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The Yico Zeng Controversy: Chinese Singer Falls from Grace after Beijing Airport Misconduct

Chinese celebrity Yico Zeng triggered major controversy on Weibo over the past week for failing to comply with security regulations at Beijing airport.

Wendy Huang

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Chinese singer Yico Zeng seems to have fallen out of favor with Chinese netizens after refusing to comply with Beijing airport security rules and exposing the personal details of an officer on her Weibo account.

Just a month ago, Weibo blew up when the inluential Chinese entertainer Roy Wang, a participant of the popular reality show I’m CZR (我是唱作人), was caught smoking inside a Beijing restaurant.

Now, another participant of the I’m CZR entertainment show has triggered major controversy for breaking the rules in multiple ways. Yico Zeng (曾轶可) was occupying the hot charts of Weibo earlier this week for causing a scene at Beijing Airport and for posting personal details of airport security staff.

 

The Weibo Post that Backfired

 

Noteworthy enough, it was Yico Zeng herself who brought the issue to the public’s attention. On June 17, the 29-year-old celebrity published a post on her social media account account (1.4 million followers) in which she criticized the way she had been handled at the Immigration Inspection at Beijing Airport.

The former talent show singer described her unpleasant run-in with an airport officer who had ordered her to take off her cap at the passport checkpoint. In that post and in a later one, Zeng accused the officer of wrongfully detaining her in a separate room, and posted a series of pictures of the officer’s badge, exposing his personal information for all of her followers to see.

Zeng’s posts – which have since been deleted – drew major criticism on Weibo, followed by an official statement issued by the Beijing Immigration Inspection (@北京边检) on June 19. According to that statement, soon receiving over 20,000 shares, Zeng had refused to take off her cap for identification when using the inspection E-channel and thus failed to pass the tunnel.

Beijing Immigration Inspection also condemned the Chinese singer for refusing a manual check, using offensive language, and exposing the officer’s personal information on social media.

The Weibo account of China’s Communist Youth League also reposted the statement, expressing their “strong support” for law-enforcement and for law-abiding citizens.

Zeng soon posted an apology on Weibo over her “inappropriate words and behavior.” She wrote: “I cannot believe that I was so emotional at that moment. I apologize to all, and I’d like to personally apologize to the officer if I have the chance.”

The post received more than 100,000 comments within a day after it was posted, but many commenters rejected Zeng’s apologies, suggesting the celebrity only said sorry because of public pressure.

 

Fallen out of Favor

 

The airport incident has not been without consequence for Yico Zeng. Since the controversy, the popular Strawberry Festival has canceled Zeng’s upcoming show, and it is reported that more of her work for the upcoming time, including her participation in the reality show I’m CZR, will be postponed or called off indefinitely.

Shanghaiist reports that Zeng could face up to ten days of detention and a fine of up to 500 yuan if she is convicted of resisting the officer.

An article published by Sina News on June 24 argued that Zeng had not just done one thing wrong, but had actually committed three wrongdoings: she ignored laws and regulations, she breached the privacy of others, and used her celebrity status to demand certain privileges.

Zeng is not the first celebrity to fall from grace after breaking the law. One of the most noteworthy years regarding Chinese celebrity scandals is probably 2014 when various singers and actors triggered controversy and received legal punishment for possession of drugs, illegal gambling, or visiting prostitutes.

Although Zeng is condemned by the majority of commenters on social media, there are still some loyal fans who are actively participating in the Yico Zeng ‘supertopic’ Weibo community, hoping for a quick comeback of the singer.

Other commenters, however, are hoping that the star will receive legal punishment instead.

“We’re all equal before the law,” various people write on Weibo.

By Wendy Huang, Manya Koetse

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

Wendy Huang is a China-based Beijing Language and Culture University graduate who currently works for a Public Relations & Media software company. She believes that, despite the many obstacles, Chinese social media sites such as Weibo can help Chinese internet users to become more informed and open-minded regarding various social issues in present-day China.

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China Arts & Entertainment

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

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

Yin Lin Tan

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

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

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

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

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

 

Depicting the struggles of China’s thirty-something women

 

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

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

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

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

 

A story that resonates with the masses

 

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

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

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

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

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

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

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

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

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

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

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

 

The rise of ta shidai shows

 

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

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

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

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

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

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

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

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

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

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

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

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

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

 
Read more about Chinese TV dramas here.
 

By Yin Lin Tan

 Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

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

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China Arts & Entertainment

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

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

Manya Koetse

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

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

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

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

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

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

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

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

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

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

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

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

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

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

By Manya Koetse

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

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

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