China Arts & Entertainment
‘Fifteen of Us’: This is the Chinese Utopia
Fifteen people with different backgrounds build a new society: one place, hundreds of camera’s, starting from scratch. The format of Dutch reality TV programme Utopia has now made it to China. The question is: what will Chinese Utopia look like? Who are the contestants? Will their society be communist or capitalist?

Published
10 years agoon

Fifteen people with different backgrounds build a new society: one place, hundreds of camera’s, starting from scratch. The format of Dutch reality TV programme Utopia has now made it to China. The question is: what will Chinese Utopia look like? Who are the contestants? Will their society be communist or capitalist? What’s on Weibo brings you an overview of the show thus far.
In the Netherlands, Utopia first aired on December 31st, 2013. The reality show is a social television experiment that puts 15 people from different backgrounds together to create a new society. The contestants have to start from scratch, and learn how to make survive as a group. They can decide on their own rules or laws, but there is an important general restriction: contestants cannot leave the premises, that cover around 1,5-2 hectare. The show is recorded 24 hours per day, and can be followed by viewers through online live streams on the Utopia app. Besides the live streams, there are daily 30 minute recaps on TV. Every month, the contestants have to vote on their least favourite resident, who will then be eliminated from the show and replaced by a new contestant. Contestant are supposed the stay in the show for one year. If they decide that they want to leave earlier without being eliminated, they will be fined by the television company. Apart from sporadic letters, they cannot communicate with their friends and family.
Utopia is produced by Talpa, a top-notch Dutch production company that has launched various popular TV formats, such as The Voice, which also became a huge success in China (中国好声音). The Chinese version of Utopia is called ‘The Fifteen of Us’ (我们15个), and first aired on June 29 this year. It is a joint production of Talpa and the Chinese online group Tencent.
In the Netherlands, Utopia has seen a rich variety of participants; gay and straight, black and white, young and old, religious and atheist. The contestants had different backgrounds as artists, singers, accountants, philosophers, carpenters, psychics, some jobless, one homeless.
Besides an official website, the Chinese show also has an official Weibo account, that regularly updates with everyday developments on the show.
According to Variety, as many as 100,000 people applied to take part in the the Chinese Utopia. The show’s selected fifteen contestants have diverse backgrounds and ages.
Three of the 15 contestants, from left to right: Yi Qiu (the vagabond), Tan Limin (feisty auntie), Zheng Hu (wannabe singer).
The show’s oldest contestant is Tan Limin (谭利敏) a retired 61-year-old Shanghai woman with a young mind and feisty nature. The other participants range from 21 to 51 years old. Yi Qiu (易秋), with his unique look, is a vagabond with no stable job. Zheng Hu (郑虎) is a chubby 26-year-old music lover from China’s northern Shanxi province, who wants to lose weight and work on his career as a singer.
Three of the contestants, from left to right: Deng Biying (the model), Liu Zhixuan (the fashion designer), Taiwanese 44-year-old Zhang Tingxuan (the perfectionist mum).
Deng Biying (邓碧莹) is the young and sexy 24-year-old car show model. The extravagant Liu Zhixuan (刘志轩) from Zhejiang is a 27-year-old fashion designer. Zhang Tingxuan (张婷媗) is the show’s only Taiwanese participant. She is 44 years old, a ‘hot mother’, and a perfectionist with extreme willpower.
From left to right: Sun Ming and Nie Jiangwei (both veterans), and Liu Fuhua (divorced dad).
The youngest is the 21-year-old veteran Sun Ming (孙铭), for whom discipline is the main thing in life. Nie Jiangwei (聂江伟) is also a veteran, 51 years old. Electrician and daddy Liu Fuhua (刘富华, 30 years old), is trying to get over his failed marriage. Furniture maker Guo Daohui (郭道辉) from Qingdao is the rebellious one of the group. The handsome Qiu Zijian (丘子健) is a professional boxer and model.
From left to right: Rebel from Qingdao, Guo Daohui, professional boxer Qiu Zijian and fashionista Liu Xi.
Another fashionista is the 26-year-old woman Liu Xi (刘希), who majored in fashion at Shanghai University. Liu Luoxi (刘洛汐) is an ambitious 25-year-old super model and business woman from Chengdu, who is active in the online game industry. Song Ge (宋鸽) is a 27-year-old female Harvard graduate, majoring in psychology. Xiao Fanfan (肖凡凡) is the last one of the group: a young and pretty university student who loves make-up and cherishes her freedom.
From left to right: Liu Luoxi the super model/business woman, the academic (Song Ge) and Xiao Fanfan, the sexy student.
Similar to the Dutch version, contestants of Fifteen of Us are allowed to bring one wooden case with some items (cooking utensils, rice, sleeping bag, etc) upon arrival.
The show is recorded in the scenic lush green area of Tonglu, in southern China’s Hangzhou. At the start, the contestants only have one shared empty hangar, a grass field, a total of 5000 RMB (about 816 US dollar), and one basic mobile phone. There are also two cows and some chickens.
In the first episodes, the fifteen contestants struggle with their new surroundings, where they have no beds or proper toilets. They spend the days milking the cows, making fire, cooking basic food, talking about how to make money and survive, and arguing on how to divide the tasks ahead. Chubby Zheng Hu practices his singing skills at all hours of the day (check video below).
Supermodel/business woman Liu Luoxi takes on a leader role, much to the disgruntlement of divorced father Liu Fuhua. Veteran Nie Jiangwei, the oldest man of the group, balances her business-like leadership with his own views (“We came here as one group, we will act as one group!”). Besides an apparent leader, supermodel Liu Luoxi is also a dramaqueen. As shown in the video below, she breaks out in tears when the vet comes to Tonglu to check on one of the cows and then states it is sick and needs to take medicine. Although Liu cares for the cow’s health, she also cares about the little money the residents currently have. The medicine costs 200 RMB (32 dollar), and Liu cries out that there is no money.
The humid and basic surroundings already take their toll on the health of the contestants. Within the first week of airing, two participants already had to leave the show to go to the hospital. Young carpenter Guo Daohui suffered from severe backache, and vagrant Yi Qiu was wounded when broken glass cut through his hand (see video below). The chubby and extravagant Zheng Hu seems to suffer mentally, as he cannot stop crying after seeing a snake outside the hangar (video).
Yi Qiu has just cut his hand and is taken to hospital. Zheng Hu is crying because he saw a snake. While some support him, others get angry because of his dramatic cries (see 1:20).
So far, Fifteen of Us has been lacking the more political discussions the Dutch version of the show sometimes had at the beginning, when contestants would have to decide if they would choose for a communist or capitalist-run society. These kind of debates might be too sensitive for the Chinese version, where the show is undoubtedly censored. But censorship of this reality show is not typically Chinese. Viewers of the Dutch show have complained about censorship of the show, and the German version (‘Newtopia’) became the centre of a scandal earlier this year when an allegedly drunk producer was heard on livestreams giving directions to the contestants.
China is not the first to follow Dutch Utopia. The show also has its own version in Turkey. Although there was also an American version, it turned out to be a flop and was cancelled after airing for two months.
So far, the Dutch version has been airing for 1,5 years. The contestants have managed to rebuild the hangar that now holds bedrooms, a bathroom, two kitchens and a gym. There is also a swimming pool and wellness centre. Contestants receive money by letting guests pay for indoor concerts, parties or weekend markets. The show’s storyline has seen some highlights, with an unexpected romance between two young female contestants, a resident caught stealing, one couple having live sex on TV, a number one hit, some fights, the occasional drunken party, and conflicts over homosexuality, religious beliefs and political systems.
China’s Utopia might not get too political, but it could nevertheless offer some interesting insights in today’s society. Contemporary Chinese societal issues such as the rich-poor gap, migrant workers, leftover women or the growing generation gap are bound to come up as items of discussion within this diverse group of people. A lesbian couple? Unlikely, but who knows. We will be watching – and’ll keep you posted.
By Manya Koetse
Follow @WhatsOnWeibo
[box type=”bio”] About the Author: Manya Koetse is the editor of What’s on Weibo. She’s a Sinologist who splits her time between the Netherlands and China. She earned her bachelor’s degrees in Literary Studies, Japanese & China Studies and completed her MPhil in Asian Studies. Contact: manya@whatsonweibo.com, or follow on Twitter.[/box]
©2015 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.
Manya is the founder and editor-in-chief of What's on Weibo, offering independent analysis of social trends, online media, and digital culture in China for over a decade. Subscribe to gain access to content, including the Weibo Watch newsletter, which provides deeper insights into the China trends that matter. More about Manya at manyakoetse.com or follow on X.

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China ACG Culture
“Black Myth: Wukong”: From Gaming Screens to the CMG Spring Festival Gala?

Published
2 weeks agoon
January 21, 2025
FROM THE WEIBO WATCH PREMIUM NEWSLETTER
Is Chinese game sensation ‘Black Myth Wukong’ making a jump from gaming screens to the CMG Spring Festival Gala? There’s already some online excitement over a potential performance at the biggest liveshow of the year.
The countdown to the most-watched show of the year has begun. On January 29, the Year of the Snake will be celebrated across China, and as always, the CMG Spring Festival Gala, broadcast on CCTV1, will air on the night leading up to midnight on January 28.
Rehearsals for the show began last week, sparking rumors and discussions about the must-watch performances this year. Soon, the hashtag “Black Myth: Wukong – From New Year’s Gala to Spring Festival Gala” (#黑神话悟空从跨晚到春晚#) became a topic of discussion on Weibo, following rumors that the Gala will feature a performance based on the hugely popular game Black Myth: Wukong.
Three weeks ago, a 16-minute-long Black Myth: Wukong performance already was a major highlight of Bilibili’s 2024 New Year’s Gala (B站跨年晚会). The show featured stunning visuals from the game, anime-inspired elements, special effects, spectacular stage design, and live song-and-dance performances. It was such a hit that many viewers said it brought them to tears. You can watch that show on YouTube here.
While it’s unlikely that the entire 16-minute performance will be included in the Spring Festival Gala (it’s a long 4-hour show but maintains a very fast pace), it seems highly possible that a highlight segment of the performance could make its way to the show.
Recently, Black Myth: Wukong was crowned 2024’s Game of the Year at the Steam Awards. The game is nothing short of a sensation. Officially released on August 20, 2024, it topped the international gaming platform Steam’s “Most Played” list within hours of its launch. Developed by Game Science, a studio founded by former Tencent employees, Black Myth: Wukong draws inspiration from the classic Chinese novel Journey to the West. This legendary tale of heroes and demons follows the supernatural monkey Sun Wukong as he accompanies the Tang Dynasty monk Xuanzang on a pilgrimage to India to retrieve Buddhist scriptures. The game, however, focuses on Sun Wukong’s story after this iconic journey.
The success of Black Myth: Wukong cannot be overstated—I’ve also not seen a Chinese video game be this hugely popular on social media over the past decade. Beyond being a blockbuster game it is now widely regarded as an impactful Chinese pop cultural export that showcases Chinese culture, history, and traditions. Its massive success has made anything associated with it go viral—for example, a merchandise collaboration with Luckin Coffee sold out instantly.
If Black Myth: Wukong does indeed become part of the Spring Festival Gala, it will likely be one of the most talked-about and celebrated segments of the show. If it does not come on, which we would be a shame, we can still see a Black Myth performance at the pre-recorded Fujian Spring Festival Gala, which will air on January 29.
Lastly, if you’re not into video games and not that interested in watching the show, I still highly recommend that you check out the game’s music. You can find it on Spotify (link to album). It will also give you a sense of the unique beauty of Black Myth: Wukong that you might appreciate—I certainly do.
By Manya Koetse
(follow on X, LinkedIn, or Instagram)
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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.

Published
2 months agoon
December 7, 2024
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
Follow @whatsonweibo
Edited for clarity by Manya Koetse
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