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China Arts & Entertainment

Far From Horseplay: Bojack Horseman’s Chinese Fanbase

Young Chinese audiences have embraced the turbulent and often emotional story of the American adult animated comedy Bojack Horseman. Recently, Chinese fans are going crazy over the series, and a Bojack ‘screenshot hype’ has conquered Chinese social media.

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Young Chinese audiences have embraced the turbulent and often emotional story of the American adult animated comedy Bojack Horseman. Recently, Chinese fans are going crazy over the series, and a Bojack ‘screenshot hype’ has conquered Chinese social media. Among the online praise and endless screenshots, what is drawing such a devoted Chinese viewership to this hard-hitting comedy-drama?

It has been dubbed as the frontrunner in the rise of the ‘ultimately optimistic sadcom.’ Now, the American animated comedy Bojack Horseman (马男波杰克) has found a new fanbase on one of the world’s largest networking sites, China’s Sina Weibo.

“Bojack Horseman is one of the most subversively sad shows on TV.”

Created by Raphael Bob-Waksberg, Bojack Horseman first premiered on Netflix in 2014. The animated comedy-drama follows the often heart-breaking journey of the show’s titular character, an anthropomorphic horse living in a city where both animals and humans coexist.

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Bojack portrays a familiar show business trope of a washed up actor living off the long gone success of 90s sitcom Horsin’ Around, with plotlines often revolving around his friend circle and his struggles with alcohol and self-loathing.

Stephen Kelly of The Guardian recently described the show as “one of the most subversively sad shows on TV.”

“The desire of Chinese fans to understand the meaning behind Bojack goes beyond wanting to improve their level of English.”

Considering China’s high consumption of emotional Korean dramas and weep-worthy ballads, appreciation for the tough emotional realism of Bojack Horseman might make sense.

China’s heavy control over the influx of Western media can make the country a difficult playing field for hard-hitting adult comedies, however Bojack has steadily accrued a firm Chinese following, achieving online ratings as high as 9.6/10.

Online acclaim appears to be the main avenue for Bojack’s success, with Chinese netizens posting anything from episode links to discursive articles. 

Some have even leapfrogged from the show’s success to teach English based on the show’s content. The online group Good Morning English posts English phrases organised by episode, while an online article explains the implications and offence caused by certain terminology (for example, the difference between using ‘handicapped’ and ‘disabled’).

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However, the desire of Chinese fans to truly understand the meaning behind Bojack’s scripts extends beyond wanting to improve their level of English. In fact, sites such as Weibo are home to fervent discussion and reflection over the characters’ heart-to-heart talks and the lasting quotes that have also drawn in Western audiences. From this, Chinese netizens have formulated somewhat cathartic outlets in the form of posts, links to the show’s music, and most importantly, screenshots.

“I really think I’m like Diane from Bojack Horseman.”

Screenshots, complete with subtitles, make up a majority of Bojack-related posts on Weibo, and also appear on other social media platforms such as WeChat. China’s Phoenix News characterised the trend surrounding the cartoon as “living for screenshots,” whereby Chinese viewers are using Bojack images to illustrate their feelings or personal experiences.

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Despite the cultural differences between modern China and the US, it seems that the subject-matter of the show often resonates with the experiences, hopes, and fears of young Chinese people.

Chinese text says: "Hello, I am your horse brother. You might not understand me, but when you do, you will definitely love me."

Chinese text says: “Hello, I am your horse brother. You might not understand me, but when you do, you will definitely love me.”

On one Weibo fan page, a netizen posting under the name of @我是马男Bojack added that her followers would “see their own reflections” if they watched the show.

In addition, after posting a screenshot reading “If you can’t find a way to let off some steam, you’re going to explode,” alluding to Bojack character Diane’s internal rage, one netizen (@竹裁雀念) added: “I really think I’m like Diane from Bojack Horseman.”

“The show’s refreshing honesty with life’s difficulties has struck a chord within China’s usually squeaky-clean entertainment industry.”

While netizens’ lives might not directly emulate Bojack Horseman’s internal battles, it seems that for some, the show’s refreshing honesty with life’s difficulties has struck a chord within China’s usually squeaky-clean entertainment industry.

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Previous popular dramas in China, such as Korean hit My Love From the Star, have tackled the emotional roller coasters of love, family, or illness. But rarely have they addressed issues such as mental health and societal pressures, which are particularly relevant in the midst of China’s rapid economic development and social change.

One set of screenshots featuring character Princess Carolyn, a pink cat and Bojack’s ex-girlfriend, reads: “Carolyn, you’re a single woman in your 40s, can you really afford to be picky?” Affronted, Carolyn responds, “I’m not afraid of being alone.”

Commenting on the interaction, one Weibo user (@我是少先森) described the realism of Bojack’s content as “really depressing.”

“More than just a cartoon, Bojack is used like a diary to express netizens’ innermost thoughts.”

China is no stranger to Carolyn’s frustration at the pressure of being a single woman. Recently, skincare company SK-II released a viral video featuring the stories of ‘leftover women’, those in China who are nearing their 30s and remain single.

In the video, various women were tearful at the stigma associated with their lives, despite their confidence and career success. It seems that the struggles of Bojack’s characters are animated portrayals of many home truths.

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One analysis of the SK-II was that it addressed an issue that had previously been swept under the rug. In turn, Bojack’s fearless and deep discussion of similar topics is embraced by Chinese netizens, with screenshots and quotes laying out in-depth commentary previously unseen on social media sites. More than just a cartoon, Bojack is used like a diary to express netizens’ innermost thoughts.

“Try watching Bojack calmly – experience it, understand it..no need to pick out every single sentence!”

Not everyone agrees that screenshots are the right use of Bojack’s material. One Weibo user (@直儿儿儿儿) posted: “Damn Bojack Horseman screenshots and quotes trying to get followers, even if you have that much self pity, or are that much of a narcissist, or even hate yourself, who needs that much validation?”

Others have expressed frustration at the screenshot trend’s increasing online presence, with another comment reading: “Try watching it [Bojack] calmly, experience it, understand it..no need to pick out every single sentence, please!”

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Protest on the Bojack screenshot hype mainly stems from the feeling that users who post screenshots do so for online attention, rather than criticism for the show itself. Essentially this backlash against the trend could strengthen the argument that Bojack’s content deeply resonates with the Chinese audience – something that shouldn’t be sullied for the sake of reposts and likes.

The popularity of Bojack Horseman in China shows no signs of slowing down. Screenshots are posted almost daily on social networking sites, either to entertain followers or illustrate someone’s innermost feelings.

It appears that an unlikely cultural bridge has formed between an anthropomorphic horse navigating the sea of show business to the homes and keyboards of China’s metropolitan youth. It could be a sign that Bojack will be the crux of a new viewing appetite in China for more hard-hitting and gritty television offerings in the future.

By Cat Hanson
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©2016 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

Cat Hanson is a U.K. graduate of Chinese Studies now teaching and living in China. She swapped Beijing for Anhui, and runs her own blog on China life: Putong Press.

Chinese Movies

Why Chinese Hit Movie “Her Story” is ‘Good Stuff’: Stirring Controversy and Celebrating Female Perspectives

China’s end-of-year movie hit, Her Story, is sparking debates and highlighting the rising influence of Chinese female directors.

Wendy Huang

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The Chinese comedy-drama Her Story (好东西, literally “Good Stuff”), directed by Shao Yihui (邵艺辉), has been gaining attention and sparking discussions on Weibo since its late November release in mainland China.

The film features an all-star cast including Song Jia (宋佳), Zhong Chuxi (钟楚曦), Zeng Mumei (曾慕梅), Zhao Youting (赵又廷), and Zhang Yu (章宇). It tells a quirky yet heartfelt story about two women: Wang Tiemei (王铁梅), a self-reliant single mom juggling life and work, and Xiao Ye (小叶), a free-spirited young woman navigating her chaotic relationships.

Their friendship begins when Xiao Ye starts babysitting Tiemei’s nine-year-old daughter, Wang Moli (王茉莉). Xiao Ye introduces her drummer friend, Xiao Ma (小马), to teach Moli how to play the drums, but Xiao Ma’s presence stirs jealousy in Tiemei’s unemployed ex-husband, who schemes to regain his place in the family. Blending humor with poignant insights, the film explores themes of imperfect love, friendship, and the messy process of rebuilding lives.

(“Her Story” poster and the director Shao Yihui)

The film also addresses a range of hot societal issues through dialogues woven into everyday interactions, touching on topics like menstruation stigma, sexual consent, feminism, and how family dynamics can impact personal development.

In just eight days, Her Story surpassed 300 million RMB ($41 million) at the Chinese box office (#好东西票房破3亿#). Two days later, on December 2, it exceeded 400 million RMB (#好东西票房破4亿#), and on December 7 news came out that it had surpassed the 500 million RMB ($68.7 million) mark at the box office.

The film also achieved an impressive 9.1/10 rating on Douban, a Chinese platform similar to IMDb, making it the highest-rated domestic film on Douban in 2024.

(“Her Story” on Douban)

Notably, 65.4% of voters awarded it five stars, while only 0.5% gave it one star.

 
Conflicting Views: From Feminist Film to Chick Flick
 

Despite its huge success, it is almost unavoidable for a movie this big to come without controversy. The film sparked debate on Hupu (虎扑), a platform focused on sports and men’s lifestyle, where it received a lower score of 5/10. While 33.1% of users gave it five stars, 58.4% rated it one star, reflecting divided opinions.

(“Her Story” on Hupu)

Much of the criticism comes from male viewers who feel the film undermines men by portraying them in non-traditional ways and omitting proper names for male characters, such as referring to the ex-husband only as “the ex-husband” (前夫). On the other hand, many female viewers resonate with the film’s female-centered perspective, with one scene blending household sounds and Xiao Ye’s recordings praised as a standout cinematic moment of 2024.

Interestingly, not all women appreciated the film either. A Weibo user, identified as a female scriptwriter for two Chinese TV dramas, emphasized that most of the producers of the film are male. She accused the director of hypocrisy, claiming Shao accepts money and resources from privileged men to create films that encourage female audiences to look down on average men.

She wrote, “I hope that everyone who believes in the ‘ghg’ [girl help girl] myth and supports female idols will also congratulate the male producers who will earn a lot of money from the film.”

Zhou Liming (周黎明), one of China’s most influential film critics, noted two extreme perspectives in film reviews. Some critics label the film as a “boxer film” (拳师电影) or an “extreme feminist film.”

However, the film itself suggests otherwise, as reflected in Moli’s line, “I don’t want to box,” when her father tries to convince her to take up boxing. Some audiences interpreted the line as rejecting extreme feminist messages.

In China, the term “boxer” (拳师) is used to critique certain feminists. The second character in the word for feminists (“权” [quán] in 女权主义者) is pronounced the same as the first character in “boxer” (“拳” [quán] in 拳师). This term often mocks behaviors seen as overly aggressive or lacking nuance in feminist discourse, such as avoiding dialogue or oversimplifying social issues.

Some also dismissed the film as a “chick flick,” a casual term for romantic comedies, which Zhou argued unfairly minimizes its significance. He likened the film to Woody Allen’s Annie Hall, suggesting that, much like Allen’s work, Her Story transcends gender differences and reflects the cultural zeitgeist of its time.

Despite the controversy, the film has been praised by notable figures like actor Zhang Ruoyun (张若昀), who called it “super good, super awesome, and super cute” (“超级好、超级牛、超级可爱的东西”). Zhang described the movie as tackling absurd yet realistic issues from a female perspective with humor and depth.

 
The Increasing Influence of Female Directors in China
 

At the end of Her Story, Tiemei’s daughter, Moli, nervously prepares for her first drum performance. Despite her hesitation, she gathers her courage and steps on stage. This moment reminded some viewers of a similar scene in another female-directed film this year, YOLO (麻辣滚烫), where the protagonist gears up for a boxing match.

YOLO is a 2024 comedy-drama directed by Jia Ling (贾玲), starring Jia Ling and Lei Jiayin (雷佳音). A comedic adaptation of the Japanese film 100 Yen Love (2014), it tells the story of Du Leying (杜乐莹), a woman facing personal struggles who turns to boxing after meeting coach Hao Kun (昊坤). Through her journey, she finds a new direction in life after their breakup. Grossing USD 496 million worldwide, YOLO became the highest-grossing Chinese film of 2024.

These parallels between Her Story and YOLO highlight a broader trend: the growing prominence of female directors in Chinese cinema. Beyond the discussions of plot and central themes, Her Story reflects the increasing success and influence of women filmmakers in the industry.

In 2024, female directors have made a notable impact on Chinese cinema, with their films achieving both critical acclaim and box office success. Their works also spark conversations about the need for more diverse perspectives in the industry.

(“The Last Frenzy” poster and the director Wu Rina)

The Last Frenzy (末路狂花钱), directed by Wu Rina (乌日娜), premiered on May 1. This comedy follows Jia Youwei (贾有为), a man diagnosed with a terminal illness, who decides to sell his assets and live fully with his friends. Despite mixed reviews and a Douban score of 5.9, the film grossed over 700 million RMB ($96 million) by May 31, becoming a major box office hit.

(“Stand By Me” poster and the director Yin Ruoxin)

Stand By Me (野孩子, literally “Wild Kids”), directed by Yin Ruoxin (殷若昕), premiered on September 13. Starring Wang Junkai (王俊凯), it tells the story of two neglected children, Ma Liang (马亮) and Xuan Xuan (轩轩), who form a makeshift family while facing life’s challenges. With a Douban rating of 6.7, the film grossed 241 million RMB by October 9.

(“Like A Rolling Stone” poster and the director Yin Lichuan)

Like A Rolling Stone (出走的决心, literally “The Determination to Leave”), directed by Yin Lichuan (尹丽川), premiered the same week as Stand By Me. Inspired by Su Min (苏敏), a 50-year-old woman who embarked on a solo road trip, the film explores themes of self-discovery and the struggles of neglected women. Featuring Yong Mei (咏梅), the film earned praise for its authenticity, achieving a Douban score of 8.8 and grossing over 123 million RMB.

To the Wonder (我的阿勒泰, literally “My Altay”), a film-like TV drama directed by Teng Congcong (滕丛丛), adapts Li Juan’s (李娟) memoir. Starring Ma Yili (马伊琍), it tells the story of Li Wenxiu (李文秀), a young woman finding her place in her hometown of Altay after setbacks in the big city. Known for its poetic storytelling and portrayal of ethnic harmony, the series has a Douban score of 8.9 from over 300,000 ratings, ranking among the top dramas of 2024.

 
“An Era Where Women Are Being Seen”
 

The growing influence of female directors has sparked discussions about how women’s perspectives are challenging traditional storytelling.

Some Weibo users compared a scene from Her Story, where Tiemei scolds a man for urinating roadside, to a similar moments in YOLO. In YOLO, Hao Kun’s attempt to urinate roadside is humorously interrupted by car headlights. Such scenes highlight how female directors reinterpret everyday behaviors, inviting audiences to question societal norms.

Her Story has already been released in several countries, including the United States, Australia, Germany, and the United Kingdom, with more international releases to follow.

The success of Her Story, the conversations it inspires, and its contribution to highlighting female perspectives in film reflect the evolving dynamics of contemporary cinema and the strengthening of female voices in traditionally male-dominated industries.

On Weibo, many view this as a positive development. One commenter wrote:

Her Story [好东西/”Good Stuff”] is truly ‘good stuff.’ (..) At the start of this year, I watched YOLO, and at the end of this year, I watched Her Story. Suddenly, I feel very grateful to live in this era—the era where women are gradually being ‘seen.’ Both films hold very special meaning for me. It feels like everything has come together perfectly. I hope to see more outstanding works from female directors in the future, and I look forward to an era where there’s no gender opposition, only mutual equality.”

By Wendy Huang

Edited for clarity by Manya Koetse

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©2024 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

Chiung Yao’s Suicide Farewell Letter: An English Translation

Manya Koetse

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Chinese netizens mourned the passing of Taiwanese writer Chiung Yao (琼瑶) this week. Chiung Yao, one of China’s most beloved romance novelists, passed away at the age of 86.

Among her many works, Chiung Yao is cherished by many netizens in mainland China as part of their collective memories from the 1980s and 1990s. Some of the most iconic Chinese dramas, such as My Fair Princess (also: Return of the Pearl Princess, 還珠格格), were written by Chiung Yao.

On December 4, she was found on her sofa at home, leaving behind a suicide note. The cause of death was determined to be asphyxiation due to carbon monoxide poisoning.

In her farewell letter to loved ones and fans, she wrote the following:

To all my dear friends:

Do not cry, do not grieve, and do not feel sad for me. I have already fluttered away [翩然 piānrán] effortlessly.

I love the word “翩然” [piānrán]. It represents flying in the air independently, easily, and freely. Elegantly and gracefully, I have shed the body that gradually caused me pain and have ‘fluttered away,’ transforming into snowflakes flying into the sky.

This was my wish. “Death” is a journey everyone must take—it is the final significant event in life. I did not want to leave it to fate, nor did I want to wither away slowly. I wanted to have the final say in this final event.

God has not designed the process of life particularly well. When a person grows old, they have to go through a very painful period of ‘becoming weak, degeneration, illness, hospitalization, treatment, and fatal illness.’ This period, may it be long or short, is a tremendous torment for those who are destined to grow old and die! Worst of all, some may become bedridden, dependent on tubes for survival. I have witnessed such tragedies, and I do not want that kind of “death.”

I am a “spark,” and I have already burned as brightly as I could. Now, before the flame finally dims, I have chosen this way to make a light departure. I have recorded everything I wish to say in my video “When Snowflakes Fall Down” (当雪花飘落). I hope my friends can watch it a few times to grasp everything I wanted to express.

Friends, do not mourn my death but smile for me! The beauty of life lies in the ability to love, hate, laugh, cry, sing, speak, run, move, be together until death parts us, live freely, despise evil with a passion, and live life boldly. I have experienced all these things in my lifetime! I truly ‘lived’ and did not waste this life.

What I find hardest to let go of are my family and all of you. “Love” is what is tightly bound to my heart, and I am reluctant to part with you. To allow my soul (if humans even have souls) to also ‘flutter away,’ please laugh for me, sing loudly for me, and dance in the breeze for me! My spirit in the heavens will dance together with you!

Farewell, my dearest ones! I am grateful for this life, where I had the chance to meet and know you all.

Take note of the way I died: I was at the final station of my life! For those of you who are still young, never give up on life lightly. Momentary setbacks or blows may be the “training” for a beautiful life. I hope you will be able to endure those, as I did, and live to 86, 87.. years old. When your physical strength fades, then decide how to face death. By then, perhaps they will have found more humane ways to help the elderly “leave joyfully.”

Dear friends, be brave, be the greatest version of yourself. Do not waste your journey through this world! Though this world is not perfect, it is filled with unexpected joys, sorrows, and laughter. Don’t miss out on all the wonders out there for you.

There are a thousand more things to say, but in the end, I wish everyone health, happiness, and a life of freedom and joy.

This translation was previsously published on my X channel here.

By Manya Koetse
(follow on X, LinkedIn, or Instagram)

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