Miscarriage Plot in “Born of All Things” Sparks Nationwide Outcry Over Women’s Rights in China

Xiuxiu’s tragedy unfolds soon after her marriage to Feng Da‑Jiao, a union that should have marked the beginning of a new chapter for the Ning family. Instead, the celebration is cut short when her mother‑in‑law, Feng Er, harbors a simmering resentment toward the newlywed. According to the narrative, Feng Er suspects that Xiuxiu’s pregnancy was the result of an affair before the marriage. Determined to punish her, she subjects the expectant mother to grueling physical labor—plowing virgin fields, hauling water, and other tasks that would have been unthinkable for a woman of Xiuxiu’s status.

The strain proves too much. At roughly five months pregnant, Xiuxiu’s body can no longer sustain the relentless toil, and she loses the baby. The scene is shot with a stark intimacy that leaves viewers feeling as though they are sharing in her pain. In a series that has been praised for its lush cinematography and intricate storytelling, the miscarriage is not simply a plot twist; it is a stark reminder of the historical oppression of women in patriarchal societies.

The reaction online has been immediate and visceral. On Weibo, a platform where millions of Chinese netizens voice their opinions, users have flooded the comment sections with expressions of sorrow and empathy. Posts such as “My heart aches for Xiuxiu—how could anyone force a pregnant woman to work like that?” and “My parents just started to be happy, and now this heartbreak feels like a knife to the soul” illustrate the depth of the emotional connection viewers have forged with the character.

Equally prominent is a wave of anger directed at Feng Er. Many commenters have labelled her as a villain whose cruelty epitomises the systemic mistreatment of women. “She deliberately made her do impossible work—she’s a monster!” reads one viral post. The collective outrage has also sparked broader discussions about gendered labor expectations and the historical silencing of women’s voices. Some users have taken the scene as a springboard to reflect on contemporary issues, drawing parallels between the fictional oppression and ongoing struggles for women’s rights in modern China.

The drama’s ability to generate such a cross‑generational response is noteworthy. “Born of All Things” has become a rare cultural touchstone that resonates with grandparents, parents and young adults alike. A Weibo user summed it up succinctly: “My parents, my grandparents, even my friends in their twenties are all glued to this show. It really breaks the barriers between age groups.” The series’ reach suggests that, beyond entertainment value, the story is serving as a conduit for conversations about historical injustices and their lingering shadows in today’s society.

While the immediate focus remains on Xiuxiu’s personal loss, the episode has also rekindled interest in the era the drama depicts—a time when women’s bodies were often treated as property, subject to the whims of male relatives and in‑laws. Scholars of Chinese media have noted that period dramas increasingly use personal tragedies to comment on larger social structures, and “Born of All Things” appears to be no exception. By dramatizing a miscarriage caused not by medical complications but by deliberate human cruelty, the series forces audiences to confront the very real ways that power dynamics can dictate the fate of a woman’s body.

In the wake of the episode, the phrase “Xiuxiu had a miscarriage with her first child” (绣绣第一个孩子流产了) has become a trending keyword, encapsulating both a narrative moment and a collective sentiment of mourning and moral outrage. As the series continues, viewers will be watching closely to see whether justice is served, whether Feng Er’s actions are punished, and how Xiuxiu’s story might evolve from this devastating loss.

The episode’s emotional impact underscores the potent role of television drama in shaping public discourse. Whether the conversation remains confined to the realm of entertainment or spills over into broader debates about gender, labor and historical memory will become clearer in the weeks ahead. For now, Xiuxiu’s grief has united a nation in empathy, reminding all who watch that the stories on screen can reverberate far beyond the screen itself.