In a television landscape dominated by fast-paced, short-form series, director Zhao Qichen (赵启辰) has crafted a refreshing alternative with Go East. Building on his earlier success with Life Begins (卿卿日常), this ambitious series offers an innovative blend of historical settings, youth drama, and well-timed humor. Set within the fictional imperial capital of Dayong (大雍), Zhao weaves a story that transcends traditional boundaries, taking viewers on a journey of discovery, cultural clash, and personal growth. Through its rich narrative and the distinct personalities of its main characters, the series delivers a unique viewing experience—an invitation to see ancient struggles through a modern lens, punctuated with laughter and emotional resonance.
A Unique World of Cultures and Contrasts
Go East revolves around a diverse and vividly imagined empire, where seven unique states, or “fiefs,” interact within the expansive halls of Go East, a central governing institution. Each fiefdom, or “band,” is represented with its own distinct language, symbols, and cultural practices. This diversity is not merely for aesthetic effect; it’s integral to the story. Zhao notes that by creating such distinct cultural identities, he introduces both dramatic conflict and cross-cultural exchange. From the matriarchal customs of the Moon Shadow clan to the mountainous, loud-voiced Yuanyan people, each culture adds to the complexity and intrigue of the Pavilion’s world.
In preparation for the series, Zhao and his team spent considerable time fleshing out these intricate details. Beyond just costumes and languages, they designed unique architectural styles and distinct flags for each fiefdom. The Yuanyan people’s loud, far-carrying voices, for instance, reflect their mountainous homeland, where communication often relies on volume. This meticulous approach to world-building allows viewers to experience the thrill of navigating a richly detailed landscape where different values and worldviews create fertile ground for conflict, alliance, and unexpected friendship.
Casting Chemistry: An Unconventional Pairing
Much of Go East’s charm rests in its protagonists, Yuan Mo (元莫) and Ah Shu (阿术), brought to life by actors Tan Jianci (檀健次) and Zhou Yiran (周依然). Both actors were selected for their unique blend of comedic timing and emotional range, qualities that Zhao believes are crucial to the story’s tonal shifts between humor and poignancy. Despite coming from different acting backgrounds and having no prior working relationship, Tan and Zhou’s chemistry on screen is undeniable. To cultivate their natural connection, Zhao had them shoot isolated scenes together for the first 20 days, allowing them to build a bond that would mirror their characters’ evolving partnership in the series.
In many ways, Yuan Mo, the male protagonist, subverts traditional notions of heroism. Initially seen as lazy and aimless, Yuan Mo hides a complex history that makes his character arc one of the most compelling aspects of the show. He is far from a stereotypical noble hero; his journey reflects the challenges of overcoming personal trauma and growing into a role of responsibility and leadership. Meanwhile, Ah Shu, played by Zhou, brings an equally layered narrative. As a character whose actions often appear morally gray, she uses her survival skills honed through hardship to navigate the intricacies of court life and pursue her aspirations.
Comedy as a Veil for Heavy Themes
Zhao’s strategic use of comedy allows viewers to grapple with the weighty themes woven into Go East. Though the series contains moments of lighthearted, often slapstick humor, Zhao is quick to emphasize that comedy serves as a foil for the story’s more sobering undercurrents. At its core, the show explores themes of destiny, duty, and the emotional toll of cultural loyalty. “If we played it straight, the show might feel overly heavy,” Zhao remarked in an interview, adding that humor provides “a layer of sweetness that makes the bitterness bearable.”
The balance between comedy and gravity is especially evident in scenes involving miscommunication and mishaps during diplomatic exchanges. Here, Zhao uses laughter not only to ease the tension but also to underscore the delicate relationships between fiefs. As much as the show is a comedy, it’s also a nuanced drama about responsibility, sacrifice, and the complexity of cultural identity. Yuan Mo and Ah Shu’s progression from reluctant pawns to dedicated stewards of their people is marked by moments of both humor and heartache, presenting viewers with a refreshing take on growth and leadership.
The Heart of the Story
At its essence, The Four Corners Pavilion is a story about character growth amidst the push and pull of duty, ambition, and personal choice. Zhao notes that one of the most fulfilling aspects of directing a long-format series is the ability to give characters the space to evolve in ways that are nuanced and realistic. By the time viewers reach the end of the series, they have witnessed Yuan Mo and Ah Shu transform from naïve youths into figures of resilience and responsibility, embodying the very ideals they once seemed so far removed from. For Zhao, this theme of reluctant maturity—a process by which ordinary people rise to meet extraordinary challenges—resonates deeply with modern audiences.
In Yuan Mo’s case, the journey from disillusioned youth to a true leader embodies a coming-of-age story that feels relatable and profound. Initially resistant to the responsibilities of his heritage, Yuan Mo eventually embraces the weight of leadership, inspired by those around him and by his own latent values. Ah Shu, likewise, is a figure of strength and adaptability, her initial cunning and moral ambiguity giving way to a sincere dedication to her newfound home and allies. Together, their evolution reflects the reality that growth often involves navigating the gray areas of ethics, duty, and self-discovery.
