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Watching ‘Chunwan’ 2023: Liveblog CMG Spring Festival Gala by What’s on Weibo

Culture meets commerce, Party propaganda meets pop culture, it’s time for the annual Spring Festival Gala! Watch it with What’s on Weibo.

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As we bid the Year of the Tiger farewell, and welcome the Year of the Rabbit, it is time for the annual CMG Spring Festival show. Watch the Gala together with What’s on Weibo here and follow our liveblog to keep up with what’s happening on screen and the latest on social media.

It is that time of the year again! It is time for the CMG Spring Festival Gala, better known as Chunwan (春晚), one of the world’s most-watched live televised events. Lasting a total of four hours, from 8pm to 1am Beijing time, the Chunwan is annually broadcasted since 1983 and has become a part of the Chinese New Year’s Eve.

The show usually consists of some 30-40 different acts. Although there was a time when the Gala was mostly considered corny and old-fashioned by most young people, the show has now also become ingrained in China’s social media environment. Besides traditionally being broadcasted via CCTV, it can now also be live-streamed through social apps such as WeChat, TikTok, and Kuaishou. This has also helped to boost viewership. The 2021 Gala reached a record 1.14 billion viewers around the globe, and in 2022, another record was broken after some 1.29 billion viewers tuned in at home and abroad.

But while viewer ratings of the Gala in the 21st century have skyrocketed, so has the critique on the show – which seems to be growing year on year. According to many viewers, the spectacle generally is often “way too political” with its display of communist nostalgia and nationalistic songs. This has also led to an increase in censorship. Last year, Weibo issued an indirect warning to netizens criticizing the festive annual Chinese New Year Galas by suspending 21 Weibo users spreading “negativity” regarding broadcasted festival programs and their performances. A few years earlier, Weibo even shut down entire comment sections.

Nevertheless, complaining about the show is part of the tradition now, with the sentence “there will never be a worse, just worse than last year” (中央春晚,没有最烂,只有更烂) always showing up in comment sections. At the same time, many viewers and fans are also looking forward to seeing some of their favorite idols and performers appear on the show.

You might also know the Festival as the ‘CCTV Gala,’ but since 2020, it was rebranded to CMG Gala. CMG stands for China Media Group, which is the predominant state broadcaster in China and was founded in 2018 as a fusion of, among others, CCTV (China Central Television), CNR (China National Radio), and CRI (China Radio International).

CMG is under the direct control of the Central Propaganda Department of the Chinese Communist Party, and the show is an important moment for the Party to communicate its official ideology, highlight traditional culture, and showcase the nation’s top performers. Although the CCTV Gala is also a commercial event, it is still highly political and mixes official propaganda with entertainment.

Since recent years, it has also become a platform to showcase China’s innovative digital technologies. In 2015 the show first featured the exchange of virtual hongbao, red envelopes with money, which WeChat users could obtain while shaking their phones during specific moments in the show. Such marketing strategies have drawn in much younger viewer audiences than before. In 2021, the Gala explicitly presented itself as a “tech innovation event” by using 8K ultra high-tech definition video and AI+VR studio technologies and super high definition cloud communication technology to coordinate performances on stage.

This year, official media also present the event as a “technological innovation” show, which makes extensive use of new technologies such as 5G/4K/8K, AI, VR, and XR to promote China’s digital innovation developments.

The Gala will be broadcast on TV and will be live-streamed via various channels on January 21st, 20.00 pm China Standard Time. So turn on your TV and tune into CCTV or watch on YouTube, or head to the CCTV website. We have also embedded the live stream on this page. We will be live-blogging on this page here and you can scroll & watch at the same time from this page.

This is the 8th time for What’s on Weibo to do a liveblog of the Spring Festival Gala. If you want to know more about the previous editions, we also live-blogged
– 2022: Chunwan 2022: The CMG Spring Festival Gala Liveblog by What’s on Weibo
– 2021: The Chunwan Liveblog: Watching the 2021 CMG Spring Festival Gala
– 2020: CCTV New Year’s Gala 2020
– 2019: The CCTV Spring Festival Gala 2019 Live Blog
– 2018: CCTV Spring Festival Gala 2018 (Live Blog)
– 2017: CCTV New Year’s Gala 2017 Live Blog
– 2016: CCTV’s New Year’s Gala 2016 Liveblog

 

Liveblog CMG Spring Festival Gala 2023

 

Underneath here you will see our liveblog being updated. Leave the page open and you’ll see the new posts coming in, there should be a ‘ping’ too with every update.

There will also be some social media updates via Twitter at @manyapan here.

Update: this liveblog is now closed, check below for an overview of the entire show.

 
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The original liveblog was done via a third-party app. The original texts and images are copied below for reference. If there are links to particular segments of the show, they have been added later. The timestamp (in Beijing time) refers to the last moment that post was updated.

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What Can We Expect Tonight?

Jan 21 19:41

So, what can we expect for this 41st edition of the Gala? Although the official program list of the show is always leaked days before the event, it is never 100% correct until just one or two days before the actual show. This year, the program was issued on January 20, just a day before the Gala.

This year, the show’s main director is the female director Yu Lei (于蕾). The Gala has had a male chief director for many consecutive years, so it’s nice to see a female director for a change (and “Change” is actually one of the main themes for the night). Yu Lei has an impressive resume with a lot of experience at CCRV, where she is a senior program producer. She’s been closely involved in the production of the Spring Festival Gala since 2013, and also played a role in the production of the G20 performance in Hangzhou and the 2022 Beijing Winter Olympics.

Tonight’s show has been completely rehearsed a total of five times before tonight. These rehearsals are recorded and almost nothing ever goes wrong during the live show – perhaps some bad lipsyncing here and there – since the recording is running at the same time so that producers can always switch to a pre-recorded act.

Over the next few hours, we will see a variety of acts, including song and dance, comedy, sketches, opera, martial arts, acrobatics, and more.

● The song “Hello Stranger” (你好,陌生人) will be performed later tonight by Mao Buyi and it was released prior to the show as one of the theme songs about people helping each other out in times of need. The song hints at the difficult times of the past months in which China faced local Covid outbreaks before a major Covid wave hit the country after the ‘zero Covid’ policy was let go in early December of 2022.
● There’s also a Belt and Road Song – a classic Spring Festival Gala element to highlight China’s importance in the world today.
● There will also be a “mini-film” (微电影), which is the first time this genre appears on the show.
● We will see loads of young people tonight. Last year there were also quite some young performers, but there was actually more focus on honoring China’s recognized, elderly performers at the time. We’re gonna see a lot more singers and performers born after the 1990s and 2000s tonight, which suits the Gala’s “New China” theme.

Also: the show’s ending will be different this year as the super famous singer Li Guyi (李谷一) won’t be there. Her absence has gone trending on Weibo, where one related hashtag received 360 million views at time of writing (#李谷一回应缺席春晚#). Li is at the hospital, recovering from Covid.

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Tu Yuanyuan, the Mascot

Jan 21 20:02

Ah, what a cute start to the show. The mascot of the show this year is Tu Yuanyuan (兔圆圆). The mascot was created by a special visual arts team, and it took a total of four months to make Tu Yuanyuan come to life through 3D technology.

The rabbit’s chief designer is Mr. Chen Xiangbo, the director of Guan Shanyue Art Museum, and it’s been well-received on Chinese social media.

That is actually quite special at a time when so many rabbits got roasted over their design. Perhaps you read about the Chongqing rabbit lantern getting so much criticism that it was taken down before the New Year even started.

China’s Post blue rabbit stamp was also deemed ugly, and a dedicated mascot was thrown out.

But the Nanning rabbit probably got the most criticism. “You can’t please everyone,” some commenters wrote: “But it is possible to displease everyone.”

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Opening Act

Jan 21 20:07

We’ve officially started now! Tonight, so many famous people appear on stage.

First and foremost, Jackie Chan will return to the stage. Jackie Chan (成龙) has become an annually returning performer at the Spring Festival Gala. The last time he performed at the Gala, in 2021, he sang “Tomorrow Will Be Better” (明天会更好), which was about the epidemic situation. Last year, Jackie Chan wasn’t in the show, so it’s good to see he’s still alive & kicking because it’s become tradition to have him at the Gala.

We will then see some of China’s celebrated Olympic athletes. There’s short track speed skater Wu Dajing (武大靖) who won gold for the 2000m mixed relay at the Winter Olympics in Beijing in 2022; there’s Xu Mengtao (徐梦桃), who won China’s first Olympic gold medal in the women’s freestyle skiing aerials; there’s also Gao Tingyu (高停宇) who won the men’s 500m speed skating gold medal with an Olympic record of 34.32 seconds at the Beijing Winter Olympics (he became China’s first-ever male Olympic gold medalist in speed skating).

But Gu Ailing (Eileen Gu) wasn’t listed, despite being one of the stars of the Beijing Olympics in 2022. Despite her popularity, she also triggered some controversy after the Olympics after some online discussions focused on her alleged privileged position. At the time of the Gala, Gu is competing at the Freestyle Ski World Cup in Calgary.

We will also see a bunch of very famous actors and actresses on stage. We see Qin Hailu (秦海璐), Taiwanese actor Alec Su (苏有朋), Chinese actress Yang Zi (杨紫 aka Andy Yang), actor Sha Yi (沙溢), Wu Lei (吴磊), Zhao Liying (赵丽颖), Bai Yu (白宇), Oho Ou (欧豪), Song Zu’er (宋祖儿), Song Yi (宋轶)Wan Qian (万茜), Wang Baoqiang (王宝强), Rayzha Alimjan (熱依扎), Qin Lan (秦岚) and Josie Ho (祖丝), and many others, accompanied by different choir and dance groups, who are all from various places, from Beijing to Nanjing and beyond.

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Tonight’s Hosts

Jan 21 20:08

The line-up of hosts was previously released.

Ren Luyu 任鲁豫 (1978)
Chinese television host from Henan, who has also presented the Gala multiple times (2010, 2016, 2018, 2019, 2021). Familiar face to the show.

Sa Beining 撒贝宁 (1976)
Also known as Benny Sa, Sa presented the Gala in 2012, 2013, 2015, 2016 and in 2022. He is a famous Chinese television host known for his work for CCTV.

Nëghmet Raxman尼格买提 (1983)
Nëghmet is a Chinese television host of Uyghur heritage who also is not a newcomer; he hosted the Gala since 2015, 2016, 2017, 2018, 2019, and in 2021.

Long Yang 龙洋(1989)
She was the youngest presenter hosting the CCTV Gala in 2021. Born in Hunan’s Chenzhou, she’s been working in Chinese state media for years. As a host, she’s done various big events before, but 2021 was the first time for her to host the CMG Spring Festival Gala.

Ma Fanshu 马凡舒 (1993)
Ma Fanshu was the youngest and newest host in the 2022 Gala. She is a sports program host who has also been called “the most beautiful host of CCTV.”

Wang Jianing 王嘉宁 (1992)
The Beijing-born Wang Jianing, born in Beijing, is a Chinese actress and, unless we’re mistaken, this is the first time she is a host at the Gala. She graduated from the New York Film Academy with a performance and directing major and has since starred in many Chinese television dramas, movies, and TV shows.

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“Let’s Eat, Let’s Have Fun”

Jan 21 20:12

This song (“开饭!开FUN!”) has some happy vibes. Uncoincidentally, Da Zhangwei (大张伟) – better known as Wowkie Zhang – also performed a song titled “Happy Vibes” in 2022. Singing with him is the TV star and singer Zhang Ruoyun (张若昀).

On stage with them are four different dance troupes, including the China Post Art Troupe.

Meanwhile, on social media, some wonder if everyone on stage had agreed to wear red without Yang Zi being informed about it.

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“Hundred Birds Return to the Nest”

Jan 21 20:14

This song is titled “Homing Birds” (百鸟归巢) and it’s sung by Tan Weiwei (谭维维) who is also known as Sitar Tan. She is a singer from Sichuan who rose to fame when she became a runner-up in the Super Girl talent show.

This is her third appearance on the show, as she also performed at the Spring Festival Gala in both 2016 and in 2022. In 2020, she released a noteworthy album titled 3811 which focused on the struggles women in China are facing, with each of the eleven songs on the album telling the different stories of women from diverse backgrounds.

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No More Masks!

Jan 21 20:19

Something we already wondered about: would the audience be wearing masks for this year’s Gala or not? They are not! Last year’s Gala in 2022 was the second year the audience was wearing a face mask. In 2020, when Wuhan was first facing the Covid19 outbreak, the audience was not wearing face masks yet. 2021 was the first year.

By the way, something unrelated; it’s noteworthy that renowned CCTV host Zhu Jun (朱军) still has not returned to the Gala. The presenter was accused of sexually assaulting an intern in 2018 and hasn’t been a host at the Gala since. Although the intern lost the sexual harassment lawsuit against Zhu Jun, he still hasn’t reappeared and it seems he has really lost his spot on the show now.

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Time for Some Crosstalk

Jan 21 20:22

This is the first xiangsheng (相声) act or crosstalk act of the night. Xiangsheng is a traditional Chinese comedic performance that involves a dialogue between two performers, using rich language and many puns.

This act is performed by Yue Yunpeng (岳云鹏, 1985), who is particularly known for his xiangsheng performances. He is part of a famous duo together with well-known Beijing-born comedian Sun Yue (孙越1979). They’ve previously also performed together at the Gala in 2020 and 2021.

The participating poker magician is Jian Lunting (简纶廷) from Taiwan.

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Theme: “China’s New Era and a Better Life”

Jan 21 20:28

Every year, the Gala has a special theme or a recurring narrative. This year’s theme is not particularly original, but it does make sense in the context of what happened over the past year. After previous themes such as “New China”, “Chinese Dream”, “National Unity”, “Family Affinity”, and “Chinese values, Chinese power,” this 2023 year’s theme is all about “China’s Flourishing New Era” and “A Better Life amid Rapid Changes” (“欣欣向荣的新时代中国,日新月异的更美好生活”).

“China’s New Era and a Better Life” should be seen in the context of China’s reopening, rapid changes over the past months, and the continuance of China’s road to rejuvenation, which was also strongly reiterated during the 20th Party Congress in October 2022. The themes that were highlighted there (read more here) also play an important part during the Gala, such as Chinese-style modernization, building a strong socialist modern country, being united in struggle, and building beautiful China with a focus on green development. We’ll see these themes come up throughout the show.

Another clear theme is homecoming, as this year will be the first time many families can finally reunite since the start of the Covid outbreak (people were previously discouraged from traveling home, doing a ‘staycation’ instead for the new year).

As noted by Andrew Methven @ Slow Chinese, the language and visuals used throughout the show are also a lot about flowers and blossoming, with some of these titles purposely sounding like “growing flowers”, which sounds the same as “China” (种花 / 中华 / 中华民族 / 以花为名). This resonates with the theme of a New China.

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“Good Luck Will Come”

Jan 21 20:31

Popsong with traditional influences. On stage, we see Deng Chao (邓超, 1979), who is a Chinese actor, comedian, director, and singer. He is known for his work in multiple box-office hit films such as The Mermaid (2016) and Duckweed (2017). He also appeared as a singer in last year’s Gala, when he performed together with Jackson Yee and Li Yuchun.

Tonight, Deng is on stage with Wang Erni (王二妮, 1985), the famous singer from Shaanxi who had her major breakthrough in 2007 with her Northern Shaanxi folk songs.

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Acrobatics (“龙跃神州”)

Jan 21 20:33

Yang Hao (杨浩), Li Yifan (李一凡), and Zhang Haozheng (张浩正) perform in tonight’s fist acrobatics act with, among others, the Cangzhou Acrobatics Troupe.

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“Clear waters and green mountains” (“绿水青山”)

Jan 21 20:40

“Clear Waters and Green Mountains” (绿水青山) is the title of this song, which refers to a political slogan on environmental policy formulated by Xi Jinping and is all about emphasizing the harmony between people and nature.

This song is sung by Huang Xiaoyun (黄霄雲, 1998), a singer/actress of Bouyei ethnicity who mostly became known due to the talent show The Voice of China in 2015. Also on stage is Shan Yichun (单依纯), who was the Voice of China winner in 2020.

Song Yi (宋轶, 1989) and Song Zu’er (宋祖儿, 1998) are both well-known actresses, mostly known for starring in various hit TV dramas.

This performance includes Chinese traditional Huangmei opera, one of the five major opera genres in China, by performers Pan Ningjing (潘柠静) and Zhang Xiaowei (张小威).

See a link to this performance here.

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Zhang Ruoyun eating the chicken

Jan 21 20:44

During an earlier performance (the xiangsheng one), actor Zhang Ruoyun (张若昀) got the roasted chicken that magically appeared during the magic trick performed by magician Jian Lunting. The fact that he actually ATE the chicken while sitting in the audience is something that is causing some giggles on social media.

Maybe he was just really hungry!

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Xiaopin: “First Look Photo Studio”

Jan 21 20:57

This is the first sketch comedy or short play of the night, called xiaopin 小品 in Chinese. Traditionally, the xiaopin is both the best-received and most-condemned type of performance of the Gala for evoking laughter among the audiences or triggering controversies for reinforcing (gender) stereotypes.

In 2017, for example, the sketch “Long Last Love” was about a woman who wanted to divorce her husband because she was not able to conceive children and wanted her husband to move on to another wife. The show was criticized for depicting women as “breeding machines” and viewers later demanded an apology from CCTV via social media.

Xiaopin sketches are usually not so deep though – they’re filled with puns, funny lines, and plot twists to entertain the viewers.

In this sketch, titled “First Look Photo Studio” (初见照相馆) we see Yu Zhen (于震), Sun Xi (孙茜), Bai Yufan (白宇帆), Zhang Jianing (张佳宁), Ma Xudong (马旭东), Lu Tengfei (吕腾飞), Li Hongjia (李红佳).

It’s about a couple who lost their marriage certificate and came to make new photos. Two couples meet in the photo studio, showing the contrast between the older and the younger generation. The younger couple still has some natural innocence and cuteness about them as a couple (all dressed in matching outfits), while the older couple has a lot of complaints about their marriage. In the end, the older couple also turns out to be very loving and encourage the younger generation to pull through, even if times are hard. The message of this sketch seems to be: get married, stay married – an important message at a time of falling marriage and birth rates!?

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“Hello Stranger”

Jan 21 21:01

“Hello Stranger” (“你好, 陌生人”) is a song that was released prior to the Gala by CMG as one of the theme songs for the night. Performed by the 28-year-old Chinese singer-songwriter Mao Buyi (毛不易), the song is all about helping each other and it already received some praise on Weibo prior to the show (hashtag: #毛不易春晚唱你好陌生人#).

Mao Buyi rose to fame in 2017 thanks to the all-male singing competition “The Coming One” show. At the time, he was a 23-year-old nursing graduate. As previously described by Sixth Tone, Mao stood out in the show due to his “sheer normality.”

We also spotted the first creepy rabbit of the night, although online opinions vary on this.

Another rabbit that is attracting attention is actually very cute; it’s the one on the jacket of Ren Luyu, one of the hosts.

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Martial Arts Spectacle!

Jan 21 21:06

This spectacular martial arts show is performed by Vincent Zhao Wenzhuo, the Shaolin Martial Arts Group, and the Shaolin Tagou Martial Arts School from Henan.

Vincent Zhao Wenzhuo (1972) is a famous Chinese actor and martial artist, best known for starring in the Once Upon a Time in China action film and television series.

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Me and My Grandpa

Jan 21 21:11

We just saw the first public service ad of the night; these are short videos in between the show containing a propaganda message. The title of this video was “Village Night” (“村晚”), a word play on the Chunwan, the Spring Festival Gala Night, as it sounds similar.

This next act is a performance for the kids, titled “Me and my Granddad Walk on Stilts” (我和爷爷踩高跷). There’s a special kid’s show every year, and they’re often quite popular for being so cute.

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“Give Me A Minute”

Jan 21 21:16

This is a stand-up comedy-like part of the show titled “Give Me a Minute” featuring Zhao Xiaohui (赵晓卉), Qiu Rui (邱 瑞), He Yanzhi (何广智), and Xu Zhisheng (徐志胜).

Last year, a similar performance (which came as a new kind of performance genre) received a lot of criticism, as people do not find the format of the ‘talk show + singing’ suitable for the Chunwan.

By the way, did you notice that the rabbit in the background interacts with the content of the show? It is displayed at all times and laughs about jokes and looks around in the audience. It is the first time for the Gala to have such a mascot, and if you see its 3D design and how interactive it is, you can understand why the development project of ‘Tu Yuanyuan’ (the rabbit’s name) took four months in total, involving an entire team!

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“Toast to the Past”

Jan 21 21:22

This song, performed by Taiwan singers Chiang Yu-Heng (姜育e) and Alec Su (苏有朋), together with Reno Wang (王铮亮) and Silence Wang (汪苏拢), is meant as a romantic, nostalgic “Toast to the Past” (跟往事干了好几杯).

Silence Wang (Wang Sulong) is an ethnic Manchu, whose first album came out in 2010 when he was 20 years old.

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Beautiful Dance

Jan 21 21:29

In this dance performance (碗步桥), we see Shanghai Dance School’s Zhu Jiejing (朱洁静, 1985).

Zhu was selected from a group of 3,000 applicants to attend the Shanghai Dance School at the age of nine. She later rose to fame with her roles in productions such as Farewell My Concubine, and became the vice chairman of the Shanghai Dancers’ Association.

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“Mini Film” – “Me and My Chunwan”

Jan 21 21:37

This ‘mini-film’ features some of China’s super famous actors, such as Jacky Wu, Huang Bo, Sandra Ma Sichun, Fan Wei, and others. It is the first time for the Gala to introduce such a film, which is different from the short public service ads that pop up two or three times during the show.

This mini film, titled “Me and my Spring Festival Night” (我和我的春晚) is meant to highlight the personal stories of ordinary people watching the Gala and was inspired by actual letters sent in by viewers. The presenter just mentioned that even in these digital times, people still write letters to the show.

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Goodmorning Sunshine

Jan 21 21:43

Multiple people from all kinds of professions and social groups are represented in “Good Morning, Sunshine,” including medical workers.

What is really remarkable is that the topic of the epidemic and Covid have not been explicitly mentioned at all yet. There’s been some hinting at “difficult times” and “change”, but Covid and the many infections throughout the country have not been addressed. This song is an indirect reference to the epidemic situation, singing about sunshine always coming after rainstorms.

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“I’m Coming”

Jan 21 21:52

Another xiaopin, a comical skit, this time featuring Chinese celebrity performers Wang Baoqian, Yang Zi, and Wang Ning.

Yang Zi is also known as Andy Yang, and she is a well-known Chinese actress and singer. She was previously named one of the ‘Four Dan Actresses’ (top actresses) of the post-90s Generation.

Wang Baoqiang is also very popular, perhaps also due to his humble background. At the age of 8, the actor left his family to study kung fu and later went to Beijing to play small roles as an actor in film and TV while doing construction jobs on the side. Wang made his big break when major director Feng Xiaogang chose him to play in A World Without Thieves (2003). Wang later became a critically acclaimed actor, known for his roles in films like Blind Shaft (2003) and A Touch of Sin (2013).

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Little Brother

Jan 21 22:01

This song, performed by Huang Bo, is about all those delivery drivers across China. It suits the comical sketch that just preceded it, as the message was also to have more understanding for other people in tough jobs like the delivery staff.

The host Nëghmet Raxman 尼格买提 also just mentioned the epidemic for the first time when introducing this song, as he said that especially the ‘kuaidi’ and food delivery drivers have been struggling and working a lot to keep society going in Covid times.

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Garden Full of Flowers

Jan 21 22:04

This stunning performance is called “Garden Full of Flowers/”National Colors”(满庭芳·国色) [translated by CCTV as C”ourtyard of Beauty, Colors of A Nation”], performed by Chinese actress Zhao Liying (赵丽颖) and others. It uses a lot of the special technologies (VR, XR) that were already promoted by the show’s directors beforehand.

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Forget Your Worries

Jan 21 22:10

After a second public service ad of the night, we’ve already arrived at the 20th performance of the night.

Zhou Shen (周深) is singing this song (“花开忘忧”), with performances by Li Guangfu (李光复) and Sun Guitian (孙桂田). As previously mentioned in another post here, flowers are really a recurring theme throughout the night as they represent blossoming (main theme is “flourishing new China”) and new beginnings.

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Treadmill

Jan 21 22:14

Some netizens have noticed how during the performance of the “Little Brother” song, an actual treadmill appeared on stage to make the performers walk. Some people find it funny: Huang Bo didn’t come to the Gala to perform, he came there to work out!

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Beautiful Pear Garden (华彩梨园)

Jan 21 22:21

The first major Chinese opera performance of the night! These kinds of performances are generally well-liked among viewers, much more than comical sketches, which many people do not find that funny.

The actors on stage are all of different ages: the youngest performer is only 4 years old!

In this performance, you can also see the use of some cool effects made possible by the show’s integration of new technologies such as 4K/8K, AI, and XR.

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How’s this show different from other years thus far?

Jan 21 22:35

There are some ways in which this show is different thus far. Over previous years, the Gala partnered with Tencent, Kuaishou, Baidu, Bytedance, JD, etc to allow various ‘media moments’ during which viewers can ‘catch’ red envelopes. Actually, the Gala became especially linked to social media since it first featured this kind of exchange of ‘hongbao’, red envelopes with money, which is a Chinese New Year’s tradition. In 2015, for the first time, viewers were able to receive virtual ‘hongbao’ as part of a cooperation between CCTV and WeChat. WeChat users shook their phones 11 billion times that night in order to ‘grab’ the money. These kinds of campaigns drew in many more young viewers – the Gala was previously viewed as something for older audiences (– although it still might be, social media has helped get the younger viewers involved, too).This year, we haven’t seen any kind of ‘shake your phone’ or ‘grab hongbao’ media activities.

Another difference is that the show is normally held across several locations besides the main studio in Beijing, which is a great opportunity for other places to boost tourism and attract attention to their region or city. In light of Covid, the Gala was also only held in Beijing’s CCTV studio 1 in 2021 and 2022. Perhaps the choice to again have just one location for the Gala is also related to the current Covid situation. This also still makes the Gala a bit less ‘spectacular’ and festive than the earlier versions before 2020, probably because it would not be appropriate at this time.

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Local authorities not doing their job

Jan 21 22:48

The name of the comical skit we just saw was “Hole” or “Pit” (抗), and it was about local authorities not properly doing their job to fix a hole in the street, despite it being dangerous for people.

This skit is among the most well-received ones tonight, as many people recognize the scene as part of everyday realities. The actors in this skit are Shen Teng (沈腾), Ma Li (马丽), Ai Lun (艾伦), Chang Yuan (常远), Song Yuan (宋阳), and Yu Jian (于健).

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Mother and Daughter

Jan 21 22:50

This is a really sweet song about the bond between mother and daughter. Perhaps this is the influence of having a female director? Huang Qishan (Susan Huang) is a 54-year-old Chinese musician who has also been referred to as the “number one female voice in Asia.”

The song is also performed by the Beijing-born Curley Gao (希林娜依·高). The 24-year-old singer has a Uighur first name because her mum is from Xinjiang (her dad is Han Chinese from Beijing). Although she is known as ‘Curley’ in English, her actual first name is transcribed as Shirinay (Xilinnayi). She rose to fame due to her participation in the “Sing! China” talent show.

This song is striking a chord among the people in the audience, and a little boy and an older woman were filmed as they got a bit teary-eyed.

——–
 

High-tech song

Jan 21 22:52

This act, focused on kids, uses new VR + 3D technologies to let the mystic animals of the ancient past meet with Chinese children the present-day.

——–
 

Future, I’m Coming

Jan 21 22:58

The future is always an important topic during the Gala, and this song is comparable to songs that were featured on previous Gala nights. It’s titled “Future I’m Coming” and it is performed by Ou Hao, Bai Yu, Wei Chen, and Wu Lei. It even includes some rap..

——–
 

“I Made It to the Hot Search List!”

Jan 21 23:08

This sketch is about a social media video unexpectedly going viral and causing problems between husband and wife as the husband said things he did not mean in order to get more clicks.

One discussion that has come up prior to this show is that the popular Chinese comedian actress Jia Ling is not performing today. She is known for her annual Spring Festival Gala performances together with Zhang Xiaofei.

——–
 

Everything is going to be ok

Jan 21 23:18

The hosts just addressed Covid for the first time this show. It also looked as if Ren Luyu was tearing up.

The song that follows is a classic pop song performed by a group of artists (Xiao Ke, Sha Yi, Qin Hailu, Hu Xia, Hui Yuanmeng, and Li Guangjie), and they are bringing a positive message about things taking a change for the better.

——–
 

As Beautiful as Brocade (锦绣)

Jan 21 23:23

This beautiful dance featuring main dancer Li Qian (李倩) and the Beijing Art Troupe is inspired by the Han Dynasty.

See a link to this performance here.

——–
 

“One Belt, One Beautiful Road Song” (一带繁花一路歌)

Jan 21 23:29

In this most international song of the night, we see a compilation of songs and performers from Indonesia, Greece, Serbia, Egypt Pakistan, New Zealand, Tanzania, Argentina, Kazakhstan, and then the last song, the famous Chinese “Mo Li Hua” [Jasmine Flower] song, is sung by a group of singers from various ‘Belt and Road’ countries.

Lang Lang is on stage playing the piano!

Over the past few years, the Belt and Road Initiative wasn’t really featured very much at the Gala during the closed, Covid era. Now that the borders have reopened, there is room for more international focus again, even if the performers are joining via video.

——–
 

“My Hometown”

Jan 21 23:37

After the third public service announcement of the night, we’re on to the song “Hometown,” performed by Tibetan singer Alan Dawa Dolma (阿兰·达瓦卓玛), ethnic Mongol singer Daiqing Tana (黛青塔娜), Kashgar singer Air (艾热), Gansu singer Zhang Gasong (张尕怂), and Wu Tong (吴彤) from Liaoning. There’s always a song during the Gala that has different minorities from all over the country. This time, this is it, and they tried to do it a bit different this time by also integrating some modern rock and pop music.

——–
 

Exemplary Persons

Jan 21 23:40

Like every year, this is the part of the show where some ‘exemplary persons’ get honored for their accomplishments. This special segment recognizes people for their exceptional service and contributions to the Party and the country.

——–
 

“Youth to the Sun” (青春向太阳)

Jan 21 23:44

Ah, here’s Jackie Chan again after being absent during last year’s performance. Jackie Chan (成龙) has become an annually returning performer at the CCTV Gala. Although his performances are always much-anticipated, they’ve sometimes also been pretty cringe-worthy. In 2017, the song performed by Jackie was simply titled “Nation” and was met with criticism for being overly political. In 2018, the Hong Kong martial artist sang a song that was called “China” and in 2019 he performed ‘My Struggle, My Happiness.’ In 2021 he sang “Tomorrow Will Be Better” (明天会更好) which was about the epidemic situation and that song was actually received very well and made many viewers tear up.

He is now performing a song dedicated to China’s youth, together with Peng Yuchang (1994), Jiang Yiyi (2001), Guo Junchen (1997), Chen Linong (2000, from Taiwan), Yan Mingxi (2005, from Hong Kong) and Josie Ho (1989, from Macao).

——–
 

A Song for All My Friends

Jan 21 23:46

Sun Nan is here! Sun Nan (孙楠) is a famous Chinese Mandopop singer who performed at the Gala multiple times over the past year, including the iconic 2016 performance where he danced together with 540 robots. In 2022 he was on stage with Tan Weiwei.

This time he is on stage with Hacken Lee (李克勤).

Just before this song started, the host addressed the difficulties so many in China faced over the past year. Although Covid is barely mentioned, the Gala has definitely hinted at the epidemic several times. Instead of some sad songs, the program is mostly filled with songs that are about positivity, hope, friendship, and “better times” – which is also one of the show’s main themes.

——–
 

Homeland

Jan 21 23:52

We actually thought the main “minority song” was already featured, but “Homeland” (家园) turns out to be the true “minority song” of the night, featuring dancers and singers from various minority groups, holding hands together in unity and singing about love.

——–
 

Nearing Countdown, Expedition

Jan 21 23:55

It’s almost time for the countdown! First, we are seeing the song “Expedition” (远征) performed by Liao Changyong, Wu Bixia, Wang Kai, and Yisa Yu.

——–
 

Countdown! Happy New Year!

Jan 21 0:05

Countdown! Happy New Year to you! All the hosts have just expressed their well-wishes to the viewers, wishing everybody blessings for the Year of the Rabbit. The countdown was started with everybody on stage, and there were even some well-wishes from out of space! [Added comment: although we didn’t immediately notice during the show, many social media users later commented that the countdown moment saw some delay and was not exactly times at 0:00.]

“New Year Hopping” (新春蹦蹦) is performed by Phoenix Legend, Chinese rapper Dong Baoshi, and Chinese actress/singer Angel Zhao. Phoenix Legend is a Chinese popular music duo of female vocalist Yangwei Linghua and male rapper Zeng Yi. The duo was also part of the CCTV Gala in 2016 and in 2018.

All the performers are joined on stage by Tu Yuanyuan, the little rabbit that undoubtedly is the star of the 2023 Gala. It danced right there with them.

——–
 

Last Performances of the Night

Jan 21 0:20

After the comical skit performed by Jin Jing, Zhou Tienan, Yan Peirun (a romantic one about couples), we are now moving on to the “Group Photo” song.

This song is performed by Xu Song aka Vae, an independent musician from Hefei who is super popular on social media.

——–
 

“To Advance Bravely”

Jan 21 0:22

This is the 38th act of tonight and also the last acrobatics one featuring performers Shi Renqi, Li Songlin, and Yang Jinhao together with the China Acrobatic Group.

——–
 

Our Field and Dreams in Spring

Jan 21 0:28

The final dance of the night, titled “Our Field” (我们的田野) is a beautiful performance by the Liaoning Ballet.

The performance, all set in golden colors, is about harvesting wheat.

The performance is followed up by “Dreams in Spring.”

“Dreams in Spring” (梦在春天如愿) is performed by Wei Song, Huo Yong, Mo Hong, and Wang Li – among so many young performers this night, they represent the older generation of artists.

——–
 

Unforgettable Night

Jan 21 0:35

This is a very unusual ending to the Gala. Ever since the 1980s, the last song of the night was “Unforgettable Night” (难忘今宵) sung by Li Guyi (李谷一). As Li is now recovering from Covid at the hospital, all the performers are gathered on stage and sing the song together.

The song was composed in 1984 when CCTV was preparing for its second Spring Festival Gala.

That’s a wrap! Thank you so much for joining, and we wish you a very happy Year of the Rabbit.

By Manya Koetse , with contributions by Miranda Barnes, and Zilan Qian

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China Arts & Entertainment

The Wong Kar-wai Scandal Explained: The Dark Side of ‘Blossoms Shanghai’

Whenever reports surfaced about the harsh conditions on Wong Kar-wai’s sets, mainstream media and fans often brushed off his tyrannical habits as the quirks of a genius. This time, it feels different.

Ruixin Zhang

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After renowned director Wong Kar-wai was accused of exploiting a young writer during the production of the hit TV drama Blossoms Shanghai, a scandal unfolded that may be one of the biggest stories in China’s entertainment industry this year.

Even if you don’t recognize him by face, you most likely know him by name: Wong Kar-wai (王家卫, 1958), the internationally acclaimed Hong Kong movie director.

Director Wong Kar-wai, characteristically in sunglasses. (Image via Iazimao).

In late 2023, Wong Kar-wai released his first television series, Blossoms Shanghai (繁花), which was referred to a being the third part of an informal Wong Kar-wai trilogy that started with his films In the Mood for Love and 2046. Thanks to its superior production quality, star-studded cast, and Wong Kar-wai’s signature visual style, it became one of the most talked-about Chinese TV dramas of the time.

Scenes from Shanghai Blossom.

Adapted from Jin Yucheng’s award-winning novel, Blossoms Shanghai is set in 1990s Shanghai and tells the story of a young man, A Bao (played by Hu Ge 胡歌), who aspires to become a successful businessman and self-made millionaire during China’s booming reform era. The series contrasts the protagonist’s troubled past with the city’s vibrant present—and even sparked a wave of visitors to Shanghai landmarks featured in the show.

 

“Overnight, the headline “Wong Kar-wai Suspected of Exploiting Employees” became the biggest story in Chinese entertainment news”

 

However, in September, screenwriter Gu Er (古二,real name Cheng Junnian 程骏年) stirred controversy when he published a post on his WeChat official account, @GuErNewWords (古二新语), accusing Wong Kar-wai and lead writer Qin Wen (秦雯) of serious exploitation during the production of Blossoms Shanghai.

Qin Wen, image via Tencent News.

Overnight, the headlineWong Kar-wai Suspected of Exploiting Employees” (王家卫《繁花》被爆疑似压榨员工) became the biggest story in Chinese entertainment news.

Gu Er is an experienced young screenwriter. After earning a master’s degree from the New York Film Academy, he returned to China, where he worked in theater and dabbled in online films. Though he never became a household name, he had carved out a modest presence in the entertainment industry.

According to a series of diaries he began sharing on WeChat in 2022, Gu Er first joined the Blossoms production team in 2019.

Example of Gu Er’s writings, where he talked about the difficult conditions of working on the Blossoms production.

He described the experience as “powered purely by love” (用爱发电)—in other words, long hours, meager pay, and sheer passion keeping him afloat. These early posts detailed many interactions with Wong Kar-wai and lead scriptwriter Qin Wen, but since the drama had not yet aired, his satirical, lightly veiled critiques attracted little attention.

 

“When the credits rolled, Gu Er’s name was nowhere to be found under the screenwriting slot”

 

In 2023, upon the premiere of the series, Gu Er published an article titled “The Truth Behind the Writing of Blossoms” (《繁花》剧本的创作真相). In it, he claimed to have written substantial portions of the storyline and character arcs—work that, he said, had been personally approved by Wong.

He also shared chat screenshots and presented several key concepts he had pitched, many of which viewers later recognized in the broadcast series.

Yet when the credits rolled, his name was nowhere to be found under the screenwriting slot. Instead, he was listed only as “preliminary editor” (前期责编), buried at the very end of the credits in a position so minor it was almost negligible.

For Gu Er, this was humiliating. He believed that his field research, character development, and story-building should have earned him recognition as at least one of the principal writers. The post sparked some discussion, but once again, the controversy quickly faded.

Cheng Junnian is Gu Er’s real name, and in the later recordings he posted, Wong Kar-wai also called him by his real name.

It wasn’t until September 16, 2025—nearly two years later—that Gu Er released another definitive essay, “My Experience as a Screenwriter for Blossoms: A Summary” (《我给〈繁花〉做编剧的经历——小结》).

This time, he laid bare every painstaking detail of his creative process for the main female character’s storyline. He claimed that the production refused to reimburse any of his research and interview expenses—not even for meals or books. He recalled one particular moment: “Once I spent 100 yuan [$7], and the Hong Kong producer immediately scolded me in public: ‘How does writing cost any money?’”

 

“It’s just a few thousand yuan; he is an assistant and can also write the script—it’s a bargain”

 

Besides writing duties, Gu Er said he also had to cook meals and run endless errands for Wong Kar-wai. In fact, Gu Er suffers from Kennedy’s disease, a motor neuron illness similar to ALS but slower in progression. Like ALS patients, he is gradually losing strength in his limbs. The intense, high-pressure work environment on set made his condition much worse. When he first told Wong Kar-wai about his health, Wong allegedly responded with nothing but suspicion: “What do you want from me?”

Gu Er, image from the time he was a guest chef at Dee Hsu’s reality show.

Wong Kar-wai wasn’t the only person Gu Er accused of exploitation. He also named lead screenwriter Qin Wen, one of the most prominent figures in Chinese television, known for hit dramas such as The First Half of My Life (我的前半生) and My Heroic Husband (赘婿). Qin is also credited as the screenwriter of Blossoms. According to Gu Er, once his draft script was handed to Qin Wen, she “made a few revisions,” and it was then presented as her work.

He further alleged that Qin tried to push him out of the production team, but Wong Kar-wai intervened, saying: “It’s just a few thousand yuan; he is an assistant and can also write the script—it’s a bargain.”

This post finally drew widespread attention. While the public was shocked by the alleged misconduct of a beloved director, many also questioned Gu Er’s credibility.

The Blossoms production team quickly issued a statement, asserting that more than 2,000 crew members had all been properly credited, and later clarified that Gu Er had only been part of the early-stage research team.

 

“The very type of boss you’d be too afraid to confront in your own workplace”

 

However, netizens began combing through Gu Er’s WeChat account and discovered that, in recent months, he had uploaded a series of audio recordings of conversations among the production staff—including Wong and Qin.

These recordings became crucial evidence in Gu Er’s defense. In one recording, a producer admitted that Qin had used ghostwriters and that several major plotlines had, in fact, been written by Gu Er. She also acknowledged that it would be difficult for him to receive proper credit.

Other tapes revealed the director’s harsh treatment of crew members; in one instance, Gu Er himself was publicly humiliated and accused of being “a dog using its master’s power” (狗仗人势).

On September 22, Gu Er released another recording. This time, it featured Wong Kar-wai and Qin Wen gossiping about several well-known actors; when the conversation ended, they asked Gu Er to serve them their food.

Having studied at Le Cordon Bleu in San Francisco, Gu Er had apparently been cooking for Wong without pay. Netizens were particularly angered by how arrogant and condescending Wong sounded in the recording, which many said reminded them of the very type of boss they had been too afraid to confront in their own workplaces.

At the same time, netizens dug up a 2024 report from Hong Kong’s Ming Pao (明报), which detailed how a female screenwriter’s script for Blossoms had also allegedly been exploited by Wong Kar-wai. That writer, too, reportedly suffered from depression as a result.

 

“The Gu Er incident is a snapshot of class solidification”

 

On September 23, Gu Er’s WeChat account was taken down, rendering all of his articles and audio recordings inaccessible.

Since both WeChat and the parent company of Blossoms’ production house, Tencent Pictures, are owned by Tencent, netizens immediately speculated that the platform had silenced Gu Er to contain the scandal. The move only fueled public suspicion that Wong had indeed exploited young writers—and calls grew louder for an official response from Wong Kar-wai.

As the controversy spread, screenwriter Qin Wen posted a denial on Weibo, insisting that she had been slandered.

Oscar-winning cinematographer Peter Pau (鲍德熹), who worked on Blossoms, also weighed in, saying that all responsibilities had been clearly outlined in the contracts and accusing Gu Er of deliberately stirring trouble. Hong Kong director Wong Jing (王晶) likewise voiced his support for Wong Kar-wai.

However, the broader public—the majority of netizens as well as many within the industry—stood by Gu Er.

The film news account Qiangbaoshan (@誓要抢包山) commented that regardless of the exact truth of Gu Er’s claims, it was already alarming and unjust that major figures in the film industry had banded together to discredit him while his own platform was banned.

Commenters on Xiaohongshu wrote thousands of posts in defense of Gu Er, calling the incident “a snapshot of class solidification,” or writing: “I also stand with Gu Er. Either you hire a proper chef, or you clearly define the work. If someone contributes ideas and creativity, then give them the pay and credit they deserve.”

Gu Er’s friend Ma Nong (玛侬) also published an article on her WeChat official account in his defense, sharing new photos of Gu Er at work and on set to prove that he had indeed played an important role in the Blossoms production.

Yet through it all, to this day, Wong Kar-wai himself has not uttered a single word in response.

 

“Because of his cinematic achievements, the media and fans often laughed off his tyrannical behavior as the eccentric quirks of a genius”

 

Some netizens, after learning the details, were puzzled by Gu Er’s behavior. They criticized him as weak and overly servile, suggesting that what he faced now was partly the result of his own personality flaws.

Yet this very dynamic may be why the public’s anger toward Wong Kar-wai ran so deep. Wong is arguably one of the most influential directors in Chinese cinema. Works such as In the Mood for Love, Chungking Express, and Happy Together have left an indelible mark on world cinema and inspired generations of filmmakers. For a relative ‘nobody’ like Gu Er, Wong Kar-wai would have seemed an idol—a god-like figure (Gu Er also expressed his love and admiration for Wong in his previous articles). And it may have been precisely this sense of awe and worship that left Gu Er vulnerable to workplace bullying and manipulation.

Wong Kar-wai’s harsh treatment of his actors and crew has actually never been a secret. Famous actors who previously worked with him, such as Leslie Cheung and Tony Leung, have spoken openly about his extreme working methods. After filming Happy Together, Leslie Cheung announced that he would never work with Wong again, later revealing that he felt the director had exploited his sexuality. During the shoot of Ashes of Time (东邪西毒), Cheung nearly died from poisoning in the desert. Even in their earlier collaborations, he was often tormented by Wong’s constant changes and endless demands.

Wong’s obsessive pursuit of his own has repeatedly come at the expense of those around him. While filming The Grandmaster, he reportedly withheld actress Song Hye-kyo’s passport and kept her on set for months, only to use a handful of shots in the final cut.

Yet, because of his cinematic achievements, the media and fans often laughed off his tyrannical behavior as the eccentric quirks of a genius.

After the Gu Er controversy, however, many began to re-examine the man behind the perpetual sunglasses—not as an untouchable auteur, but as an employer accountable for his power. Wong Kar-wai has long been known for procrastination, perfectionism, and “torturing actors,” but the stakes of this reputation now feel different.

Meanwhile, Gu Er’s WeChat account remains banned. It is difficult to imagine why a man already battling a degenerative illness would continue to fight so publicly for recognition, unless he felt he had nothing left to lose.

Writer Shuimuding (水木丁) raised deeper concerns about Gu Er’s desperate, all-or-nothing stance, reminding readers of the darker history of the Chinese film industry, where young talent has been pushed to despair—and sometimes even to death—by powerful figures. The most haunting example is Hu Bo (胡波), the brilliant director of An Elephant Sitting Still (大象席地而坐), who took his own life after facing similar pressures.

This is why the Wong Kar-wai scandal matters. No matter how talented the director, actual exploitation can never be justified for the sake of the project. Perhaps it is time to stop using exceptional artistic talent as an excuse for unacceptable workplace dynamics.

By Ruixin Zhang

Independently covering digital China for over a decade. Like what we do? Support us and get the story behind the hashtag by subscribing:

edited for clarity by Manya Koetse

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China Arts & Entertainment

Evil Unbound (731): How a Chinese Anti-Japanese War Film Backfired

731 was China’s most anticipated war movie of the year — how could it fail so miserably to live up to public expectations?

Manya Koetse

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How did Evil Unbound (731), one of the most anticipated Chinese war movies of 2025, go from patriotic hype to online backlash? A deep dive into the official narrative, the audience reception, and everything that’s particular about this movie.
 

731 and 918, those were the numbers dominating Chinese social media over the past week. Both numbers carry heavy historical weight, but the recent discussions surrounding them reveal two parallel worlds of the official narrative vs the audience experience of a controversial new World War II film.

It was “9.18” on Thursday, when China commemorated the 94th anniversary of the September 18th Incident (九一八事变). On that day in 1931, a small explosion on a Japanese-owned railway near Shenyang (Mukden) was used as a pretext to invade Manchuria.

While many older Chinese were taught in school that the war began in 1937, recent state-led campaigns increasingly emphasize 1931 as the true beginning of China’s “14-year-long war” (1931–1945). Over the past decade, the 918 commemorations have become more prominent online, shaping public memory through nationalistic messaging.

This year, the commemoration had an extra dimension, as it wove the release of Evil Unbound (English title), also known as 731, into the patriotic media narratives around 918.

Patriotic film poster putting 918 and 731 together.

The much-anticipated war movie 731 depicts the atrocities of Japan’s Unit 731 (731部队), notorious for conducting horrific biological warfare experiments in Harbin during World War II under Major General Shiro Ishii (石井四郎), a former army surgeon and biologist with a particular interest in historical plagues. Under his command, Japan’s biological warfare and human experimentation in China were carried out on a larger scale than anywhere else between the 1930s and 1940s.

After the war, because the US felt his knowledge on bioweapons was of great value, Ishii was granted political immunity deal and was never brought to trial.

Together with the Nanjing Massacre, Unit 731 has come to symbolize the peak horrors of Japan’s wartime atrocities. Public attention for this history has grown in recent years, especially since the 2015 opening of the Harbin-based Museum of Evidence of War Crimes by Unit 731.

It was around that same time, about a decade ago, when Chinese director Zhao Linshan (赵林山) started working on the movie Evil Unbound (731), produced by Changchun Film Group in collaboration with the Propaganda Departments of Shandong, Jilin, Heilongjiang, and Harbin.

It finally premiered nationwide on Thursday, ‘9.18’ at exactly 9:18 and shattered 10 box office records on its opening day. Screened 258,000 times in a single day, it rapidly surpassed 200 million yuan (US$28 million) in ticket sales. After three days, the box office exceeded 1 billion yuan (US$140 million).

The film focuses on Unit 731 in the final days before Japan’s defeat in 1945, portraying how local salesman Wang Yongzhang (王永章, played by Jiang Wu 姜武) is imprisoned together with other civilians. They are promised freedom in exchange for “health checks and epidemic prevention cooperation,” and are subjected to frostbite experiments, poison gas, and vivisections.

Official film posters for Evil Unbound/731.

“What we made is not a movie — it is historical evidence,” director Zhao said about the film.

A state-orchestrated hashtag ecosystem is currently amplifying the film’s ‘success.’ Similar to previous viral war film hits such as The Battle at Lake Changjin (长津湖) and Nanjing Photo Studio (Dead to Rights 南京照相馆), the media campaigns highlight the film’s commercial performance, its educational and historical value, the ‘authenticity’ of its production process, and its emotional reception and overseas recognition.

Recent trending hashtags, from Kuaishou to Weibo and beyond, include:

  • 电影731票房再创新高 – “Film 731 sets another box office record”
  • 没有人能在看731时不流泪 – “No one can watch 731 without crying”
  • 观众掩面哭泣 / 哭到没法接受采访 – “Audiences cover faces in tears” or “Audiences too moved to be interviewed”
  • 观众自发起立唱国歌 – “Audience spontaneously stand up to sing national anthem”
  • 海外观众看731不停抹泪 – “Overseas audiences weeping when seeing 731”
  • 9岁小孩看完731后泪奔 – “9-year-old child burst into tears after watching 731”
  • 日本观众看完电影731后情绪崩溃 – “Japanese audiences having emotional breakdown after watching 731”
  • 让731这段历史不再沉默 – “The history of 731 can no longer be silenced”

There are hundreds of other hashtags contributing to this official narrative, that portrays Evil Unbound as an absolute patriotic and commercial triumph.

 

From Anticipation to Backlash: 731 Between Shawshank and Squid Game

 

Outside of this official narrative, however, audiences are telling a very different story. Despite months of anticipation, the film has been met with overwhelmingly negative reviews.

On Weibo, the hashtag “731 Film Review” (#731影评#) was pulled offline. On Douban, the movie’s ratings meter was switched off entirely (“暂无评分”). On IMDb, the film is currently rated 3.1.

Usually, criticism of patriotic films is a slippery slope. People have been censored, blocked, or even detained for criticizing war films. But criticism of this film is so widespread, and so ubiquitous across social media platforms, that it is barely containable.

Many viewers called the movie “trash,” while others said they felt “defrauded”.[1] One commenter suggested the director tried to make The Shawshank Redemption but ended up with Squid Game.[2] Others called it “bizarre”[3], or concluded: “The short review section doesn’t even allow enough characters to describe how unbearable this movie is.”[4]

Viewing the film, I must admit I also felt confused – the movie is nothing like you would expect after the state-led promotion of the film.

The opening minutes quickly set a messy historical context, leaping from the 1925 Geneva Protocol to China’s 1943 counteroffensives, to Iwo Jima, and to Japan’s “Operation PX” plan (Operation Cherry Blossoms at Night), a scheme to attack the United States with biological weapons—before landing in Harbin and Unit 731 in the year 1945.

About ten minutes in, the movie seems to switch tracks and take inspiration from Squid Game, the 2021 South Korean survival drama.

Some details appear almost one-to-one from the Netflix show: the cold speaker voice, characters labeled by numbers, stylized lighting (including the Japanese flag’s red dot turned into menacing red spotlight), and eerily sterile sets that create a cold, clinical atmosphere stripped of humanity.

Scenes from 731.

Narrative elements also echo Squid Game’s deadly competitions, including an actual life-or-death rope pulling game. In 731, “winners” are promised freedom (but actually sent for experiments) and “losers” surviving slightly longer, until even these rules seemingly disappear, leaving viewers just as lost as the characters.

Beyond these echoes of Squid Game and The Shawshank Redemption (with their themes of prison break, brotherhood, and hope), where horror meets drama and occasionally even comedy, I also thought I saw traces of The Green Mile (there’s even a befriended mouse), The Shining, One Flew Over the Cuckoo’s Nest, and even Kill Bill.

If this all sounds like a fever dream, that’s about right.

While the film undoubtedly has artistic value in its visual references and symbolism, at times it seems more intent on presenting itself as an arthouse production than on telling a coherent historical war story.

731 scene showing Japanese flags with red lasers/spotlights one the left. Some of the movie’s camera angle points, color use, narrative elements and settings show some similarities with Squid Game (image on right).

731 (left), Squid Game (right)

Scene from 731, which I thought sometimes had some echoes from The Shining.


Another reference to Stanley Kubrick? 731 on the left, Clockwork Orange on the right.

Prison mouse friend. 731 (left) and The Green Mile (right).

And that is also what most of the online critique is about – people feel that while the movie is supposed to be about creating awareness of a particularly horrific part of Chinese war history, the actual factual history seems to have ended up in the background.

One commenter from Harbin wrote:[5]

💬 “For Harbin, 731 is the most painful chapter of history. This movie uses a mass of absurd visuals and music to tell a story that has almost nothing to do with real history. All the information that truly should have been shown is brushed over in passing words, and in the end it just tells audiences ‘never forget history’? This tramples on the history of 731. Stupid and vulgar.

Others are also upset over historical inaccuracies in the film — from the makeup to the sets, the props, and the biological experiments. Even the toilet paper used by the prisoners isn’t very realistic, with some commenters saying these kinds of details ‘drove them crazy’:

💬 “I’m born after 1990, and even I grew up with worse toilet paper than what the aggressors in those years apparently gave to their prisoners. Theirs was so high-quality you could fold it into bows and baby shoes. Must have been strong, durable, and waterproof.”[6]

One other reviewer on Douban wrote:

💬 “As a prison break film it’s not exciting, as a historical film it’s too careless, and as a drama it’s too fragmented.”[7]

Douban reviewer Qingyun (青云) noted that it jumps from relatively calm scenes to intense emotional outbursts or extreme cruelty without any buildup — instead of moving viewers to tears, it alienates them from the story and its characters.

He adds:

💬 “The film wants to exploit history’s seriousness to entertain the public, but also fears the theme is too depressing and will affect the box office, so it stuffs in commercial gimmicks (jokes, fantasy, spectacle). This opportunism sacrifices the solemnity that is rewired for the historical topic, while also failing to provide as qualified entertainment. The result: it offends history and disappoints audiences.”[8]

Most of these disappointed reviewers argued that the chance to tell the story of Unit 731 was wasted by a director and script that offered little context to the subject, with some even suggesting that another, 37-year-old film (Men Behind the Sun, 黑太阳731, 1988) did a better job of conveying the history of Japan’s biological warfare in China.

 

A ‘Masterful Cult Film,’ But a ‘Total Failure’ as a War Movie

 

Despite the wave of strongly negative feedback, there are also those who did find the film moving, giving it five-star reviews — some from those who stress the film’s value as a reminder to “never forget national humiliation,” while others genuinely appreciate its creative vision.

Douban commenter ‘Bat Lord’ (蝙蝠君) called it a “masterful cult film” with the film’s aesthetics being “built on a foundation of Western stereotypical Orientalism of Japan and layered with Christian martyrdom.”[9]

As an example, Bat Lord describes a recurring scene in which prisoners are taken from their cells toward “freedom,” only to be taken to lethal human experiments. They are escorted by Japanese guards in traditional kimonos with samurai swords, led by a geisha carrying a bright red umbrella and wearing impossibly high okobo clogs, followed by Edo-period guards with topknots and white kimono. Bat Lord calls it “Orientalist punk seen through a Western gaze” (“有一种西方视角的东方主义朋克的味道”).

The reviewer also interprets the main characters, the Chinese prisoners, as representations of Christian martyrdom. Cross symbols are indeed everywhere in the film, with prisoner No. 017 constantly drawing crosses on the wall, and an ingenious escape plan hidden in a dictionary as a series of crosses.

At the climax, after battling guards in kimonos with wooden swords, the prisoners flee toward a crematorium resembling a cathedral of light, where crosses formed from pure white beams symbolize freedom. But behind the cross loom the Japanese executioners. After a bloody massacre, the survivors are captured and executed — tied to crosses arranged around a pit, with fleas dropped on them from above as Japanese officers watch from a grandstand.

Cross symbols appear throughout the film.

💬 “It’s clearly a direct homage to Christian martyrs who were sacrificed in the Colosseum during the ancient Roman Empire. In the end, all the protagonists die martyrs’ deaths,” Bat Lord writes.[10]

He concludes that the film is “4/5 as an art house film, but zero points as a war movie”:

💬 “As a mainstream patriotic commercial blockbuster, it is a complete and utter failure (..) But as a niche cult prank film, it actually has some positive points (…) – built on exaggerated Orientalist visions of Japan, it feels strangely authentic. This kind of deconstruction of Japanese culture isn’t something the Japanese themselves could do — only the West or China, as seen in works like The Last Samurai, Ghost of Tsushima, and Shogun.” [11]

He adds:

💬 “The biggest problem is the subject matter. Using 731 — such a solemn, tragic history — only to hollow out its pain, exploit national emotions, and repackage it as a cult prank film disguised as a patriotic blockbuster, inevitably backfires. If it had been framed as a semi-fictional low-budget black comedy, the backlash wouldn’t be so severe.”[12]

 

“No Japanese in Heaven”: Over-‘Othering’ the Enemy

 

How could 731 have failed so miserably to live up to public expectations?

In recent years, Chinese museums, books, and popular culture have made many attempts to revitalize the history of war and make it more relevant to younger generations. In many cases, this has been successful, from popular war dramas to blockbuster films.

But Unit 731 is perhaps an especially difficult subject to adapt into a commercially successful film for a broad audience, especially since it chose to leave out the kind of contextualization that Oppenheimer provided in exploring the history, process, and character development that led to the atomic bomb.

Like the gas chambers of Auschwitz or Mengele’s brutal experiments, its history is so gruesome that there is little to focus on beyond the suffering of the victims and the cruelty of the perpetrators. (The film had already been postponed once, as it allegedly failed to pass official screenings due to its graphic scenes.)

War films in China are expected to reflect — or help shape — national identity. In 731, this means boosting national unity by focusing on Japan as the ultimate “Other,” the ‘constructed outsider’ against which the own national identity is defined.

The entire nation is cast as an enemy, depicted through exaggerated cultural symbols — geishas, kimonos, samurai, and cherry blossoms — regardless of whether they belonged in the actual prison setting. Japan’s national colors and imagery are fused with scenes of bloody and barbaric slaughter, turning Japanese cultural identity itself into a target.

References to Japanese cultural symbols in the film.

In doing so, the film not only holds Japan as a whole responsible for its wartime aggression, but also strengthens Chinese identity by defining it in opposition to Japan, visually contrasting “good” versus “evil” through opposing characters, colors, and symbols.

Clear visual symbols: dead Chinese bodies covered in white dust. With the red circle of blood, the scene resembles a Japanese flag.

This contrast is also made explicit in dialogue: at the beginning of the film, for instance, a young boy enters the stark white prison halls and asks, “Master, are we in heaven?” to which the older Chinese man replies, “Nonsense, how could there be Japanese in heaven?”

In promoting the film, director Zhao Linshan (赵林山) reinforced the image of Japan as the eternal “Other” by explaining that he had insisted none of the Japanese roles could have possibly played by Chinese actors, suggesting they would not be able to convey their evilness. Despite the difficulty of bringing over more than 80 Japanese actors during China’s ‘zero Covid’ era, when 731 was largely filmed, Zhao maintained that “only the Japanese can play this dual nature.”

While Chinese social media is often filled with anti-Japanese sentiment, many viewers criticized the depiction of “Japan” and the Unit 731 staff — not because of the anti-Japanese angle, but because they felt it trivialized history. They argued that Unit 731 was already so horrific that it needed no added gimmicks, tropes, or exaggerated villains to make it look bad.

As Douban reviewer Qingyun wrote:

💬 “Portraying devils as clowns diminishes their true guilt. The real criminals were rational, organized, and intelligent, embodying the will of Japanese militarism as a systematic project. Making them idiots (..) greatly underestimates the danger and organization of militarism, and is a severe simplification of history.”[13]

This critique goes further, suggesting the film both weakens its warning value (“the true terror is that advanced civilization and barbarism can coexist”) and cheapens the victims’ suffering (“if the enemy is so stupid, the tragedy seems less grave”).

On Weibo, one commenter criticized this one-sided approach:

💬 “I saw an auntie in Hangzhou who, after watching the movie 731, said she hated the Japanese devils so much — that she would hate them for her entire life. But this elderly woman, brainwashed by hatred education for a lifetime, doesn’t stop to think that (..) so many other brutal slaughters happened throughout Chinese history. If you only speak of hate, can your hate keep up with all of them? Shouldn’t we instead explore and reflect more deeply on the underlying causes of these events? Better to talk less of hate and more of love — because only the most genuine love from the depths of the human heart can ultimately prevent such tragedies from happening again.”[14]

Some viewers who appreciated the film, however, disagreed. One Weibo user wrote: “I watched the film with my husband and on our way home we scolded the Japanese, wishing we could throw two more atomic bombs on them. It was a good film.”

Between the history and the hate, the official narrative, the polarized audience reactions, and disagreements over the film’s message, 731 has brought more controversy than clarity.

But beyond the debate and confusion, one message remains clear. As one viewer wrote:

“The film wasn’t what I expected, but I’m not sure what I even expected? A good story? More like a documentary? There’s one thing I can say for sure: this movie is just a shell — the history itself is the soul.”[15]

By Manya Koetse

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References

  1. “看完有种被诈骗的感觉” (source: Douban).
  2. “一句话评价《731》,导演按照《肖申克的救赎》拍出了《鱿鱼游戏》” (source: Xiaohongshu).
  3. “令人非常迷惑” (source: Douban).
  4. “短评骂的字数不够了实在是忍不了了” (source: Douban).
  5. “作为一个哈尔滨人,去过至少三次纪念馆,731对于哈尔滨就是最沉痛的一段历史,这个电影用大量极其荒诞的镜头和音乐,讲述一个基本跟真实历史毫无关系的故事,所有真正需要拍出来的信息全部是文字一笔带过,最后却告诉观众勿忘历史?这是对731这段历史的践踏。弱智且下流” (Source: comment section Sina).
  6. “作为一个90后,我出生的那个年代卫生纸质量都达不到侵略者给实验体使用的,纸的质量太好了,又是编蝴蝶结,又是编鞋子的,我猜应该是坚韧又耐用,透水都不断的那种吧” (Source: Douban long reviews).
  7. “或许是删减太多或许是各种局限,当做越狱不精彩,当做历史片太随意,当做剧情片太碎片”(Source: Douban).
  8. “影片既想利用沉重历史的严肃性作为宣传噱头,又担心题材过于压抑影响票房,于是强行注入商业娱乐元素(搞笑、幻想、刺激场面)。这种“既要…又要…”的投机心态导致影片既失去了历史题材必需的敬畏感,又未能提供合格的娱乐体验。最终,它既冒犯了历史,也辜负了观众”(Source Douban, review by Qingyun (青云).
  9. “西方刻板印象东方主义日本与基督殉难的碰撞,cult片的杰出之作”(Source: Douban, review by ‘Bat Lord’ (蝙蝠君).
  10. “很明显也在致敬古罗马帝国时期殉道在斗兽场的圣徒们。最终主角团全员殉道,无一幸免。”
  11. “这个片作为主流主旋律商业大片是完全的,彻头彻尾的失败,彷佛那纯纯的依托!甚至从预告片开始这电影就没有任何一丝一毫的符合历史,我从一开始就完全没有抱任何期望的去看,结果发现这片作为小众邪典整蛊片却颇有可取之处(。。)当你不认为这片是正常电影之后,这片表达出的那股子真的是超正宗的外国视角下的刻板印象东方主义日本美学、东方朋克味,这种对日本文化的魔怔向的解构其实我个人还真感觉挺不错的。这种解构日本人是搞不出来的,目前只有欧美和中国能搞出来,代表作就是《最后的武士》、《对马岛》、《幕府将军》之类的作品,里面的日本文化,日本武士道精神一个赛一个魔怔,欧美是往骑士幻想的那个路子去走的,我们是往黑暗邪典的路子去走的“
  12. “所以这片的最大问题还是选择了731这个严肃题材,完全在消解历史的悲痛,消费民族的情感,拍了个小众邪典整蛊片后,还按照主流商业片来包装和宣发,如果他拍成半架空的超小成本黑色喜剧我觉得反噬恐怕不会有这么大”(Source: Douban).
  13. “它美化了真正的邪恶:将恶魔塑造成小丑,实际上减轻了他们的罪责。真实的731部队不是一群疯癫的傻瓜,而是清醒的、有组织的、高智商的罪犯。他们的行为是日本军国主义国家意志的体现,是一个系统性的工程。把他们拍得弱智,仿佛这场悲剧只是一群笨蛋造成的意外,这极大地低估了军国主义的危害性和组织性,是对历史的严重简化”(source: Douban).
  14. “看到一位杭州阿姨看完电影731后讲太恨日本鬼子了,要一辈子一辈子的恨。这个被仇恨教育洗脑一辈子的老太太,您也不思考一下,嘉定三屠,江东六十四屯,南京大屠杀等等一系列的野蛮屠杀事件在中国历史上发生的太多了,光讲恨您恨的过来吗?不应该是更多的探究和反省发生这些事的深层原因嘛!还是少谈恨多讲爱吧,只有发自心底人类最真实的爱才能最后解决这些惨案在人类世界的发生吧”(Source: Weibo).
  15. Weibo user “红屋顶上的猫”: “我不知道该怎么评。首先在这个忙乱的日子里安排自己去看这个电影,我也说不清楚我是想铭记那段历史,还是想比较小时候看过的《荒原城堡731》,还有那部《黑太阳》。其次我也不知道电影从越狱视角切入,写实和魔幻风格交替,是好还是不好?但它和我想象的不一样,可我也不知道自己想看到的到底是什么样?甚至我也说不清我对这场电影的期待是什么?讲好故事?还是拍成纪录片?我只能确定,电影只是个壳子,那段历史才是灵魂。”

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