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China Arts & Entertainment

Chinese Anti-Bullying Movie “Better Days” Becomes Hit at Box Office and on Social Media

Chinese movie ‘Better Days’ is praised by online celebrities and experts for addressing the problem of campus bullying.

Chauncey Jung

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The Chinese movie Better Days (少年的你) is a hit; not just in Chinese cinemas, but also on social media, where campus bullying – one of the film’s main themes – is a recurring topic of debate.

Over the past week, Chinese movie Better Days (少年的你), by Hong Kong director Derek Kwok Cheung Tsang and produced by Jojo Hui, has continued its extraordinary performance in movie theaters across China.

The drama movie, starring two popular celebrities Jackson Yi (易烊千玺) and Zhou Dongyu (周冬雨), reached more than 1.4 billion CNY (almost 200 million US$) in box office revenue this week, already making it one of the most lucrative movies of this year.

Better Days is noteworthy for its narrative, which focuses on campus-bullying. In the film, high school student Chen Nian (Zhou Dongyu) is struggling with the stress of her gaokao exams when her best friend, who is bullied by a group of girls at school, commits suicide by jumping off a building.

While mourning over the loss of her friend and dealing with the aftermath of her suicide, Chen becomes a bullying target herself. The story takes a turn when she meets the small criminal Xiao Bei (Jackson Lee).

China’s bullying problem, central to this movie, has been an ongoing topic of discussion in online media over the past few years.

In 2016, a prominent elementary school in Beijing ended up at the center of controversy when various bullying incidents came to light. In that same year, a mother’s social media article on her son’s severe bullying at school went viral and triggered heated discussions.

In 2017, one bullying case became big news after a student from a Beijing-suburb area junior high school was reportedly forced to swallow feces from the restroom by his fellow classmates.

According to Chinese media outlet Caixin, China has yet to have specialized legislation against bullying. A 2016 study suggests that one-third of Chinese students experience school bullying on a frequent or occasional basis, and the bully problems are even more serious in rural areas, where more than 40% of the school-age children experienced some kind of bullying during their school life.

The heightened use of social media among China’s younger generations seems to have only aggravated the bullying problem, with campus violence and bullying being filmed and published online, making victims more vulnerable to further harassment. “Extreme bullying videos” even became a concerning online trend over the past years.

Some argue that China’s current legislation on protecting underage children is, in fact, protecting the bullies rather than those being bullied. A China News Service news report suggests that while most bullies are also individuals under 18 years old, penalties of bullying are also undermined because of the protective provisions in the current legal systems on minors.

In addition to calls to toughen related legislation, media commentaries are also calling for more resources to eradicate the bullying culture and toxic environment on campus. Chinese state media outlet Xinhua, for example, recently suggested the problem should be addressed through family education, counselling services, and more training for teachers and practitioners.

By addressing the issue of campus bullying in China, Better Days seems to have won the favor of moviegoing audiences in China. On the Chinese movie commentary site Douban, the film is receiving hundreds of positive comments and high ratings. The movie currently has a Douban score of 8.4 and a 98% “recommendation rate” on Weibo.

Better Days is also praised by online celebrities and experts. Renowned Chinese sociologist Li Yinhe (李银河), actress Ma Yili (马伊琍), and historian Yi Zhongtian (易中天) all complimented the great acting and the themes of the movie recently.

On Weibo, the movie has become tied to anti-bullying campaigns, with people sharing their own experiences and stories on school bullying and linking the film to hashtags such as “Unite in saying no to campus bullying” (#一起对校园欺凌说不#) or “How to combat campus violence” (#校园暴力到底该如何解决#).

By now, the movie’s hashtag (“Movie Better Days” #电影少年的你#) has seen over 540 million views on Weibo.

See the trailer of Better Days here (with English subtitles). Better Days is still airing in cinemas across China and is also played at various theaters in Europe, America, and Australia.

By Chauncey Jung

Edited by Manya Koetse
Follow @whatsonweibo

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

Chauncey Jung is a China internet specialist who who previously worked for various Chinese internet companies in Beijing. Jung completed his BA and MA education in Canada (Univ. of Toronto & Queen's), and has a strong interest in Chinese trends, technology, economic developments and social issues.

2 Comments

2 Comments

  1. Avatar

    John

    January 2, 2020 at 9:51 am

    Thank you for this explaination. Endeed it look like a great movie.
    and yes, lot of comments on weibo actually. 😉
    I will have a look. 😉

  2. Avatar

    geometry dash

    February 11, 2020 at 3:49 am

    I cried a lot when I watched this movie. Even the cuts also touched me. the content is a masterpiece

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China Arts & Entertainment

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

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

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China Arts & Entertainment

Two Hour Time Limit for KTV: China’s Latest Covid-19 Measures Draw Online Criticism

China’s latest COVID-19 infection prevention and control measures are drawing criticism from social media users.

Manya Koetse

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First published

No more never-ending nights filled with singing and drinking at the karaoke bar for now, as new pandemic containment measures put a time limit as to how long people can stay inside entertainment locations and wangba (internet cafes).

On June 22nd, China’s Ministry of Culture and Tourism (文旅部) issued an adjusted version to earlier published guidelines on Covid-19-related prevention and control measures for theaters, internet cafes, and other indoor entertainment venues.

Some of the added regulations have become big news on Chinese social media today.

According to the latest guidelines, it will not be allowed for Chinese consumers to stay at various entertainment locations and wangba for more than two hours.

Singing and dancing entertainment venues, such as KTV bars, can only operate at no greater than 50% maximum occupancy. This also means that private karaoke rooms will be much emptier, as they will also only be able to operate at 50% capacity.

On Weibo, the news drew wide attention today, with the hashtag “KTV, Internet Cafe Time Limit of Two Hours” (#KTV网吧消费时间不得超2小时#) receiving over 220 million views at the time of writing. One news post reporting on the latest measures published on the People’s Daily Weibo account received over 7000 comments and 108,000 likes.

One popular comment, receiving over 9000 likes, criticized the current anti-coronavirus measures for entertainment locations, suggesting that dining venues – that have reopened across the country – actually pose a much greater risk than karaoke rooms due to the groups of people gathering in one space without a mask and the “saliva [drops] flying around.”

The comment, that was posted by popular comic blogger Xuexi, further argues that cinemas – that have suffered greatly from nationwide closures – are much safer, as people could wear masks inside and the maximum amount of seats could be minimized by 50%. Karaoke rooms are even safer, Xuexi writes, as the private rooms are only shared by friends or colleagues – people who don’t wear face masks around each other anyway.

Many people agree with the criticism, arguing that the latest guidelines do not make sense at all and that two hours is not nearly enough for singing songs at the karaoke bar or for playing online games at the internet cafe. Some wonder why (regular) bars are not closed instead, or why there is no two-hour time limit for their work at the office.

Most comments are about China’s cinemas, with Weibo users wondering why a karaoke bar, where people open their mouths to sing and talk, would be allowed to open, while the cinemas, where people sit quietly and watch the screen, remain closed.

Others also suggest that a two-hour limit would actually increase the number of individuals visiting one place in one night, saying that this would only increase the risks of spreading the virus.

“Where’s the scientific evidence?”, some wonder: “What’s the difference between staying there for two hours or one day?”

“As a wangba owner, this really fills me with sorrow,” one commenter writes: “Nobody cares about the financial losses we suffered over the past six months. Our landlord can’t reduce our rent. During the epidemic we fully conformed to the disease prevention measures, we haven’t opened our doors at all, and now there’s this policy. We don’t know what to do anymore.”

Among the more serious worries and fears, there are also some who are concerned about more trivial things: “There’s just no way we can eat all our food at the KTV place within a two-hour time frame!”

By Manya Koetse

*” 餐饮其实才更严重,一群人聚在一起,而且不戴口罩,唾沫横飞的。开了空调一样也是密闭空间。电影院完全可以要求必须戴口罩,而且座位可以只出售一半。KTV其实更安全,都是同事朋友的,本身在一起都不戴口罩了,在包间也无所谓。最危险的餐饮反而都不在意了”

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