Huayu: From charlatan to great entertainer

Chapter 584 You Are My Muse, New Movie Inspiration Emerges! (Bonus Chapter for R-laoshi)
The curator Neil McGregor's warm greetings contrasted dramatically with Zhuang Chenxuan's tense and aggressive attitude just moments before.

The surrounding Chinese students and tourists fell silent instantly, followed by suppressed whispers and low laughter. Many people even raised their phones to record this rather ironic scene.

Despite the curator's enthusiasm, Lu Kuan maintained his enigmatic composure, his relaxed tone carrying a hint of teasing:
“It’s a pleasure to see you again, Neil, but your capable assistant was just about to ask us to leave.” He spoke with elegance and without anger, as if recounting an amusing anecdote unrelated to himself.

A fleeting, almost imperceptible embarrassment crossed Neil McGregor's face, but it was quickly masked by a professional smile.

This was a seasoned cultural diplomat, well-versed in how to maintain decorum in such situations. He didn't immediately turn to question Zhuang Chenxuan, but instead spoke in a slightly apologetic yet not overly humble tone:
"It seems there's been a slight misunderstanding. Fortunately, I arrived at just the right time." His gaze swept over Zhuang Chenxuan, his eyes carrying a hint of reminder and dissuasion, but without any harsh reprimand.

He was naturally aware of the latter's academic background and family influence, and he also understood that as the curator, he needed to uphold the dignity of his subordinates and the institution in public, especially in front of a group of tourists who clearly favored Lu Kuan. These old British gentlemen naturally had their own pride.

More importantly, Neil McGregor himself is not without confidence or backing.

This powerful figure in British culture has been in charge of the British Museum for eight years and enjoys a prestigious reputation and high status in the international museum community. He is scheduled to accompany British Prime Minister David Cameron on a visit to China this November to participate in important cultural exchange activities.

During this exchange, when faced with proposals from our cultural figures regarding the purchase and return of artifacts from several British museums that relate to the looting of the Old Summer Palace, the former curator adopted a conservative attitude, only stating that he welcomed joint research and investigation.

In other words, why don't you guys come and help the British Museum with the restoration? Anyway, you'll feel bad about it, so whether you'll accept it or not is another matter.

Neil skillfully steered the conversation away, sincerely inviting, "There are too many people here, it's really not the place to talk."

"Please do me the honor of coming to my office for a chat. As is customary in England, it would be perfect to have afternoon tea now. I have some fine Earl Grey tea here."

His invitation not only defused the awkward situation but also conformed to etiquette, and further implied an equal, adult exchange, rather than a one-sided apology.

Given Boss Lu's status and demeanor, he certainly wouldn't stoop to Zhuang Chenxuan's level in public. Apart from correcting the errors in Zhuang Chenxuan's previous remarks, he had no interest in paying any attention to him.

Due to various historical reasons, there are too many such people. It's impossible to kill them all, let alone scold them, especially those "families of prominent figures" who were once entangled with the Hong Kong British government.

Li Ka-shing's rise during the British colonial period was inseparable from the strong support he received from British trading companies such as HSBC tycoon Sir Michael Sandberg, which enabled him to acquire the British trading company Hutchison Whampoa in a swift and decisive manner. It is hard to say that the British government did not tacitly approve or even promote this, intending to support a group of "Chinese comprador elites" who were dependent on colonial rule as a means of governance.

Its core real estate holdings are closely linked to the land policies of the Hong Kong British government.

As Li's wife's family and an important early supporter, the watch business and its subsequent development were also deeply embedded in the commercial network of the colony.

In those days, maintaining good relations with the Hong Kong British government and the British capital behind it was almost the only shortcut to obtaining exclusive licenses, scarce land, bank loans, and even import and export quotas. Their wealth accumulation was largely a product of a specific historical period and a specific power structure, and they can be regarded as "beneficiaries of the colonial system."

In other words, a third-generation nobody from a gambling syndicate isn't even worth getting angry at. So what if your "great-uncle" named Li Huanggua came in person?

Neil, a scholar by training, deliberately maintained his composure and personally led the Lu Kuan couple and their accompanying bodyguard, A Fei, through the crowd toward the curator's office, leaving Julian Zhuang standing there, his face turning red and white amidst the complex gazes from all directions.

Originally intending to take the opportunity to demonstrate his authority and stance, he unexpectedly met with a cold shoulder in front of the curator and instead became a backdrop to highlight Lu Kuan's stature.

Who is this person?

It's unlikely that a typical celebrity or wealthy person would have Neil acting this way; cultured people generally have a high opinion of themselves, both in China and abroad.

Besides, the Neil family isn't some nobody with no connections. In Zhuang Chenxuan's mind, even if this couple had some wealth, it probably wouldn't be enough for Neil to treat them with such courtesy.
After all, aside from defusing the awkward situation, his teacher had only given him a perfunctory nod, seemingly deliberately keeping him out of the picture.

It's unlikely that they've grown distant, given his background and status. The enormous sums his father and Li Huanggua donate to top British universities like Oxford and Cambridge every year are a force to be reckoned with.
But to call it protection... that nonchalant attitude only made this third-generation member of the "family of noble birth" feel more bewildered and indignant.

Is he the Governor of Hong Kong? Is it really necessary?!

……

"The view and layout of this office really have the grandeur of the 'Governor's House'."

Mr. Lu stood in front of a row of display cases and chuckled to his wife, “I heard that the Governor’s House in Hong Kong was designed in the same neoclassical style back then, with huge arched windows, heavy stone facades, and wide colonnades.”

"It just feels a bit out of place to display Chinese cultural relics without display shelves; they look like they were stolen."

"Hehe!" Liu Yifei sensed the sarcasm in his words: "Isn't it a bit inappropriate to talk bad about him while the old man is preparing red tea for us?"

Lu Kuan smiled helplessly, "For now, we can only talk back to them. We'll take it back when Tie Dan and his generation have the chance."

"Please have a seat, gentlemen, and have a taste of British afternoon tea."

The former curator, Neil McGregor, had just used the excuse of preparing black tea to discuss the controversial matter with Zhuang Chenxuan. Now, he strolled in with the face of an English gentleman, seemingly oblivious to the hawkish stance of the great artist before him.

Just as Mr. Lu couldn't do anything to him, he didn't want to have any conflict with this international celebrity because of these things, after all, the influence of such an international director and top tycoon was too great.

Over the years, ancient civilizations and civic groups around the world have formed "N-nation coalitions" to demand the return of cultural relics, protesting in front of the British Museum with banners, organizing speeches and rallies at universities, and so on. Neil also faced some pressure. Who wants to be called a robber?

The robber himself was even less willing.

The couple settled into a comfortable leather sofa, with an exquisite silver tea set on the table.

The teapot, sugar bowl, milk jug, and strainer rack were all present, polished to a shine, gleaming with a warm luster.

"Gentlemen, I apologize. Our staff member just made some inappropriate remarks and has been asked to leave."

Neil attempted to find common ground while respecting differences, glossing over the controversy and striving to find common ground:

“Crystal, I’ve seen your tea ceremony videos on Mytube. Both China and the UK are nations that are passionate about tea, so I think we can still have a lot in common.”

He warmed the delicate bone china teacup with hot water, then put the tea leaves into the preheated teapot and poured in boiling water. He used a silver strainer instead of a tea bag to filter the tea, and then poured the clear, bright red tea into the cup.

The entire movement was elegant and skillful, full of a sense of ritual.

“This is my personal favorite, Fortnum & Mason’s Queen Anne blend,” Neil explained as he expertly demonstrated. “This long-established shop has been supplying groceries to the royal family since 1707, and their tea blending skills are unparalleled. This tea has a full-bodied flavor with a hint of fruit and a touch of calendula, making it perfect for an afternoon drink.”

“I didn’t expect the curator to have seen my videos. I haven’t updated them for several years.” Liu Yifei knew he was trying to change the subject, but pretended not to know: “It’s my honor. I hope it will make you fall in love with Chinese tea.”

The wife gracefully plays the good cop, while the villainous husband naturally has to play the bad cop. "Neil, tell us about the history of British tea, I'm very interested."

Mr. Lu looked like he was humbly seeking advice, leaning slightly forward as if he were very focused.

Neil McGregor cursed Lu Kuan inwardly, thinking how cunning he was. How could he not see that Lu Kuan was "luring the enemy into a trap"?
The other party clearly knew this history perfectly well, yet insisted on having the director of the British Museum personally recount the history of its rise to power, which was inextricably linked to colonial trade and imperial expansion.

However, he maintained a polite smile. As a seasoned cultural diplomat, he knew that he could only speak the truth at this moment. Any embellishment or avoidance would only make things worse and would not be in line with his goal of downplaying the issue.

"Tea was first introduced to England thanks to a Portuguese princess. In 1662, Catherine married King Charles II of England, and her dowry included not only Chinese tea sets, but more importantly, tea itself. She introduced the habit of drinking tea to the court, which quickly made it popular in high society."

Nilton paused, his hands still moving: "From this perspective, British tea originated in China; that's history."

“However,” he changed the subject, “history is history, and modernity is modernity. Please, both of you, try some modern British tea.”

“Following our traditional practice,” he smiled as he handed the first cup of tea to Liu Yifei, “we pour the tea first, then add the milk. This allows us to better control the strength and flavor of the tea. Please add sugar to your liking.”

On the silver three-tiered dessert stand next to it were small scones, finger sandwiches, and several delicate pastries.

"Try it, these scones with the best Cornish clotted cream and strawberry jam on the market are the soul of our afternoon tea."

Neil enthusiastically recommended the topic, trying to immerse the conversation entirely in the pure aesthetics of British life, temporarily distancing himself from those heavy and sensitive historical issues.

Lu Kuan and his wife exchanged a glance, both smiling inwardly. This cunning and shrewd real foreigner was far more difficult to deal with than the fake foreigner he had mentioned who had already left.

This British gentlemanly demeanor is a facade that wraps power and stance in a thick velvet of gentleness and erudition. They speak eloquently, quoting classical texts, and their pursuit of etiquette and taste is almost demanding, as if their very existence is to safeguard some kind of universal civilization and dignity.

However, this carefully crafted elegance is actually a highly effective defense mechanism and discourse strategy.

It cleverly transforms sharp historical contradictions and naked power relations into academic topics or cultural differences that can be discussed calmly while sitting at a tea table and holding a bone china cup. Any questioning or conflict can be easily defined as rude, extreme, or "not understanding the rules of the civilized world" in this seemingly neutral, rational, and cultured atmosphere.

Given the circumstances, who would guess that he was the extremely conservative "opponent of the return of cultural relics"?

Zhuang Chenxuan was easily provoked by Lu Kuan's two sharp words, but the old curator Neil would never show any weakness on his face when facing someone he could not control or restrain.

Lu Kuan didn't bother arguing with him and wasting his time. What would be the point of even winning a battle over colonial history and the plunder of cultural relics?

But since we're here, we should do something.

“Very good, Neil.” He put down his teacup and looked calmly at Neil, no longer beating around the bush: “Since we’re talking about artifacts and collecting, I happen to have something I’d like to ask you.”

“You have extensive connections in the European art and cultural collecting world. Are there any private collectors or institutions that are interested in selling some important Chinese artifacts recently? I would like to buy some.”

Neil's expression remained unchanged, but a hint of caution appeared in his eyes. After a few seconds of contemplation, he said, "Lu, I admire your passion for cultural heritage. However, as you know, the top collecting circles place great importance on privacy and reputation. Many transactions are conducted privately within very small circles, and publicly available information is often very limited."

He paused, his tone becoming more nuanced, "Moreover, given some special circumstances in the past, many important European collectors and auction houses may be more cautious about buyers from mainland China."

Neil paused deliberately, observing Lu Kuan's reaction, and then, as if he had no choice but to bring it up, added with a slight apology: "Please understand, this is not directed at you personally. It's mainly because the auction of the Yuanmingyuan bronze animal heads in 2009 left some... regrettable aftereffects."

After the senior curator of the British Museum finished speaking, he subtly observed the expression on the man's face and his wife's face as she ate a scone.

Damn it! I invited you for tea and you still got mocked. I finally found a chance to retaliate against this Chinese director!

He was referring to a case that "shocked" the Western auction world last year—

Despite objections from China's Ministry of Education, State Administration of Cultural Heritage, and the "Overseas Lawyers Group for Lost Yuanmingyuan Cultural Relics," Christie's auction house in France openly auctioned the rabbit and rat heads from the Yuanmingyuan in Paris. Chinese businessman Cai Mingchao won the bid for approximately 3 million RMB, but ultimately refused to pay, resulting in both heads failing to sell.

Neil's intervention, though not explicitly stated, was simply to silence Boss Lu.

See, you broke your promise first, bidding on the animal heads but not paying! You should be ashamed of yourselves!

Mr. Lu was displeased: "Does Mr. Neil also think Christie's is right to do this? To put these things looted more than a hundred years ago up for auction?"

Admittedly, he could understand Cai Mingchao's behavior of bidding without paying, as he stated that it was essentially robbery.

But there are methods to struggle, and doing it this way is not very wise.

Shortly after this auction incident, Chinese cultural relics were significantly removed from the international market and their prices increased, making it impossible for official organizations such as Poly Auction to buy back the relics or forcing them to pay high prices. This also created difficulties for other non-governmental organizations and legal teams, because not everyone can empathize with your experience. What onlookers see is a malicious incident that violates the spirit of contract.

But now, when facing Neil, we must maintain the proper stance.

Upon hearing the blunt question, the smile on the latter's face faded slightly.

He gently set down his teacup, leaned back slightly, and adopted a posture ready for a "rational discussion." Since Lu Kuan had steered the conversation towards a more controversial area, and since this matter had little direct connection to the British Museum, he felt he could offer a few words of defense with more confidence, instead of completely avoiding the issue as before.

“The issue is very complex, both ethically and legally,” Neil said, his voice steady and scholarly. “Christie’s, as an international auction house, operates based on current international law and art market rules. They possess legal ownership certificates for these items—at least within the current legal framework. Auction houses follow commercial logic and codified law, not historical moral judgment.”

Lu Kuan remained silent for quite a while this time, so long that Neil became somewhat restless, and Xiao Liu did not eat a second scone.

"It seems you Westerners aren't very worried about historical judgment." He looked calmly at the gray-haired curator in front of him. "But I think we may all be fortunate enough to witness that day."

Neil's heart tightened, and he quickly tried to explain, "Lu, you've misunderstood, I didn't mean it..."

"Alright, that's enough." Boss Lu waved his hand to interrupt him. "We could argue here for a hundred years and still not get anywhere. Let's do something practical instead."

"Go and contact the current owner of the beast heads for me. Price is not a problem. Let me talk to him personally."

He smiled and took the tissue Xiao Liu handed him to wipe his hands, as if the argument had never happened: "I should still have some credibility, right? You don't need to worry about me not paying."

“Of course! Of course!” Neil reverted to his English gentlemanly demeanor. “You are a world-renowned artist and a successful business leader; your credibility is beyond question!”

“At last month’s artists’ salon, my old friend Danny Boyle, the chief director of the London Olympics opening ceremony, mentioned to me that he really hoped to invite you to be the Olympic cultural advisor! Now you are also the owner of Crystal Palace Football Club, a friend of London and the British people!”

Seemingly realizing he had been too humble, Neil cleared his throat and got back to the point: "In fact, since the Christie's incident last year, the Pinault family, the major shareholder of Christie's, has been handling the aftermath themselves, purchasing the rabbit and rat heads from the sellers."

He changed the subject, sounding somewhat embarrassed: "However, the Pinault family is very cautious after the last incident, so it may take some time to communicate. I will do my best to convey this sincerity to you."

"Okay, I need to stay in Europe for a few more days to finalize the marketing plan for 'Ball Lightning.' I'll wait for your reply."

Boss Lu stood up, shook hands with him, and left without saying anything more.

Sometimes he actually preferred to exchange a few words with a young, fake foreigner like Zhuang Chenxuan, which was much more satisfying than with this stammering, whiny gentleman.

But not long after he left, the teacher and student, the "real and fake foreign devils," still colluded with each other.

Zhuang Chenxuan had just left briefly to thoroughly investigate the Chinese man who had humiliated him in front of everyone, and was surprised to find out how powerful he was. He watched Lu and Liu leave in their car before quietly returning to his office.

"Teacher." Zhuang Chenxuan pushed open the door and came in, his face still carrying a hint of lingering anger and a trace of barely perceptible unease.

Neil McGregor sat behind his large desk, his demeanor noticeably more relaxed than when he faced Lu Kuan earlier, even displaying a hint of casualness from an elder towards a younger person.

He pointed to the chair opposite him, "Sit."

Although basic etiquette was still maintained, the slight sense of respect that was once present when facing a wide road had disappeared.

In Neil's eyes, Zhuang Chenxuan was a junior with a strong British education background and whose family was closely tied to British interests, making him someone who could be understood and controlled.

The internationally renowned director, on the other hand, is an unpredictable and powerful adversary from the center of emerging power.

“It’s alright now.” Neil’s tone was calm and reassuring. “I’ve already explained to Mr. Lu that it was just a misunderstanding, and he said he wouldn’t hold your previous words and actions against you.”

This kind of reassurance carries a condescending attitude, as if to say, "I have already taken care of your troubles."

Instead of being grateful, Zhuang Chenxuan sneered as if his pride had been hurt, saying, "Why would I be afraid of him? He just has a little money. Money is the last thing my family needs."

"Teacher, what else did you talk about just now?" He deliberately kept a casual tone, bringing up the Li family to defend himself: "I'm going to visit Uncle Li Zekai's house tonight, so I'll have something to say if they ask."

Li Zekai is the second son of Li Jiacheng and currently serves as the chairman of PCCW Group. His main reason for being in the UK is that his wife, Isabella Leong, is about to give birth, and the two third-generation members of the Li family are about to be born.

As for the relationship between Li Zekai, nicknamed "Little Superman," and Zhuang Chenxuan, Li Jiacheng is not only the son-in-law of Zhuang Chenxuan's grandfather, Zhuang Jing'an, but also his nephew.

Therefore, if we emphasize the relationship between Zhuang Jing'an and Li Ka-shing as uncle and nephew, Zhuang Chenxuan should call Li Zekai his cousin.

If the kinship between the two is emphasized more, Zhuang Chenxuan should address him as his maternal uncle.

Neil nodded, then asked with some doubt, "How did Richard (Li Zekai) know about your little squabble?"

“It’s all because of those Chinese international students!” Zhuang Chenxuan was even more distressed, and even a little exasperated. “They’re really despicable! They just filmed our discussion in the China Pavilion, and the part where you appeared later, and posted it all on Twitter and Weibo!”

Thanks to the convenience of the Internet age, Twitter was fine, but the main thing was that Weibo in mainland China started to spread wildly with topics such as #BritishMuseumStandoff# and #FakeForeignersExposed#. The titles were more and more sensational, such as "The curator personally slaps his fake foreigners in the face" and "Boss Lu angrily confronts cultural traitors in London", etc., which were quite interesting.

"The noise on social media is like the tide of the Thames, it comes and goes quickly." Neil's attitude toward his student was rather detached, even somewhat dismissive.

“Julian, you must remember that what is truly important is never decided online. Anonymous, poor comments do not represent any power or rules.”

After satisfying his vanity about educating foreigners in a superior way, he casually continued the conversation, saying, "There's nothing special about it. Mr. Lu, this artist, is interested in the return of cultural relics and asked about the pair of animal heads in the Pinault family's possession, expressing his intention to purchase them."

"Hmph!" Zhuang Chenxuan seemed to have found a point of attack, his tone filled with disdain. "I just made a phone call in the car to check his background! What great artist? He's just a shrewd opportunist who knows how to fawn over the government! This time is no different!"

"I just did a quick search of his information and I can see that he advocates leading the film industry in China, calling himself a national artist and entrepreneur, while abroad he talks a lot about the American Dream. What kind of person is he? He made his fortune in mainland China through policy, and in the US he's all siding with Hollywood and the Democratic Party. He's just a fence-sitter who tries to please everyone! Does this kind of person even deserve to talk about art and cultural heritage?"

"What's the difference between him and that guy from mainland China who bought the bronze animal heads last year but refused to pay? He's putting on a show at our British Museum!"

Zhuang Chenxuan was quite indignant, and at this moment he forgot who was ashamed to admit their own country.

As for his belittling of Lu Kuan in front of the teacher, it was only to prove that his previous loss of composure was not because the other party was so great.

In his mind, only the British were superior.

His criticism of Lu Kuan would undoubtedly elevate him to the same level of contempt as the old curator Neil, allowing him to look down on the poor people of the Third World with a superior attitude.

"Teacher, what are your plans? Will you really help him contact the Pinault family? What about our exhibition plans?"

This refers to an exhibition and research project on Chinese artifacts meticulously planned by Neil as the curator, entitled "Yuanmingyuan: Imperial Feast and Sorrow".

Just as he had just faced Lu Kuan's evasive tactics, he hoped to use the opportunity of Chinese and foreign scholars studying and restoring cultural relics together to silence the public's demands for the British Museum to return Chinese cultural relics.

This exhibition aims to showcase precious artifacts from the Yuanmingyuan. Neil is planning to borrow the rat and rabbit heads from the Pinault family as the core exhibits, borrow some porcelain from the Victoria and Albert Museum, and is even in talks to borrow some bronzes and jades from several private collectors on the East Coast of the United States. He is trying to create a visual feast that will cause a sensation in Europe, from the "pinnacle of Eastern aesthetics" to the "twilight of the empire," thereby consolidating the British Museum's absolute authority in the field of research and display of Oriental artifacts.

Just now...

Neil leaned back in his chair, his hands clasped in front of him. He didn't need to pretend much when facing this student from his own camp, but he still maintained his composure.

He pondered for a moment and decided to reveal part of the truth. After all, Zhuang Chenxuan's family had influence throughout the Chinese community, and there were some things that needed to be discussed, and he might even need to rely on their power.

“Communication will naturally follow,” Neil said calmly, with a sense of control. “But the Pinault family is very cautious after the last incident. Moreover, our museum is planning an important academic exhibition that will require these two treasures. Everything must prioritize academic research and the proper preservation and display of cultural heritage.”

He didn't explicitly say he would obstruct it, but his meaning was very clear.

A look of understanding and excitement flashed in Zhuang Chenxuan's eyes. He immediately seized the opportunity to show his loyalty and then dropped a bombshell: "Teacher, you did the right thing! How can we let those speculators buy up such precious cultural heritage and ruin it?"

He paused, then lowered his voice with a provocative tone: "By the way, I was debating with him outside just now. It seems that Lu was talking about making a movie? The subject matter seems to be related to the British Museum. I didn't hear the specifics, but it didn't sound like anything good."

"A movie?" Neil's hand holding the teacup suddenly stopped, his pupils contracted, and his composure was instantly replaced by a hint of surprise.

But he quickly regained his composure and calmed down, though his eyes sharpened as he gently put down his teacup.

“Artists always have various ideas. If he wants to make a film about the British Museum, I think he will communicate with us.”

The old curator remained outwardly calm, but a very bad premonition arose in his heart. He remembered the film "The Sky of History" that the director had brought to Berlin, which had once sparked a Chinese student demonstration in London against Japanese militarism and fascism.

Telling the story of the British Museum through the highly communicative medium of images is far more dangerous than simply protesting and engaging in academic debates!
What I fear is that this "fence-sitter" director, as the student described him, might, like he did with the purchase of the bronze animal heads, use this debate with Zhuang Chenxuan as an excuse to actually make a film about the return of cultural relics, all to curry favor with his country and people.

That would be too tricky.

In the past, he might have been able to incite the public to boycott, but if he actually bought the animal heads, it would be like cleaning up the mess left by the Chinese people, leaving no grounds for criticism.
Secondly, the truth about this period of history is afraid of being discussed and publicized. How can such a thing be brought out into the open to argue?

Thirdly, even if there is controversy, this Crystal Palace club manager, who is now quite popular among the people of South London, is not a target for public opinion to stir up trouble.

Unless he can bring News Corporation, which wields considerable media power in the UK, into his fold, but Fox is currently his UK distribution partner for "Ball Lightning," and it doesn't seem like an entity that a museum curator like himself can exert decisive influence over.

Judging from this, we really can't let him succeed in buying the animal heads back to China. Otherwise, if such a movie is really made, we won't even have a reason to make a fuss about it.

Old Neil, the English gentleman, fixed his gaze on the eager student before him and quickly began to make plans in his mind.

He couldn't directly oppose such a matter, as that would damage the reputation of the museum and himself.

But this young man and his family network might be the perfect candidates to be used to create trouble, delay, or even kill the project.

Let the Chinese fight and exhaust each other among themselves. Wouldn't it be more in Britain's interest to let the Boxers fight the Qing army?

“Julian, you are very familiar with the art market and have a wide network of connections. If you hear any rumors about Mr. Lu's possible film projects, you might as well keep an eye out for them. After all, it is our shared responsibility to maintain the seriousness of interpreting cultural heritage.”

Nilton paused, then deliberately provoked him, saying, "This Lu still has a certain influence and voice in the film market, whether in mainland China, Hollywood, or Europe. Even your Li family wouldn't dare say that you can definitely control him."

He stood up and patted the student on the shoulder affectionately: "You might as well talk to Richard (Li Zekai) when you get back today. I'll visit him in a few days. I hope his wife has a smooth delivery."

"Okay, I understand!" Zhuang Chenxuan replied excitedly.

……

"Okay, I got it." Lu Kuan hung up the phone as soon as he entered the room, and his excited little wife couldn't help but jump onto him!

"Great! I can go back two days later!"

The washing machine laughed and said, "I should really take a picture of you like this, so that Youyou and Tiedan can see their forgetful mother later."

"Oh dear!" Liu Yifei hugged his arm and acted coquettishly, "The baby has been weaned for a month now, and I can't bear to go back and see them crying. Let's leave it to Grandma to worry about!"

Generally speaking, babies should be weaned from at least one year old if conditions permit, and the World Health Organization even recommends weaning them after two years old.

The two little ones from Xiao Liu and Lu Kuan's families are growing up too well and too fast. From conception to adulthood, they have been in a near-super-optimal environment:

When Liu Yifei, the mother, was 22 years old, her body was at its peak, providing the fetus with extremely abundant and high-quality innate nutrition.

After birth, the baby enjoys the highest level of care and nutrition.

These unique advantages were directly reflected in the two children, especially Liu Tiedan's astonishing growth and development.

His physical and motor development was significantly ahead of schedule. He could stand steadily with the help of furniture when he was just over eight months old, and he could walk a few steps independently with a wobbly gait before he was eleven months old, almost a month earlier than his older sister Lu Youyou.

This rapid growth places a great demand on nutrition. After a child turns one year old, exclusive breastfeeding can no longer fully meet all the energy, protein, iron, zinc and other key nutrients required for their daily growth and development.

Therefore, weaning and introducing complementary foods with higher energy density became inevitable, which brought the pain of two children crying every day because of their milk addiction.

But what really interrupted her trip back to China was that she had to accompany her husband to France to visit the Pinault family, who are the current owners of the rat and rabbit heads from the Old Summer Palace.

Indeed, after learning the whereabouts of the beast head from Neil, Lu Kuan had no hope that Neil would be kind enough to help with communication.

If we assume the worst about these cultural relic thieves, even if we are buying them, they might still try to sabotage us.

The connection was made with the Pinault family in France through the connections of the MK2 president and Xiao Liu's father in France. Upon hearing that it was this Chinese tycoon, they readily agreed to meet.

Liu Yifei felt a sense of accomplishment, as if she had suddenly gained two days off. She clung to the man, reluctant to get down, and said excitedly, "Then let's go to France today. I can't eat anything in England anymore."

"I saw you eating quite a bit in that old man Neil's office, didn't I?" Boss Lu teased.

Xiao Liu retorted, "Hey! It depends on how you argue with him. It's no fun watching a show without eating something, and there aren't any sunflower seeds."

"Wait a minute, I've got an idea." The washing machine forcibly resisted the temptation of the warm and soft beauty, took out paper and pen, sat down at the table, and began to write and draw.

"Inspiration? A movie?" Liu Yifei asked in surprise, "I thought you were just bluffing that fake foreigner. Are you really going to make a movie about the British Museum?"

Lu Kuan frowned in thought, ignoring her words. Xiao Liu was used to his behavior and sat quietly to the side watching his brushstrokes.

For him, it meant being able to resist his wife's allure while creating, and entering a state of blissful intoxication before even beginning to pound on her.

What appeared in Liu Yifei's eyes was a simplified sketch:

A woman in a flowing long dress gently cradles a mysterious creature, half-human and half-fish, in the underwater world. Seaweed sways around them, and bubbles rise slowly, creating a scene filled with a tranquil and melancholic otherworldly beauty.

Before she could ask a question, Lu Kuan seemed to be organizing his thoughts in his mind, or perhaps explaining the inspiration surging in his mind to her.

"Just now at the British Museum, looking at those Chinese Luohan statues and Dunhuang murals that are locked in glass cases, I had a strong feeling that they were like spirits trapped in a foreign land, silent, yet full of longing to go home."

He turned to his wife and said, "You probably haven't seen the classic monster movie from 1954 called 'Creature from the Black Lagoon.' I just had a sudden urge to combine the two and tell you about an early version of the plot..."

Lu Kuan was actually talking about the fantasy drama film "The Shape of Water," which was released in 2017 in his previous life.

Based on and inspired by "Creature from the Black Lagoon," it captivated judges and audiences with its unique dark fairy tale style and exquisite visual aesthetics, ultimately winning the Golden Globe Award, the Academy Award for Best Picture, Best Director, and the Venice Golden Lion.

It has gained recognition in both commercial and artistic terms.

However, the story told by Mr. Lu was profoundly adapted from the original story, incorporating the theme of "escaping the British Museum".

"The background can be set in 1963 during the Cold War between the United States and the Soviet Union. A paranormal event occurred at the British Museum in the UK. A monster that suddenly appeared was transported to a laboratory in the United States, accompanied by a Chinese female scholar from the museum."

"The female scholar entered a highly classified government laboratory and began her life researching chemical weapons for the US government. She was an ugly mute and a discriminated Chinese woman. Around her were a down-on-his-luck painter, a black female colleague who was tough on the outside but soft on the inside, a Soviet spy doctor in the laboratory, and other people who were considered 'minorities' by ordinary people."

Lu Kuan paused and said thoughtfully, "The villain is set as a typical cruel and ruthless US military colonel who views living things as assets and monsters, hoping to fight the Soviet Union by studying their underwater capabilities or other abilities..."

"But this Chinese female scholar, this ugly mute, this discriminated Chinese, developed a subtle connection and affection with the imprisoned monster. Two lonely people who could not communicate in conventional language developed a tender, pure, and shocking relationship."

"What follows is a series of tragicomedies about escape and redemption, aided by these discriminated-against Chinese, Black, and homosexual individuals."

Liu Yifei then realized with a start, her eyes wide: "Could this monster be from the British Museum...?"

“That’s right!” Lu Kuan laughed. “It could be a monster from an ancient painting that the British Museum looted from China, or even a monster from the Classic of Mountains and Seas. It doesn’t matter—”

"The important thing is what the theme of the film is?" He scribbled on the paper. "I think there are two possibilities."

"The first theme is the mutual redemption of lonely souls and love that transcends forms."

"This Chinese female scholar is an anomaly in the Western world because of her appearance, disability, and race. She is a silent and marginalized existence. And the spirit that escaped from the painting is seen by the people in the laboratory as a pure monster, an other. This is the arrogance and indifference that the Western world is accustomed to."

"Their love is the ultimate emotional resonance between two lonely souls misunderstood in a cold world, transcending the boundaries of species and form. It is the purest form of love, challenging worldly rules and satirizing those self-righteous 'normal' people."

Xiao Liu listened intently, and it took him a while to process and react: "Then the second theme must be 'Escape from the British Museum'."

"Yes."

"The second theme is also inspired by our tour today and our conversations with Muyang and Neil."

"This monster is not merely an unknown creature. Its essence is the spirit of Chinese culture that has been plundered and imprisoned in foreign lands. It could be a modified version of an ancient painting in the British Museum that no one has paid attention to, depicting a mythical beast from the Classic of Mountains and Seas, such as 'Fuzhu' or 'Heluo Fish'. The fact that it appears in a museum and then mysteriously appears in a laboratory is a microcosm of the century-long fate of cultural relics being scattered and displaced."

As a fantasy romance film, the monster in the original "The Shape of Water" is an indistinguishable creature from the Amazon rainforest in South America;

In this worldview, it is not incongruous for a "male protagonist" to be able to transcend the image of an ancient painting because of the entire nation's desire for cultural relics to return home.

Like the "God-like" Black man with superpowers in "The Green Mile".

"Therefore, the female scholar's help in escaping has a dual significance: it is not only about saving her lover, but also about helping an exiled cultural soul return to its homeland. Their love is closely tied to their pursuit of cultural roots. When she says, 'I will take you home,' 'home' is both the oriental landscape to which it belongs and the spiritual home they both yearn for."

Lu Kuan himself became more and more excited as he spoke:

"Therefore, the theme of this film is how personal love and redemption resonate with grand cultural identity and historical justice. Through a fantastical, extreme, and cross-species love story that Westerners can accept, we tell a deeper and more poignant appeal—"

“Every looted cultural heritage is like a lonely soul that has lost its homeland; it is waiting and deserves a great escape to its homeland.”

Xiao Liu stammered, "And the final outcome? Will it be a tragedy?"

Boss Lu had already thought of it, but still smiled mysteriously, "We express reality in our works of art, only in a more cinematic way."

When it comes to love stories, Liu Yifei's mind is even more unrestrained than that of the genius director beside her, especially since she has been secretly writing the screenplay for her film "Reply 1982" for the past six months.

"What if it's a tragic ending?" she thought, biting her finger. "In the end, the monster from the Classic of Mountains and Seas or other cultural relics is unable to return home because the disparity in strength between the enemy and ourselves is too great?"

"Could you imagine that he was originally a creature that jumped out of the painting, but eventually returned to the painting and was imprisoned in the British Museum?"

"This aligns with reality and can spark public discussion and sympathy, calling for the return of cultural relics to their homeland," Liu Yifei said excitedly. "Just like the cultural relics we see today, if we change our perspective and empathize, some of them don't even have serial numbers; they're just crammed together like this..."

"What is treasured in one's own country is not valued at all in the hands of robbers."

Mr. Lu's eyes lit up upon hearing this!
"Excellent point of view!" the young director said seriously. "This ending strikes a good balance between artistic reality and historical truth."

"It is waiting, just like we are waiting for the day when cultural relics return home in reality. This is more powerful and thought-provoking than forcibly arranging a happy reunion for a successful escape."

Boss Lu stared intently at his wife, somewhat surprised, and said, "The way the female lead helps her lover is not by sending him away, but by choosing to stay with him and wait, just like when we wait for cultural relics to return home, even if it takes hundreds or thousands of years."

"This is a profound reconciliation between a personal love story and a grand historical aspiration—very sophisticated!"

"How did you come up with this idea? You've made such great progress!"

Xiao Liu said proudly, "Because my love is so sophisticated! If it were you, I would do the same for you!"

The washing machine grabbed its muse and started kissing her.

However, after leaving Xiao Liu breathless for a while, he let go of her and they began to discuss and refine the details of their ideas. A stack of blank paper was quickly emptied by his smooth lines and strokes.

Artistic inspiration never arises out of thin air, but rather is the spark ignited by the collision of profound knowledge and vivid life experiences.

The seed of this story, which blends fantasy, love, and historical tragedy, was quietly planted in the oppressive exhibition halls of the British Museum.

It was the silent cries of those Eastern spirits imprisoned behind glass that activated his profound resonance as a inheritor of cultural heritage. And the key that ultimately allowed this seed to sprout and find its most powerful ending came from his closest companion, Liu Yifei.

Her understanding, her empathy, and even her pure love and wisdom of waiting became the final spark of inspiration that awakened the artist.

This confirms a simple truth:

The greatest creations, their deepest source, are always the infinitely vast inner landscape woven from the most sober examination of history and the most sincere contemplation of life.

This young couple, passionate about adultery, finally stopped their lewd behavior behind closed doors and started creating art instead of incest.

The "artistic collaboration" lasted from 4 p.m. until late at night, with Liu Yifei and Lu Kuan sitting side by side on the balcony getting some fresh air.

"Honey? Are you tired?"

"Not tired."

"are you hungry?"

"Fortunately."

"I don't want to..."

"miss you!"

(End of this chapter)