China Arts & Entertainment
Chunwan Is Here! The CCTV Spring Festival Gala 2019 Live Blog
The CCTV New Year Gala is here! We’re live-blogging and keep you updated with the highlights and the low points.
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First published
It is that time of the year again. The Chinese New Year, better known as Spring Festival, is about to start. The annual CCTV Gala celebrates the start of the festival with its 4 hours long live televised show. After live-blogging this event in 2016, in 2017, and in 2018, we’re here this year again to keep you updated throughout the show on what’s going on.
A live-streaming of the Gala is embedded in this post and will be live on Monday, February 4, 20.00 pm China Standard Time. If you have any difficulties watching, check out this YouTube link, livestream from Weibo, or watch straight from CCTV. We will be live-blogging on this page here (NOTE: this liveblog is now closed, the event is over. We’ll provide you with the entire text of the liveblog below this article!)
About the show
The CCTV New Year’s Gala (中国中央电视台春节联欢晚会 or Chunwan 春晚) is an annual live television event that is broadcasted by the national television station CCTV on New Year’s Eve. It first aired in 1983, and is watched by millions of people. In 2012, it broke the Guinness records for being the “most watched national network broadcast in the world” when it had over 500 million viewers. Last year, the show drew more than one billion viewers (Gao 2012; Jing 2019).
Despite the common criticism on the show, it is still much anticipated every year. The Gala features different acts, including singing, dancing, and comedy. It is a tradition for families to gather around the TV to watch the Gala before the New Year comes at midnight. It has also become a tradition to comment on the show and complain about it, something that is especially visible on Chinese social media, where the show inevitably becomes a trending topic every year. Criticism on the Gala is actually so commonplace that the sentence “there’ll never be a ‘worst’, just ‘worse than last year‘ (央视春晚，没有最烂，只有更烂) has become a popular saying over the years (Wang 2015, 192).
Although the Gala is a live broadcast from CCTV’s No.1 Studio, every year’s show has a taped version of the full dress rehearsal. As described by Scocca (2011), the tape runs together with the live broadcast, so that in the event of a problem or disruption, the producers can seamlessly switch to the taped version without TV audiences noticing anything.
Liveblog CCTV Gala 2019 (in order of appearance)
It is time for China’s biggest TV event of the year! Chunwan (春晚) aka the CCTV Spring Festival Gala is celebrating its 37th edition and kicks off the Year of the Pig. Watch the festival together with What’s on Weibo, as we’ll keep you updated with the ins & outs of the Gala.
(13:30) Six Hours To Go before the CCTV Gala, And Already Sparking Controversy
Just some six hours to go before the annual biggest live televised event in the world, the Chunwan, kicks off, and already the program’s timetable is sparking controversy: one of China’s biggest comical actors, Feng Gong (1957), will not participate in tonight’s event after performing there for 32 years.
Feng Gong’s ‘xiangsheng’ crosstalk sketch apparently did not meet the requirements of the show’s strict screening, meaning his act will not come up tonight. Thousands of Chinese netizens are disgruntled, saying that Feng Gong’s appearance during the show has a certain nostalgic meaning to them. The topic has hit Weibo’s top trending lists, already hitting 130 million views earlier this afternoon. Read more about this during our live blog later today.
(19:15) The “Real” Very First Spring Festival Gala
The CCTV Gala was first aired in 1983, a year that is thus marked as the start of the Spring Festival TV Gala. But before this time, as early as 1956, Beijing Television’s also had irregular New Year’s Eve broadcasts. Trending on Chinese social media now is the hashtag “The Real First Chunwan” (#真正的第一届春晚#), with footage going viral of the 1956 edition (link) – receiving 250 million views at time of writing.
Beijing opera master Mei Lanfang participated in this event, along with other renowned names, such as Chinese novelist/dramatist Lao She and famous scientists.
“That [Gala] was better then than it is nowadays,” many commenters write. “We’re at a historical low,” others say, suggesting that the CCTV Gala as it is now is focusing too much on popular celebrities rather than on intellectuals, artists, and scientists.
The complaining has already started, and the Gala is yet to begin!
(19:55) It’s starting! What can we expect tonight?
If you’ve previously seen the CCTV Gala, you probably know the sort of things you can expect tonight. The Spring Festival spectacle is always a mix of Chinese culture, commerce, and politics.
The show is notorious for carrying official propaganda and clearly emphasizing the themes that matter to the Party. However, no CCTV Gala is exactly the same, and there are always some noteworthy things about every annual show – in a rapidly changing China, the show always has certain changing features or styles that highlight a specific image of China and Chinese society, which can be telling for the official strategies on Chinese domestic and international affairs that lie beneath this constructed narrative & image.
Last year, for example, it was quite remarkable that although the show had many political underlying themes, such as China’s military expansion and the One Belt One Road initiative, there were no performances explicitly focusing on Chinese leaders, such as in previous years, nor were there obvious Party-focused songs such as “Without the Communist Party, There is No New China.”
Tonight might see a similar trend as last year; the various acts and clips might not necessarily focus on the Communist Party and its leaders, but instead focus more on society, the people, ‘coming together,’ ethnic unity, and traditional Chinese culture.
There will be plenty of singing, dancing, and comical skits as well as ‘crosstalk’ sketches, some magic, opera, and acrobatics. Some 40 performances will take place over the next four hours.
There will also be a few short clips, ‘public service announcements,’ that usually focus on family values and socio-cultural unity. And we’re likely to see Jackie Chan again with a patriotic song.
(20:02) Dreamy Opening Dance
The opening act is titled “Sea of Spring’ (春海), led by, among others, Wang Qian, Song Yulong, Li Xiang, Yan Dingwen, Li Rongzhi, and Lin Qingjing. Various dance troupes are on stage, including that of the Shandong Art School and Shandong Normal University.
On social media, some netizens think the dance looks like a cake…
(20:06) Chunwan Social Media Buzz
The ‘Chunwan’, the CCTV New Year’s Gala, is all the talk on Chinese social media.
The hashtag “Chunwan” (春晚) has been dominating top trending lists on Weibo since Saturday, and has been a topic of discussion on Chinese social media for weeks.
“Fake schedules” of the program were leaked, hyped, and recalled. The real program was only shared by various Chinese state media one day before the start of the event, making the hashtag “CCTV Chunwan Programme” (#央视春晚节目单#) one of the biggest trending topics on Weibo right away.
For this year, the hashtags “2019 CCTV Gala” (#2019央视春晚#) and “CCTV Year of the Pig Gala” (#央视猪年春晚#) are particularly used to discuss the variety show on Weibo. Just days ago, the hashtags were already viewed millions of times, going up to 600 million views before the Gala even started.
Many netizens are anticipating to see top Weibo star ‘Angelababy,’ as well as famous actors Ge You and Cai Ming. The members of the super popular pop group TFBoys have also become a topic of discussion.
One noteworthy aspect of tonight’s Gala is its new cooperation with Baidu. Since 2015, one important feature of the CCTV Gala that links it to social media platforms is the exchange of hongbao, red envelopes with money, which is a Chinese New Year’s tradition.
Over the past few years, viewers were able to receive ‘virtual hongbao’ by shaking their smartphones – this has drawn in a lot of young viewers who’d like to get a chance to win some money. This year, instead of cooperating with Tencent’s WeChat or with Alibaba, some RMB 900 million (around $133 million) worth of hongbao is promised to be given to viewers by the Baidu Wallet app during the show. The show will have various moments where this Baidu activity will be promoted.
(20:10) The Presenters introducing themselves..
As you just saw, the presenters briefly already said hello to the audience. We’ll see them throughout the night tonight.
The top five presenters are all familiar faces. In fact, the exact same five hosts also presented the 2018 CCTV Gala. They are Kang Hui (康辉), Zhu Xun (朱迅), Ren Luyu (任鲁豫), Li Sisi (李思思), and Nëghmet Raxman(尼格买提).
The two ladies: Zhu Xun (1973) is a well-known presenter and actress from Suzhou, who is presenting the Gala for the 6th time now. Li Sisi (1986) is a Chinese television host and media personality most known for her role as host of the Gala since 2012.
The three gentlemen: Kang Hui (1972) is a Hebei-born influential CCTV news anchor who has hosted the Gala since 2015. Ren Luyu (1978) is a Chinese television host from Henan, who has also presented the Gala multiple times (2010, 2016, 2018). Nëghmet (1983) is a Chinese television host, born and raised in Ürümqi, Xinjiang, who also is not a newcomer; this will be the fifth year in a row that he hosts the gala.
The presenter who is not here on stage is Zhu Jun (朱军), one of the most well-known CCTV faces. He was involved in a ‘metoo’-like scandal in 2018 when he was accused of sexual harassment by a former intern, something which Zhu has denied. If the case goes to court, might become the first-ever civil sexual-harassment lawsuit in China, Quartz reported in January of this year.
Although probably, it is unsure if Zhu Jun’s absence tonight has to do with this case. Another familiar face, CCTV hostess Dong Qing (董卿), is also not here tonight, although she hosted the CCTV Gala since 2005.
(20:10) DRAGONS!
Ok, so now we’ve really started. Next up is a dragon dance led by male dancer Liu Jia (刘迦). The Nanjing-born dancer is 28 years old and was trained as a dancer in the People’s Liberation Army Art and Drama College.
The dragon dance is a form of traditional performance that is particular to the Chinese New Year. The dragon is believed to bring good luck. Did you know that the Beijing Aquarium even holds underwater dragon dances?!
Some netizens think that the strips falling from the air look like “sausages falling from the air.” Oh, the creativity!
(20:15) Tonight’s Venues
Since 2016, the CCTV Gala has adopted a “multi-venue plan,” meaning that apart from the main Beijing CCTV no1 studio there are other ‘subvenues’ from where the show will be broadcasted. In 2018, these were locations in Guizhou, Guangdong, Shandong, and Hainan. The years prior, both in 2016 and 2017, there were also four other locations.
This year, there are three sub-venues: Jinggangshan (Jiangxi), Changchun (Jilin), and Shenzhen (Guangdong). Each venue also has its own hosts, different from the Beijing main studio presenters. Each sub-venue has two hosts, equally divided between male and female presenters.
(Noteworthy: there are two presenters with the name of ‘Yang Fan’: both in Jilin’s Changchun (female), as Shenzhen (male), something which many netizens seem to find quite funny..)
(20:18) Here comes the first crosstalk, but one VIP is missing..
Wonderful words, interesting talk” (妙言趣语 ) is the name of this comical sketch, that features Yue Yunpeng and Sun Yue (岳云鹏、孙越). Xiangsheng (相声), or ‘crosstalk,’ is a dialogue between actors with rich puns and word jokes, that usually sees two actors with one playing the “joker” and the other playing the “teaser. ”
Together with well-known Beijing-born comedian Sun Yue (1979), we see Chinese actor Yue Yunpeng (1985), who is particularly known for his xiangsheng performances.
One of the topics that people on social media are discussing is the absence of Feng Gong. Feng Gong (冯巩) is one of China’s most renowned xiangsheng performers. He is best known for his performances in this CCTV New Year’s Gala and has made more appearances on the show than any other major performer. “But where is Feng Gong tonight?” is the question many netizens were asking on Sunday: “This is the first time in 32 years he’s not there, what happened?”
Today, the topic received even more attention, with the hashtag “Feng Gong Not Appearing the Chunwan” (#冯巩无缘央视春晚#) ending up in the top trending lists with 160 million views on Weibo.
Earlier today, Chinese state media reported that Feng Gong was supposed to perform with a traditional ‘xiangsheng’ act that continued last year’s theme, titled ‘I love memorizing verses 2’ (我爱记诗词2), but that it did not pass the final screening of the show because it allegedly was “not funny enough” (“笑果不足”).
On Weibo, many netizens are disgruntled with the decision, writing: “Honestly, I didn’t think he was that funny last year, but I still want to see him – it’s not about being funny, Feng Gong means more to me than that.” Others are wishing him a happy Chinese New Year, saying: “At least he’ll be able to celebrate it at home with his family tonight.”
As for this act, some people online are joking about it, saying that left is how you look before the Chinese New Year, and right is how you look after (stuffing your face with dumplings..)
(20:26) “The single dog” and the lipstick
As first jokes on the Gala are going viral, some people think five presenters might not be the right number. Kang Hui here seems to be the “single dog caught between two couples” – something that many people experience during Chinese New Year.
Meanwhile, other viewers are more occupied with the color of the lipstick worn by the presenters. They’ve already been identified as Yves Saint Laurent and Armani brand lipstick colors, 405 and cpb311 respectively.
(20:36) “China’s Happy Event”
This performance, titled “China’s Happy Event” (中国喜事), was joined by Chinese singer Zhang Yixing (张艺兴), popular actress Zhou Dongyu (周冬雨), Hong Kong actor Wallace Chung, Dilraba Dilmurat (迪丽热巴), and Phoenix Legend (凤凰传奇), a Chinese popular music duo consisting of female vocalist Yangwei Linghua and male rapper Zeng Yi. The duo was also part of the CCTV Gala in 2016 and in 2018.
Chinese singer Lay Zhang aka Zhang Yixing (张艺兴) debuted as a member of the South Korean-Chinese boy group Exo and he is quite popular on Weibo.
Is it the sound here, or did that sound very strange? The colors were very very bright though..
(20:38) “Youth Jumps Up”
This is one of the acts that was quite talked about before tonight. It features Chinese actor and singer Li Yifeng, together with the popular actor Zhu Yilong.
It was rumored before that the retired professional basketball player Yao Ming would also be a part of this act. (2.29 m (7 ft 6 in) tall). Don’t see him yet.
It is quite obvious that this act is lip-synced, something that is discussed annually. It is often claimed that as long as it’s the singer’s own voices that are used to lip-sync to, it is allegedly “justified.” Because the show is live and so big, singing “live” might be too much of a risk, as some performances in the past have shown. Lip-syncing, however, is also not without dangers, as some singers can really be quite off.
Various fan clubs of these artists don’t care about lip-syncing, though. Screenshots of fans going ab-so-lu-tely crazy over this performance are making their rounds on Wechat.
(20:48) “Platform”
First skit of the night!
These sketches are called ‘xiǎopǐn’小品 in Mandarin, which basically is a Chinese comedic performance in the form of a short skit between two or more performers. It is similar to xiangsheng or crosstalk. Both are often performed together in Lunar New Year galas. The main difference between the two forms is that xiaopin often involves the use of stage props and physical actions of the actors, similar to western comedic skits, while xiangsheng is closer to stand up comedy, relying primarily on speech and word jokes.
This sketch is titled “platform” and is performed by various well-known actors, who are all playing people waiting for their train. An elder couple where the man has called the wife “honey” for a long time (before he actually forgot her name), and then there’s a young man whose wife left on a train with his jacket and mobile phone. He is worried about leaving his wife with his mobile phone since he transferred 10,000 rmb to his parents before Chinese New Year, something she was not supposed to know about. When he manages to get in touch with her via the guard’s phone, it turns out she just transferred 20,000 rmb to both parents. Meanwhile, another couple is fighting about whose home to visit for the Spring Festival. This sketch clearly touches upon the issue of love issues among various generations. Of course, it all ends with a happy ending, where all couples find a solution for their problems they’re all happy with.
A special role in this sketch is the train that comes. It is the “Revival” (Fuxing) train, which first started running in 2017 and was further developed in 2018. The train is promoted for being “made in China.”
(21:04) Home, home, home, from Hong Kong to Taiwan and beyond
This year is clearly about “home,” “going home,” as stressed by the presenters. This song is titled “Mum, I’m home.” There’s a political message in the selection of singers. This song is sung by Taiwanese singer Terry Lin, the Hong Kong singer Joey Yung, and the overseas Chinese singers Sha Baoliang and Han Zi.
(21:08) Moving over to Jiangxi province
We’re in Jinggangsheng (井冈山) now, the first sub venue of the night, which is also known as the “cradle of the communist revolution” or the “holy land of China’s revolution” in the southeastern province of Jiangxi.
Two songs are performed here, along with a recital. One of the stars here is Chinese actress and singer Liu Tao, who is from Jiangxi herself. She sings together with actor Huang Xiaoming.
Jike Junyi (吉克隽逸) sings the other song. She won third place in the first season of the reality talent show The Voice of China in 2014, which is when she became instantly famous.
(21:13) Peking Opera
Time for some Traditional Opera by Yan Wei, Yuan Huiqin, and others, who perform “Beautiful Pear Garden” (锦绣梨园). This is the 9th act of tonight, of some 35+ acts in total. This is the only opera act, as far as I now know.
The Peking Opera actress Yuan Huiqin, whom we see here, previously expressed her love for Peking Opera in an interview with The Telegraph, saying: “Love and hatred, vulnerability and fearlessness, life and death: Peking Opera can communicate raw emotions with sophisticated body language that no words can match.”
Some people joking with this scene: “Don’t stand in front of people when they’re trying to make a selfie.”
(21:17) Meanwhile, in the audience..
A guy spotted in the audience with his phone is generating some jokes on Weibo. “This is me [on my phone],” some say, while the rest of the audience is “my family.”
(21:23) “Year of the Pig”
We’ll update you soon with the sketch that’s currently airing, but didn’t want you to miss out on this image that’s going around social media currently. It’s the year of the Pig, it’s the year of Peppa, but for many people, Spring Festival is all about the food. This image shows all the different dishes you can make with pork…
(21:26) The CCTV Gala Theme
Every year, the CCTV Gala is themed around a certain topic. This topic, obviously, is in accordance with the official state ideology and is quite telling on what specific aspects the Party would like to propagate for the upcoming year.
As said earlier in this liveblog; although the CCTV Gala is also a commercial event (the station is state-owned but also profit-seeking in a highly competitive media environment), it is also still highly political, and carries official propaganda along with consolidating political centralism.
The central theme of 2018, for example, was “Chinese values, Chinese power.” Other previous themes are “National Unity” or “Chinese Dream.”
This year, the Gala is themed around the idea of “New China.” The full theme, as described by CCTV, is: “Advancing the New Era, Celebrating a Happy Year” (奋进新时代、欢度幸福年).
The past two years, the Gala has been directed by Yang Dongsheng. This year, Liu Zhen (刘真), Deputy Director of CCTV arts channel, is in charge of the program. He is known for previously directing the 2009 anniversary night of the Great Sichuan earthquake.
(21:31) Office Time
This office skit is performed by Chinese actresses Yan Ni and Ya Hailong, together with actor Zhou Yiwei.
The skit evolves around a rehearsed marriage proposal going wrong, with one worker accidentally proposing to the company director. The boss walked in when they were practicing, and misunderstood the gifts and cakes they prepared, thinking they were for her instead. Later on in the act, the secret is revealed, but the boss responds surprisingly ok when the office worker revealed he was always working overtime, having no time for these personal matters. Work pressure is a recurring theme on social media too, a theme incorporated in this sketch.
(21:42) Dance/song “The Distance of Time” (with flying drones)
Two ‘kings’ of Mandopop, Sun Nan and Zhang Jie (also known as Jason Zhang) perform on stage here.
Sun Nan has performed at the CCTV Gala several times before. His 2016 performance with 540 robots, all dancing simultaneously, was quite spectacular.
They are accompanied by the Zhongnan Minzu University Music Dance Troupe, and you can see drones flying all around them.
(21:46) “The Spirit of Shaolin”
The first martial arts performance of the night, really quite spectacular, performed by members of the Shaolin Tagou Martial Arts School from Henan.
This is also the first big Chinese flag we spotted tonight, and it’s HUGE!!!
(21:54) “‘Son’ is here” sketch with Cai Ming
The third sketch of the night features an all-star cast with actors Ge You, Cai Ming, and Pan Changjiang.
Cai Ming (1961) is known for performing sketch comedy in CCTV New Year’s Gala since 1991. She is known for her sharp language. Cai is quite active on Weibo. Earlier this week, she posted a ‘selfie’ of her and Dilraba Dilmurat, the singer of Uyghur heritage who appeared in the show earlier tonight.
Pan Changjiang (潘长江, 1957) is a famous skit actor who has regularly appeared in the Gala since his younger years. His colleague Ge You (also 1957) is one of the most recognizable acting personalities in China. He plays a man who is selling “health products,” conning older people out of their money.
(22:04) “Me Watching the Gala vs Me Watching Weibo”
This post is making its rounds on Weibo now, saying “Me watching the CCTV Gala versus me watching Weibo.”
It really seems that the Gala has turned into a social media craze, where people are more interested in the jokes going around Wechat and Weibo than the actual event itself. This also means that the Gala is becoming more popular among young people, who are creating their own traditions from the classic ‘Spring Festival ritual’ of gathering around the TV with the family to watch the Gala together.
(22:07) About that Shaolin Act…
It was the most spectacular act of the night thus far. But were those real people or were they Minions? This is the joke that’s going viral now.
(22:09) TFBoys here!
This is one of the most anticipated acts of the night, since it is performed by members of the hugely popular TFBOYS. This act is titled “We’re All Pursuing Dreams” (我们都是追梦人), and is likely hinting at the “Chinese Dream.”
This is the fourth time that members of TFBoys are making their appearance at the show since their first performance at the 2016 CCTV Gala.
(22:13) A bit of magic
Taiwanese magician Lu ‘Louis’ Liu (刘谦, 1976) is at the center of this magic act. He is known as the only Taiwanese magician to perform in Hollywood’s ‘Magic Castle,’ and is commonly referred to as ‘Taiwan’s most renowned magician.’ He previously performed at the CCTV Gala in 2009.
(22:25) “Seizing a seat”
This sketch is called “Seizing a seat,” and I’d actually expected it to be hinting at two separate incidents on Chinese high-speed trains in 2018 that became huge trending topics. In late August of 2018, one rude man from Shandong who refused to give up the seat he took from another passenger became known as the “High-Speed Train Tyrant” (高铁霸座男 gāotiě bà zuò nán) on Chinese social media. Later, a woman from Hunan was dubbed ‘High-Speed Train Tyrant Woman’ (高铁霸座女 gāotiě bà zuò nǚ”) by Weibo netizens, when a video of her bizarre behavior also became trending; she had taken a seat assigned to another passenger while riding the train from Yongzhou to Shenzhen and refused to give it up.
But this particular sketch now seems to be focused on “seizing a seat” in a classroom instead, with parents during a parent’s meeting fighting over who gets the best seat at the school. The story focuses on parents who are not involved in their kid’s education, leaving the responsibility to the school, with the moral behind the story allegedly being that parents should be more involved in their child’s education.
“This is my life,” some online commenters are saying, posting the meme below (the speed in which Gala-related memes are spreading on Weibo and Wechat is incredible!).
(22:35) The sellers who are making money through the Gala
Throughout the Gala, there are smart people who are tracing down the clothes and shoes worn by the performers, which are also for sale.
(22:41) All over the place!
After a brief public announcement, we’re now watching the dance “Looking for Friends.” This dance is performed by the ‘Air Force Blue Sky’ children’s dance troupe (空军蓝天幼儿艺术团) and it is all over the place!
(22:43) Sleepless night
The song “No Sleep Tonight” (费玉清) is brought by Fei Yu-ching. This Taiwanese singer recently became a topic on Chinese social media with a video featuring his cool dance moves during his younger years. After 46 years in showbiz, his Farewell Tour is taking place this year.
He is joined on stage by Kelly Chen, a Hong Kong Cantopop singer and actress. She is also known as the “diva of Asia.”
Some good Monday vibes: Taiwanese singer Fei Yuching in his younger years with some oldskool moves. Really loving this! After 46 years in showbiz, his Farewell Tour is taking place this year #费玉清 pic.twitter.com/aWW0TPazDd
— Manya Koetse (@manyapan) 28 januari 2019
(22:46) The Baidu sponsor
Now it is time for the aforementioned Baidu activity. At this year’s event, China’s search giant Baidu, has the exclusive right to interact with the huge audience of the CCTV Gala via red packets interactive activity. The audience can get red packets through shaking, searching and watching video clips on Baidu app.
(22:49) Xiaopin “Show you the drill”
On stage, we see the award-winning (stage) actor Lin Yongjian, together with Sun Tao and Ju Hao, a well-known comedian.
Usually, the sketches performed during the Gala can be quite controversial. Sometimes for the way they depict women, last year specifically for the Africa blackface skit. It seems that this year, the sketches are quite safe and aren’t triggering any controversy, yet. But the night is still young!
(22:57) Air Jordan Craze
Many of the clothes and shoes and other items featured in today’s Gala are becoming hot selling items. Right now, people are going crazy over the Air Jordans that were worn in one of the acts earlier tonight.
(23:04) Moving over to Changchun
Moving over to the second sub-venue of the night now, where we see Aska Yang (Yang Zongwei) singing on stage. Aska Yang had his debut in Taiwan as a contestant on season one of Taiwanese TV singing contest One Million Star.
He is joined by Angela Yeung Wing, better known by her stage name Angelababy, a Chinese model, actress, and singer based in Hong Kong, who is one of the Weibo stars with the most followers.
The second Changchun act is performed by Chinese actors Liu Ye and ‘Johnny Bai.’
Fireworks! Drones! And one of the cars turning into a ‘Transformer’! So far, the sub-venues offer some of the most spectacular performances of the night.
The focus on cars here relates to Changchun as one of China’s ‘car cities’ as it is home to the brand that produced the first national auto brand (长春一汽), last year was the 65th anniversary of the factory’s founding.
(23:09) National Ballet of China
This is yet another dance, there are supposed to be four big dancing acts tonight. The dance is titled the “Dunhuang Flying Asparas” (敦煌飞天), and is performed by the National Ballet of China, also known as the Central Ballet Troupe, which employs over 70 dancers.
(23:13) The Legends are Here! “My Motherland and I”
This song, titled “My Motherland And I” (我和我的祖国), is one of the acts that has received quite some attention in Chinese media prior to the Gala because of the very special reunion between some of China’s older legendary musical artists.
This special reunion also shows that this year, the Gala wants to pay extra attention to China’s elderly, something that contrasts with last year’s Gala, that was very much focused on young people and new talent.
One of the performers here on stage is Guo Shuzhen, who is 92 years old and is a famous “legend” within China’s music education.
All artists here are very famous ‘legends’; Li Guangxi (1929), Hu Songhua (1931), Liu Bingyi (1935), Yu Shuzhen (1936), De Dema (1947).
Also on stage is Yang Hongji (杨洪基, 1941), a Chinese national-level actor and one of China’s most outstanding baritones.
And there’s Guan Mucun (关牧村,1953), a female Chinese mezzo-soprano singer from Henan province who is known for developing her own musical style by blending Western and traditional Chinese melodies.
They all perform together with Chinese artists of the younger generations.
(23:25) Xiaopin “Don’t Know Whether to Laugh or Cry”
Chinese xiangsheng performer, actress and comedian Jia Ling (1982) stars in this comical skit together with Zhang Xiaofei and Xu Juncong.
The story features a young man who ordered a cleaning lady to clean his apartment, but the woman (in red) has an injured shoulder so she can’t really do it. She ordered another service to do the cleaning for her (in yellow) instead. That young woman then thinks the lady in red is actually the wife in the house who refuses to clean the house – all the confusion between the people is creating a chaotic and comical situation.
(23:39) Here comes Jackie Chan!
Jackie Chan (成龙) has become an annually returning performer at the CCTV Gala. Although his performances are always much-anticipated, they’ve also been pretty cringe-worthy. In 2017, the song performed by Jackie that was simply titled “Nation” was met with criticism for being overly political. Last year, the Hong Kong martial artist sung a song that was called “China.”
This year, the title of the song is a bit deeper than in previous years: it is titled ‘My Struggle, My Happiness’ (我奋斗我幸福), and is sung together with Hong Kong singer and actor William Chan and with Deng Lun.
Deng Lun (邓伦) (1992) is a Chinese actor who gained widespread popularity with the family drama “Because of You”, an adaptation from the 2014 Korean drama “Jang Bo-ri is Here.”
Also on stage are performers from Bapaweilai, a children’s art education group based in Hong Kong.
(23:44) Meanwhile backstage…
While “Together towards Happy China” is being performed on stage by Zhang Ye and Lu Jihong, famous Chinese actor Ge You is all the talk on Weibo for a photo that has popped up of him backstage, showing the actor tired on the couch.
A famous meme in China also shows the actor in a similar position.
(23:45) “Hero Flight Sichuan Flight 3U8633”
As every year, this is the part of the show where some ‘exemplary persons’ get honored for their accomplishments. Noteworthy is that the crew of Sichuan Airlines is honored tonight.
In May of 2018, pilot Liu Chuanjian on Sichuan Airlines 3U8633 made an emergency landing in southwest China after a broken cockpit window sucked his co-pilot halfway out of the aircraft. He braved the intense cold and blasting wind to land the plane in about 20 minutes, and in doing so, rescuing all 128 people aboard the Airbus A319.
(23:48) “Thumbs up for the New Era”
This song really resonates with the Gala’s “New China” theme. The singer is Wulan Tuya (乌兰图雅), who is also known as the “Flower of Mongolia.” She was born and raised in Inner Mongolia, and now combines elements of Mongolian traditional music with electronic beats in her music.
This is one of the spectacular performances of the night, that is joined by a number of artists who were selected through a special CCTV Gala contest.
The other performers come from various performance groups from Beijing, Shandong. Harbin, Sichuan, etc.
(23:50) Last sub-venue of the night: Shenzhen
The last sub-venue of the night is Shenzhen, which is often also called China’s “Silicon Valley” or the “tech capital of China.” This venue features two different acts, both songs, titled “Let youth Be Free” and “Friends.”
(23:58) Some old-school propaganda
“Together With my Homeland,” sung by Lei Jia and Han Lei, is the last song before the 0.00 countdown moment.
Lei Jia is a Chinese folk soprano and ‘national class one performer.’ Han Lei is a singer-songwriter of Mongol descent who is also known as Senbor. He rose to prominence in 1997 on the CCTV New Year’s Gala. The screen behind the artists shows some old-school flag raising and China’s urban skylines.
(0:00) Time for the Countdown!!!
(0:05) Building Together on the Chinese Dream
Fireworks everywhere, firecrackers everywhere. Time to sing about building on the Chinese Dream together, a theme that has been consistently featured in the Gala over the past years. Singers: Cao Fujia, Xian Zi, A Yunga, Ju Laiti, and ‘Xingguang Dadao’ talent show winner Ang Sa.
(0:14) Acrobatics
We’re reaching the final acts of the night. This performance shows acrobatics by various renowned acrobatic groups from Henan, Guangxi, Dalian, and other places.
Thus far noticeable tonight: the skits have been very ‘safe’ and there has been no *excessive* display of straightforward political (Party) themes compared to other shows in earlier years; the images of Mao, Deng, Xi, and others that would usually make their way into the show have not been there (or I haven’t noticed them). Although there’s usually a very clear focus on unity in bringing together various ethnic groups, that has not popped up in this show as much as it has in the past. Instead, there has been more focus on ‘old’ and ‘young’ uniting, with “China’s New Era” being the clear theme of the night.
The acrobatic performance is followed by a special segment that shows water ballet. The act is titled “Burst into Bloom” (绽放).
(0:19) “Love Substitute Driver”
‘Daijia’ is a service that is provided by various companies in China, where one can hire a substitute driver to drive them home in their own vehicles. This is what this last skit of the night focuses on.
The service is encouraged because it decreases the risk of people drunk driving. The driver will usually arrive by bike, then drives the person home in their own car, with the bike in the back, and then cycles on to the next customer from there -quite convenient and safe (for the people who’ve been drinking and can no longer drive)!
In this sketch, with Guo Donglin and Shao Fenghe, the drunk man actually has no money and just called the driver because he is lonely, lovesick, and needs some companionship. The moral of the story? No matter how low you are, you can always get back up.
(0:38) “Outstanding Beauty”
After the song “The Brightest Star in the Sky,” we’ve now arrived at the final of the night, featuring the dance performance “Outstanding Beauty” with lead dancers Li Yanran, Wang Jiaxin, and Hu Tulan.
A noteworthy moment before this segment is that the presenters of the night asked the viewers when they’d get married and have a (second) baby…(啥时候结婚啊？啥时候要二胎啊). Perhaps it’s mocking the pressure many young people at home are facing.
Unforgettable Night!
The last song of this night is “Unforgettable Night” (难忘今宵). It is sung by the 74-year-old singer and dancer Li Guyi (李谷一), who became famous with the song ‘Homeland Love’ (乡恋) around the time of China’s Reform and Opening Up – the singer and her songs are nostalgic for many viewers.
Li Guyi also appeared at the very first version of the Gala in 1983, and became the singer that sang the most at the event.
Li Guyi sings the same song every year at the end of this show. The last song ends with all performers of the Beijing venue on stage. The song repeats the phrases 共祝愿 祖国好: let’s all wish together that the country will be good, that is will last long and be prosperous. The hosts wish everyone a happy new year. It’s a wrap!
Thank you all for watching the CCTV Gala with us and happy new year to you.
– By Manya Koetse & Miranda Barnes
References
Gao, Yuan. 2012. “Constructing National Idenitiy through Media Ritual: A Case Study of the CCTv spring Festival Gala.” Master’s Thesis, Media and Communication Studies, Uppsala University.
Jing, Meng. 2019. “Baidu seeks to play catch up in mobile app race with bet on world’s most-watched TV show.” South China Morning Post, 18 January https://www.scmp.com/tech/big-tech/article/2182616/baidu-seeks-play-catch-mobile-app-race-bet-worlds-most-watched-tv-show [2.2.19].
Scocca, Tom. 2011. Beijing Welcomes You: Unveiling the Capital City of the Future. New York: Riverhead Books.
Wang Ge. 2015. “Popular Spring Festival Gala language: Sociocultural Observations.” In Linda Tsung and Wei Wang, Contemporary Chinese Discourse and Social Practice in China, 185-200. Amsterdam/Philadelpia: John Benjamins Publishing Company.
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Chapter Dive
When an Entertainment Scandal Gets Political: How Wong Kar-wai Survived a Nationalist Storm
The 2025 scandal surrounding Wong Kar-wai shows that public outrage only produces consequences when it aligns with official interests.
It’s safe to say that 2025 wasn’t the best year for Wong Kar-wai (王家卫, 1958), one of the most famous Chinese-language film directors in the world. The Hong Kong movie director is known for classic works like Chungking Express and In the Mood for Love. Besides his work, his iconic sunglasses are also famous – he rarely goes without them and is even nicknamed ‘Sunglasses’ (墨镜) or ‘Sunglass King’ (墨镜王) on Chinese social media.
But this year, discussions about Wong Kar-wai have gone well beyond his talent and looks. He became embroiled in what would turn into one of China’s biggest entertainment scandals of the year after a former staff member set out to expose him for exploitation and misconduct. Once the controversy spilled from entertainment into political territory, however, the dynamics of the story changed entirely.
A Fight for Credit
This story begins with the young Chinese screenwriter Gu Er (古二, real name Cheng Junnian 程骏年). He is the one who publicly accused Wong of exploitation and unethical work standards on social media (a story which we previously covered here).
Gu Er, a New York Film Academy graduate, returned to China after his studies and began building a career. In 2019, he joined the production team of Wong’s popular TV series Blossoms Shanghai, working long hours for meager pay, despite suffering from Kennedy’s disease, a motor neuron illness similar to ALS.
Cheng Junnian 程骏年, better known as Gu Er
In 2023, after the show premiered, Gu posted an article on Chinese social media titled “The Truth Behind the Writing of Blossoms” (《繁花》剧本的创作真相). He argued that he should have been credited as one of the principal writers but was instead listed only as a “preliminary editor,” buried at the end of the credits. The post sparked some discussion, but the controversy quickly faded.
It was not until last September that Gu Er released another essay titled “My Experience as a Screenwriter for Blossoms: A Summary” (我给《繁花》做编剧的经历——小结), which drew widespread attention. In the piece, he accused Wong Kar-wai of exploitation and detailed his creative work on the series, while also claiming that he was required to cook meals and run personal errands for Wong.
At one point, Gu Er describes how lead screenwriter Qin Wen (秦雯) allegedly tried to remove him from the production team after presenting his draft script as her own. According to Gu, Wong Kar-wai responded dismissively: “It’s just a few thousand yuan; he’s an assistant and can also write the script, it’s a bargain!”
Throughout 2025, Gu Er used his WeChat account to document his experiences and to upload audio recordings of conversations with members of the production team, including Wong Kar-wai and Qin Wen. These recordings were presented as evidence supporting his claims of exploitation, verbal abuse, and the denial of screenwriting credit.
In response to the controversy, the official account of the Blossoms Shanghai television series issued multiple statements denying that Gu Er deserved screenwriting credit and accusing him of abusing his position to secretly record private conversations among staff. The production team vowed to take legal action, and Gu Er’s entire WeChat account was soon shut down.
Leaked Recordings and Growing Backlash
Although his WeChat presence was erased, Gu Er refused to stay silent. In early November of 2025, he opened a new Weibo account (@古二新语) and, seemingly burning all of his bridges, continued releasing recordings involving Wong Kar-wai and members of the Blossoms Shanghai production team, triggering an unexpected shockwave over the past few weeks.
Gu Er released a series of audio recordings featuring Wong Kar-wai and others, including screenwriter Qin Wen and her assistant Xu Siyao (许思窈). In some of these recordings, they are heard mocking Gu Er; Qin appears to struggle to recall plot details she allegedly wrote herself; and Xu Siyao openly admits that an important storyline in Blossoms Shanghai originated from Gu Er’s writing.
Visuals from Blossoms Shanghai.
Wong Kar-wai and Qin Wen also spend a surprising amount of time ridiculing figures across the Chinese film and television industry, from respected senior veterans to obscure streaming-film directors, dismissively labeling them as “fake.”
What stunned the public even more were Wong Kar-wai’s crude remarks about actresses. In one recording, he comments on actress Jin Jing’s breasts and jokes, “I must get her” (“我一定要搞金靖”). Jin is not a major star, and in the final cut of Blossoms Shanghai, all of her scenes were removed. In another clip, Wong addresses screenwriter Qin Wen in a sexually suggestive and harassing tone, saying that if she had a body like Jin’s, she would not have “survived” her early years in the industry as a writer, because “I would definitely have taken you” (“我一定收你”).
Qin Wen
After this wave of leaks, the recordings—together with Gu Er’s earlier accusations—spread widely across major Chinese social media platforms. Many netizens expressed disapproval of the misogyny, gossip, and backbiting revealed in the recordings and began reevaluating Wong Kar-wai as a person, as well as his past works. Others questioned the legitimacy of Gu Er’s methods, particularly the recordings and leaks. Legal experts noted that secretly recording conversations could violate privacy laws, and that selectively edited clips might even constitute defamation.
Crossing the Red Line
Then, on November 8, Gu Er released a new recording that fundamentally altered the nature of the incident. The audio features a conversation among Wong Kar-wai, Blossoms Shanghai co-director Li Shuang (李爽), and producer Peng Qihua (彭绮华), in which they discuss COVID controls, Japan, and China’s political system.
In the recording, Wong says that the Communist Party only wants “chives” (jiǔcài, 韭菜) to harvest and describes China as a “greedy one-party state.” In Chinese internet slang, jiǔcài refers to ordinary people who are repeatedly exploited, compared to chives that are cut and grow back, only to be harvested again. When Li mentions his collection of Japanese katanas and samurai outfits, Wong jokes that, given China’s current tensions with Japan, if the collection were discovered, Li would be publicly denounced and paraded, much like during the Cultural Revolution.
Wong even suggested: “If they find [the samurai swords], just put a Chinese flag on them and say you really hate those Japanese devils.”
The Weibo post was deleted within minutes, but the recordings spread quickly.
Nationalist netizens flooded Wong’s comment section, calling him a hànjiān (汉奸, traitor to the Chinese nation), and demanding that he “get out of China.” Some conspiracy-minded users even claimed that the title of Wong’s famous TV series Blossoms (繁花 fánhuā) was intentionally chosen because it sounds like “anti-China” (反华 fǎnhuá), alleging that Wong had embedded a subversive message in the title.
Suddenly, many who had previously viewed the scandal as mere entertainment began taking sides—calling for the show to be taken down and for investigations into Wong, Li, and others involved.
Unusual Twist in a Familiar Script
In China’s public sphere, once criticism touches on the state or the Party, everything becomes more complicated. Many began questioning whether Gu Er had gone too far in leaking these conversations, and whether this was a political terror tactic disguised as personal justice.
Weaponizing nationalism to ruin a public figure is actually nothing new.
Ten years ago, CCTV host Bi Fujian (毕福剑) was recorded at a private dinner mocking Mao Zedong and was immediately fired, vanishing from public life. In 2021, actor Zhang Zhehan (张哲瀚) was canceled after taking photos near the controversial Yasukuni Shrine in Tokyo—a site that honors Japan’s war dead, including convicted war criminals. In 2022, writer Yan Geling (严歌苓) was erased from the Chinese internet almost overnight after calling Xi Jinping a “human trafficker” in commentary about a trafficking case.
Given this history, and the fact that Wong has remained silent since the leaks began, mainland audiences now fear that Wong Kar-wai could join China’s celebrity “blacklist.” Some even worry they might never see In the Mood for Love again, others fear a broadcast ban for Blossoms.
Will Wong Kar-wai become the Next Bi Fujian? All past punishment-for-speech cases have followed a familiar script: a leak emerges, nationalists erupt, official mouthpieces like Xinhua step in to shape the narrative, and punishment follows swiftly. In Bi Fujian’s case, for example, the Central Commission for Discipline Inspection issued a public condemnation within a week.
But this time, although nationalists are already outraged on social media and calling for Wong’s “anti-China” remarks to be punished, not a single major central media outlet has echoed their anger. In fact, shortly after Gu released the new recordings, the Blossoms team issued a statement accusing him of fabrication and malicious slander—and The Paper, a state-affiliated Shanghai outlet, amplified it. That was the first signal of how authorities might lean.
Too Valuable to Cancel?
Does this all mean China has become more tolerant of political criticism? Is the red line for what can and can’t be said shifting? Some believe the only reason Wong escaped harsher consequences is that he didn’t mention specific leaders by name, which is the quickest way to get into serious trouble. While that’s plausible, another reason may carry more weight: Wong Kar-wai is useful to the state’s cultural agenda.
Despite the comments in the recordings, Wong’s stance toward the authorities is not overtly hostile. In recent years, he has cooperated with state-backed projects. Blossoms, in particular, is part of Shanghai’s cultural branding campaign, with full support from Party-led propaganda departments. It received major state funding and was included as a central project on CCTV’s 2024 slate.
Wong is also a globally recognized auteur with real prestige in the West, making him valuable to China’s propaganda strategy of “telling China’s story well” (讲好中国故事).
Dropping such a cultural asset over a scandal stirred up by a disgruntled writer would be politically and culturally costly. This might explain why the official response has been unusually mild.
Many observers mistakenly assume that in China, once public outrage reaches a certain level, authorities will respond accordingly. But that’s only true when popular opinion and official interests are aligned. When they’re not—when the Party-state sees strategic value in protecting someone—public outcry changes nothing. If the Party believes Wong is worth keeping, then some of his comments will simply be forgiven.
The Cost of Speaking Out
At the center of this entire story is Gu Er. Was he wrong to weaponize nationalist outrage? Were his methods excessive or dangerous? Reactions are mixed. Some argue that leaking private recordings (especially political ones) is troubling and contributes to a climate of fear and self-censorship. Others sympathize, believing that Gu Er, who has suffered so much both physically and emotionally, shouldn’t be judged too harshly.
In the well-known Fanpai Yingping (反派影评) podcast, film journalist Bomi argued that Gu didn’t intentionally politicize the conflict; rather, he was responding within a system that had already politicized his case. Wong’s team never approached the issue as a civil labor dispute. They had enough opportunities to negotiate or settle, but instead, but chose not to . Perhaps it was arrogance. Or perhaps a confidence that the show, backed as a state-supported “main melody” (主旋律) production tied to enormous interests, would never be abandoned.
There seems to have been a clear mission to silence Gu Er. After shutting down his WeChat account, members of staff allegedly tried to intimidate him by visiting the house of his 90-year-old grandmother to deliver legal letters.
In the November 8 statement by the team, they accused him of “inciting social division” (“煽动社会对立”) and “manipulating negative emotions” (“诱导负面情绪”) and claimed he was “evading domestic legal investigation” (“逃避国内司法调查和认定”) by staying overseas—all language that is reminiscent of official state announcements. Some netizens even suggested it evoked the tone of old-school ideological and political denunciation—strong on rhetoric but lacking in substantive legal action. They frame this entire story into the context of a powerful production crew violating labor law treating a powerless writer like a political criminal.
The repercussions of this controversy are far from over, and to what extent it will have consequences for both Wong Kar-wai and Gu Er remains to be seen. Will Wong ever speak out? Will Gu Er be silenced forever?
Regardless, it is clear that Wong’s reputation has suffered. Long regarded as a “hero” of Chinese cinema, this incident has changed how many in mainland China now perceive the famous “Sunglasses.” Some call him a misogynist; others denounce him for exploiting staff. Still others see him as a hypocrite, suggesting that although he criticizes authoritarianism in the leaked recordings, he operates and thrives within that very system. One Weibo commenter wrote that the “Sunglasses King turned out to be the villain of the story.”
Although Gu Er has also received criticism for his actions, he has encouraged others through his insistence on standing up to those in power who bullied and discredited him. Recently, another screenwriter posted on Xiaohongshu about a similar experience: after independently completing the full script for a Chinese drama, he discovered that the boss had listed themself as Head Screenwriter in the end credits. The post was tagged “Gu Er” and received hundreds of comments, with many users sharing their own stories of being exploited as scriptwriters.
Even turning the dispute into a political issue failed to bring Gu Er any justice or revenge on his exploitative former employer. Still, he has gained something else: recognition from others, for whom his resistance has become a source of inspiration. Even if it was not the kind of recognition he originally sought, Gu Er still gets his credit in the end.
By Ruixin Zhang edited for clarity by Manya Koetse
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China Celebs
China Trend Watch: Quiet Nationalism, Loud Statements, and Nanjing Memorial Day
From war memory to viral eggs, salty cakes, an unfortunate dinner party and farewell to an iconic actress.
🔥 China Trend Watch — Week 50 (2025)
Part of Eye on Digital China. This edition was sent to paid subscribers — subscribe to receive the next issue in your inbox.
I’ve rounded up my latest China trip that brought me from Chongqing to Nanjing, Wuhan, Zaozhuang and Beijing, for some of my research on Chinese remembrances of war. Along the way, I have met many friendly people and had interesting converations, from hanging out with a group of Wuhan teenagers to lively conversations with retired seniors in Shandong.
A small and short personal observation, if I may, regarding the current tensions between China and Japan.
I vividly remember the atmosphere on the streets during earlier moments when tensions ran sky-high—most notably in 2012, after a major diplomatic crisis erupted over Japan’s nationalization of several disputed Senkaku/Diaoyu Islands. That episode triggered large-scale anti-Japanese protests across China and spilled unmistakably into everyday life. In Beijing’s Sanlitun area, for instance, there was a street food vendor who put up a large sign proclaiming, “The Diaoyu Islands belong to China.” In the hutong neighborhoods, it seemed as though virtually every household had hung a Chinese flag by its door. Books about Japan that I purchased locally later turned out to have entire pages ripped out. My favorite sushi restaurant suddenly displayed a sign explaining that its brand was, in fact, very Chinese and had nothing to do with Japan. Nearby, in the clothing markets around the Beijing Zoo, T-shirts bearing nationalistic slogans related to the islands dispute were on sale at multiple stalls.
By contrast, during my most recent stay in Nanjing and beyond—despite the increasingly militant tone of state media and social media campaigns surrounding Japan, and despite the undeniable persistence of anti-Japanese sentiment—I noticed far fewer visible expressions of it in daily life. There were no slogan T-shirts, no banners, no overt street-level signaling. While news came out that a string of Japanese performances in China were canceled, I noticed hotel waitress fully dressed in a Japanese kimono at an in-house Japanese restaurant. Local bookstores are filled with works by Japanese authors, and Japanese popular culture appear to be thriving and coexisting comfortably with China’s own flourishing ACG (anime, comics, and games) industry.
Is there simply less anti-Japanese sentiment than over a decade ago? Or is it, perhaps, that in today’s highly digitalized Xi Jinping era, nationalist narratives are more tightly managed and increasingly channeled online—making people more cautious, more restrained, or simply less inclined to express political sentiments openly in public space?
A cab driver in Chongqing told me he believed there was “something wrong” with Japanese Prime Minister Sanae Takaichi and the influence she has had on bilateral relations since her rise to power. While supporting his government’s tough stance and expressing sadness over the scars left by war, he also mentioned that he had enjoyed a pleasant conversation earlier that same morning with a young Japanese man he had driven to the train station.
“We didn’t talk about the latest clash,” he said. “If find that too sensitive to mention. He spoke Chinese, he studied Chinese, like you. I don’t hate today’s Japanese people at all. In the end, we’re all just people. What’s happening now is something between the leadership.”
He spoke at length while driving me to the station, signaling that the topic clearly weighed on him. It left me with the sense that the absence of banners or T-shirts does not mean the issue has faded from everyday life, only that it is not expressed as a mass spectacle like it was in earlier years. It has become quieter, more online, and more filtered through official narratives, but it is still very much alive.
There is a lot more to say, but it is Sunday after all, and there is plenty more to read here, so let’s dive in.
- 🍓 Chinese consumers were pretty salty this week when discovering their pricey strawberry cake from Alibaba supermarket chain Hema (盒马) tasted all wrong. Hema acknowledged a production issue (they didn’t say it outright, but salt was allegedly used instead of sugar) and the incident triggered discussions about food safety & quality control in automated food production, especially when such a major mistake happens at high-profile companies.
- 🌡️ China’s announced ban on mercury thermometers (as of Jan 1st 2026) has sparked a buying frenzy, as many consumers, reluctant to switch to electronic alternatives, still prefer mercury models for their perceived accuracy and convenience. Despite nearly half of annual mercury poisoning cases being linked to broken thermometers, prices have now surged from around 4 yuan ($0.6) to over 30 yuan ($4.25), and stores have reported complete sellouts.
- ❄️ Beijing welcomed its first snowfall of winter 2025 this week, leading to lovely social media pics and the Beijing Palace Museum tickets selling out instantly. Experiencing and capturing that first snowfall at the Forbidden City has become somewhat of a holy grail on social media.
- 🕵️♂️ A local construction site in Shanghai unexpectedly became the scene of a modern-day treasure hunt after dozens of residents armed with shovels and metal detectors rushed to the area following online rumors that silver coins (including valuable older ones) had been found. Authorities had to intervene and, while not confirming the rumors, emphasized that any buried cultural relics belong to the state.
- 🇷🇺 Since this month, Chinese citizens can enter Russia visa-free for up to 30 days, a policy that led Chinese state media to claim that “Russia is replacing Japan as a new favorite among Chinese tourists.” On social media, however, the vibe is different, with travelers complaining about high prices, poor internet, lack of online payments, unreliable ATMs, and the need for thorough trip preparation — all reasons why Russia is unlikely to become the go-to destination for the Chinese New Year.
- 🫏 An investigation by Beijing Evening News revealed that many of the capital’s popular donkey meat sandwich shops are actually serving horse meat without informing customers. China’s donkey shortage — driven by declining domestic supply, rising demand for the traditional Chinese medicine Ejiao (which uses donkey hides), and an African export ban — has been a hot topic this year. Now that it’s directly affecting a beloved delicacy, the issue is drawing even more public attention.
1. Why This Year’s Nanjing Memorial Day Felt Different
Posters published by various Chinese state media outlets to commemorate the Nanjing Massacre.
December 13 marked the 88th anniversary of the fall of Nanjing, and this year’s Nanjing Memorial Day (南京大屠杀难者国家公祭日), although described as a low-key commemoration by foreign media, was trending all over Chinese social media.
During the Second Sino-Japanese War, on December 12, 1937, the Japanese army attacked Nanjing from various directions, and defending Chinese forces suffered heavy casualties. A day later, the city was captured. It marked the beginning of a six-week-long massacre filled with looting, arson, and rape, during which, according to China’s official data, at least 300,000 residents, including children, elderly, and women, were brutally murdered.
This year, the Nanjing Massacre Memorial Day, which was first officially held as a state-level event in 2014, carried extra weight. This dark chapter of history has continuously been a sensitive topic in Sino-Japanese relations, but with recent diplomatic tensions between the two countries reaching new heights, the Memorial Day was especially tied to current-day relations between China and Japan and to Prime Minister Sanae Takaichi, who has been described by Chinese media as an “ultranationalist” with tendencies to downplay Japan’s wartime aggression. Takaichi’s November 2025 parliamentary statement that a Chinese military action against Taiwan could be considered a “survival-threatening situation” for Japan, allowing for the deployment of its Self-Defense Forces, continues to fuel Chinese anger.
The link between history and current-day bilateral relations was visible not only on social media, but also during the commemoration itself, where Shi Taifeng (石泰峰), head of the ruling Communist Party’s Organization Department, said that any attempt to revive militarism and challenge the postwar international order is “doomed to fail.”
Besides the many online posters disseminated by Chinese official accounts on social media focusing on mourning, quiet commemoration, and honoring the lives of the 300,000 Chinese compatriots killed in Nanjing, one official online visual stood out for displaying a louder and more aggressive message—namely that posted by the official Weibo account of the Eastern Theater Command of the Chinese People’s Liberation Army (@东部战区).
The visual posted by the PLA Eastern Theater Command, titled: Rite of the Great Saber (大刀祭).
The visual showed a strong hand holding a giant blood-stained blade that is beheading a skeleton wearing a helmet marked “militarism,” with images related to the Nanjing Massacre visible on the blade and, behind it, a map of East Asia. The number “300000” appears in red, dripping like blood. At the top, the characters read “Rite of the Great Saber” or “The Great Saber Sacrifice” (大刀祭).
The official account explained the visual, writing: “(…) 88 years have passed and the blood of the heroic dead has not yet dried, [yet] the ghost of militarism is making a comeback. Each year, on National Memorial Day, a deafening alarm is sounded, reminding us that we must—at all times hold high the great saber offered in blood sacrifice, resolutely cut off filthy heads, never allow militarism to return, and never allow historical tragedy to be repeated.”
The text’s “cut off filthy heads” phrasing is similar to part of a now-deleted tweet sent out last month by the Chinese Consul General in Osaka, Xue Jian (薛剑), who responded to Takaichi’s controversial Taiwan remarks by writing (in Japanese): “If you come charging in on your own like that, there’s nothing to do but cut that filthy neck down without a moment’s hesitation. Are you prepared?” (“勝手に突っ込んできたその汚い首は一瞬の躊躇もなく斬ってやるしかない。覚悟が出来ているのか。”)
The recent visuals, social media approach, and shifts in texts reflect a clear change in tone in Chinese official discourse regarding Japan and the memory of war, moving the narrative from victimhood toward a more confrontational and militant tone.
2. He Qing, China’s “No. 1 Classical Beauty”, Passes Away at 61
He Qing. Images on the sides: the four famous roles in China’s most iconic tv dramas.
China’s “No. 1 Classical Beauty” (古典第一美女), He Qing (何晴), who starred in all four of China’s most beloved and canonical television dramas, passed away on Saturday at the age of 61. On December 14, news of the famous actress’s passing was trending across virtually all Chinese social media apps.
Born in 1964 into an artistic family in Jiangshan, Zhejiang Province, He Qing received traditional Chinese opera (Kunqu) training at the Zhejiang Kunqu Opera Troupe. Her debut in the entertainment industry may have come by chance, as she reportedly once met Chinese director Yang Jie (杨洁) on a train, which led to her joining the production of Journey to the West (西游记), where she played Lingji Bodhisattva (灵吉菩萨).
In China, He Qing is remembered as a veteran actress in much the same way that some famous Hong Kong actresses became renowned for their beauty, iconic roles, and for essentially becoming household names. More than just glitter and glamour, He Qing was especially a symbol of classical Chinese beauty and literary culture. She was the only actress to star in screen adaptations of all four of China’s “Four Great Classical Novels” (演遍四大名著): besides Journey to the West (西游记, 1986), she also appeared in Dream of the Red Chamber (红楼梦, 1987), Romance of the Three Kingdoms (三国演义, 1994), and Water Margin (水浒传, 1998).
She was married to fellow actor Xu Yajun (许亚军), with whom she had a son, Xu He (许何). Although the two later divorced, she remained close to her ex-husband and even befriended his new (and fourth) wife, Zhang Shu (张澍).
In 2015, He Qing was diagnosed with a brain tumor. After her diagnosis, she withdrew from the entertainment industry to focus on her recovery and lived a low-key life in her later years.
Her passing has prompted an outpouring of tributes from Chinese netizens and colleagues in the entertainment industry. Mourning her loss comes with a sense of nostalgia for the past, and many have praised He Qing for her timeless beauty and authenticity, which will be remembered long after her passing.
3. And Then There Were None: Dinner Party of Ten Leaves One Man with the Bill
Ten dine together, nine slip away..one left for the bill, who he refused to pay…
Do you know that nursery rhyme where ten little soldiers disappear one by one until none remain at the end? That is more or less what happened earlier this month in Chongqing, when ten people dined together at a restaurant, but—once it came time to pay—nine people left one by one.
One had to answer a phone call, another had to use the restroom, and in the end, just before midnight, only Mr. Zhang was left, facing a bill of 1,262 yuan ($180), which he refused to pay. He argued that he could not afford it and that the dinner party hadn’t been initiated by him at all; as merely a participant, the bill shouldn’t have been his responsibility.
After the restaurant called the police, the organizer of the dinner was contacted. But he, too, said he couldn’t pay. Through police mediation, Mr. Zhang then wrote a written commitment promising to pay the bill the following day and left his ID as collateral, but he still failed to make the payment.
By now, the restaurant is planning to sue and has also contacted the Chinese media. According to Zhang, who apparently has been unable to contact his “friends” to collect the money: “I did make the promise, but if I pay the money, wouldn’t that make me a sucker?” (“我的确承诺了，但你说我把钱付了，我是不是冤大头啊”)
As the story went completely viral (by now, even Hu Xijin has weighed in) comment sections filled with broader social reflections on alcohol-fueled group gatherings and unclear payment rules, where one person sometimes ends up paying for everything despite feeling it wasn’t their role to do so. In this era of digital payments, many argue it should be easy enough to go Dutch and settle the bill immediately via a group payment app.
Although Zhang is seen by some as a victim, others argue that he is still a “sucker” for not paying after having promised to do so. As one commenter put it: “Out of the ten of them, not a single one is a good person.”
Real Person Vibes [活人感 (huóréngǎn)
Every December, the ten most popular buzzwords, key terms, or expressions of the year are listed by the Chinese linguistics magazine Yǎowén Jiáozì (咬文嚼字), selecting words that reflect present-day society and changing times. Each year, the list goes trending and is widely disseminated by Chinese media.
This week, the 2025 list was released, including terms such as Digital Nomads 数字游民 (shù zì yóu mín), Sū Chāo (苏超), referring to the hugely popular amateur Jiangsu Super League football competition, and “Pre-made ××” (预制, yù zhì), following a year filled with discussions about pre-fab and pre-made food (see article).
My favorite word on the list is “Real-Person Vibes” (活人感 huó rén gǎn). The term literally consists of three characters meaning “living – human – feeling,” and it describes people, stories, or things that feel unpolished, spontaneous, and unfiltered—something that has become increasingly relevant in a year dominated by AI-generated content and visuals.
Amid over-curated feeds and AI-produced text, we crave huóréngǎn: authenticity, small imperfections, and liveliness as an antidote to a digital, artificial world.
The 9:12 Boiled Egg That Took Over Douyin
How do you get a perfect boiled egg? A Douyin user known as “Loves Eating Eggs” (爱吃蛋) has become all the rage after leaving a precise comment on how to boil eggs. His advice: First boil the water, then add the eggs, boil for exactly 9 minutes and 12 seconds, remove, and immediately run under cold water.
That simple tip catapulted his follower count from around 200 to over 3.5 million in a single week (I just checked—he’s up to 4.2 million now).
The new viral hit is a 24-year-old self-proclaimed egg expert (of course, his English nickname should be the Eggxpert). He claims to have eaten 40 eggs a day for the past five years and knows exactly how every second of boiling, frying, or stirring affects an egg. He regularly posts videos showing eggs cooked for different lengths of time.
It has earned him the nicknames “Egg God” (蛋神) and “Boiled Egg Immortal” (煮蛋仙人), and has sent boiled eggs (9 minutes and 12 seconds exactly) all over social media feeds.
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Many thanks to Miranda Barnes for helping curate some of the topics in this edition.
— Manya
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Henana
February 6, 2019 at 1:42 am
Thank you for breaking down the CCTV Spring Festival Gala! This was a great read, very helpful and appreciate the context!