Chapter 414

The two films premiered as scheduled, unaffected by online controversies.

Emily Lowell's fan army demonstrated astonishing dedication on opening day.

"River Banquet" grossed thirty million on its first day, exceeding studio expectations.

Champagne was already chilling for the celebration.

Yet theatergoers emerged with conflicted expressions.

This historical time-travel drama promised a strong female lead—a modern woman reborn as a general's daughter.

The protagonist preached equality while constantly relying on male protection.

Onscreen, Emily appeared in lavish costumes, every frame polished to perfection.

Her battlefield scenes featured immaculate makeup, each strand of hair gleaming like pearls.

Audiences groaned when the male lead took an arrow for her.

The finale showed the heroine ascending the throne with the third prince.

"Is this what they call feminist storytelling?" one viewer tweeted.

Comments exploded:

"A strong female lead who climbs the ladder through men?"

"Any pretty face could've played this role."

"High heels in battle? Do writers even research warfare?"

Modern audiences have grown weary of Mary Sues disguised as empowered women.

Both "River Banquet" and "Empress" had marketed themselves as female empowerment stories.

Now the former's facade crumbled, disappointing viewers.

"Skip 'Empress' tomorrow."

"Local writers don't understand strong heroines."

Such comments flooded social media.

The film's 3.2 rating on opening day humiliated the producers.

Even this dismal score relied on fan-driven inflation.