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China’s New Hit Drama ‘Nothing But Thirty’ Thrives in the “She Era”

Chinese latest hit drama ‘Nothing but Thirty’ has 20 billion views on its Weibo hashtag page.

Yin Lin Tan

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China’s latest TV drama hit Nothing But Thirty is flooding Weibo discussions. With over 20 billion views on its hashtag page, the show is one of the most popular shows of the season and demonstrates that China’s ‘she era’ (ta shidai 她时代) dramas are all the rage. What’s on Weibo’s Yin Lin Tan explains.

“Have you heard of ‘independent at the age of thirty’ (sān shí ér lì 三十而立)?” Wang Manni asks, her hair pulled back neatly and white shirt cleanly pressed. “I hope that, before I’m thirty, I’ll be promoted to supervisor.”

Riding on the wave of female protagonist (‘heroine’ 大女主) shows that have been taking over China’s entertainment scene, Nothing But Thirty (三十而已) is a 43-episode drama by Dragon Television that follows the challenges of three different women who have reached the ever-important age of thirty.

In a society where women are often expected to be married by their late twenties, a show like this, which tackles women’s present-day struggles, both in their personal and professional lives, has resonated with many.

In fact, the show is so popular that at the time of writing, the show’s hashtag (“Nothing But Thirty”, #三十而已#) has over 20 billion (!) views on Weibo.

 

Depicting the struggles of China’s thirty-something women

 

Nothing But Thirty revolves around the lives of three female leads from different walks of life. Gu Jia (Tong Yao) is a capable businesswoman turned full-time housewife; Wang Manni (Jiang Shuying) is an independent, career-oriented sales assistant; and Zhong Xiaoqin (Mao Xiaotong) is your run-of-the-mill office lady.

For Gu Jia, the birth of her son was what truly transformed her into a full-fledged housewife. In many ways, she seems like a perfect wife and mother: well-educated, capable, and thoughtful. But, eventually, she too has to face life’s challenges.

Driven and hardworking, Wang Manni is confident in both her looks and abilities. Her immediate goal, at least at the start of the show, is to achieve professional success. Throughout the show, her resilience is put to the test, personally and professionally.

Zhong Xiaoqin is described by many netizens as the most “average” or “normal” character. She is kind-hearted -sometimes to the point of being a pushover -, and has spent years at the same company without rising the ranks. Though her story might seem mundane at first, this peace is disrupted when her marriage takes a turn for the worse.

 

A story that resonates with the masses

 

“The show attracted wide attention, and it strongly resonated with female audiences. Many thirty-something working women saw their own lives reflected in the show,” Xinhua recently wrote about the show.

Nothing but Thirty currently carries a 7.6 out of 10 rating on Douban, an online reviewing platform.

Though some reviewers criticized how the later episodes of the show were unnecessarily draggy, most praised it for its portrayal of strong female characters, good acting, and largely realistic depiction of women above the age of thirty.

“I saw myself, and also saw the friends beside me,” a reviewer notes.

In China, women are, more often than not, burdened with expectations of getting married and settling down by the time they are in their late twenties. If you’re single and thirty, that’s made even worse.

Those who fall into this category carry the derogatory label of “leftover women” (剩女), a term that reflects how single women above the age of thirty are seen as consolation prizes or even unwanted goods.

Thirty is thus an incredibly important number, especially for women — something that’s clearly reflected in the show’s concept trailer.

Aside from societal expectations of starting a family, some women now also take it upon themselves to build their careers. In fact, you can chase after professional success without burdening yourself with the idea that you must be married – a notion exemplified by the character of Wang Manni.

Nothing But Thirty also showcases the sheer diversity of experiences for women above thirty: you don’t have to be married, you don’t have to be super capable, and you don’t have to be thinking about having children. Each woman goes through her own unique struggles and isn’t necessarily endowed with the so-called “protagonist’s halo.”

Ultimately, the popularity of the show is driven by the three female leads and the actresses who bring these strong characters to life.

By telling a story that is relatable and touches on relevant social issues, namely on expectations of women in society, Nothing But Thirty was able to achieve widespread popularity and is adding another notch on the trend of China’s ta shidai (她时代) dramas. 

 

The rise of ta shidai shows

 

Ta shidai literally translates to “her era” or “the ‘she’ era.”

Ta shidai shows explore what it’s like to be a woman in China today. The female characters are diverse when it comes to both their backgrounds and character arcs; they might have different jobs, different levels of education, or different personalities. These shows mostly center around a strong female lead and/or a main cast that is primarily female.

More importantly, they often feature capable women and how these women overcame the odds to achieve success.

Recent shows like The Romance of Tiger and Rose (传闻中的陈芊芊) and Sisters Who Make Waves (乘风破浪的姐姐) also fall under this category, as do somewhat older hit shows such as Ode to Joy (欢乐颂) and Women in Beijing (北京女子图鉴).

The Romance of Tiger and Rose is set in a society in which women are in charge and men are subordinate, in a daring reversal of gender roles. Though the show has been criticized for using social issues to attract attention, it gained a decent following for tackling topics like gender inequality and women’s rights.

The Romance of Tiger and Rose (传闻中的陈芊芊)

A reality TV competition that swept the Chinese entertainment scene, Sisters Who Make Waves attempted to rebuke stereotypes of women over 30 as “leftover women.”

The show brought together female celebrities above the age of 30 (the oldest competitor was 52), and had them go through a series of challenges, culminating in a girl group formed by the final competitors.

Nothing But Thirty is just another example of a show that’s attempted to depict the realistic struggles of women in modern-day China.

More Chinese dramas that feature women — specifically, their struggles and the expectations that society places on them — are slated to be released in 2020.

Over the past few years, more attention has been focused on women’s rights in China. As feminism becomes an increasingly important topic of discussion in China, strongly facilitated by social media and not without controversy, companies are likely to hop on the bandwagon and continue producing shows that fall squarely in the ta shidai category, given the genre’s rising popularity.

Though we can’t expect every single show to perfectly, accurately, and realistically portray women’s struggles, the fact that more stories like these are being produced already helps bring such conversations into the mainstream. 

Hopefully, the trend of ta shidai shows is a sign that these issues won’t just be tackled on camera, but in real life as well. 

 
Read more about Chinese TV dramas here.
 

By Yin Lin Tan

 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.

©2020 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

Yin Lin Tan is a Singapore-based writer and aspiring journalist specialized in culture and current affairs. She is particularly interested in exploring issues related to East Asia, with a special focus on China. Yin Lin can be reached at tylanin[at]gmail[dot]com.

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China Arts & Entertainment

Chinese Movie ‘Home Coming’ Becomes National Day Box Office Hit

China’s latest patriotic blockbuster ‘Home Coming’ focuses on Chinese diplomats as the saviours of overseas Chinese in times of trouble.

Manya Koetse

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China has got another patriotic box office hit this National Day holiday. ‘Home Coming’ (万里归途) is inspired by China’s overseas citizens protection response during the 2011 Libya crisis, and is sparking waves of nationalistic sentiments.

On October 1st, China’s National Day, the Chinese movie Home Coming (万里归途) became a trending topic on Chinese social media after its cinema debut on September 30. On Saturday, the movie’s box office sales hit 200 million yuan ($28 million) (#万里归途票房破2亿#).

The National Day holiday, which started on Saturday, is a common time for Chinese domestic movies – often patriotic ones – to hit the theaters. It is one of the most profitable times of the year for Chinese cinemas and also the time when the biggest domestically-produced films are boosted while Hollywood movies are limited.

The 2022 Home Coming war drama was directed by Rao Xiaozhi (饶晓志) and features major Chinese actors such as Zhang Yi (张译), Wang Junkai (王俊凯) and Yin Tao (殷桃).

The film tells the story of Chinese diplomats Zong Dawei (大伟与) and Cheng Lang (成朗), who are ordered to assist in the evacuation of overseas Chinese when war breaks out in North Africa in 2011. Just when they think they’ve successfully completed their mission, they learn they have to return to save a group of 125 compatriots who are still left behind.

The movie is said to be based on real events but it is set in the fictional Numia Republic (努米亚共和国). According to Chinese state media outlet China.org, Home Coming is inspired by an evacuation event in Libya in 2011, when the Chinese embassy reportedly evacuated more than 30,000 Chinese nationals in a time frame of 12 days.

At the time, Chinese official media called it “the largest such operation China had mounted abroad since the Nationalists fled in 1949” and Chinese nationals were evacuated from the war-torn Libya via land, sea, and air (Zerba 2015, 107).

On Weibo, there are many reviewers giving Home Coming a five-star rating, with some saying the movie moved them to tears. “I needed four tissues,” one movie-goer said, while another person complained that they forgot to bring any tissues to dry their tears. In light of the movie’s premiere, photos of people crying while watching the film also circulated online.

Although there were also a lot of fans who especially loved the role played by the super popular Wang Junkai, many movie-goers expressed pride in China after watching the movie, which revolves around the idea of finding one’s way back home – back to China.

Although Home Coming is said to be the first film about a Chinese foreign evacuation from a diplomat’s perspective, there have been multiple domestic movies over the past decade focusing on Chinese civilians needing to be rescued from chaos erupting abroad.

In Operation Red Sea (红海行动, 2018), which also stars Zhang Yi, a Chinese special task force sets out on a risky mission to evacuate civilians amid civil war in the fictional ‘Republic of Ihwea’ – loosely based on the evacuation of Chinese citizens from Yemen in 2015.

At the end of the Home Coming movie, a text showed up on the screen to remind Chinese viewers to always get in touch with the Foreign Ministry hotline for assistance if they find themselves in an emergency situation while abroad.

Chinese movie star Wu Jing (吴京) also makes a cameo appearance in this film. Wu is most famous for his role in Wolf Warrior 2, in which he plays a special forces soldier who battles foreign mercenaries and helps Chinese and African citizens during a local war in Africa.

“My love for my country reached a new height after seeing this film,” one person wrote, with others applauding the efforts of Chinese diplomats and saying they were so happy be a Chinese national.

While Home Coming was trending on Chinese social media, last year’s patriotic hit film also went trending at the same time (#长津湖首播收视率第一#): Battle at Lake Changjin was aired on TV for the first time by CCTV-6 on the evening of October 1st. To read more about why that movie became such a major success, check out our article here.

By Manya Koetse 

References

Zerba, Shaio H. 2015. “China’s Libya Evacuation Operation: a new diplomatic imperative – overseas citizen protection.” In Suisheng Zhao (ed), China in Africa: Strategic Motives and Economic Interests, p 100-120.

 

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China Brands & Marketing

About Lipstick King’s Comeback and His ‘Mysterious’ Disappearance

After Li Jiaqi’s return to livestreaming, the ‘tank cake incident’ has become the elephant in the room on social media.

Manya Koetse

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Earlier this week, the return of China’s famous livestreamer Li Jiaqi, also known as the ‘Lipstick King’, became a hot topic on Chinese social media where his three-month ‘disappearance’ from the social commerce scene triggered online discussions.

He is known as Austin Li, Lipstick King, or Lipstick Brother, but most of all he is known as one of China’s most successful e-commerce livestreaming hosts.

After being offline for over 100 days, Li Jiaqi (李佳琦) finally came back and did a livestreaming session on September 20th, attracting over 60 million viewers and selling over $17 million in products.

The 30-year-old beauty influencer, a former L’Oreal beauty consultant, rose to fame in 2017 after he became a successful livestreamer focusing on lipstick and other beauty products.

Li broke several records during his live streaming career. In 2018, he broke the Guinness World Record for “the most lipstick applications in 30 seconds.” He once sold 15000 lipsticks in 5 minutes, and also managed to apply 380 different lipsticks in another seven-hour live stream session. Li made international headlines in 2021 when he sold $1.9 billion in goods during a 12-hour-long promotion livestream for Alibaba’s shopping festival.

But during a Taobao livestream on June 3rd of this year, something peculiar happened. After Li Jiaqi and his co-host introduced an interestingly shaped chocolate cake – which seemed to resemble a tank, – a male assistant in the back mentioned something about the sound of shooting coming from a tank (“坦克突突”).

Although Li Jiaqi and the others laughed about the comment, Li also seemed a bit unsure and the woman next to him then said: “Stay tuned for 23:00 to see if Li Jiaqi and I will still be in this position.”

The session then suddenly stopped, and at 23:38 that night Li wrote on Weibo that the channel was experiencing some “technical problems.”

But those “technical problems” lasted, and Li did not come back. His June 3rd post about the technical problems would be the last one on his Weibo account for the months to come.

The ‘cake tank incident’ (坦克蛋糕事件) occurred on the night before June 4, the 33rd anniversary of the violent crackdown of the Tiananmen student demonstrations. The iconic image of the so-called ‘tank man‘ blocking the tanks at Tiananmen has become world famous and is censored on China’s internet. The control of information flows is especially strict before and on June 4, making Li’s ‘tank cake incident’ all the more controversial.

But no official media nor the official Li Jiaqi accounts acknowledged the tank cake incident, and his absence remained unexplained. Meanwhile, there was a silent acknowledgment among netizens that the reason Li was not coming online anymore was related to the ‘tank cake incident.’

During Li’s long hiatus, fans flocked to his Weibo page where they left thousands of messages.

“I’m afraid people have been plotting against you,” many commenters wrote, suggesting that the cake was deliberately introduced by someone else during the livestream as a way to commemorate June 4.

Many fans also expressed their appreciation of Li, saying how watching his streams helped them cope with depression or cheered them up during hard times. “What would we do without you?” some wrote. Even after 80 days without Li Jiaqi’s livestreams, people still commented: “I am waiting for you every day.”

On September 21st, Li Jiaqi finally – and somewhat quietly – returned and some people said they were moved to see their lipstick hero return to the livestream scene.

Although many were overjoyed with Li’s return, it also triggered more conversations on why he had disappeared and what happened to him during the 3+ months of absence. “He talked about a sensitive topic,” one commenter said when a Weibo user asked about Li’s disappearance.

One self-media accountpublished a video titled “Li Jiaqi has returned.” The voiceover repeatedly asks why Li would have disappeared and even speculates about what might have caused it, without once mentioning the tank cake.

“This cracks me up,” one commenter wrote: “On the outside we all know what’s going on, on the inside there’s no information whatsoever.”

“It’s tacit mutual understanding,” some wrote. “It’s the elephant in the room,” others said.

Some people, however, did not care about discussing Li’s disappearance at all anymore and just expressed joy about seeing him again: “It’s like seeing a good friend after being apart for a long time.”

By Manya Koetse 

Elements in the featured image by @karishea and @kaffeebart.

 

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©2022 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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