Xiao Yanyan () is the third daughter of Prime Minister Xiao and Princess Wang. As the youngest child in the family, she is loved not only by her father, but also by her sister Xiao Hunian () and her second sister Wu (Amber). Xiaoyan, who is loved by thousands of people, has also developed a character of dare to think, dare to say and dare to do since childhood. She is full of persistence in pursuing things and does not give up easily.
She and Han Derang (Shawn Dou) two of a kind have a baby early. However, things are unpredictable. The three Xiao sisters were married into the three schools of Taizu respectively. Sister Xiao Hutian married Lu Ye Zage (Tan Kai), the king of Taiping, and the second sister Wu married Jeffery Ji. Xiao Yanyan's legendary life began with his meeting with Lu Yexian (Jing Chao).
Drama evaluation
Based on historical materials, Yan Yuntai achieved the balance between historical truth and artistic fiction, and formed a more exquisite drama character structure. The first half of the play is about love conflict, and the last ten episodes are about family conflict. The two conflicts are intertwined and connected in series to form a complete story with a logical chain.
The plot deepens the drama contradiction around the power struggle to promote the Han system, constantly forming the climax of the plot and creating intensive drama conflicts. Under such a dramatic structure, this historical work touches the audience with love, affection and brotherhood, which is more likely to produce empathy effect. The emotional improvement of the characters in the play is reasonable and solid, avoiding the leap-forward emotional development.
Compared with some heroine dramas, Yan Yuntai did not take the route of blackening the protagonist or cool drama, but recreated it on the basis of fully respecting historical facts. The noble character of the characters runs through the whole play, which is easier for the audience to accept. It's a pity that Xiaoyan, as the protagonist, seems a little stiff in her creative space, especially after the role description of the Regent, the brilliance gradually gives way to other roles in the play.
It is worth mentioning that the works strive for perfection in serving Buddhism and Taoism, and strive to restore the style of Da Liao. In framing, the crew went to Inner Mongolia, presenting a magnificent and vast landscape for the audience. Most of the props in the play were also recovered from the physical objects unearthed from the Khitan tombs.
This rare TV series about Liao history subverts many viewers' cognition of the northern minorities in history, breaks the stereotype, stimulates people's interest in exploring the history of Song and Liao, and successfully opens up an alternative perspective in the creation of historical themes.