brexit.
Chinese costume dramas, equally lavish and likewise holding a nation in thrall, have added just such a layer of political piquancy to tales of intrigue and love in the Qing dynasty. Several platforms held off airing episodes of the shows during the politically sensitive month of March, when political meetings are held.
The self-imposed moratorium reflects history’s troublesome tendency to hold a mirror up to the present, even centuries later. Tales of dynastic emperors holding on to power, prompting revolts among those long-gone citizens, might be expected to chafe with a leader who has secured the ability to rule for life.
As one academic delicately put it, “[The government] doesn’t want people to think that they have the opportunity to replace the leader or to struggle with the power base or change it. This kind of idea, if it circulates in the countryside or the cities, would be a little dangerous.”
WHITE SNAKE VS SOCIALISTS
Elaborate hairstyles, sumptuous silks and life at Qing dynasty court, meantime, betray a decadence and moral laxity that sits uneasily with “core socialist values”. An editorial in the state-owned Beijing Daily railed against the imperial dramas’ proclivity to champion such pleasure-seeking above the “virtues of frugality and hard work”.
But you can’t keep a good story down. With March safely out the way, at least some – such as The Legend Of White Snake, a tale of love, heartbreak and destruction – are coming online.
The shows are lapped up by Chinese viewers. The Story Of Yanxi Palace, which ran to 70 episodes, became the most googled TV show last year and was shown in more than 80 countries – and this in a nation where Google’s search engine is blocked. According to iQiyi, the Netflix-like platform that hosts the show, it was streamed an average 300 million times a day and has been viewed more than 21 billion times.
The secret sauce of the imperial dramas, said Lok-yin Law, lecturer at the School of Arts & Social Sciences at the Open University of Hong Kong (and husband of an avid fan), is two-fold. The stories resonate with everyday life, in the court or today’s workplace – back-stabbing is every bit as common in offices as it was in dynastic harems – and they revive the glory of Chinese culture.
The everyday appeal goes beyond bitchy colleagues. Patriarchal power politics may be the reality, but Yanxi Palace boasts a female protagonist who is more conniving minx than demure doll, and has won legions of feminist fans.
ESCAPISM VS HISTORICAL ACCURACY
As with British period dramas, historians carp that accuracy is sacrificed for ratings. “It’s impossible an emperor in the Qing Dynasty, very busy dealing with politics and affairs of state... would have time to deal with so many concubines and negotiate among them,” said Song Geng, associate professor at Hong Kong university’s School of Chinese.
That highlights another schism: Any educational purpose of TV shows is at odds with the profit motive of producers. Dramas set in Imperial China – much like those based in Edwardian Britain or indeed the 1980s Texas of Dallas – go big on costumes, intrigue and wavering moral compasses. They are less occupied with instructing the nation’s youth in history and moral rectitude.
That, of course, is ultimately where their appeal lies: As escapist dramas rooted just enough in the enduring traits of human nature to ensure growing audiences. Several are finding popularity beyond China, particularly in Vietnam, Singapore and Hong Kong. Indeed, said Mr Law, he sees more chat about the shows in his Facebook social circles than among his friends on the mainland.
Hence the potential for the imperial dramas to become part of China’s soft power arsenal. That its culture has failed to hold much global sway – compare the reach of South Korea’s K-pop or Japanese anime – is a source of dismay within China. “It’s ridiculous that Kung Fu Panda was made by Hollywood,” harrumphed one analyst.
For Prof Song it’s a missed opportunity. “It could be... just like the K-wave,” he said. “For me this is good for China because it shows the influence of the culture.”
The self-imposed moratorium reflects history’s troublesome tendency to hold a mirror up to the present, even centuries later. Tales of dynastic emperors holding on to power, prompting revolts among those long-gone citizens, might be expected to chafe with a leader who has secured the ability to rule for life.
As one academic delicately put it, “[The government] doesn’t want people to think that they have the opportunity to replace the leader or to struggle with the power base or change it. This kind of idea, if it circulates in the countryside or the cities, would be a little dangerous.”
WHITE SNAKE VS SOCIALISTS
Elaborate hairstyles, sumptuous silks and life at Qing dynasty court, meantime, betray a decadence and moral laxity that sits uneasily with “core socialist values”. An editorial in the state-owned Beijing Daily railed against the imperial dramas’ proclivity to champion such pleasure-seeking above the “virtues of frugality and hard work”.
But you can’t keep a good story down. With March safely out the way, at least some – such as The Legend Of White Snake, a tale of love, heartbreak and destruction – are coming online.
The shows are lapped up by Chinese viewers. The Story Of Yanxi Palace, which ran to 70 episodes, became the most googled TV show last year and was shown in more than 80 countries – and this in a nation where Google’s search engine is blocked. According to iQiyi, the Netflix-like platform that hosts the show, it was streamed an average 300 million times a day and has been viewed more than 21 billion times.
The secret sauce of the imperial dramas, said Lok-yin Law, lecturer at the School of Arts & Social Sciences at the Open University of Hong Kong (and husband of an avid fan), is two-fold. The stories resonate with everyday life, in the court or today’s workplace – back-stabbing is every bit as common in offices as it was in dynastic harems – and they revive the glory of Chinese culture.
The everyday appeal goes beyond bitchy colleagues. Patriarchal power politics may be the reality, but Yanxi Palace boasts a female protagonist who is more conniving minx than demure doll, and has won legions of feminist fans.
ESCAPISM VS HISTORICAL ACCURACY
As with British period dramas, historians carp that accuracy is sacrificed for ratings. “It’s impossible an emperor in the Qing Dynasty, very busy dealing with politics and affairs of state... would have time to deal with so many concubines and negotiate among them,” said Song Geng, associate professor at Hong Kong university’s School of Chinese.
That highlights another schism: Any educational purpose of TV shows is at odds with the profit motive of producers. Dramas set in Imperial China – much like those based in Edwardian Britain or indeed the 1980s Texas of Dallas – go big on costumes, intrigue and wavering moral compasses. They are less occupied with instructing the nation’s youth in history and moral rectitude.
That, of course, is ultimately where their appeal lies: As escapist dramas rooted just enough in the enduring traits of human nature to ensure growing audiences. Several are finding popularity beyond China, particularly in Vietnam, Singapore and Hong Kong. Indeed, said Mr Law, he sees more chat about the shows in his Facebook social circles than among his friends on the mainland.
Hence the potential for the imperial dramas to become part of China’s soft power arsenal. That its culture has failed to hold much global sway – compare the reach of South Korea’s K-pop or Japanese anime – is a source of dismay within China. “It’s ridiculous that Kung Fu Panda was made by Hollywood,” harrumphed one analyst.
For Prof Song it’s a missed opportunity. “It could be... just like the K-wave,” he said. “For me this is good for China because it shows the influence of the culture.”
Friday, October 26, 2018
Dynasty's Costume Designer on the Show's 'No Fur' Policy
Riverdale isn't the only show you should be binging on the CW. The network is also home to the hotly talked about Dynasty reboot, which brings all the beloved drama from the original '80s prime-time soap and a modern update to the flashy style Dynasty is known for — all thanks to costume designer, Meredith Markworth-Pollack. With an impressive repertoire as a wardrobe stylist for major TV shows, including Gossip Girl, Hart of Dixie and REIGN (just to name a few), Markworth-Pollack is taking inspiration from the original hit series and modernizing it with some pretty fabulous looks. We sat down with the designer to get the inside scoop on how she's translating the decadence of '80's fashion to modern-day Atlanta, Georgia. (Think flashy trends, sexy silhouettes, modern shoulder pads, faux fur and did we mention, tons of Gucci?)
Catch our chat with Markworth-Pollack below — and don't forget to tune in to the new Dynasty series on Wednesdays at 9pm on the CW.
How much did you refer back to the original Dynasty wardrobe when mapping out outfits for the cast?
"I did my homework watching the show, kind of getting the vibes for what Nolan Miller, the original designer, did for each [character] and then figured out what we wanted to take from that. I worked with the show runners and with the cast and one of the things, for example, that I really loved about it was how the original designer would match separates in the same color, like a great silk blouse with a silk pair of pants. There are so many great moments of Linda Evans in these beautiful nudes, and so I definitely want to respect that and, at the same time, it was a trend that I think is happening now. It was a bit easier than I thought to find that. So really respecting the palettes and some of the shapes for each character. Same with Fallon, doing some great statement dresses, great separates but we didn't want to be pigeonholed into only replicating the same looks, we wanted to keep it current and fresh but be respectful of the work that Nolan Miller did. It was so iconic and such a staple of the '80s, and I have the utmost respect for what he did. We're definitely planning a lot of little Easter eggs for the fans and little moments that diehard fans may notice were also in the original. There are certain palettes or styles of dresses — things like that."
The Dynasty reboot is based in Atlanta as opposed to Denver. Did you have any southern influences on your outfit choices?
"I hadn't spent a lot of time in the South before, I'm a California girl, and I was really surprised by the men's styles specifically when I got here. That's what impressed me the most. I think there's such a boldness and confidence in the men and I would go shopping at Saks or Neiman Marcus and I would see these men in their Gucci suits and their loafers! And I think there's that classic Americana sense here of dressing up for the day. Maybe you're not doing anything, but you wake up and you put on your suit. I was just blown away by the whole suiting world here. I've been really impressed. I think there's a lot of men here in the hip-hop community and in the athletics world that have a lot of money and aren't afraid to spend it on their clothing. I've been asking them, ‘What are you wearing? Where did you get it?' And that falls into the women's style too, but I think that I didn't want to go down the conservative southern road, I feel like we've seen that a lot of times. I feel like Atlanta is actually very progressive, I've found, so I want to reflect that in the style."
Was there any styles from the original Dynasty that you felt would not work for the reboot?
"Not really. Even the shoulder pads — I'm down for the shoulder pads! I think they're slightly different now, they're a little more refined. They're a little smaller. They don't need to be the size of your face. They can be a little more dainty, but still get that effect. I love some of the original Blake looks like the sweaters and the turtleneck, but we wanted to make sure our Blake didn't feel too much older, too conservative in that way so we didn't really go down that road for him. We saved the turtleneck for Colby. We're not doing real furs, we're using faux furs. I just love all the statement pieces, and the hats and the accessories and the silhouettes, but I think were doing our version of that. The 2017 version of that. Like I said, the shoulders aren't as big, maybe the hat brims are a little smaller, but besides that I feel a lot of those trends have come back around."
Where did the no-fur policy generate?
"Stephanie Savage, who's one of the creators of the show, and Sally Patrick, who's our show runner, made the decision going into the show that while, yes, fur was such a huge part of the original Dynasty , given where we are now in 2017 that they didn't want to use real fur. I totally respect that. We've dived head first into the world of faux fur, and I'm learning more and more about it. I've been very impressed by the designers that are working with faux fur. Stella McCartney is one of the pioneers of the higher-end couture designers that's exploring with no fur, but now there are so many great faux fur companies and people using it. Plus, there are interesting colors and things you can't get with originals. I'm excited to get into that world."
You've worked on some other pretty influential shows such as Gossip Girl. How does this show compare style-wise to your experience with that show?
"I think as far as being a show that has contemporary fashion and is kind of pushing the envelope, it's very similar, in the sense that we're hoping that it's going to be cutting edge and setting trends. You'll see a juxtaposition between our two female leads, Fallon and Krystle, played by Liz Gillies and Nathalie Kelley, so I think that where Blair and Serena were set up in these two very different styles you'll see that. I think that these girls aren't in high school, they're a little more mature so there's probably a bit more crossover than we saw before, but we're setting up this world, creating this world of wealth and affluence through cutting edge style trends, and that is definitely quite similar to what Gossip Girl became."
What is your biggest challenge in creating the costumes for this show?
"The obvious is the budget. That's always the biggest challenge. But it's a fun challenge, and I totally accept that challenge. I love the hunt. I love playing, dealing deals and I love being creative in that sense so it's been good. It can be tricky though, sometimes there's no way around it, you need the money to spend. And also battling the humid Atlanta summer. That's been a big wake up call for a lot of us that aren't from here. You need like six shirts if you're shooting a scene outside because you're just like sweating through them. So yeah, weather and money, some of life's biggest challenges too right?"
Is there a certain piece you couldn't believe you were able to get for the show?
"Basically everything from Gucci. I mean it's just so spot on for these characters right now. It's innovative, it's bold, it has some really great vintage throwbacks right now from the '70s. I feel every time I buy a Gucci piece, I'm just like my mind is like blown. Right now I'm looking at that pajama tuxedo. I walked in, and I was like, ‘I don't even know what I'm using this for, but I have to buy it right now.' Thank god I'm using it, because otherwise I'd get in a lot of trouble."
Catch our chat with Markworth-Pollack below — and don't forget to tune in to the new Dynasty series on Wednesdays at 9pm on the CW.
How much did you refer back to the original Dynasty wardrobe when mapping out outfits for the cast?
"I did my homework watching the show, kind of getting the vibes for what Nolan Miller, the original designer, did for each [character] and then figured out what we wanted to take from that. I worked with the show runners and with the cast and one of the things, for example, that I really loved about it was how the original designer would match separates in the same color, like a great silk blouse with a silk pair of pants. There are so many great moments of Linda Evans in these beautiful nudes, and so I definitely want to respect that and, at the same time, it was a trend that I think is happening now. It was a bit easier than I thought to find that. So really respecting the palettes and some of the shapes for each character. Same with Fallon, doing some great statement dresses, great separates but we didn't want to be pigeonholed into only replicating the same looks, we wanted to keep it current and fresh but be respectful of the work that Nolan Miller did. It was so iconic and such a staple of the '80s, and I have the utmost respect for what he did. We're definitely planning a lot of little Easter eggs for the fans and little moments that diehard fans may notice were also in the original. There are certain palettes or styles of dresses — things like that."
The Dynasty reboot is based in Atlanta as opposed to Denver. Did you have any southern influences on your outfit choices?
"I hadn't spent a lot of time in the South before, I'm a California girl, and I was really surprised by the men's styles specifically when I got here. That's what impressed me the most. I think there's such a boldness and confidence in the men and I would go shopping at Saks or Neiman Marcus and I would see these men in their Gucci suits and their loafers! And I think there's that classic Americana sense here of dressing up for the day. Maybe you're not doing anything, but you wake up and you put on your suit. I was just blown away by the whole suiting world here. I've been really impressed. I think there's a lot of men here in the hip-hop community and in the athletics world that have a lot of money and aren't afraid to spend it on their clothing. I've been asking them, ‘What are you wearing? Where did you get it?' And that falls into the women's style too, but I think that I didn't want to go down the conservative southern road, I feel like we've seen that a lot of times. I feel like Atlanta is actually very progressive, I've found, so I want to reflect that in the style."
Was there any styles from the original Dynasty that you felt would not work for the reboot?
"Not really. Even the shoulder pads — I'm down for the shoulder pads! I think they're slightly different now, they're a little more refined. They're a little smaller. They don't need to be the size of your face. They can be a little more dainty, but still get that effect. I love some of the original Blake looks like the sweaters and the turtleneck, but we wanted to make sure our Blake didn't feel too much older, too conservative in that way so we didn't really go down that road for him. We saved the turtleneck for Colby. We're not doing real furs, we're using faux furs. I just love all the statement pieces, and the hats and the accessories and the silhouettes, but I think were doing our version of that. The 2017 version of that. Like I said, the shoulders aren't as big, maybe the hat brims are a little smaller, but besides that I feel a lot of those trends have come back around."
Where did the no-fur policy generate?
"Stephanie Savage, who's one of the creators of the show, and Sally Patrick, who's our show runner, made the decision going into the show that while, yes, fur was such a huge part of the original Dynasty , given where we are now in 2017 that they didn't want to use real fur. I totally respect that. We've dived head first into the world of faux fur, and I'm learning more and more about it. I've been very impressed by the designers that are working with faux fur. Stella McCartney is one of the pioneers of the higher-end couture designers that's exploring with no fur, but now there are so many great faux fur companies and people using it. Plus, there are interesting colors and things you can't get with originals. I'm excited to get into that world."
You've worked on some other pretty influential shows such as Gossip Girl. How does this show compare style-wise to your experience with that show?
"I think as far as being a show that has contemporary fashion and is kind of pushing the envelope, it's very similar, in the sense that we're hoping that it's going to be cutting edge and setting trends. You'll see a juxtaposition between our two female leads, Fallon and Krystle, played by Liz Gillies and Nathalie Kelley, so I think that where Blair and Serena were set up in these two very different styles you'll see that. I think that these girls aren't in high school, they're a little more mature so there's probably a bit more crossover than we saw before, but we're setting up this world, creating this world of wealth and affluence through cutting edge style trends, and that is definitely quite similar to what Gossip Girl became."
What is your biggest challenge in creating the costumes for this show?
"The obvious is the budget. That's always the biggest challenge. But it's a fun challenge, and I totally accept that challenge. I love the hunt. I love playing, dealing deals and I love being creative in that sense so it's been good. It can be tricky though, sometimes there's no way around it, you need the money to spend. And also battling the humid Atlanta summer. That's been a big wake up call for a lot of us that aren't from here. You need like six shirts if you're shooting a scene outside because you're just like sweating through them. So yeah, weather and money, some of life's biggest challenges too right?"
Is there a certain piece you couldn't believe you were able to get for the show?
"Basically everything from Gucci. I mean it's just so spot on for these characters right now. It's innovative, it's bold, it has some really great vintage throwbacks right now from the '70s. I feel every time I buy a Gucci piece, I'm just like my mind is like blown. Right now I'm looking at that pajama tuxedo. I walked in, and I was like, ‘I don't even know what I'm using this for, but I have to buy it right now.' Thank god I'm using it, because otherwise I'd get in a lot of trouble."
Wednesday, August 15, 2018
How Story of Yanxi Palace's back-stabbing imperial concubines
A 70-episode period drama about a quick-witted maidservant investigating the death of her sister amid a group of back-stabbing Qing dynasty imperial concubines has set the single-day online viewership record in China. A total of 530 million viewers tuned in on August 12 to follow the scheming on iQiyi, the nation's biggest streaming platform.
'China's Netflix' wants to build Disney-scale entertainment empire
Some other staggering numbers: The Story of Yanxi Palace, co-produced by iQiyi and Huanyu Film, has attracted a cumulative 5.6 billion views since its release last month, or an average of 130 million views per episode, according to Maoyan, an online ticketing and statistics provider.
The hit drama, set in the court of Emperor Qianlong (1711 – 1799), is available in more than 70 markets globally, making it one of the most widely distributed period series produced by China, according to iQiyi.
Hong Kong's TVB recently bought the distribution rights for the show in Hong Kong, Macau, Singapore and Malaysia. Similar distribution agreements have been made with TV channels and platforms in South Korea, Taiwan, Japan, Thailand, Indonesia and Vietnam.
In one particular episode, a jealous concubine schemed to destroy some lychee trees that the emperor had shipped from southern Fujian province to Beijing, so as to embarrass the empress, who was preparing to share the fruits at a tea party. The consort's maidservant turned the tables on the concubine by making it seem like the latter's Pekinese dog had caused the damage.
China's latest entertainment craze is on-demand cinemas
In an earlier episode, a lower-ranking concubine hung herself after being humiliated by being repeatedly slapped in public. That punishment was meted out by the same vengeful concubine who destroyed the lychee trees.
That such a plot line can inspire hours of binge-watching among China's couch potatoes underlines the continued interest in imperial dramas, a staple in Chinese TV fare alongside dramas about the Communist Party's struggle against the Japanese in the 1930s and 1940s.
Billions of dollars in advertising and other revenue are at stake. China is home to the world's largest internet population and the video-streaming market reached 95.2 billion yuan in revenue last year and is expected to hit 200 billion yuan by 2020, driven by membership fees, according to iResearch.
The surge in entertainment spending has also sparked a race among production houses and studios to secure the services of the most popular actors. The resulting inflation in fees has in led to cases of tax evasion and illegal offshore currency transfers, with multiple agencies recently initiating a coordinated crackdown targeting high-profile celebrities.
Over the weekend, the country's three streaming giants – iQiyi, Tencent Video and Youkou Tudou – pledged to cap the pay of television stars at 1 million yuan (US$145,200) per episode and no more than 50 million yuan for an entire season. A government ruling last September mandated that fees to actors cannot exceed 40 per cent of the total production budget.
Two episodes of Yanxi Palace are being released a day on iQiyi platforms every Tuesday to Sunday. With the final episode slated to be aired on August 28 for fee-paying members, the plotting continues.
'China's Netflix' wants to build Disney-scale entertainment empire
Some other staggering numbers: The Story of Yanxi Palace, co-produced by iQiyi and Huanyu Film, has attracted a cumulative 5.6 billion views since its release last month, or an average of 130 million views per episode, according to Maoyan, an online ticketing and statistics provider.
The hit drama, set in the court of Emperor Qianlong (1711 – 1799), is available in more than 70 markets globally, making it one of the most widely distributed period series produced by China, according to iQiyi.
Hong Kong's TVB recently bought the distribution rights for the show in Hong Kong, Macau, Singapore and Malaysia. Similar distribution agreements have been made with TV channels and platforms in South Korea, Taiwan, Japan, Thailand, Indonesia and Vietnam.
In one particular episode, a jealous concubine schemed to destroy some lychee trees that the emperor had shipped from southern Fujian province to Beijing, so as to embarrass the empress, who was preparing to share the fruits at a tea party. The consort's maidservant turned the tables on the concubine by making it seem like the latter's Pekinese dog had caused the damage.
China's latest entertainment craze is on-demand cinemas
In an earlier episode, a lower-ranking concubine hung herself after being humiliated by being repeatedly slapped in public. That punishment was meted out by the same vengeful concubine who destroyed the lychee trees.
That such a plot line can inspire hours of binge-watching among China's couch potatoes underlines the continued interest in imperial dramas, a staple in Chinese TV fare alongside dramas about the Communist Party's struggle against the Japanese in the 1930s and 1940s.
Billions of dollars in advertising and other revenue are at stake. China is home to the world's largest internet population and the video-streaming market reached 95.2 billion yuan in revenue last year and is expected to hit 200 billion yuan by 2020, driven by membership fees, according to iResearch.
The surge in entertainment spending has also sparked a race among production houses and studios to secure the services of the most popular actors. The resulting inflation in fees has in led to cases of tax evasion and illegal offshore currency transfers, with multiple agencies recently initiating a coordinated crackdown targeting high-profile celebrities.
Over the weekend, the country's three streaming giants – iQiyi, Tencent Video and Youkou Tudou – pledged to cap the pay of television stars at 1 million yuan (US$145,200) per episode and no more than 50 million yuan for an entire season. A government ruling last September mandated that fees to actors cannot exceed 40 per cent of the total production budget.
Two episodes of Yanxi Palace are being released a day on iQiyi platforms every Tuesday to Sunday. With the final episode slated to be aired on August 28 for fee-paying members, the plotting continues.
Friday, March 16, 2018
McDonald's seeks bigger bite in China with strategic tie-up
McDonald’s Corp. has outlined ambitious plans to grow its China business, including boosting its outlets in the country by 80 percent in five years and a renewed push into lower-tier cities.
The US-based fast-food behemoth announced on Tuesday the completion of a strategic partnership with China’s state-backed CITIC, a deal that is expected to lead to a “new era of growth” in a key market.
The partnership with CITIC, together with the Chinese conglomerate’s affiliate CITIC Capital Partners and private-equity firm Carlyle Group, will operate and manage McDonald’s businesses in mainland China and Hong Kong.
Under “Vision 2022″, the new joint venture, in which the CITIC conglomerate will have a combined stake of 52 percent, aims to add 2,000 restaurants in mainland China within the next five years to bring the total in the country to 4,500.
“China will soon become our largest market outside of the United States. We are excited to join forces with CITIC and Carlyle for better localized decision-making to meet changing customer demands in this dynamic market,” Steve Easterbrook, McDonald’s President and CEO, said in a statement.
McDonald’s also hopes to boost its business in Hong Kong, where it currently has about 240 outlets, the highest restaurant-to-population ratio across all the company’s markets.
But the main focus appears to be the Chinese mainland, where arch rival KFC has already boosted its network to some 5,300 outlets but has been struggling with tepid sales growth.
In recent years McDonald’s has been forced to go on a diet, shedding ailing business in many parts of the world.
In this situation, tapping into key growth markets has become imperative for the fast-food giant, leading to the renewed push on Chinese consumers.
“Ramping up a new era of growth and innovation, the partnership will leverage combined expertise and strength to drive an expansion strategy,” McDonald’s said in its statement Tuesday.
“We believe this is a winning formula that fuses McDonald’s global quality standards and branding with CITIC and Carlyle’s extensive resources and market expertise in real estate, finance, supply chains, consumer & retail, and technology.”
There are two types of McDonald’s restaurants in most markets: those owned and operated by the company and those franchised to third-party licensees.
The partnership has received Chinese regulatory approval and was completed on July 31, creating the largest McDonald’s franchisee outside the US.
The new venture, headed by CITIC Capital CEO Zhang Yichen, announced a series of development initiatives for mainland China, in particular “Vision 2022” that aims to drive double-digit sales growth in each of the next five years, helped by addition of 500 new restaurants per year.
It is understood that CITIC will foot much of the bill for the aggressive expansion into mostly third and fourth-tier cities and towns in China.
An innovation hub will be set up in Hong Kong and another one in Shanghai, for menu innovation and advanced digital retail experience.
Compared with KFC’s exemplary localization to meet the tastes of Chinese customers with a slew of seasonal, fusion choices of local ingredients and non-fried food, McDonald’s is seen as a laggard in adopting to the China market, with its menu still stocked with US style deep-fried wings and beef cutlets.
While the company’s fries, chicken nuggets and apple pies have been the comfort food for numerous Americans, their Chinese counterparts are not too impressed, especially as many people remember a stale-meat scandal in 2014 that took the already dropping number of patrons into a free fall.
It remains to be seen if the new Chinese stakeholder will help the brand understand better the increasingly discerning tastes of mainland diners.
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