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Two Stars in the Milky Way was adapted from the eponymous novel by Zhang Henshui, a popular writer with the Mandarin Ducks and Butterflies school. As with earlier adaptations of novels in Chinese cinema, modifications were made during the process.[24] 

Unlike in the novel, which began in Beijing, the film depicted its main characters as originating from southern China. 

This departure, underscored through the performance of the Cantonese-language song "Raindrops on a Banana Leaf" in the opening as well as other Cantonese music, capitalized on the popularity of the genre in contemporary China. 

It was also influenced by Luo Mingyou, the Hong Kong-born co-founder of UPS, as well as the touring experiences of the Lis' Bright Moon Troupe.[25] Wong was herself Cantonese.[3] Two Stars in the Milky Way also departed from its source material in its framing. 

Where the novel had presented Li Yueying as coming from Beijing and drawing inspiration from popular media, the film has her discovered during location shooting in a rural area. 

This, Kristine Harris writes in her exploration of Two Stars in the Milky Way as a metafilm, emphasized the character's innate talent;[26] the feminist scholar Qilun Han notes that it also allowed the film to draw from the cultural notions associated with these locales.[27] 

At the same time, although the rural setting was more naturalistic, elements of foreign culture remain present, including a piano and a bust of Ludwig van Beethoven.[26] A chorus line of majorettes led by Li Lili paired with an Egyptian-style dance, collectively replacing the novel's immortal fairy maiden performance, further highlights the cosmopolitanism of the setting.[28] 

Such elements, the film scholar Bo Cheng writes, reflect a general tendency in early Chinese cinema to Europeanize novels during the adaptation process.[24] The types of films featured in Two Stars in the Milky Way also differed in the adaptation. 

Whereas the novel had depicted Li Yueying starring in modern melodramas, the film adaptation centred around the production of a Cantonese opera,[29] scenes of which occupy ten minutes of the film's runtime.[30] 

Such an adaptation, Harris notes, allowed the film to capitalize on the popularity of costume dramas while still maintaining its emphasis on modernity. It also offered the benefit of incorporating opera, a popular performance genre that was showcased in early Chinese sound films.[31] 

The adapted opera, a romance based on the story of Emperor Xuanzong, had been widely performed in the two decades prior to the film's production,[32] including by Wong during her time as a stage performer,[33] and contemporary audiences would have recognized the parallels between Consort Mei and Li Yueying;[18] 

As with the novel, Two Stars in the Milky Way centred on its female protagonist and maintained her as a sympathetic figure. The stories differed, however, in their treatment of the male protagonist Yang Yiyun, who is depicted not as a philandering womanizer but rather as a man burdened by his moral obligations.[34] 

This is emphasized by the inclusion of an arranged marriage, which under the tenets of filial piety Yang must maintain, despite not having any romantic interest in his wife.[35] Rather than take Li as his second wife, he spurns her, pushing her away to protect her despite his true feelings. 

Such adaptations not only allowed the film to better meet the expectations of censors, but also ensured that all characters were presented sympathetically.[34] Self-reflexivity and metafilm Two Stars in the Milky Way has been described as a "movie about moviedom". 

Such films had been produced in the United States since at least 1908,[36] and contemporary productions such as Show People (1928) and Showgirl in Hollywood (1930) had been imported to the Republic of China.[37] 

Similar productions had been made locally by Mingxing (A Passionate Actress, 1926; An Amorous History of the Silver Screen, 1931) and Tianyi (The Female Movie Star, 1926; A Female Star, 1933).[38] The link between Two Stars in the Milky Way and Show People was drawn explicitly, with UPS identifying its film as "China's Show People".[29] 

Two Stars in the Milky Way thus included a level of self-reflexivity.[39] Harris notes parallels between the film's protagonists and the father-daughter team of Li Jinhui and Li Minghui, who had gained prominence in 1920s Shanghai through their collaborations on stage and in recordings.[40] 

Further reflexivity is evident in the film's cameos, which included not only the UPS directors Cai Chusheng, Sun Yu, and Wang Cilong, but also the actresses Chen Yanyan, Li Lili, Tang Tianxiu, and Wang Renmei.[41] 

The film scholar Anne Kerlan describes Two Stars in the Milky Way as providing "a visual manifesto" for UPS.[3] The film included a scene wherein the board of directors announces, "We in the film industry have a mission to fulfill, that of propagating the virtues of our people and of imparting knowledge to the public through the screen".[42] 

UPS' fictional corollary, Milky Way, is presented as modern through communication technologies while still maintaining traditional morals and Confucian values. 

Through such presentations, Kerlan argues, UPS offerred itself as a "perfect world" wherein "professionalism and modern spirit [are combined] with a sense of duty and respect for cultural traditions".[43] 

Harris notes that, through the narrative, UPS also emphasized its own nationalism, as seen in its dedication to social transformation as well as its depiction of majorettes.[44]