Chapter Twelve: Building Momentum Is an Essential Skill for Lawyers

Amid laughter and casual conversation, mighty fleets vanished into ashes.

With Chen Siyuan’s intervention, Miramax Films changed hands more than twenty years earlier than in the original timeline.

The wheels of history had quietly begun to turn differently.

Chen Siyuan worried that such changes might bring unforeseen troubles in the future.

Therefore, at critical moments, he discreetly sent encrypted emails to Miramax’s professional managers, conveying top-secret orders that had to be executed.

These directives largely concerned milestone achievements in the company’s development.

When film companies invest in movies, their greatest fear is that audiences’ reactions will stray far from their expectations.

But Chen Siyuan insisted on acquiring only those films that had already proven successful in the original timeline.

Moreover, these films originally belonged to Miramax.

For instance, "Good Will Hunting," which won Oscars for Best Original Screenplay and Best Supporting Actor.

Or "Shakespeare in Love," nominated for thirteen Academy Awards and ultimately winning six, including Best Picture, Best Actress, and Best Supporting Actress.

Such milestones were imperative to achieve.

However, Chen Siyuan did not devote excessive energy to Miramax.

After all, for a long time to come, Miramax was just a minor move in the grand game.

His sole task was to keep it on the right path.

Chen Siyuan invested much more of his focus on Liu Xiaoli.

He admitted he had become serious about her — no longer treating her as a casual dalliance.

On one hand, he secretly set about giving Liu Yifei a little brother.

On the other, through various channels, he began building momentum for a completely new adaptation starring Liu Xiaoli: "The New Death of the Swan."

The original "Death of the Swan" was a solo dance created by Mikhail Fokine in 1907 for Anna Pavlova, depicting the tenacious struggle between humanity and fate, death, and the yearning for life.

"The Death of the Swan" carries a power that strikes directly at the soul.

Liu Xiaoli, drawing on years of ballet experience, reimagined the piece.

Her adaptation, "The New Death of the Swan," is a fusion of "Death of the Swan" and "Swan Lake."

No longer a solo, it demands even more of the lead dancer than "Swan Lake" does.

This work represented Liu Xiaoli’s artistic summary of her years in dance.

She breathed new life into "The Death of the Swan," making it more complete and profoundly moving.

At the New York Ballet Company, many initially waited to see Liu Xiaoli’s debut as principal dancer end in failure.

How could one dare to alter a classic?

Yet, with the help of Beverly and others, when Liu Xiaoli finally staged "The New Death of the Swan," everyone was stunned.

Classics endure precisely because, to most, they are perfect and immutable.

People focus on preserving classics rather than altering them.

Or, even if they wish to change them, they simply lack the ability.

But Liu Xiaoli shattered all those assumptions.

Supported by Director Mark, the New York Ballet Company fully cooperated with her in staging the new piece.

Even Chen Siyuan had not expected such a sensation from Liu Xiaoli.

Since she had the talent, Chen Siyuan gave his full backing.

Generating buzz was a lawyer’s essential skill.

“Have you heard? The New York Ballet’s new principal dancer has adapted ‘Death of the Swan’!” someone whispered mysteriously at a small dance industry gathering in New York.

“No way. She’s principal dancer now, and she dares to modify a classic like ‘Death of the Swan’?”

“Exactly. Isn’t she afraid of ruining her reputation if it fails?”

“I’m not lying. All the dancers at New York Ballet are cooperating with their principal dancer on this adaptation. I heard the choreography is nearly complete and the effect is stunning!”

“Really? Could the New York ballet world be about to see a new master?”

“I heard the premiere is imminent. We should watch it and find out.”

“Count me in. It sounds unbelievable.”

Such rumors spread quickly through various dance circles.

Before long, news of the New York Ballet’s new principal dancer’s adaptation of "Death of the Swan" had swept through America’s dance community.

Every dancer and enthusiast was intrigued.

Different versions of the story reached Liu Xiaoli’s ears, mostly through Beverly, whose connections were excellent and who always informed Liu Xiaoli immediately upon hearing news.

“Liu, you’re incredibly lucky. Jack Chen has done so much for you,” Beverly said with envy.

She thought of her own boyfriend, who often sacrificed her career to clean up messes.

In contrast, Liu Xiaoli’s husband had, within mere days, spread the buzz about "The New Death of the Swan" throughout the nation’s entire dance scene.

“How do you know it was Siyuan?” Liu Xiaoli asked curiously.

“The news spread so fast, clearly orchestrated. Only Jack Chen has both the means and the will to do that,” Beverly replied, channeling her inner Sherlock Holmes.

“If that’s the case, we must rehearse harder. We can’t afford to embarrass ourselves at the premiere.”

Though touched, Liu Xiaoli preferred to express her feelings through action.

Her demands for "The New Death of the Swan" were exacting, and no dancer in the New York Ballet dared slack off.

For them, this was an opportunity.

Nearly every ballet company performed "Swan Lake," making it hard to stand out.

If "The New Death of the Swan" succeeded, they could finally rise above the rest.

After a day of grueling rehearsal, Liu Xiaoli climbed into Chen Siyuan’s car.

Once inside, she gazed at him tenderly.

As Chen Siyuan prepared to drive, he noticed something different about her.

“What’s wrong? Is there something on my face?” he asked, wiping his own face.

“No, just... thank you,” Liu Xiaoli said, leaning in to gently kiss his cheek.

In that instant, Chen Siyuan understood—she had seen through his efforts to generate buzz.

“Thank what? Just don’t blame me. Now the spotlight on you all is unprecedented, and so is the pressure. The entire dance community is just waiting to see you fail!” Chen Siyuan said, setting aside his usual playful grin for a serious expression.

“Siyuan, I have faith in ‘The New Death of the Swan.’ I won’t let you down,” Liu Xiaoli replied confidently, a smile lighting her face.

“I’ll be watching eagerly,” Chen Siyuan said, already looking forward to Liu Xiaoli’s moment in the spotlight.