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China’s Celebrity Diplomats: The Online Fan Culture Surrounding Foreign Ministry Spokesperson Wang Wenbin

The fan culture surrounding Wang Wenbin comes at a time when China’s ‘diplomat dream team’ already has a steady fanbase on social media.

Manya Koetse



From TikTok fan videos to Weibo super topics – there’s a lively fan culture surrounding China’s Ministry of Foreign Affairs spokesperson Wang Wenbin. He is not the only ‘celebrity spokesperson’ on Chinese social media. Fans see China’s diplomats as national heroes and online idols.

In December of 2022, Wang Wenbin, top diplomat and the 32nd spokesperson for China’s Ministry of Foreign Affairs, was spotted out and about at Huangshan Mountain by Chinese netizens.

Soon, videos of Wang spread on Weibo and Douyin, where many people expressed excitement about seeing the top diplomat at the popular tourist spot and outside of the usual formal setting.

Wang Wenbing (汪文斌, b. 1971) is the Deputy Director of the Foreign Ministry Information Department of China. He studied at China’s Foreign Affairs University, majoring in French and economics, and has been working for China’s Foreign Ministry since 1993. Wang previously also took up the post as ambassador in Tunisia from 2018 to 2020.

Wang was in Huangshan, Anhui, to attend a visit of various international VIP guests from the IMF, World Bank, OECD, etc. on the occasion of the Seventh “1 6” Roundtable, which convened in the province of Anhui. Wang Wenbin originally is from Xindu village in Tongcheng, Anhui.

The fact that Wang was spotted in Anhui at that time was noteworthy. It was the first time since Covid that various Chinese officials welcomed and entertained international guests, marking an end to China’s zero-Covid era; and it was all taking place in Wang’s home province, where he is also known as “Anhui’s pride.”

Wang Wenbin, top diplomat and spokesperson for China's MFA, was out and about in Anhui, and many people were happy to see him IRL and posted their videos of him on social media,calling him “the pride of Anhui, the pride of China.”

The 2022 excitement on Chinese social media surrounding the new Wang Wenbin videos went far beyond ‘Anhui’s pride’ alone; it showed the wider popularity of the top official on Chinese social media and signaled a broader trend of Chinese diplomats becoming online celebrities.

From fan videos on Douyin (TikTok) and Bilibili to discussion threads on Zhihu, Chinese diplomats have become idolized on social media over the past few years. Besides all the fan accounts on various Chinese social media platforms, Wang Wenbin also has dedicated ‘super topic’ communities on Weibo, which are forums focused on particular topics or celebrities.

There is the “Wang Wenbin Super Topic” page and also the “Wang Wenbing Exchange” (汪文斌交流) and the Wang Wenbin’s Bin’s Sweets” forum (汪文斌的斌糖). These public online forums contain thousands of posts dedicated to Wang.

One of the supertopic forums on Weibo dedicated to Wang Wenbin.

The Wang Wenbin supertopic pages are all about content featuring Wang in his role as the spokesperson of the Foreign Ministry, replying to various questions during regular press conferences. Netizens are creative in editing images of Wang, adding quotes or drawings, and they make special fan videos.

Some of these videos have added texts or special effects, showing Wang Wenbin surrounded by sparkles and floating hearts as a sign of affection. Commenters praise Wang for being “so simple, so assertive,” while others complement the diplomat on being so “hard-working,” “concise and comprehensive.”

Wang Wenbin ‘fan art’ on one of the supertopic pages.

There are also those who praise Wang’s looks and expressions, saying his facial features are “handsome,” “cute,” “adorable,” and saying that ‘Uncle Wang’ is just too “cool.”

At a time of growing U.S.-China tensions and recurring international hot issues including China’s stance on the war in Ukraine and the Taiwan question, Wang Wenbin and his immediate colleagues Mao Ning (毛宁) and Hua Chunying (华春莹) are featured more prominently on social media by official media accounts that highlight answers given during the regular Foreign Ministry press conferences, which are held five times per week.

As Wang Wenbin is given greater visibility on Chinese social media by state media accounts, the online fan communities dedicated to Wang grow more lively as they have more material to express their enthusiasm about the Foreign Ministry spokesperson.



Chinese Diplomats Becoming Celebrities


Wang is not the first Chinese top official or diplomat to become an online celebrity. Former Foreign Ministry spokesperson Zhao Lijian (赵立坚) previously also became very popular among Chinese netizens.

Zhao rose to popularity in 2020, the year he started his job as the spokesperson for the Ministry of Foreign Affairs (MFA), and many netizens loved him for his “disarming smile” and because of his demeanor, as many joked Zhao often looked like he could not wait to get off work.

An online meme culture developed around Zhao, who often repeated certain phrases or expressions during press conferences. Among them was the expression “shìmù yǐdài” (拭目以待), to eagerly wait for something to happen, literally meaning “to wipe one’s eyes and wait” (e.g. he used it in 2022 in the context of China waiting to see if Pelosi would actually dare to visit Taiwan or not). Phrases such as these became widely known and were used in affectionate online jokes about Zhao.

Shìmù yǐdài 拭目以待, to eagerly wait for something to happen, literally “to wipe one’s eyes and wait,” is one of Zhao Lijian’s famous phrases.

Even though Zhao was moved from his position as spokesperson and transferred to the Boundary and Ocean Affairs department earlier in 2023, there are still online communities dedicated to him where new posts with Zhao-related images, gifs, and videos keep flooding in.

Even though Zhao has left his post as spokesperson, the online communities dedicated to him are still lively.

Before Zhao’s rise to fame, China’s MFA spokespeople and other diplomats had already gained an online fanbase. Around 2017, the concept of China’s “diplomat dream team” (外交天团) started to be used more frequently by Chinese media and social media users.

This was around the same time when Hong Lei (洪磊), Geng Shuang (耿爽), Lu Kang (陆慷), and Hua Chunying (华春莹) served as spokespeople for the Foreign Ministry and when their remarks on diplomatic events carried a more assertive and confrontational tone of voice facing heightening tensions with the U.S. over trade, the South China Sea, and human rights.

For example, China Daily ran an article about the “wonderful responses” from China’s diplomat dream team in 2017 (link) and they ran another similar one in 2018 (link).

An early example of China’s “Diplomat Dream Team.” Left: China’s top diplomat Wang Yi, former spokesperson Hong Lei, spokesperson Hua Chunying, diplomat Lu Kang, and Minister of Foreign Affairs Qin Gang.

But it was not until 2020 when China’s top diplomats and the “spokesperson top team” (发言人天团) really garnered online attention as they were often featured in headlines and created a stir.

Not only was 2020 the year that ‘celebrity diplomat’ Zhao Lijian joined the spokesperson team, it was also a year of complex international developments including the Covid outbreak and worsening diplomatic relations between the U.S. and China driven by ‘eye for an eye’ strategies; one day after the Chinese consulate in Houston was forced to close, China also ordered the American consulate in Chengdu to shut its doors.

In July of 2020, Wang Wenbin joined the ‘top team’ of Chinese diplomats, which was praised online as China’s “strongest diplomatic mission.”

China’s “diplomat top team,” image via Zhihu blogger.

In 2021, the top-level US-China talks in Alaska further contributed to the social media frenzy surrounding China’s diplomatic corps. Foreign Minister Wang Yi, also nicknamed the ‘captain’ of the diplomatic team, traveled to Anchorage with Chinese top diplomat Yang Jiechi (杨洁篪) for the tough meeting. Before entering a session of the high-level talks, the diplomats were filmed walking together when Wang asked Yang if he had lunch, with Yang then answering: “Yes, I had instant noodles.”

‘Noodle gate’ blew up on Chinese socials, where many saw the incident as a sign of American inhospitality and rude treatment of the Chinese top diplomats. The incident also added to the popularity of Yang Jiechi and Wang Yi.

There are various reasons why Chinese diplomats and MFA representatives have become particularly popular over the past few years.

Some of the main causes related to the celebrity culture surrounding Chinese modern-day diplomats lies in (1) their new role in China’s (online) media environment, (2) the way they have become an example to ordinary people, and (3) the shift in Chinese diplomacy that has turned them into ‘wolf warrior’ heroes.



Chinese Diplomacy in the Age of Social Media


The growing fame of Chinese diplomats and spokespeople is very much an online phenomenon, and so their surge in popularity goes hand in hand with the rise of (China’s) social media.

The role of social media is crucial in three ways. First, Chinese official accounts and state media use social media as an important channel to spread official propaganda and narratives. Although China’s MFA spokespersons are meant to be the face of China to the world, their role is just important – and perhaps even more weighty – for the audiences at home as symbols of China’s foreign policies.

Second, social media is also increasingly used by Chinese diplomats individually as a platform to voice the stances they represent. In an article titled “China’s Internet Celebrity Diplomats” (2020), Christian Shepherd described how Zhao Lijian used social media to build “a personal brand that is rare for a Foreign Ministry spokesperson” as China’s most high-profile official on Twitter.

In our 2020 article about this topic, What’s on Weibo found that there was a significant surge in Chinese official accounts arriving on Twitter in 2019 and in early 2020. The first surge of Chinese diplomatic accounts happened in 2019 at the time of the Hong Kong Protests; a second peak in Chinese official accounts joining Twitter took place in the period of January to March 2020 during the international Covid-19 crisis.

At the time of writing, Zhao has over two million followers on Twitter (@zlj517). Zhao Lijian is also active on Weibo (@赵立坚个人微博), where he has over 8 million fans. Foreign Ministry spokesperson Hua Chunying is not active on Weibo, but she has two million followers on Twitter (@Hua Chunying 华春莹).

Wang Wenbin, Geng Shuang, Wang Yi, Hua Cunying, Zhao Lijian.

Third, social media platforms allow for communities to form around Chinese diplomats in a way that would be unthinkable in the pre-social media era.

There has been a lot of attention for celebrities taking on diplomatic roles, but less so for diplomats taking on celebrity roles. Studies about diplomats or politicians becoming internet celebrities often focus on those who are also active on social media themselves, making them more accessible and relatable.

But diplomats such as Wang Wenbin are an exception: Wang Wenbin does not have an official Twitter account, nor is he active on Weibo or any other popular social media platforms. Nevertheless, there are thriving online communities surrounding him that help bridge the divide between the top level diplomat and ordinary people, creating connections between diplomats and Chinese people in novel ways.

In the Chinese social media environment, the fan culture surrounding China’s top diplomats is fuelled by the dynamics of the official propaganda apparatus and state media campaigns disseminating hashtags and videos that underline the main messages of China’s Foreign Ministry. Although it often builds on official media content, the online fan culture itself is non-official and functions in similar ways as other idol fan communities do.



The Person Behind the Diplomat


There is another dimension to the online interaction between netizens and the Chinese Ministry of Foreign Affairs spokespersons and diplomats. They are not just being idolized, they are also being humanized.

Besides the more serious patriotic and nationalist videos, it is often the small flaws and funny interactions that go trending on social media and make China’s diplomats more likeable to the audience.

Fans of Wang Wenbin or Zhao Lijian like to create images or videos that highlight the moments in which the diplomats share a quick smile, make a little mistake, or are caught in a situation that is different from their usual role as spokesperson.

It might be as small as a strand of hair sticking out during a speech, a misunderstanding with a journalist, or how Wang Wenbin is fiddling with his translation headset during an international conference. These kind of moments are not highlighted to ridicule the diplomat; on the contrary, netizens treasure these moments in which diplomats become more likable and relatable.

Another way in which netizens like to catch a glimpse of the private person behind the public diplomat is by sharing old photos and getting to know more about them in their younger years.

Wang Wenbin in his younger years.

On Weibo, Bilibili, and Douyin, there are dozens of videos comparing photos of Chinese diplomats, including Wang, in their younger years versus now (e.g. 外交天团年轻的样子).

For many fans, Chinese diplomats also serve as an inspiration. “I love them, they’re my role models,” one Weibo blogger writes, posting photos of diplomats such as Wang Yi, Hua Chunying, Zhao Lijian, Hong Lei, Geng Shuang, and Lu Kang.

For many, Wang Wenbin especially is a role model because of his language skills. Wang speaks several foreign languages including English and French. He previously also attracted attention for sending out new year’s wishes in 11 different languages.

“I really like him because he encourages me to do well in my studies,” one fan account (@是汪叔和赵叔啊) writes.



Wolf Warrior Heroes


The widespread admiration for Chinese diplomats and MFA spokespersons has various social, cultural, and historical reasons, and nationalism also plays a big role in this, as their growing online popularity is accompanied by the rise of so-called “wolf-warrior diplomacy” and the soaring cyber nationalism that comes with it.

The term “wolf warrior diplomacy” (战狼外交) became a buzzword for China’s diplomacy since around 2020 (Dai & Luqiu 2022). It is a reference to the highly successful Chinese blockbusters Wolf Warrior (战狼, 2015) and Wolf Warrior II (战狼2, 2017), and basically means a style of diplomacy that uses a much harsher and more confrontational rhetoric – which poses a contrast to a more restrained and softer tactic in foreign diplomacy.

Hua Chunying and Zhao Lijian were among the most visible wolf warrior diplomats as they were the main MFA spokespersons in early 2020 and were both active on Twitter, where they also actively confronted external criticism of China.

Zhao Lijian also became known for tweeting out a photoshopped image of an Australian soldier murdering a child, alluding to a report on unlawful killings of Afghan civilians and prisoners by Australian troops. His controversial post led to Australian Prime Minister Scott Morrison demanding an apology from China (read more about this kind of political visuals in our article here).

In a 2022 article titled “Why Have Chinese Diplomats Become So Aggressive?,” author Nien-chung Chang-Liao argues that China’s more aggressive style of diplomacy is not just meant to persuade foreign audiences to accept Chinese narratives in international relations, but could also be viewed as a way to appeal to nationalist attitudes at home, while also demonstrating loyalty to the Party and Xi Jinping – who emphasizes the need for confidence in China’s new era.

The approach seems fruitful: over 70% of respondents to a survey by Global Times allegedly indicated that they thought a ‘wolf-warrior’ style diplomacy improves China’s global image. Chinese Foreign Ministry spokesperson Hua Chunying also indicated that she had no issue with the ‘wolf warrior’ label and even embraces it (Chang-liao 2022, 179-181).

While Zhao Lijian was known as the real ‘wolf warrior diplomat,’ Wang Wenbin’s style is perceived as being more “calm,” “scholarly,” and “refined,” even though he he still seen as critical and assertive.

Recently, it was Wang Wenbin who slammed U.S. claims that China might arm Russian troops in the war in Ukraine, saying “it is the United States and not China that is endlessly shipping weapons to the battlefield.” Wang also called the shootdown of the alleged Chinese spy balloon “100 percent hysteria,” and he recently urged the United States to give up its “hegemonic” approaches to international affairs.

For many Wang Wenbin fans, this style of assertive yet ‘refined’ foreign policy strikes a chord, as they support how Wang shapes China’s image abroad: “It’s the perfect interpretation of being a great and elegant great power.”

“Today’s problems are complex and manifold, but Uncle [Wang] is organized and clear and answers with a smile. From beginning to end, I always admire him,” one comment says.

One Weibo blogger writes to Wang: “You’re so busy, you must be tired. I hope you can also take some time to rest. I just wish you all the best.”

Another fan writes: “Uncle, you work so hard, you are not afraid of facing the ‘hail of bullets’ fired at you by foreign media in the blue room, you defend our country, you are our hero!”

By Manya Koetse 


Get the story behind the hashtag. Subscribe to What’s on Weibo here to receive our newsletter and get access to our latest articles:


Chang-Liao, Nien-chung. 2022. “Why Have Chinese Diplomats Become So
Aggressive?” Survival, 64:1: 179-190.

Dai, Yaoyao, and Luwei Rose Luqiu. 2022. “Wolf Warriors and Diplomacy in the New Era.” China Review 22 (2): 253-283.

Shepherd, Christian. 2020. “China’s Internet Celebrity Diplomats.” Australian Financial Review, Dec. 10, page 27.

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Manya Koetse is the founder and editor-in-chief of She is a writer, public speaker, and researcher (Sinologist, MPhil) on social trends, digital developments, and new media in an ever-changing China, with a focus on Chinese society, pop culture, and gender issues. She shares her love for hotpot on Contact at, or follow on Twitter.

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China Arts & Entertainment

From Comedy to Controversy: Behind the Li Haoshi Incident

Exploring the dynamics that led to the social storm involving Chinese comedian ‘House’ Li Haoshi.

Manya Koetse



The Li Haoshi scandal sheds light on a complex interplay of factors, including the working conditions within the Chinese comedy industry, the expectations placed on performers in China’s entertainment realm, and the significant role of the People’s Liberation Army (PLA) in shaping Chinese nationalism. A deep dive by What’s on Weibo.

Humor is no joking matter. While the business of humor can be competitive and challenging no matter where you are in the world, there are some special considerations and implications for working in humor in China.

This week, Chinese comedian Li Haoshi (李昊石), who performs under the name ‘House’, experienced firsthand that there are strict limitations to what can be openly satirized or joked about in China today. When one of his jokes about two stray dogs described them by referencing a famous People’s Liberation Army (PLA) slogan, he found himself at the center of a social media storm. One related hashtag received over 1.1 billion views on social media platform Weibo this week.

The phrases used in the comic skit, with Li saying they came to mind while watching the dogs chasing a squirrel, were: “Forge exemplary conduct, fight to win.” The lines are part of the PLA slogan “Follow the Party! Fight to win! Forge exemplary conduct!” (“听党指挥,能打胜仗,作风优良!”), which was used by Xi Jinping in 2013.

Li Haoshi was not just socially canceled by angry netizens who defended the honor of Chinese soldiers and slammed the comedian for being so unpatriotic, he also saw his career go up in flames. His shows were called off, he was banned from social media, his employer was fined more than $2 million, he was blacklisted under orders of the China Performing Arts Association (CAPA), and he is now under official investigation.

Following the controversy, there were different views on Chinese social media regarding the issue (read more here). Although the majority of commenters argued that the PLA is never to be joked about, some people also lamented that online discussions lacked nuance.

This scandal sheds light on a complex interplay of factors, including the working conditions within the Chinese comedy industry, the expectations placed on performers in the Chinese entertainment world, and the important role played by the People’s Liberation Army (PLA) in shaping Chinese nationalism.




Humor has played a prominent role in Chinese language and culture for centuries, manifested through a diverse array of jokes and humorous texts. Professional comedians, who served to entertain the aristocrats, have been around since as early as 800 BC.

Although humor has always been there, it has not necessarily always been appreciated. Confucianism has played a significant role in devaluing humor in China, as it formally regarded humor and satire as inferior forms of aesthetic expression. Chinese rulers who did not tolerate criticism or dissent also could not appreciate jokes or comics which, in any way, went against their rule and authority (Sullivan & Sullivan 2021, 102; Yue 2008, 403-413).

In the early days of modern China, following the collapse of the Qing dynasty, there was a notable resurgence of various forms of humor and jokes that spanned two decades, including cross-talk (xiàngsheng 相声) and skits (xiǎopǐn 小品). It was during this period that the Mandarin word “yōumò” (幽默) was introduced, derived from the English term “humor.” This term was coined by the renowned Chinese writer and translator Lin Yutang (林语堂), who faced the challenge of finding an exact Chinese translation for the English word (Hsu 2015, 2).

For decades, from the founding of People’s Republic of China to the Anti-Rightists Movement and the Cultural Revolution and beyond, there was not much yōumò around. As described by David Moser (2004), the constraints imposed by the Party and political sensitivities severely limited the content and topics that comedians could explore.

The comparatively relaxed political atmosphere of the post-Mao era gave rise to novel forms of humor and comedy. In subsequent years, influenced by the United States, “stand-up comedy” (tuōkǒuxiù 脱口秀) also gained popularity. Initially originating in small bars or cafes in major cities such as Shanghai and Beijing, this comedic genre swiftly spread across the nation.

But similar to numerous other performance forms in China, stand-up comedy faces challenges in maintaining its spontaneity and provocative nature. Performers and comedy clubs are required to obtain licenses and gain script approval, while also navigating strict boundaries regarding politically sensitive topics that are strictly off-limits (Sullivan & Sullivan 2021: 102).

This does not mean that stand-up comedy is not thriving in China. On the contrary, the genre has only become more popular over recent years as stand-up comedy performers skillfully navigate the boundaries of what is acceptable by employing different techniques, such as irony, self-deprecation, and surreal humor to offer alternative perspectives within the permitted discourse (see: Chen and Gao 2023). In doing so, Chinese stand-up comedy has evolved beyond its American influences and embraced more traditional Chinese comedic language techniques from xiàngsheng and other performing arts.

In today’s landscape, Chinese comedians face a multitude of boundaries beyond just political ones. Operating within an environment where cultural and commercial factors hold significant sway, it becomes almost inevitable for popular performers to encounter controversy at some point in their careers. Authorities, audiences, sponsors, or companies may take offense at the content of their comedic expressions, adding further complexity to their navigation of these boundaries.

Li Dan, Papi Jiang, and Yang Li previously also faced criticism for their “inappropriate” or “vulgar” jokes.

The online comedian Papi Jiang (Papi酱), for example, saw her videos being taken offline in 2016 for containing “vulgar language and content,” after which she vowed to choose her words more carefully in the future. Female stand-up comedian Yang Li (杨笠), also known as the “punchline queen,” was dismissed as the spokesperson for American tech company Intel in 2021 for her jokes that allegedly insulted men. The popular talk show host and comedian Li Dan (李诞) sparked controversy for promoting female underwear brand Ubras with a slogan that was deemed sexist.

In such a working environment, it is difficult to fathom that the 31-year-old Li Haoshi, who had previously appeared on the immensely popular stand-up comedy competition show “Rock & Roast” Season Four, was unaware that his reference to a PLA slogan would surpass the acceptable boundaries. However, like many comedians, he may simply have been testing the limits.




Another factor that comes into play when exploring the reasons behind the ‘House’ scandal is the special role attributed to Chinese performers.

Although Chinese performers and renowned names in the cultural industries have always been seen as fulfilling an exemplary role, this notion holds even greater significance in the era of social media, where Chinese performers and celebrities wield tremendous influence in an online environment with over one billion internet users. The rapid growth of online entertainment-focused apps and platforms has also created opportunities for unknown performers to achieve overnight fame.

There have been various studies about celebrities in China. One study from 2019 by Sullivan and Kehoe highlights the complexity of China’s celebrity scene. Because while the industry flourishes, it still operates under strict regulations imposed by both the state and industry stakeholders. Additionally, moral values play a significant role in shaping the industry. Sullivan and Kehoe argue that the state, through media and cultural industries, retains control over the symbolic economy within which celebrities operate (2019, 242).

Channeling public opinion and safeguarding social stability are priorities for Chinese authorities, and the influence of Chinese celebrities is often used to promote Party ideology and policies. While authorities encourage Chinese famous performers to act as positive role models, negative news surrounding the country’s popular stars is often perceived as having a “negative social impact” or a “bad influence on public morale.”

There are some some noteworthy instances that exemplify the significance of moral values and the role of Chinese celebrities as role models. One such example occurred in 2019 when Roy Wang (Wang Yuan 王源), a young Chinese singer and actor widely regarded as one of the country’s most influential teenagers, found himself embroiled in controversy after being caught smoking during a restaurant dinner in Beijing.

The incident surrounding Wang’s smoking quickly ignited a firestorm on Chinese social media. The controversy stemmed from two main factors. Firstly, Beijing had implemented a ban on smoking in all public indoor spaces since 2015, making Wang’s actions a violation of the law by lighting up in a restaurant. Additionally, as an influential teen icon, Wang held the responsibility of being a role model to his numerous fans, amplifying the impact of his behavior.

The idea that China should “raise the bar” for becoming a celebrity was widely propagated in 2021. In that same year, the China Association of Performing Arts (CAPA) officially released new guidelines for Chinese performers aimed at promoting adherence to the principles of “social morality.” According to these guidelines, performers could face a permanent ban from their profession if they fail to comply.

The guidelines are meant to “promote the healthy development of the performer industry” and lay out the “practice norms,” which stipulate that performers, among other things, should abide by national laws and regulations, should honor their contracts and comply with copyright laws. But they also stipulate that they should “love the motherland and support the Party’s line and policies” (“热爱祖国,拥护党的路线方针政策”), “persevere in the orientation that literature and art should serve the people and socialism” (“坚持文艺为人民服务、为社会主义服务的方向”), and “actively uphold a positive image” (“积极树立正面形象”).

By joking about the PLA, Li Haoshi violated some of the rules laid out by CAPA. His severe punishment not only demonstrates to the public that Chinese performers/celebrities should abide by the same laws as ordinary citizens – if not be held to even higher moral standards, – it also serves as a cautionary message to other entertainers, urging them not to overstep boundaries and to uphold their responsibility as public figures to positively impact public morale.




In addition to Li Haoshi’s position as a stand-up comedian and his role as a performer/celebrity, another significant aspect of this controversy revolves around the status of the People’s Liberation Army (PLA) in contemporary China. PLA soldiers are revered as the heroic “soldier sons of the people” who display unwavering loyalty to the Party and the nation.

The People’s Liberation Army (PLA) was founded in 1927, with Mao Zedong counted among its founders. It played a crucial role in the rise of the Chinese Communist Party and the establishment of the People’s Republic of China in 1949.

In addition to its core duty of protecting the country and conducting military operations, the PLA is also involved in other tasks such as peacekeeping efforts and disaster relief. However, its primary and most significant role is to serve as the military branch of the Chinese Communist Party (CCP) and ensure the CCP’s continued leadership in China. By safeguarding China’s sovereignty, territorial integrity, and unity, the PLA carries both a military and symbolic significance.

The PLA plays a major part in Chinese nationalist discourses, while simultaneously also playing a central role in driving nationalism in China. Whether it is the social media spectacle of China’s Taiwan military exercises or ‘100.000 soldier loving girls‘ during the Wuhan floods, the PLA acts as “a bridge between nationalism as an abstract ideological concept and as an everyday concern of the people for the security of their country” (Ji 2004, 248).

Military propaganda, often disseminated online, is important in reinforcing the image of PLA soldiers as guardians of the nation. When four Chinese PLA soldiers were killed during a border clash with Indian troops in 2020, Chinese state media outlets made noteworthy efforts to shape the ways in which the soldiers are to be remembered, blending political and personal elements while lauding their unwavering patriotism. In doing so, they posted their photos along with phrases such as “The place where I stand is China” and “I will defend the motherland with my life.”

Those insulting the PLA can face serious consequences under the “Heroes and Martyrs Protection Law” which was introduced in 2018. In 2021, former Economic Observer journalist Qiu Ziming (仇子明), along with two other bloggers, were the first persons to be charged under the new law as they were detained for “insulting” the Chinese soldiers. Qiu, who had 2.4 million fans on his Weibo page, made remarks questioning the number of casualties China said it suffered in the India border clash. He was sentenced to eight months in prison.

Li Haoshi’s faux-pas is particularly sensitive because the lines used in his joke indirectly made a comparison between PLA soldiers and stray dogs, while also placing words famously used by Xi Jinping in a ridiculous context. Additionally, as highlighted by Chinese bloggers and China Digital Times editor Alexander Boyd, Li’s joke potentially alludes to a scene from the 1956 Chinese war movie Battle on Shangganling Mountain (上甘岭) during the Korean War, where soldiers were depicted chasing after a squirrel. The intention of the scene was allegedly to showcase the kind-hearted nature of the brave soldiers of the Volunteer Army.

Some people believe that Li Haoshi was purposely alluding to that scene with his joke, and in doing so, insulted China’s Korean War ‘martyrs,’ which is illegal under the martyr defamation law. That would be a serious offense. In 2022, former investigative journalist Luo Changping was sentenced to seven months in prison and ordered to make a public apology for insulting Chinese soldiers portrayed in a blockbuster movie about the Korean War.

Whether or not Li intended to make such a connection or put much thought into his joke remains uncertain. However, many netizens are angry with Li for various reasons. Chinese nationalists defend the honor of their hero soldiers, while others blame Li for not respecting the boundaries within which he should operate.

Furthermore, Li’s colleagues, Chinese stand-up comedians, are also upset that he took the risk of making a politically incorrect joke, which has put the entire industry under scrutiny. This incident has created more tension for other performers in an already challenging work environment.

On Chinese social Q&A platform Zhihu, one experienced stand-up comedian performer from Shandong shared his view on the matter, suggesting that Li has brought harm to their industry:

For commercial performances, our lines have to first have to go through a script reading meeting, they will then go through 4-6 open rounds of ‘polishing,’ and then go through the script polishing of the copywriters working for the show. (..) Moreover, the words and phrases we use in our jokes must have a contextual understanding and source. Therefore, there is no way that Li Haoshi was not aware of the history and origin of the sentences he used.

At the same time, all of our jokes in commercial performances require approval. Therefore, Li Haoshi obviously knew that this particular joke wouldn’t pass the approval, so he intentionally didn’t submit it. This is not a case of ignorance, it is simply being malicious.”

Overall, Li Haoshi’s case serves as a warning to others to be cautious with their words, whether used during performances, talk shows, interviews, or online.

Jokes are not to be taken lightly in a media environment where every line carries weight. When humor becomes such a serious matter, it becomes increasingly challenging to stay funny.

By Manya Koetse

References (other online sources hyperlinked in text)

Chen, Dan, and Gengsong Gao. 2023. “The Transgressive Rhetoric of Standup Comedy in China.” Critical Discourse Studies 20 (1): 1-17.

Hsu, Pi-ching. 2015. Feng Menglong’s Treasury of Laughs. Leiden, The Netherlands: Brill.

Ji, You. 2004. “Nationalism, the Chinese Defence Culture and the People’s Liberation Army.” In: Leong H. Liew and and Shaoguang Wang (eds), Nationalism, Democracy and National Integration in China, pp. 247-268. London: RoutledgeCurzon.

Moser, David. 2004. “Stifled Laughter: How the Communist Party Killed Chinese the Chinese Humor Form of Xiangsheng.”, accessed via [20 May 2023].

Sullivan, Lawrence R. and Nancy Sullivan. 2021. Historical Dictionary of Chinese Culture. New York and London: Rowman & Littlefield

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China Arts & Entertainment

A Joke Too Far: 3 Social Media Views on Chinese Comedian Li Haoshi Getting Canceled over PLA Pun

From Weibo to WeChat, from Douyin to Zhihu, Li Haoshi’s joke has sparked widespread conversations, and opinions vary.




There is a delicate balance between humor and controversy, and Chinese comedian Li Haoshi recently discovered the consequences of crossing that line. In a punchline that took aim at China’s People’s Liberation Army, Li found himself at the center of a significant controversy. Is Li deserving of his ensuing cancellation? On Chinese social media, opinions are divided.

A Chinese comedian’s politically incorrect joke is the topic that everyone has been talking about this week, even making international headlines.

Li Haoshi (李昊石), a comedian who performed under the stage name ‘House’ with the famous Chinese comedy company Xiao Guo company (笑果文化), recently faced accusations of making offensive remarks towards the Chinese army during one of his shows. As a result, he has been subjected to a ban on social media platforms and has also been prohibited from participating in future performances.

The show in question took place on May 13th and while the performance officially was not allowed to be filmed, some attendees recorded the particular joke that caused controversy and then exposed House on social media. According to a Zhihu user who claimed to have secretly recorded the entire show, the joke went as follows:

“Shanghai is an international metropolis where everything is aligned with international standards. After I moved to Shanghai, I adopted two stray dogs. Strictly speaking, they weren’t stray dogs. We found them on a nearby mountain, and they were wild dogs. We can’t really say we rescued them because they were at the top of the food chain in the mountains and didn’t need our help. We were more like a makeover show, experiencing city life. These two dogs were indeed the top predators on the mountain. When I first saw them, it felt like I was witnessing a wildlife documentary. The two dogs would chase a squirrel like a missile launched into the air. Normally, when you see dogs, you find them cute, and your heart melts. You think of these words. But when I saw these two dogs, only eight words flashed in my mind: ‘Good discipline, capable of winning battles’ (作风优良, 能打胜仗). They were truly exceptional. I walked proudly on the streets of Shanghai with these two dogs. The only problem was that they had so much energy. My physical fitness couldn’t keep up.”

The triggering aspect of this joke lies in the eight words “zuò fēng yōu liáng, néng dǎ shèng zhàng” (“作风优良, 能打胜仗”: “Good discipline, capable of winning battles”). This slogan has long been associated with the Chinese People’s Liberation Army (中国人民解放军, PLA) as a standard used to describe and motivate the army. The lines, used by Xi Jinping in 2013, are used together with another phrase, namely that of “tīng dǎng zhǐhuī” (“听党指挥”), meaning “to obey the Party’s command” or “follow the Party’s leadership,” together encapsulating the principles of the Chinese military.

“Obeying the Party’s command – Capable of winning battles – positive work ethic” – these famous phrases were used in a comical context by Chinese comedian House. (Image source).

Using the army’s slogan to describe two wild dogs is considered offensive to the PLA’s “sacred and inviolable” image.

The joke was considered such a serious faux pas that Party newspaper People’s Daily posted about it on social media platform Weibo two days later, claiming that performers in talkshows should be cautious with their words and be careful to stay within appropriate boundaries.

They also suggested that there should be consensus within the industry on where the bottom line is on which jokes can and cannot be made. People’s Daily used the phrase “tuōkǒu mò tuōguǐ, wán gěng xū yǒu dù” (“脱口莫脱轨,玩梗须有度”), which can be translated as: “Do not deviate when speaking freely, and use jokes [memes/punch lines] with moderation.”

The word used for ‘talkshow’ is tuōkǒuxiù 脱口秀, a Chinese term that literally translates to “talk show” but actually mostly refers to stand-up comedy shows and a type of popular form of entertainment in which performers showcase their humorous storytelling skills in an engaging and often improvisational manner.

Li Haosi’s controversial joke garnered more significant attention from Chinese state media. After People’s Daily initial post, they made another Weibo post addressing the issue. The post began with the hashtag “There is a sense of security called the soldier sons of the people” (#有一种安全感叫人民子弟兵#), which is a widely used phrase to describe the People’s Liberation Army (PLA) and highlight the close relationship between the military and the Chinese people.

A second post by People’s Daily about the Li Haoshi controversy paid tribute to China’s PLA soldiers.

In the post, People’s Daily expressed their support for the PLA and condemned any action or statement that might be seen as disrespectful or offensive towards the military and the soldiers who serve as the guardians of the Chinese people (“人民子弟兵不容冒犯”). They tagged their post with the hashtag “People’s Daily Discusses ‘House’ Offending the Soldiers Sons of the People” (#人民日报评House冒犯人民子弟兵#), which has since received over 670 million views on Weibo.

As the controversy surrounding Li Haoshi escalated, fuelled in part by Chinese state media, it has also became a prominent topic of discussion among the general social media userbase. From Weibo to WeChat, from Douyin to Zhihu, Li Haoshi’s joke has sparked widespread conversations. Within these online discussions, there are three prominent and recurring viewpoints that we will explore here.



“You ‘wolf warriors’ and ‘little pinkies’ are only good at conducting witch hunts! It is actually you who should be canceled.”

The notion of talk shows being regarded as “an art of offense” (“一种冒犯的艺术”) is widely discussed on Chinese social media these days. Evaluating the boundaries between ‘acceptable humor’ and ‘crossing the boundaries’ continues to be a topic of discussion, with some advocating for performers’ artistic freedom of expression and speech, arguing that “there is no offensive art, but all kinds of genuine art can be offensive.”

In a since-deleted WeChat article, one Chinese blogging account expressed readers’ concerns regarding the Li Haoshi controversy. A major concern raised was not just about freedom of expression for performers, but about freedom of expression within this topic itself, suggesting that the online discourse surrounding the ‘House controversy’ allows very limited space for actual debate and offers no opportunity for people to discuss the different perspectives of the story.

On Weibo, some individuals express similar concerns about the lack of nuance in the discussion. Apart from censorship or top-down control, they worry about a general discussion environment that leaves no space for opposing opinions. One person commented: “You ‘wolf warriors’ and ‘little pinkies’ are only good at conducting witch hunts! It is actually you who should be canceled.”

“The more people comment, the more extreme they get,” another person wrote. Meanwhile, the comment sections of various popular posts discussing the issue were either disabled or heavily filtered, to the extent that none of the 244 listed comments were visible.



“It is very simple. Making jokes is not the same as malicious slander.”

Many people do not agree with those advocating for a more tolerant approach to the Li Haoshi controversy. A seeming majority of Weibo users argue that ‘talk shows’ should not serve as a sanctuary for “inappropriate speech.” They assert that public speeches have inherent “bottom lines” that cannot be crossed. Performers should be aware of these existing red lines, and should not use their profession as an excuse to express problematic statements.

One popular blogger (@胜利主义章北海) argued that comedians are already well aware that they have certain boundaries; offending their audience would rob them of their income, and they are also careful not to insult their boss or colleagues: “They would not dare to [offend them]. They are conscious of these boundaries. So why would they dare to offend the PLA?”

Many agree with this stance: “It is very simple. Making jokes is not the same as malicious slander.”

In these online discussions, the United States is often cited as an example due to its strong emphasis on free speech. Some Chinese netizens note that even in the U.S. and other Western countries, there are also topics or jokes that would be considered off-limits and could lead to consequences such as being canceled.

The Weibo account “Xu Ji Observation” (@徐记观察, previously recognized for positive online content and the promotion of the “mass line”) mentions how some people in America were condemned for even hinting at disrespecting the military. American quarterback Tom Brady was widely criticized in 2021 after comparing playing football to military deployment, and Pete Davidson was slammed for making fun of an American representative and war veteran who had lost one eye during his deployment in Afghanistan. Both Brady and Davidson had to apologize.

Although many people agree with Xu Ji’s observation, others argue that the comparison is not entirely fair, as the consequences faced by Chinese performers who get ‘canceled’ go beyond a simple apology. In China, as exemplified by Li Haoshi’s current situation, an apology alone is unlikely to resolve the matter (read more about China’s canceled celebrities here).



“”We can do without talk show hosts or celebrities, but we cannot do without our soldier sons of the people!”

There is also a large group of netizens who argue that this discussion should not be about ‘freedom’ versus ‘boundaries’ at all, but instead should focus on the mere fact that the Chinese comedian deliberately insulted the “soldier sons of the people,” and in doing so, committing a crime according to the “Heroes and Martyrs Protection Law.”

Although Chinese state media have led narratives surrounding this controversy in which they stress the ‘sacredness’ of the PLA, its mission, and duties, there are many netizens who say they feel the same. House’s joke has triggered anger among Chinese social media users who emphasize the dedication of the PLA and condemn any jokes targeting them.

In many online posts, bloggers highlight the heroic actions of the PLA in the past and, using patriotic images of soldiers with national flags, remind people about how they selflessly rescued people during the Wenchuan Earthquake or persistently guarded the South China Sea.

One popular comment said: “We can do without talk show hosts or celebrities, but we cannot do without our soldier sons of the people!”

While online discussions surrounding the Li Haoshi controversy are ongoing, Chinese authorities have concluded that the joke constitutes a legal violation. As of May 18th, House’s social media account has been suspended, he has been boycotted by the China Association of Performing Arts, and the Beijing Police have announced their intention to investigate the case due to House’s alleged “severe insult to the People’s Liberation Army during his performance, causing a highly negative societal impact.”

Furthermore, Xiao Guo, the company representing House, has received an official warning and has had over 1.35 million yuan ($190,000) in “illegal gains” confiscated, along with a fine of 13.35 million yuan ($1.8 million) imposed by the police. In response to this penalty, the company has canceled all scheduled performances in China and terminated their contract with Li Haoshi.

Read more related articles:

◼︎ “Love the Motherland” – New Moral Guidelines for Chinese Performers Come Into Force
◼︎ Chinese Comedian Li Dan under Fire for Promoting Lingerie Brand with Sexist Slogan
◼︎ Female Comedian Yang Li and the Intel Controversy
◼︎ 25 ‘Tainted Celebrities’: What Happens When Chinese Entertainers Get Canceled?
By Zilan Qian and Manya Koetse, with contributions by Miranda Barnes

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