Chapter 121: What Does It Mean to Be an International Superstar? (Please Subscribe!)

After exchanging pleasantries, everyone boarded the vehicles. The convoy’s destination was the China World Trade Center, and the entire team checked into the Ritz-Carlton Hotel beside SKP.

As the representative of Yanjing’s most bustling commercial district, the towering skyscrapers and the ceaseless flow of traffic along the way left many Americans feeling as if they had been deceived by media outlets like CNN.

Li Lekang had not preached or explained much during the journey. He believed that many things needed to be seen firsthand to dispel the brainwashing imposed by the media.

The accompanying team of photographers was already capturing footage with their cameras, possibly for use in the program. Li Lekang had the authority over such decisions, which had been arranged by Judy.

Throughout the ride, Judy, with her cascading waves of hair, gazed out the window at the city, only voicing her question upon arrival at the hotel: “Why didn’t I see the Great Wall?”

“Oh, that’s still quite far away!” Li Lekang smiled and took the opportunity to give her a brief history of the Great Wall, to which Judy nodded, half understanding. Everyone then retreated to their rooms for a short rest.

Dinner that evening was naturally with the partners, discussing arrangements for the performance, the various matters during the event, and conveniences to be provided for the stars.

Li Lekang planned a grand performance at the Yanjing station, followed by an outdoor show that would be free of charge, primarily for program production purposes.

Judy considered inviting fans to these outdoor or special performances to effectively boost popularity and foster a more approachable atmosphere. The group engaged in lively discussions around these ideas.

Li Lekang, however, needed little mental exertion and focused solely on designing the program.

The first day passed quietly, with everyone adjusting to the time difference and acclimating to their surroundings. The following day was mainly devoted to sightseeing and filming.

To come to Yanjing and not visit the Forbidden City or walk along the Great Wall would be a regret for foreigners; thus, Li Lekang accompanied them on these excursions.

Evening entertainment was not complete without visits to nightclubs and bars. The nightlife in this metropolis was no less vibrant than that of Los Angeles or New York, offering plenty of excitement.

Yet Li Lekang’s enthusiasm clearly lay elsewhere.

He bore a heavy sense of responsibility this time because he wished to present the grandeur of an ancient civilization to audiences worldwide. After settling in, he began leading the team to explore the sources of his creative inspiration.

What elements of Chinese culture aligned with his magical theme?

The first and most artistically beautiful image that came to Li Lekang’s mind was the famed “Dunhuang Flying Apsaras.”

The immortal poet Li Bai once praised them: “With pure hands holding lotus blossoms, they tread lightly through the void. Their rainbow robes trail wide belts, floating upward to the heavens.”

This cultural element, which melds the exquisite beauty of China with ethereal, supernatural imagery, would, when expressed through magic, become a stunning audiovisual feast.

One might imagine: a group of ancient-dressed beauties walking through a barren desert, dancing gracefully to celestial melodies as they leap with the wind, finally soaring effortlessly beneath the moonlight.

This scene was breathtaking in Li Lekang’s mind. If he could truly wield “immortal power” and integrate it into his magic performance, it would be unprecedented—perhaps no one before had ever achieved the like.

Unless immortals truly existed before.

Otherwise, he would be the only deity descended to earth.

Having once been revered as a god in a Western sect, Li Lekang did not mind becoming an immortal in the vast Western desert.

Thus, after arriving in Beijing, Li Lekang took the production team to several theater performances of professional dancers enacting the Flying Apsaras dance. Through vivid music and visuals, the foreigners quickly grasped the art form.

Also called “Flying Immortals,” this motif first came to China through Indian Buddhist culture, later blending with Western Regions and Central Plains customs, evolving into the Chinese vision of ascending immortals, ethereal and unbound by the mortal world.

After centuries of development, it has become a deeply poetic native tradition. Li Lekang’s first magical element would center on the theme of the Flying Apsaras.

In the days that followed, the team busied themselves with cultural studies, not staying long in Yanjing—this city was already famous and needed no promotion from him.

They chartered a plane to the far northwest of China, landing at Dunhuang, the birthplace of the Flying Apsaras.

They visited museums, toured scenic spots, and immersed themselves in the desert’s ambiance, absorbing the essence of Chinese culture.

These millennia-old traditions did not exist in America. When the crew first set foot in the desert and saw the ancient murals hundreds to thousands of years old, they were utterly captivated.

The splendid Dunhuang costumes of the Flying Apsaras were resplendent and beautiful. Because they fused multiple cultural influences, the attire was generally light and revealing—strapless tops exposing navels and shoulders. Some mural depictions even showed the celestial maidens bare-chested.

At tourist sites, young women dressed in Flying Apsaras costumes often appeared, striking elegant poses—a testament to the recent resurgence and promotion of Hanfu culture among the younger generation.

Li Lekang even felt that these light, flowing Dunhuang Hanfu surpassed the more heavily wrapped styles in both visual appeal and color.

The costumes evoked a dreamlike return to a prosperous era—perhaps because of their exquisite, luxurious materials—or perhaps because men, by nature, are drawn to glimpses of subtle allure.

Ah, digressing again!

For a moment, Li Lekang set aside his nature. The group rode off-road vehicles through the desert, scouting locations and seeking inspiration. Ideas alone were insufficient; the venues had to meet the requirements of a magic show.

Having signed agreements with the team, Li Lekang was unconcerned about leaks—they simply could not reveal secrets. Yet anything shown to the audience had to make sense.

He could not simply ascend to the heavens in broad daylight—this was magic, after all.

He needed to incorporate elements of illusion, which made choosing performance venues quite a challenge.

Meanwhile, the team was busy selecting actresses.

The Flying Apsaras performance required Chinese-style beauties to bring it to life. After consulting with CNA, it was decided to recruit from the Beijing Dance Academy or other relevant art institutions, even the national team.

They had high standards for appearance, temperament, and dance skills—after all, representing Chinese culture, Li Lekang wanted to showcase its finest essence.

Originally, senior officials paid little attention to such matters. But upon learning that Li Lekang was a sensational magician who had taken America by storm, an international superstar with great influence, they took notice.

Especially when they heard he intended to integrate Chinese culture into a program aimed at a global audience.

Not just North America, but also Europe and even Africa.

For those in charge of propaganda, this was a rare golden opportunity. Historically, China had been at a disadvantage in international media discourse.

The media was dominated by the West; speaking out was nearly impossible.

This was why platforms like TikTok faced relentless suppression and censorship in the U.S.—they feared Chinese-funded media would seize control of the narrative.

Though the path remained difficult, leveraging culture and art for soft power, combined with Li Lekang’s international stardom, was an excellent chance.

Thus, Li Lekang’s team gained support from official cultural and tourism departments and was warmly welcomed by Dunhuang’s local cultural and tourism organizations.

When Li Lekang outlined his concept, the officials applauded enthusiastically. One slightly bald gentleman even took the podium to officially grant permission: “As long as the work remains within reasonable bounds, we warmly welcome foreign friends to participate in the filming and dissemination of Chinese culture, fostering friendship and development between our peoples...”

Li Lekang fully understood their meaning and translated the conversation for Judy: “Because I’m an international superstar, everything is perfectly fine!”

P.S.: Here’s the ninth installment; I hope everyone continues to show their support.