The Legend of Zu - Netflix
Li Jing Tian is leader of the Kun Lun Sect, a highly prestige sect in Jiang Hu (martial art world). In order to protect the world from catastrophic chaos, he battled against the evil villain Green Cape, who stole the Scarlet Soul Stone. In the midst of the battle, the Scarlet Soul Stone was forced into Ding Yin's body. Because of this, Ding Yin became a disciple of the Kun Lun Sect, and vowed to protect the world from evil and chaos. By chance, Ding Yin found out that Yu Luo Sha, daughter of Lu Bao Lao Zu, looked surprisingly similar to his dead wife. As a result they fell in love with each other. At the same time, the power structure of the Kun Lun Sect was shaking, which leads to another catastrophic chaos in Jiang Hu
Runtime: 45 minutes
The Legend of Zu - King Arthur - Netflix
King Arthur is a legendary British leader who, according to medieval histories and romances, led the defence of Britain against Saxon invaders in the late 5th and early 6th centuries. The details of Arthur's story are mainly composed of folklore and literary invention, and his historical existence is debated and disputed by modern historians. The sparse historical background of Arthur is gleaned from various sources, including the Annales Cambriae, the Historia Brittonum, and the writings of Gildas. Arthur's name also occurs in early poetic sources such as Y Gododdin. Arthur is a central figure in the legends making up the Matter of Britain. The legendary Arthur developed as a figure of international interest largely through the popularity of Geoffrey of Monmouth's fanciful and imaginative 12th-century Historia Regum Britanniae (History of the Kings of Britain). In some Welsh and Breton tales and poems that date from before this work, Arthur appears either as a great warrior defending Britain from human and supernatural enemies or as a magical figure of folklore, sometimes associated with the Welsh Otherworld, Annwn. How much of Geoffrey's Historia (completed in 1138) was adapted from such earlier sources, rather than invented by Geoffrey himself, is unknown. Although the themes, events and characters of the Arthurian legend varied widely from text to text, and there is no one canonical version; Geoffrey's version of events often served as the starting point for later stories. Geoffrey depicted Arthur as a king of Britain who defeated the Saxons and established an empire over Britain, Ireland, Iceland, Norway and Gaul. Many elements and incidents that are now an integral part of the Arthurian story appear in Geoffrey's Historia, including Arthur's father Uther Pendragon, the wizard Merlin, Arthur's wife Guinevere, the sword Excalibur, Arthur's conception at Tintagel, his final battle against Mordred at Camlann, and final rest in Avalon. The 12th-century French writer Chrétien de Troyes, who added Lancelot and the Holy Grail to the story, began the genre of Arthurian romance that became a significant strand of medieval literature. In these French stories, the narrative focus often shifts from King Arthur himself to other characters, such as various Knights of the Round Table. Arthurian literature thrived during the Middle Ages but waned in the centuries that followed until it experienced a major resurgence in the 19th century. In the 21st century, the legend lives on, not only in literature but also in adaptations for theatre, film, television, comics and other media.
The Legend of Zu - Modern legend - Netflix
In the latter half of the 20th century, the influence of the romance tradition of Arthur continued, through novels such as T. H. White's The Once and Future King (1958) and Marion Zimmer Bradley's The Mists of Avalon (1982) in addition to comic strips such as Prince Valiant (from 1937 onward). Tennyson had reworked the romance tales of Arthur to suit and comment upon the issues of his day, and the same is often the case with modern treatments too. Bradley's tale, for example, takes a feminist approach to Arthur and his legend, in contrast to the narratives of Arthur found in medieval materials, and American authors often rework the story of Arthur to be more consistent with values such as equality and democracy. In John Cowper Powys's Porius: A Romance of the Dark Ages (1951), set in Wales in 499, just prior to the Saxon invasion, Arthur, the Emperor of Britain, is only a minor character, whereas Myrddin (Merlin) and Nineue, Tennyson's Vivien, are major figures. Myrdddin's disappearance at the end of the novel is “in the tradition of magical hibernation when the king or mage leaves his people for some island or cave to return either at a more propitious or more dangerous time” (see King Arthur's messianic return). Also Powys's earlier novel, A Glastonbury Romance (1932) is concerned with both the Holy Grail and the legend that Arthur is buried in the town of Glastonbury. The romance Arthur has become popular in film and theatre as well. T. H. White's novel was adapted into the Lerner and Loewe stage musical Camelot (1960) and Walt Disney's animated film The Sword in the Stone (1963); Camelot, with its focus on the love of Lancelot and Guinevere and the cuckolding of Arthur, was itself made into a film of the same name in 1967. The romance tradition of Arthur is particularly evident and, according to critics, successfully handled in Robert Bresson's Lancelot du Lac (1974), Éric Rohmer's Perceval le Gallois (1978) and perhaps John Boorman's fantasy film Excalibur (1981); it is also the main source of the material used in the Arthurian spoof Monty Python and the Holy Grail (1975). Re-tellings and re-imaginings of the romance tradition are not the only important aspect of the modern legend of King Arthur. Attempts to portray Arthur as a genuine historical figure of c. 500, stripping away the “romance”, have also emerged. As Taylor and Brewer have noted, this return to the medieval “chronicle tradition” of Geoffrey of Monmouth and the Historia Brittonum is a recent trend which became dominant in Arthurian literature in the years following the outbreak of the Second World War, when Arthur's legendary resistance to Germanic invaders struck a chord in Britain. Clemence Dane's series of radio plays, The Saviours (1942), used a historical Arthur to embody the spirit of heroic resistance against desperate odds, and Robert Sherriff's play The Long Sunset (1955) saw Arthur rallying Romano-British resistance against the Germanic invaders. This trend towards placing Arthur in a historical setting is also apparent in historical and fantasy novels published during this period. In recent years the portrayal of Arthur as a real hero of the 5th century has also made its way into film versions of the Arthurian legend, most notably the TV series' Arthur of the Britons (1972–73), Merlin (2008–12), The Legend of King Arthur (1979), and Camelot (2011) and the feature films King Arthur (2004), The Last Legion (2007) and King Arthur: Legend of the Sword (2017). Arthur has also been used as a model for modern-day behaviour. In the 1930s, the Order of the Fellowship of the Knights of the Round Table was formed in Britain to promote Christian ideals and Arthurian notions of medieval chivalry. In the United States, hundreds of thousands of boys and girls joined Arthurian youth groups, such as the Knights of King Arthur, in which Arthur and his legends were promoted as wholesome exemplars. However, Arthur's diffusion within contemporary culture goes beyond such obviously Arthurian endeavours, with Arthurian names being regularly attached to objects, buildings, and places. As Norris J. Lacy has observed, “The popular notion of Arthur appears to be limited, not surprisingly, to a few motifs and names, but there can be no doubt of the extent to which a legend born many centuries ago is profoundly embedded in modern culture at every level.”
The Legend of Zu - References - Netflix