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China’s Woman Warrior Goes America Again: The Disneyfication of Mulan

The story of Mulan is ingrained in Chinese culture, but Disney has made her an international classic.

Manya Koetse

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Disney’s upcoming live-action remake of Mulan has become a recurring topic of debate on social media recently. The movie is much-anticipated in China, but there are also critical voices suggesting the American Disney company “doesn’t understand China at all.” How ‘Chinese’ is Disney’s Mulan really? 

Ever since news came out that Disney would turn Mulan into a live-action movie the topic has been frequently popping up in the top trending lists on Chinese social media.

The movie has been especially top trending on Weibo this week since the official trailer was released.

Mulan is the much-anticipated live-action remake of Disney’s 1998 animated Mulan movie, which tells the story of the legendary female warrior Hua Mulan (花木兰) who disguises as a man to take her father’s place in the army.

Over recent years, Disney has released and announced the live-action adaptations of many of its animated classics. Remakes such as Cinderella (2015), The Jungle Book (2016), Beauty and the Beast (2017), Dumbo (2019), and Aladdin (2019), have all been successful and, besides Mulan, they are now being followed up by the remakes of The Lion King, The Little Mermaid, Lady and the Tramp, and The Hunchback of Notre Dame.

Disney’s new Mulan movie is directed by the New Zealand film director Niki Caro.

The role of Mulan will be played by the (mainland-born) Chinese American actress Crystal Liu Fei (刘亦菲). The film also features Yoson An as Mulan’s love interest, Tzi Ma as Mulan’s father, Donnie Yen as Mulan’s Commander mentor, Gong Li as the evil witch, Jason Scott Lee as the enemy warrior leader, and Jet Li as the Emperor of China.

 

MULAN: WEIBO MANIA AND CRITICISM

Americans really have no idea about China.

Since the story of Mulan is a Chinese legend that has a history of over 1500 years in China, Chinese audiences are particularly invested in the topic of the upcoming Disney movie. Every new detail concerning Mulan seems to become another trending topic on social media.

On Weibo, “Disney’s Mulan” (#迪士尼花木兰#) has seen over 420 million views by now, while the hashtag “Mulan Trailer” (#花木兰预告#) alone received a staggering 1.2 billion views.

Following the release of the movie poster made by Chinese visual artist Chen Man, the relating hashtag (#花木兰海报是陈漫拍的#) was viewed more than 260 million times.

A topic dedicated to the missing Mushu, a talking dragon that is the closest companion to Mulan in the animated film, also received 310 million views (#花木兰里没有木须龙#).

Online discussions on Mulan show that there already is quite a lot of criticism on the movie and its historical accuracy, even though its release is still months away.

Some commenters criticized Mulan’s makeup in one of the movie scenes as being too exaggerated and unflattering.

The fact that the actors in the movie all speak English also did not sit well with some people, writing: “Why is it all in English?!” and “I understand the logic, but why would a group of Chinese people speak English while it’s filmed in China? Even if it’s a Disney movie, it seems awkward.”

Another controversy that has been especially making its rounds for the past few days is the one relating to the traditional tulou round communal residences that are featured in the movie trailer (#花木兰 福建土楼#, 170 million clicks).

The tulou are Chinese rural, earthen dwellings. Although the buildings are part of Chinese traditional architecture, they are also unique to mountainous areas in Fujian province. Not only is Mulan not from Fujian, her story also takes place long before these tulou were built – something that many Chinese netizens find “nonsensical” and “distracting.”

“Americans really have no idea about China,” some people on Weibo commented, with others writing: “We can’t expect Disney to research everything, but they can’t not do research. They shouldn’t let Mulan live in a tulou just because it looks pretty, she is not from Fujian!”

“Why on earth would she live in a tulou,” others write: “Isn’t she a northerner?”

“Foreigners just don’t understand China,” one among thousands of commenters said.

Another Weibo user writes: “Americans should first thoroughly understand the Northern and Southern Dynasties, and Chinese geography, and Mulan’s ethnic background, and then they can give it another try.”

 

FROM SELF-SACRIFICE TO SELF-DISCOVERY

The meaning of the story of Mulan varies depending on how it is told, when it is told, and by whom it is told.

Although many people outside of China only know about Mulan through the 1998 Disney animation that made the story of this Chinese warrior go global, Hua Mulan’s story has seen continued popularity in China for more than a thousand years.

The first known written version of the Mulan legend is the anonymous sixth-century Poem of Mulan (木兰辞), followed by other plays and novels in the sixteenth and seventeenth centuries (Edwards 2016, 19-20; Li 2018, 368).

Especially since the twentieth century, the story of Mulan has become a recurring theme in China’s popular culture, appearing in various plays, movies, TV series, operas, and even in games. Some of China’s earliest films were about Mulan; from 1927 to 1939, three different films came out on the female heroine, all titled Mulan Joins the Army (木兰从军).

“Mulan Joins the Army” is a 1939 Chinese historical war about the legend of Hua Mulan.

The meaning of the Mulan legend varies depending on how it is told, when it is told, and by whom it is told. The story has seen a centuries-long period of change and development, with different perspectives being presented depending on the region and genre (Kwa & Idema 2010, xii).

The basic outline of the story is always the same: Mulan is the daughter who disguises as a man to protect her father and take his place in the army, where she fights for twelve years before being promoted to a high-ranking position by the emperor. Mulan declines and asks for an honorable discharge instead, so she can return home to her family. Once she is home, Mulan changes into women’s clothing again.

Chastity, filial piety, feminism, perseverance, sacrifice, militarism, patriotism – the Mulan story has it all, but which motives are given prominence is always different. Within China, the Mulan narrative is related to issues of China’s national identity and political goals.

“Mulan: Rise of a Warrior” is a live-action film produced in mainland China in 2009.

In Chinese literary versions before the twentieth century, Mulan is presented as a northerner of uncertain ethnicity, a figure of resistance, who sacrifices her own safety to protect her father and show filial piety. Confucian values and the importance of family are at the core of the Mulan story (Edwards 2016, 19-20).

In Chinese versions after the twentieth century, Mulan is implicitly presented as being Han Chinese and as a “loyal patriot defending China.” The focus is no longer solely on Mulan giving up her own freedom for the sake of her father; it is her militarised sacrifice to the state and the importance of patriotism that is highlighted instead (ibid., 19-20).

With Disney’s 1998 adaptation of Mulan as an animated film, the main focus of the story was again shifted. Disney presented Mulan not so much as a patriot or as a Confucian daughter, but as a somewhat goofy and free-spirited young woman on her “Americanized self-realization journey” (Li 2018, 362-363).

Mulan’s individual coming of age and feminist story is echoed in the film’s Reflection song, in which Mulan sings:

I am now
In a world where I have to hide my heart
And what I believe in
But somehow
I will show the world
What’s inside my heart
And be loved for who I am

Although the narrative of the young woman who finds her own true voice resonated with many around the world – Mulan became an international box office smash hit -, it did not resonate with Chinese audiences.

In China, the Disney film grossed only about one-sixth of its expected box office income and was even among the lowest scoring big imported US films since 1994 (Li 2018, 362-363).

According to scholar Lan Dong, the Mulan flop in China indicated Disney’s failure to anticipate how the film would be received in China and how the Chinese audience’s familiarity with Mulan’s story had already shaped their expectations of the film (ibid.): Disney’s Mulan clearly was not the same as China’s Mulan.

 

THE DISNEYFICATION OF A CHINESE FOLK HEROINE

The animated Mulan film clearly Disneyfied the story by playing into various American stereotypes of feudal China.

But who is “China’s Mulan”? And who is “Disney’s Mulan”?

As described, Chinese versions of Mulan have significantly changed through times. And Disney’s Mulan of 2020 is also very different from the Disney princess that stole the hearts of viewers around the world in 1998.

Judging from the trailer, the upcoming Mulan will be a much more serious movie that focuses on the action and martial arts, and seems to represent Mulan as a self-sacrificing woman warrior (nothing goofy).

There’s an apparent risk in this route taken by Disney. On Chinese social media, the complaints about the movie relate mostly to the movie not being ‘Chinese’ enough when it comes to historical accuracy and language.

In English-language media, the movie is criticized for omitting the talking dragon and the songs and for “bowing to China’s nationalistic agenda” with its patriotic theme (Jingan Young in The Guardian, also see Vice).

The Disney company aims to entertain children and adults all around the world. In doing so, they convert “cultural capital” to “economic capital”1 and create content with universal appeal for global audiences, virtually always requiring commercial concessions to adapt to tastes and expectations of their mass audience.

Mulan merchandise, image via mouseinfo.com.

Since tastes and audience expectations change over time, it seems logical for Disney to make different choices for its Mulan feature film in 2020 than it did in 1998, and not only because the company might have learned from its past mistakes in mainland China. China’s role in the world, and how people view China, has also greatly changed over the past twenty years.

National cultures, stories, and legends go through a process of ‘Disneyfication’ once they became part of the Disney canon. The term ‘Disneyfication’ has been coined since the 1990s to describe this phenomenon and has been used in various ways since.

Speaking of globalization and literature, author David Damrosch (What is World Literature?, 2003) uses ‘Disneyfication’ to describe how many foreign literary works will only be translated and sold in the West when its content ‘fits’ the image audiences have of that certain culture. What remains is actually a ‘fake’ cultural product that holds up certain stereotypes and clichés in order to please the audience (Koetse 2010).

In the 1998 animated film, Mulan was clearly ‘Disneyfied’ by playing into various American values and stereotypes of feudal China that were most dominant at the time.

Although the upcoming Mulan movie will be very different from its animated predecessor, we already know that it will play with some of those stereotypes again in a way that you could call ‘market realistic’: viewers will see an English-speaking Mulan that lives in a traditional Fujian tulou building. Some of the sceneries and settings will have absolutely nothing to do with the authentic story, but much more to do with how viewers around the world now imagine China.

The movie will undoubtedly present folk heroine Mulan and ancient China in a way that is aesthetically pleasing and accessible, making Mulan and her story easy to understand, digest, and love.

 

WHOSE MULAN IS IT ANYWAY?

For many Chinese viewers, Mulan has become ‘too American’, while foreign media criticize the film for being ‘too Chinese.’

The irony in the criticism that has emerged over Disney’s Mulan recently, is that in the eyes of many Chinese viewers, Mulan has become ‘too American’, while foreign media criticize the production for being ‘too Chinese.’

This is by no means the first time the Disney company is under attack for the way in which it adapts local legends or stories into international feature films.

With Pocahontas, Disney was accused of “whitewashing horrific past,” the Moana movie was said to show “insensitivity to Polynesian cultures,” some critics found Aladdin to be “rooted by racism and Orientalism,” and recently, Disney’s choice to cast a black actress for the remake of The Little Mermaid triggered controversy for removing “the essence of Ariel.”

There are two sides to the controversial ‘Disneyfication’ coin. On the one hand, one could argue that some of the cultural value of the original local myths, legends, and stories are lost once they are transformed and simplified to satisfy mass market demand.

On the other hand, the Disney corporation also truly makes these local stories go global and in doing so, further adds to their cultural significance and worldwide recognition.

Mulan is now a Chinese legend that has gone beyond its borders and is no longer ‘truly Chinese’ – whatever that might mean. She has become a part of people’s childhood memories and popular culture in many countries around the world.

Just as The Little Mermaid no longer solely belongs to the realm of feudal Nordic folklore, Quasimodo no longer just exists in French literary canon, and just as Aladdin has become so much more than part of the The Thousand and One Nights, Mulan has also come to represent more than a Chinese folk heroine. She has become a world-famous woman warrior whose story will keep evolving for the years to come.

About the upcoming Mulan movie and its criticism, one Weibo commenter writes: “I find it hard to understand why people are so fussy. They have a problem with Mulan’s make-up, or with the fact that there’s no singing and no Mushu, or with the scenery. This is a movie. It can only stay close to the original work, but it will never be the original work.”

Luckily for Disney, many Chinese viewers are still very keen to watch the Mulan premiere despite – or perhaps thanks to – the ongoing controversies. The casting of Liu Fei as Mulan has also been met with praise and excitement.

Popular Weibo law blogger Kevin (@Kevin在纽约) writes: “On the first day that the trailer for Disney’s live-action Mulan was released, it had 175.1 million global views, making it the number two Disney adaption. The number one is The Lion King which had 224.6 global views [on its first day]. Although the Americans made Mulan live in a tulou, and made her speak English with a Chinese accent, it all won’t prevent Hua Mulan from having great success in 2020.”

Other netizens also agree, and they do not seem to mind sharing ‘their’ Mulan with the rest of the world.

“Some people are being too obstinate,” one female Weibo user writes in response to all the criticism: “This is the American Disney company, and all princesses speak English first. Jasmine in Aladdin also did not speak Arabic. I gather that in the film there will definitely be some subjective ideas or errors based on Western conceptions of China. As Chinese, we might find them misrepresentative or laughable. But from the trailer, I can already see that [this film] matches our esthetics and imagination. Most importantly, this film expresses the strength and beauty of Chinese women, and of women in general – that’s what matters.”

Discussions on Disney’s Mulan will certainly continue in the time to come. The movie is scheduled to be released in theatres on March 27 of 2020.

Too Chinese? Too American? Too Disneyfied? Too patriotic? Disney’s Mulan might not please all viewers. Fortunately, there are and will be dozens of other Mulan versions providing viewers and readers with new and different perspectives on the centuries-old legend. But who is the ‘real’ Mulan in the end? We’ll probably never know.

By Manya Koetse

1 (Harris 2005, 50).

Dong, Lan. 2010. Mulan’s Legend and Legacy in China and the United States. Bibliovault OAI Repository, the University of Chicago Press.

Edwards, Louise. 2016. “The Archetypal Woman Warrior, Hua Mulan: Militarising Filial Piety.” In: Women Warriors and Wartime Spies of China, pp. 17-39.
Cambridge: Cambridge University Press.

Harris, David. 2005. Key Concepts in Leisure Studies. SAGE Key Concepts. London: SAGE Publications Ltd.

Koetse, Manya. 2010. “The Imagined Space of Chinatown: An Amsterdam Case Study.” Leiden University, https://www.manyakoetse.com/the-imagined-space-of-chinatown/ [July 12, 2019].

Kwa, Shiamin and Wilt I. Idema (eds). 2010. Mulan: Five Versions of a Classic Chinese Legend with Related Texts.” Indianapolis/Cambridge: Hackett Publishing Company.

Li, Jing. 2018. “Retelling the Story of a Woman Warrior in Hua Mulan (花木兰, 2009): Constructed Chineseness and the Female Voice.” Marvels & Tales 32 (2): 362-387.

Young, Jingan. 2019. “The Mulan trailer is a dismal sign Disney is bowing to China’s nationalistic agenda.” The Guardian, July 8 https://www.theguardian.com/film/2019/jul/08/mulan-trailer-is-a-dismal-sign-disney-is-bowing-to-china-anti-democratic-agenda [July 12, 2019].

Spotted a mistake or want to add something? Please let us know in comments below or email us. Please note that your comment below will need to be manually approved if you’re a first-time poster here.

©2019 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com

Manya Koetse is the editor-in-chief of www.whatsonweibo.com. She is a writer and consultant (Sinologist, MPhil) on social trends in China, with a focus on social media and digital developments, popular culture, and gender issues. Contact at manya@whatsonweibo.com, or follow on Twitter.

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Backgrounder

How Chinese Kuaishou Rebel ‘Pangzai’ Became a Twitter King

He’s been called a ‘Twitter king’, but how did the unexpected online fame of this ‘Hebei Pangzai’ start?

Jessica Colwell

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Twitter has fallen in love with a Chinese farmer after his drinking videos on Kuaishou were cross-posted abroad and went viral. He has embraced his new fans and Western social media, arguably becoming one of China’s most successful cultural ambassadors of the year.

He describes himself as the “inventor of tornado beer drinking style” and as an “ordinary peasant from China.” ‘Hebei Pangzai’ only joined Twitter in August of 2019, but he already has a Twitter following of more than 111.6K.

Although his account is temporarily restricted by Twitter at time of writing (“due to suspicious activity”), his popularity is only growing. Some Twitterers, such as the China twitterer Carl Zha (@CarlZha), are even initiating a “#FreePangzai campaign” to restore the account of the “one true King.”

But where and when did the online fame of ‘Hebei Pangzai’ start?

Let’s begin our introduction to Pangzai with one tweet from March of this year, when Twitter user ‘Hunnaban Trenchboss’ posted a video from Chinese short video app Kuaishou (快手) showing a man – ‘Pangzai’ – wearing sunglasses and smoking a cigarette while preparing an incredible mixed drink.

The man in the video smoothly pops the cap off a bottle of beer with a chopstick, pours some in a large jar, then twirls the bottle and propels the rest of the beer in a tornado of force down his throat.

He follows that up by pouring in more beer, some blue liquor, an egg, some Pepsi, and a hefty glass of baijiu – which he dumps in only after lighting it on fire, igniting his finger, and coolly lighting his cigarette. He then chugs the entire concoction in a matter of seconds.

“How do I become as cool as this guy, The Coolest Guy?”, the tweet said.

The same video was shared again in August by a few Russian accounts, was retweeted by an American account, and then went completely viral, racking up millions of views and tens of thousands of retweets.

That video has now been viewed almost 12 million times on Twitter, and has inspired tens of thousands of fans who herald him as ‘king.’

The man in the video referred to as ‘Pangzai’ (胖仔, ‘chubby dude’) is Liu Shichao (刘世超), a 33-year-old farmer and small-time Chinese internet celebrity from a city called Xingtai in Hebei Province.

According to an interview with Technode, he found out about the video on Twitter when some of his new foreign fans opened Chinese social media accounts to find him and tell him about his overnight online fame.

“One message told me that I was a celebrity now in America,” he told Technode: “So I chatted with the person [who sent the message] for a whole day, with the help of translation software.”

Within two days of his video going viral, Pangzai had figured out how to use a VPN, opened his own Twitter account and started uploading videos.

He even posted a reply on the original viral video to alert everybody to his account.

Liu’s early response to his viral video on Twitter.

Since then, Liu ‘Pangzai’ has amassed over 111,000 followers and has posted many more videos of everything from drinking, to cooking, to exploring his countryside hometown.

But it was the drinking videos specifically that earned him his following, both abroad and in China.

 

IT STARTED ON KUAISHOU

“Pangzai epitomizes the typical Kuaishou account.”

 

Liu began his internet career three years ago on Kuaishou, a Chinese short video app massively popular among China’s lower-tier cities and countryside.

In contrast to the polished, celeb-heavy platform Douyin, which is most popular among urban youths, Kuaishou is a platform for the masses. Its users are known for their crazy antics and general disregard for personal safety.

Liu Shichao’s Kuaishou account has 354,000 followers, but the majority of his videos have been removed.

Pangzai epitomizes the typical Kuaishou account. Posting under the handle “Chubby Dude from Hebei” (@河北胖仔), he uploads videos of himself eating and drinking in eye-popping combinations, or sometimes smashing things – from bricks to unopened water bottles – with his bare hands.

Liu’s video of breaking bricks with his hands was also popular on Twitter.

Liu also gained notoriety, and a couple hundred thousand followers, from his mastery of the so-called ‘beer tornado technique’ (小旋风 xiǎo xuànfēng).

According to an interview with the BBC, he peaked at 470,000 followers on Kuaishou and was monetizing his online fame with some 10,000 RMB ($1420) per month.

Liu’s signature beer tornado technique features in the first video he posted to Twitter.

Unfortunately for Liu, China’s Cyberspace Administration announced a crackdown on vulgar and illegal content across multiple social media platforms in spring of 2018, with a focus on Douyin, Kuaishou, and its sister news company Jinri Toutiao. Kuaishou was pulled from app stores until it cleaned up its act.

It is unclear just how many videos and accounts have been removed as a result of the cleanup. We can get a rough idea from an announcement by Kuaishou earlier this year that in March of 2019 alone, it removed an average of over 11,000 videos and blocked almost 1,000 accounts every day.

The result for Liu was that his account was suspended for four months and the majority of his most popular videos, including the one that went viral abroad, were removed for promoting ‘unhealthy drinking habits.’

When you look at his Kuaishou account today, you won’t see many videos focused solely on baijiu and beer chugging.

The videos that remain on his account do include drinking (and his signature tornado move) but it is always accompanied by eating food or some other activity (such as sitting deep in a field of corn, munching on roast duck and dribbling baijiu down a corn leaf into a glass.)

In a video posted to Kuaishou, Liu pours baijiu into a glass from a corn leaf, before then lighting it on fire and chugging it.

Liu still has 354,000 followers on Kuaishou. His Chinese fans, like his foreign ones, marvel at his cool and collected manner as he eats and drinks all sorts of disgusting things.

Canned herring features heavily in his most popular recent videos, where he can be seen sipping the juice directly from the can.

In one of his videos on Kuaishou, Liu eating herring directly from the can, to the disgust of his fans.

“This has to be the most unaffected anyone has ever been by eating canned herring,” says one fan. “The flavor is disgusting! 99.9% of people who try this would vomit,” another online commenter replies.

 

AN UNEXPECTED TWITTER KING

“Liu is like many young men from the countryside of Northern China: open, friendly, humble, and genuinely excited to share his life.”

 

This year, Liu seems to have embraced his newfound international stardom with grace and savvy.

He uses Twitter’s in-app translation to help him communicate with fans and has been highly interactive on the platform.

Liu ‘Pangzai’ was also quick to open up a Paypal account and share it with followers, and has recently made YouTube and Instagram accounts to prevent scams pretending to be him. He has also collaborated with a Twitter fan to sell T-shirts online in America.

Many online fans have dubbed him ‘king’, perhaps the highest praise one can receive on the internet today.

But in contrast to the sunglasses and chill demeanor of his videos, Liu does not appear to be an internet celebrity overly obsessed with being cool.

Instead, he is like many young men from the countryside of Northern China: open, friendly, humble, and genuinely excited to share his life (and drinking habits) with the rest of the world.

Liu began using translation software to communicate with fans soon after joining Twitter.

After reposting all of his old drinking videos from Kuaishou, Liu started asking Twitter fans what they would like to see from him. Many responded that they wanted more about his life in rural China.

He has since followed up with videos showing him fixing a pipe with his friends, exploring his local market, cooking sweet potatoes, and, of course, a tutorial on how to master the ‘tornado beer’ technique.

Liu explaining on Twitter how to perform the tornado beer technique that helped make him famous.

Many have expressed concern for his health in light of his drinking habits, but he has assured everybody that everything he does is “within his ability” and that he doesn’t drink like that very often.

Liu is grateful for all the support and praise he has received from abroad. “It’s crazy to have all of these foreign friends all of a sudden,” he recently said in an interview with Deadspin: “I really have to thank them a lot. If I have a chance I will find them and we can drink together.”

Seemingly to that end, Liu has recently organized a party to be held near his hometown in China, exciting fans all over the world and spurring many to apply for passports and visas.

Once Liu began inviting people to his party, he changed the date and location in order to accommodate more attendees.

The date is set for December 14, 2019 in Zhuamadian City, Hebei Province; too soon for many to make it, but he promises another party in the spring. There is talk also of organizing a visit for Liu ‘Pangzai’ to go to America.

 

WINDOW INTO CHINESE SOCIAL MEDIA

“Liu’s growing notoriety abroad seems to have flown completely under the radar of the Chinese internet.”

 

Although there are many vloggers like Pangzai in China, he stands out on Twitter as some sort of window into Chinese social media, especially because this online world is usually so separate from the Western realms of social media.

The recent explosive growth of Chinese social media apps such as TikTok has not done much to facilitate this kind of cultural interaction between China and the West.

Although Tiktok is, in fact, a Chinese app (called Douyin 抖音 in China), there are actually two different versions of the same app in mainland China and abroad, meaning that the other ‘Pangzais’ of the Chinese internet still remain within the social media spheres of the PRC, rarely gaining fame outside of the Great Firewall.

In China, aside from his fans on Kuaishou, Liu’s growing notoriety abroad seems to have flown completely under the radar of the Chinese internet. He is mentioned only one or two times across Weibo, and searches for his name and handle on WeChat, Baidu, and various Chinese tech news sites bring up nothing.

Liu is a rare example of genuine soft power coming out of China. A pure, grassroots man of the people with strong cultural appeal who sincerely enjoys sharing his life and his culture with the rest of the world. His tweets are full of affection and appreciation for his fans, as well as frequent prompts for followers to share their own lives and customs of their home countries.

To watch his introduction to Twitter and rise to fame is to see the best of the internet: cultural interaction, genuinely shared delight, and mutual admiration inspired by hilarious antics caught on camera.

His Twitter fans express their hope that Twitter Support will soon lift the temporary ban on their ‘Twitter king.’ To them, it’s perfectly clear: this online king is nowhere near dead, long live Pangzai!

Follow the #FreePangzai hashtag on Twitter.

Update: Panghaizi is out of Twitter jail!

 
Want to read more about unexpected online celebrities from China? Also see:
The Story of Two Farmers Who Became Internet Celebrities;
The “Vagrant Shanghai Professor”;
From Farmgirl to Fashionista: Weibo Celebrity Fairy Wang.

 

By Jessica Colwell
Follow @whatsonweibo

Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

©2019 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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China Celebs

“Living a Nightmare” – Chinese Beauty Guru Yuya Mika Shares Shocking Story of Domestic Abuse

Famous makeup artist Yuya Mika shared her story in a video that has since gone viral on Weibo.

Manya Koetse

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First published

Chinese famous makeup vlogger Yuya Mika has come out and shared her experience of being physically abused by her former boyfriend. Yuya’s story – told in a documentary-style video that is now going viral – does not just raise online awareness about the problem of domestic violence, it also shows the raw realness behind the glamorous facade of China’s KOLs’ social media life.

Fashion and makeup blogger He Yuyong, better knowns as Yuya (宇芽) or Yuya Mika (@宇芽YUYAMIKA), has gone viral on China’s social media platform Weibo for sharing her personal story of suffering domestic abuse at the hands of her ex-partner.

On Monday afternoon, November 25 – which is the International Day for the Elimination of Violence against Women – Yuya, a KOL (Key Opinion Leaders/online influencer) who has over 800,000 followers on her Weibo account, wrote: “I’m a victim of domestic violence. The past six months, I feel like I’ve been living a nightmare. I need to speak up about domestic violence here!”

With her post, Yuya shared a 12-minute documentary-style video in which she tells how she has been abused by her partner of one year, with whom she has now separated.

The short doc does not just tell Yuya’s story, it also features the experiences of her former partner’s ex-wives, who allegedly also suffered domestic violence at his hands.

Besides the shocking accounts of the women, the video contains also footage of Yuya’s ex-boyfriend trying to violently drag her out of an elevator – a moment that was caught on security cameras in August of this year.

Yuya identifies her former boyfriend and abuser as the 44-year-old artist and Weibo blogger ‘Toto River’ (@沱沱的风魔教), who was married three times before starting a relationship with the famous beauty blogger.

The two met each other through social media, and Yuya initially fell for his talent and kindness. But, as she says, his perfect social media image soon turned out to be nothing but a fake facade, and the nightmare began.

The beauty blogger explains that the domestic violence went hand in hand with mental abuse, with Yuya being brainwashed into believing she was lucky to be with a man such as her boyfriend.

As the abuse became a regular occurrence, Yuya tearfully explains how she sometimes could not work for a week because her face was too bruised for shooting videos.

Yuya also writes on Weibo that she shares her story so that the experiences she and her ex-boyfriend’s former wives suffered will not happen to other women, and to warn others from ending up in a similar situation.

Meanwhile, the Weibo account of Yuya’s former boyfriend has been closed for comments.

Yuya Mika is not just popular on Weibo and video ap Tiktok. The beauty guru – famous for doing imitation makeup of celebrities and famous icons such as Mona Lisa – also has over 750k fans on her Instagram account and thousands of subscribers on her YouTube Channel, where she posts makeup tutorials.

Yuya Mika as Mona Lisa.

Yuya is part of the company of Papi Jiang (aka Papi Chan), a Chinese vlogger and comedian who became an internet celebrity in 2016. On Tuesday, the Papi Jiang company also responded to Yuya’s video, saying they fully support the makeup artist in coming forward with her story.

At time of writing, Yuya’s story has been shared over 425,000 times, with a staggering thread of more than 280,000 comments on Weibo.

Many commenters respond in shock that the tearful woman in the video is actually Yuya, as the makeup artist is usually always smiling and shining in front of the camera. Other Weibo users express their hopes that Yuya’s ex-boyfriend will be punished for what he did.

With over 160 million views, the hashtag “Yuya Suffers Domestic Abuse” (#宇芽被家暴#) is now in the top five of most-discussed topics on Weibo.

Over the past few years, the issue of domestic violence has received more attention on Chinese social media, especially since China’s first national law against domestic violence came into effect on March 1, 2016. More women have come forward on Chinese social media to share their personal experiences with domestic abuse.

According to Chinese media reports of Tuesday afternoon, local authorities are currently investigating Yuya’s story.

By Manya Koetse, with contributions from Miranda Barnes
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