“‘Sheng Wanwu’ TV Drama Melds Ancient Daoist Philosophy with Modern Storytelling”

In the Dao De Jing, the foundational text attributed to Laozi, the famous line “道生一，一生二，二生三，三生万物” (The Way produces one; one produces two; two produces three; three produces all things) encapsulates a vision of creation that is both simple and profound. Laozi presents the Dao, the ineffable principle of order and flow, as the ultimate source from which the universe unfolds. The passage is often rendered in English as “Tao produced one, one produced two, two produced three, and three produced all things,” and it has become the most widely accepted translation of the segment that includes 生万物. In this context, the phrase means “produced all things” or “gave birth to the myriad things.”

Later Daoist thinkers such as Zhuangzi expanded on the same themes, weaving the ideas of spontaneous harmony, interdependence, and the fluidity of qi—the vital energy that “forms shapes” (气以成形)—into a broader philosophical tapestry. Contemporary scholars like Jiechi Y. and J. Gong have examined related concepts such as gongsheng (共生), often translated as symbiosis or coexistence, highlighting the Daoist emphasis on relational existence. Meanwhile, modern interpretations of ganying (感应)—mutual responsiveness—echo the ancient observation that “二气交感,化生万物” (the interaction of two energies transforms and generates the myriad things), underscoring how dualistic forces like Yin and Yang, together with the Five Phases (五行), are believed to drive the continual emergence of life.

These age‑old ideas have seeped into the collective imagination, informing not only scholarly discourse but also popular culture. The latest manifestation is the eight‑episode drama 生万物, slated for its premiere on August 13 on CCTV‑8 and the streaming platform iQIYI. The series has already generated a buzz that mirrors the timeless fascination with its title’s philosophical lineage.

At the heart of the drama is Ning Xiuxiu, portrayed by China’s superstar Yang Mi, a fierce and stubborn young woman whose life is upended on the day of her wedding. Kidnapped by bandits and later rescued, she discovers that her powerful father, Ning Xuexiang, values land more than her own safety—a revelation that drives her to cut ties with her family through three solemn vows, a narrative moment that has been described on social media as “the three vows that sever familial bonds.” The scene, already a trending topic under the hashtag #生万物#, resonates because it dramatizes a personal rebellion against patriarchal authority, echoing the Daoist ideal of individuals finding their own path within the larger order of things.

The series offers more than melodrama, though. Its promotional materials—most notably a “Four Seasons Reincarnation” trailer—highlight the rural setting, the cyclical rhythms of agricultural life, and the metaphor of roots being planted deep in the soil (把根扎进泥土深处). These images reinforce a thematic link to the ancient reverence for nature’s generative power, a modern storytelling echo of the Daoist belief that the Dao “produces one, and one produces all.” Supporting characters played by veteran actors Ni Dahong and Lin Yongjian provide comic relief, their on‑screen rivalry delivering the “laugh‑line anchors” that viewers anticipate as a counterbalance to the drama’s heavier emotional beats.

Reception to the pre‑release screenings—held in village‑style viewing events called “生万物村晚看片会”—has been overwhelmingly positive. Audiences praise Yang Mi’s nuanced portrayal of a woman navigating desperation and renewal, noting her “韧性” (resilience) and “高智感” (sharp intellect) as central to the narrative’s emotional core. The “three solemn vows” have sparked fan speculation about possible meta‑references to Yang Mi’s earlier role in the wildly popular fantasy epic Three Lives Three Worlds, adding an extra layer of intrigue for dedicated followers.

Beyond the star power and plot twists, the drama taps into a broader cultural conversation about the relationship between humanity and the land. The recurring line “地比命贵” (land is more precious than life) reflects a tension that is both timeless and acute in contemporary China, where rapid urbanization constantly reshapes rural livelihoods. By foregrounding a protagonist who chooses to “plant her roots” in spite of familial oppression, the series subtly dialogues with the Daoist notion that true growth arises from aligning oneself with the natural order rather than against it.

As the premiere draws near, the buzz on platforms such as Weibo indicates that 生万物 is poised to become a cultural touchstone, bridging ancient philosophical concepts with modern storytelling. Whether viewers are drawn by the promise of a strong female lead, the comedic chemistry of seasoned actors, or the philosophical echo of a phrase that has guided Chinese thought for two thousand years, the show offers a compelling blend of drama and reflection. Its arrival serves as a reminder that the ancient Daoist insight—that the Way births the myriad things—continues to find fresh expression in the narratives we share today.