015|STAND+(8)

Determining whether a program has "gone viral" involves multiple criteria, and the ability to spark significant online discussion is undoubtedly a crucial factor. Yet, the question remains: what are we truly discussing when we engage in heated debates about "STAND+"? 

Public feminist scholar Cao Yang has summarised the ethical issues that "STAND+" compels society to confront through "The Ambivalent Sexism Inventory." She emphasises that even benevolent forms of gender discrimination are still discrimination, as their intent is to keep women dependent on men, effectively turning them into canaries in a coal mine.

Although the media does not have direct access to Zhong Shao and Yu Cheng, they have gleaned some information from Tan Ye and Miaomiao. The most significant revelation is that the "STAND+" project was established urgently following the violent incident in City C, funded out of pocket by Zhong Shao and Yu Cheng, driven solely by their outrage over the events in City C. 

Once this information was made public, the two were hailed as "the top ceiling for men."

While the question of why Zhong Shao and Yu Cheng would advocate for a women-friendly initiative has since evolved into a sociological discussion following the release of the second episode—what does it signify when men support feminism? 

In response to this inquiry, Cao Yang was among the first to publicly address the issue, stating, "First and foremost, the public have to understand that the progress made globally in the realm of feminism is currently regressing. Simply attacking men is not feminism; the two are fundamentally interdependent. Our pursuit of feminism aims to achieve gender equality. Men are not inherently stronger, nor are women inherently weaker. If we cannot break through societal filters regarding men and the stereotypes surrounding women, gender inequality will continue to obstruct women's access to healthcare, education, economic opportunities, and leadership positions. Therefore, the undeniable fact before us is that gender equality is a crucial pathway to social justice. When men engage in the advancement of gender equality, they challenge gender stereotypes as beneficiaries of societal norms, which includes, but is not limited to, recognising gender biases, supporting gender equality education, and advocating for women's rights. When they are able to do this, we not only take a step closer to achieving gender equality but also broaden the possibilities for adopting more positive behavioral norms for male roles."

At the same time, both Zhong Shao and Yu Cheng have received news of their respective works being nominated for the Dahua International Film and Television Festival, along with red carpet invitations. 

As the first and only competitive international film festival in the country, the Dahua International Film and Television Festival was established in the early years of reform and opening up. Over its more than thirty years of illustrious history, it has continuously innovated and enhanced its commitment to professionalism, internationalism, and public benefit, becoming one of the most significant international television exchange platforms in Asia, while also focusing on showcasing and supporting outstanding films and Asian television dramas from both domestic and international creators.

"Are you going to the red carpet this time?" Yu Cheng asked Zhong Shao. 

Zhong Shao was not fond of the red carpet's excessive self-promotion and sensationalism; after gaining confidence and having options, he rarely walked the red carpet anymore. 

It became no secret in the industry that "Zhong Shao doesn't like to walk the red carpet." 

"Of course," Zhong Shao replied, which momentarily surprised him. 

"The Dahua International Film and Television Festival is different from those chaotic award ceremonies," Zhong Shao paused, his voice low, "It's rare for us to walk the red carpet together." 

In addition to the film "Same or Not" being nominated for Best Adaptation and Best Cinematography, both Zhong Shao and Yu Cheng had other projects nominated as well. 

Tan Ye tapped the table, unable to bear Zhong Shao's recent peacock-like behaviour! Ever since the two made their relationship public within friends, their personal studios were nearly merging into the "JiYu CP" studio, with Tan Ye becoming their manager and Miaomiao stepping back to an executive role. 

After finishing the film "Same or Not," the two had an overwhelming number of scripts to consider, but they hadn't settled on their next project. The works they were nominated for were all filmed before "Same or Not." 

Tan Ye pressed a button on the controller, and the screen displayed their names at the top, listing several high-quality script offers. These had all gone through multiple rounds of selection before reaching them, and they had both reviewed the scripts. "Have you two made a decision?" 

"Yes," Yu Cheng replied, taking the electronic pen and circling two projects on the screen. 

One was a film by Zhong Shao, and the other was a television series by him. 

Tan Ye's gaze shifted between the two, "Did you two discuss this?" 

He wouldn't believe it if they hadn't. "No," Zhong Shao said, "we are so in sync." 

Tan Ye: "..." This was impossible to manage. 

Tan Ye gave up trying to figure out the nature of their understanding and chose a film and television series based on the same IP. 

Still, it was asexual.

As the days pass, we find ourselves at the final episode of the main series of "STAND+." Unlike the previous two episodes that succinctly presented their arguments, the subtitle of the third episode candidly expresses its sentiments: "Noble women, the true essence of women."

Hu Gu's grandmother, Hu Fang, is another inheritor of the natural art of women's writing from the sister village. Both Hu Xian and Hu Fang were born into wealthy peasant families around the time of the May Fourth Movement. The term "wealthy peasant" during that era differs from its connotation in 1950; it referred to medium-scale farmers who possessed considerable agricultural assets such as land and tools.

Despite their similar family backgrounds, their circumstances diverged. Hu Xian had only one older brother, while Hu Fang had an older brother and two younger brothers. 

When they were ten years old, they became lifelong companions, sharing meals, sleeping together, learning to Nvshu, supporting each other, and discussing everything under the sun, forging a deep emotional bond. The sister village, being remote and with inconvenient transportation, was somewhat insulated from many calamities due to the slow dissemination of news from the outside world. 

When the Shanghai female workers' strike achieved victory, and ordinary women stepped onto the historical stage as vital components of the communist movement, beginning to write a history of resistance against fate, the sister village still adhered to the old creed: "Unmarried, comply with the father; married, obey the husband; widowed, follow the son."

From a young age, Hu Fang displayed remarkable dexterity, intelligence, and a stubborn temperament. However, in her sister village, girls were typically only allowed to complete elementary school, after which their lives revolved around weaving, farming, and waiting to marry. Unwilling to abandon her education, she clashed fiercely with her family and eventually took root at Hu Xian's home. 

Once they has become Laotong, Hu Xian understood Hu Fang's desire to continue her studies and explore a broader world. One day, after Hu Fang had been beaten and sustained injuries on her arm and back, Hu Xian helped her apply medicine and asked, "Ah Fang, if you could really continue your education, would you forget about me?" 

"How could I!" Hu Fang exclaimed, inadvertently aggravating her wound, causing her to wince. "Once I go back to school, I will tell you every night about the new things I learn during the day. One day, I will take you out of the sister village to see the world." 

Eventually, Hu Fang fulfilled her wish to return to school, finding ways to cover her tuition. Her mother, unable to bear the thought of her daughter's struggle, secretly contributed a portion of her savings, while Hu Xian generously offered all the pocket money she had saved since childhood. Initially, Hu Fang was reluctant to accept Hu Xian's money, but when Hu Xian refused to speak to her until she did, she finally agreed to take it. She stitched this period of her life into the lining of her bodice using women's script.

At that time, the national education system abolished the comprehensive secondary school system, establishing separate institutions for ordinary secondary schools, normal schools, and vocational schools, without distinguishing between arts and sciences in high school. Among these, normal education became independent from general education, forming its own distinct school system. 

Hu Fang went to the city to attend school during the day, while Hu Xian went to the hall, which was a school for Nvshu'. After classes, Hu Fang helped other families with farming tasks to earn some pocket money, and at night, she returned to Hu Xian's home to study, with Hu Xian watching beside her. 

When the lights were out, the two girls would lie down and share the events of their day. 

This routine continued for four years. 

Throughout this time, Hu Fang's favourite saying was: "We cherish freedom, our generation toasts to freedom." She also outshone her brothers at home, not only completing her normal secondary education on schedule but also gaining admission to East China Normal University.

Despite the obstacles, news of Japan's large-scale aggression war spread to the village. By this time, Hu Fang had been away from her sister village for over three months. No one knew her circumstances, and Hu Xian prayed day and night for Hu Fang, writing her wishes in women's script. 

In the fifth month, Hu Xian went to the post and telecommunications office in the county town to collect letters.

A year later, Hu Xian turned 18 and was married off by her family to Hu De, the youngest son of the village chief. It is said that the two families arranged this betrothal when Hu Xian was just one year old. 

Hu De is five years older than Hu Xian, and everyone in the village knows that his two older brothers manage the family business, he only sit around for the rest of your life.

Hu Xian was unwilling to accept this arranged marriage and protested by refusing to eat and even attempted to drown herself. However, her father threatened to "beat her to death," and Hu De's family threatened to sue her if she refused to marry. She pleaded with her brother for help, but he told her that the bride price offered by Hu De's family was too substantial to decline—it provided their older brother with an opportunity to venture out into the world. In the face of such interests, her status as a sister was deemed insignificant; daughters were naturally seen as commodities, and women were expected to obediently follow men's commands.

Ultimately, Hu Xian married Hu De and endured shameless insults. 

On the day of the wedding, Hu Fang was absent from the ceremony. Hu Xian had sent her a letter informing her of the marriage, but she mentioned nothing of the events leading up to it. She wrote a "Three Morning Letter" for herself, which contained only her friendship with Hu Fang and her longing for her, devoid of any wedding blessings.

This marriage did not halt her struggle and resistance. Hu Xian faced formidable in-laws; her mother-in-law was overly indulgent of her son, leaving her dissatisfied with everything Hu Xian did. Hu De remained indifferent, and despite the pain and torment she endured, Hu Xian did not cease her quarrels with her mother-in-law. It was during this time that she discovered her own immense courage to resist.

The involuntary nature of marriage often leads to the emotional needs of women being overlooked. 

Upon hearing of Hu Xian's pregnancy, her father-in-law first smiled openly in front of his daughter-in-law, saying, "to give our Hu family a healthy boy." 

The continuation of the family line became the sole purpose of marriage.

After the wedding, Hu Xian frequently dreamed of embracing Hu Fang with the honesty of a newborn, often reciting Hu Fang's favourite saying, "We cherish freedom, our generation toasts to freedom." 

Amidst the stagnation and oppression, she gradually began to understand.

During her pregnancy, she used her child as a weapon, initiating a new round of conflict with her mother-in-law. 

Ten months later, Hu Xian gave birth to a healthy boy. Yet, everything was far from over. Hu Xian felt no closeness to her child; having lived her first half of life under the shadow and oppression of patriarchy, she now harboured an intrinsic aversion to men. 

When her child was two years old, her father-in-law raped her.

After being utterly devastated, Hu Xian rebounded, disregarding all concerns, fueled by the solitary courage Hu Fang had once vowed to uphold in her pursuit of education. 

She decided to divorce. 

From that point on, arguments and physical confrontations became a regular occurrence in their household.

The implementation of desire, once successful the first time, leads to a second and countless subsequent instances. 

After this, the desires were thwarted, and Hu Xian was branded with the disgrace of being unfilial by her father-in-law, who sometimes exploited his official position to incite other children to slander her. 

While gathering evidence, Hu Xian also sought information from the outside world. As she accumulated more evidence and news, she received a glimmer of information regarding Hu Fang. 

She was still alive.

In the autumn of 1942, Hu Xian secretly traveled to the county town to publicly reveal the unspeakable truth. Her father-in-law was investigated but continued to argue that it was Hu Xian who failed to uphold the four virtues of women and had seduced others first. However, due to the war, many villages and farmlands were devastated that year, leading to widespread famine across society. Consequently, Hu Xian was able to divorce Hu De voluntarily, as a couple. Perhaps the era was destined to bring tragedy to their fates, but it could not hinder their unwavering resolve to "become themselves."

Afterward, Hu Xian lived alone in the county town. 

The following spring, she reunited with Hu Fang in the county town. Hu Fang had saved half a year's worth of grain for her, leaving Hu Xian trembling and speechless. Hu Fang did not return to their sister village but stayed in the county town for only a week. 

Hu Xian left with Hu Fang.

In the years of war, the school relocated to the southwest for restructuring and, in collaboration with several other universities, formed a joint university. The policy of "War Resistance Education" continued to be implemented in the post-war period, ensuring that education served the long-term needs of the war. 

Under the guidance of Hu Fang, Hu Xian pursued adult education in the war-torn region. 

War is brutal and challenging in any era. The two young women, alongside countless female compatriots in the post-war period, supported each other through adversity. They established various wartime service organizations, including fundraising teams, rescue teams, transport teams, laundry teams, and sewing teams, ensuring the support and logistics for the troops. They contributed their strength in diverse ways, liberating themselves from the roles of domestic labour and subservience under patriarchy, thus writing a magnificent chapter for women in the face of national peril.

During this time, Hu Fang also learned of Hu Xian's unwavering spirit in the sister village. 

Hu Xian and Hu Fang documented their experiences and observations in Nvshu, binding them into a book, while their intimate exchanges were carefully preserved. Just as Hu Xian dreamed, she and Hu Fang embraced each other sincerely, but it was only an embrace of honesty.

The year following the end of the war saw the promulgation of the Marriage Law, which abolished the feudal marriage inspection system characterized by arranged marriages and male superiority, establishing marriage freedom, gender equality, and monogamy. 

The law was spearheaded by Miss. Shi Liang, a pioneer of the Chinese women's rights movement. At last, women gained equality and freedom in love and marriage. That same year, Hu Fang and Hu Xian returned to the sister village. Both of their fathers had passed away, and Hu Xian's brother avoided his sister, while Hu Fang's family was left with only an older brother and a younger brother.

They restarted the school and hall in the sister village, establishing a women's school and adult education programs. 

Most of the time, they still reside at Hu Xian's home, just as they did in their childhood, always close to each other, inseparable; every weekend, they spend two days in the county town, enjoying operas and cultural performances, which brings them great joy. 

Hu Fang and Hu Xian's lives not only preserved and passed down the culture of women's writing, creating countless exquisite works that continue to be shared today, but they also sent nearly a hundred girls from the sister village out into the world, allowing them to experience broader horizons.

In the story of "Laotong," there are tears flowing as they write sorrowful words that resonate far and wide; there is also the boundless potential of daughters, demonstrating that women can hold up half the sky. 

In the end, Zhong Shao states, "In their stories, they do not need to have fictional characters or roles; they will firmly tell you that however you construct women, they will reveal their true selves to you."

Three episodes, three completely different stories, connect the lives of women from different eras and social classes. 

So, what is female empowerment? 

It is half of human wisdom, where each woman is not defined by others. It is the ability for women in all fields to candidly express their invisible needs, for their voices to be genuinely heard and valued. It is about grounding and rooting their worth in their own ways, with countless women standing behind each one. It is the gentle strength forged through trials, breaking down decay and prejudice. It is a society that cannot afford to neglect or mistreat any woman who strives for equality through action.