China Arts & Entertainment
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.
Published
3 years agoon
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
“Auntie Mei” Captured After 20 Years, China’s Train-Stain Scandal, and Zhang Xuefeng’s Final Lesson
The major talking points on Chinese social media this week: from the capture of a notorious child trafficker and unexpected death of Zhang Xuefeng, to one of the most expensive Chinese music video ever made.
Published
4 weeks agoon
March 24, 2026
🔥 China Trend Watch (week 12½ | 2026) Part of Eye on Digital China by Manya Koetse, China Trend Watch is an overview of what’s trending and being discussed on Chinese social media. This edition was sent to paid subscribers — subscribe to receive the next issue in your inbox.
On Tuesday, March 24, rumors that something had happened to China’s most popular educational influencer were flying across Chinese social media. Some said he had collapsed, others said he was barely hanging on, while others still were refuting the rumors.
This is about “Teacher Zhang Xuefeng” (张雪峰老师, 1984), the man who carved out a big place for himself in China’s online landscape over the past decade by focusing on a sweet spot that virtually all Chinese parents and their children care about: how to choose majors strategically to ensure future employment prospects.
Among Zhang’s common questions: “What kind of salary do you want your child to have in the future?”
Besides the relevance of his focus, Zhang’s northeastern accent, comic remarks, blunt criticism, and talent for triggering controversy also amplified his online appeal, ensuring that his name frequently became part of China’s public discourse.
Like that time when he advised China’s young people against studying journalism, even stating that if he were a parent, he would “definitely knock the child unconscious if they insisted on studying journalism,” deeming it a major that lacks depth and prospects. Although it became a major controversy at the time, a poll of 42,000 voters showed that 39,000 agreed with Zhang.
Zhang capitalized on the collective anxiety in China surrounding the gaokao (高考), the national university entrance exam that determines future paths, as well as concerns that even graduates from top universities may face unemployment if they choose majors with limited practical value. Zhang’s view: choice is more important than effort.

This Tuesday evening, news emerged that Zhang Xuefeng had died on the afternoon of March 24 at the age of 41, after suffering sudden cardiac arrest.
His death has had a huge impact on Chinese social media, where many people are responding with disbelief and shock.
It’s not just that Zhang was widely known (and while not everyone liked him, many respected him)—it’s perhaps also the fact that he spent so much of his life advising others on how to control their careers and income, building great personal wealth in the process, only to die so young, at the peak of his career, with no strategy to protect him.
Besides being “chronically overworked,” Zhang also pushed himself to exercise and run frequently. Adding to this, he had been under pressure since last fall, when he became a target of official criticism and platform regulators.
Isn’t it ironic that, in the end, the most important takeaway Zhang might leave behind is not his advice on choosing majors or making smart career moves, but rather the reminder to sometimes step away from the rat race and appreciate everyday life and health, because you never know when it might all end.
Zhang leaves behind his wife and 11-year-old daughter.
Let’s dive into some of the other trends that have been major talking points this week.
Quick Scroll
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- 🧠 China has approved a coin-sized brain–computer implant for commercial use in people with spinal cord injuries. Developed by Shanghai-based company Neuracle Medical Technology (博睿康) in collaboration with Tsinghua University, the so-called “NEO” is the world’s first market-approved brain implant designed to help people with severe paralysis regain hand motor function.
- 🚨 Lei Siwei (雷思维), Vice-Governor of Gansu and member of the provincial Party Standing Committee, is under investigation as of March 17, with the notice issued by China’s top anti-corruption body citing “serious violations of discipline and law.” The case is the latest in an ongoing series of provincial-level anti-corruption actions that’ve been continuing into 2026.
- 📚 Several Chinese provinces and cities are removing biology and geography from high school entrance exams starting from next year, as part of a broader government-initiated campaign to reduce pressure on students and put a stop to “educational involution” (教育内卷).
- 👀 Taiwanese actor-singer Jerry Yan (言承旭), best known as Dao Mingsi from Meteor Garden and a member of F4, is at the center of somewhat of an authenticity crisis after fans photographed his concert teleprompter showing not just lyrics, but scripted emotional cues for his performance like “your eyes slightly reddening” and “now you take a deep breath.”
- 🎮 More than 100 Chinese universities are offering esports majors nowadays, sparking online discussions this week. These programmes go far beyond just playing video games, covering esports operations, management, data analytics, game design, etc, reflecting the growing professionalisation of China’s esports industry.
- 🎓 A feature by Chinese magazine Sanlian Life Weekly (三联生活周刊) went trending for highlighting a sharp gender shift in China’s higher education demographics, with female students now outnumbering men at universities. Female undergraduate enrollment grew by 348% between 2002 and 2022.
- 🧪 A laboratory explosion at Chongqing University on March 20 killed one student and injured three. Initial findings point to improper handling of chemicals.
- 💔 China’s superfamous actress Yao Chen (姚晨) and filmmaker Cao Yu (曹郁) jointly announced their separation on Weibo in a poetic way, using classical Chinese language: “A journey through mountains and rivers, a blessing for three lifetimes. Fate comes and goes, all is joy” (山水一程,三生有幸。缘来缘去,皆是欢喜). A related hashtag received 300 million views.
What Really Stood Out This Week
Chinese Woman Who Sold Abducted Toddlers Captured After Two Decades

A woman who played a key role in a series of China’s notorious child trafficking cases, causing relentless suffering for many families, has finally been caught after being on the run for two decades. The arrest of the woman, referred to as “Mei Yi” or “Auntie Mei” (梅姨), has dominated Chinese social media over the past week, ever since Guangzhou police announced on March 21 that they had finally captured her.
This story touches upon multiple issues that have turned it into such a major topic.
Mei Yi was involved in a series of child trafficking crimes carried out by a gang led by Zhang Weiping (张维平) and Zhou Rongping (周容平) across multiple areas in Guangdong province between 2003 and 2005. She acted as a middleman responsible for transferring and selling abducted children, mostly toddler boys. In just over two years, the group abducted and trafficked nine young children.
The parents of these boys never stopped searching for them, while Chinese authorities worked for years to crack the case. In 2016, eleven years after the last abduction, police arrested five core gang members, including Zhang, who later confessed and revealed that the person reselling the children was a local elderly woman nicknamed “Mei Yi.” However, her real identity and whereabouts remained unknown for years. Zhang Weiping and Zhou Rongping were both sentenced to death and executed in 2023.
Thanks to new technologies—from digital tracking systems to DNA matching—the abducted children were located one by one and reunited with their biological families over the years: the first in 2019 and the last in 2024. By then, the boys were roughly between 14 and 21 years old, meaning they had spent nearly their entire childhoods with the families who had bought them.
Evading Capture by Being Ordinary
One aspect of this case drawing attention is not just how Mei Yi was caught, but how she managed to evade arrest for so long. The crimes took place more than twenty years ago, in factories, rental housing, and other areas with dense migrant populations, leaving very little traceable evidence. It is also unclear how accurate the composite sketch of Mei Yi—circulating since 2017 and updated in 2019—actually was. Authorities have not released a confirmed photo following her arrest, and it is possible her real appearance differed significantly from the sketch.
A lawyer close to the case told Chinese media outlet The Paper that what made her so hard to catch was probably not how clever her tactics were, but that she appeared so normal to those around her, who might have never guessed she was a criminal. Besides arranging illegal “adoptions,” Mei Yi also acted as a local matchmaker and fortune teller, and she even lied about her identity and used aliases with someone who was her partner for two years.
Official media do not disclose exactly how Mei Yi was eventually tracked down, but it’s clear that the authorities got much closer after all the abducted children were found in October 2024, undoubtedly leading to important clues that connected all the cases.
Not Such a Happy Ending
Chinese state media have largely framed the case as a story of justice served: Mei Yi as a long-sought villain, the police as persistent heroes, and China’s advancing technology as the key to solving the case. A kind of “happy ending.”
But the truth seems more complicated, with a loud silence surrounding nine families where the abducted boys spent their entire childhoods. Their willingness to pay for a male child is part of a broader issue linked to China’s one-child policy, relatively light penalties for buyers of trafficked children (or even legal limitations due to statutes of limitation), and a deeply rooted son-preference culture that was especially strong in those years 2003- 2005.
Some online commentators did argue to “not let those hypocritical ‘adoptive parents’ off the hook.” Yet the situation is complicated by the fact that some of the boys still consider these families their parents, and in some cases choose to stay with them rather than return to biological families they barely remember.
The fact is that Mei Yu is just one chapter in a much larger story that is far from finished.
Just earlier this week, the story of another abduction case also went trending. It concerns a man named Du Jun (杜军), who was abducted in 1991 at the age of 3 while playing outside a shop with his sister. Du Jun, who spent 35 years separated from his biological family, finally reunited with his biological mother following a successful identification process that is part of a continuing series of long-separated family reunions facilitated by China’s expanding DNA-matching and digital tracking systems.
Du, now 38, had not known he was trafficked as a child, nor that his biological family had searched for him for years. He became an orphan at a young age and built a life for himself. He was found through online search efforts, the dedication of volunteers, DNA research, and a specific detail only his biological family knew: that he had a bend at the joint of his left middle finger because of an accident as a toddler.

Du Jun as a young child before his abduction, and Du Jun reunited with his biological mother in 2026. Images via Hongxing Xinwen.
As with the nine abducted boys, Du Jun’s reunion with his family does bring light to a long, dark tunnel – but it doesn’t bring back the missed childhood, the shattered families, and the endless, tear-filled years.
Let’s hope many more “Mei Yis” will be brought to justice in the years ahead.
A Censored Menstruation Train-Incident

Another story that became a major talking point on Chinese social media this week involves a woman named Ms. Zhang, who was charged 180 yuan (US$26) after accidentally staining a bedsheet on a sleeper train. The woman unexpectedly got her period while traveling overnight to Lanzhou and was unable to obtain any sanitary products on board. A train attendant asked her to either wash the bedsheet herself or pay compensation.
The woman, who ended up washing the sheets herself by hand in cold water, later shared her experience on social media and suggested that all trains should sell sanitary pads. Her post resonated with many, and even though she took it offline, it was quickly picked up by Chinese media.
After the post went viral, Lanzhou Railway issued an official statement on March 20, presenting its version of events and challenging some of the woman’s claims.
The statement included details that depicted staff as helpful, such as an attendant allegedly offering to wash the sheets and a conductor searching for sanitary pads (but finding none). At the same time, it used seemingly accusatory language, repeatedly describing the woman’s menstruation as having “contaminated” (污染) the bedding as well as two other spots where she had sat.
Zhang did not accept this explanation and again turned to social media (under the username @勇敢小狐不怕困难) to reveal what she said had been happening behind the scenes. She shared that someone from Lanzhou Railway had repeatedly messaged her privately, asking her to delete her posts, claiming that employees’ jobs were at risk because of the incident, and even offering her money—which she refused, despite ultimately taking the post down.
Zhang further suggested that her posts were “disappearing as soon as they were published,” that the media narrative was being controlled, and that she had been pressured into silence.
On Xiaohongshu and Weibo, many users sided with Zhang. The wording used by Lanzhou Railway struck a chord, particularly the framing of menstruation as “contamination” while simultaneously blaming Zhang for staining multiple areas, despite not providing any sanitary products.
“Where exactly was she supposed to sit?” one Xiaohongshu user asked. “In the aisle? On a suitcase? Squatting by the toilet door? Lying on the floor?”
One major reason why this debate exploded online is not just the media discourse itself, but the way it taps into broader frustrations among Chinese women over social taboos and structural shortcomings surrounding menstruation in public spaces.
Over the years, various incidents involving menstrual products have gone viral and sparked grassroots efforts to change the current situation.
In 2022, a female passenger also expressed her frustration online about sanitary pads on high-speed trains, drawing online attention. Many commenters, mostly men, argued that pads weren’t “essential items” and shouldn’t take up retail space onboard. The railway authority’s official response—describing sanitary pads as “personal items” that don’t need to be sold—only worsened online outrage.
For many women, these kinds of incidents, from trains and schools to planes, highlight how little society apparently understands or respects their basic needs.
In this case, the way Zhang was seemingly framed as if she had deliberately stained the sheets (and was somehow expected to stop menstruating) triggered widespread anger. Although some of the more outspoken posts were censored on Weibo, more nuanced criticism remained: “Menstrual blood is treated as dirty, described as ‘contamination.’ But this is just menstruation—something that half of all people experience.”
On the Feed
“The Most Expensive Music Video in the History of Mandopop”

Whenever there’s new music by the Taiwanese producer, actor, composer, singer-songwriter, and ‘King of Mandopop’ Jay Chou (周杰伦), it goes trending.
Not only does his music bring back memories of the early 2000s – when he first rose to prominence and became super popular – but his catchy tunes and lyrics also resonate with younger audiences.
But it’s not just the music that makes waves – it’s also the music videos that have become artistic and sometimes spectacular productions by themselves. “Other artists just make a music video, he turns it into a movie,” some commenters wrote after the release of his 2022 Greatest Work of Art video.
On March 24, the music video (MV) for the lead single Children of the Sun (太阳之子) dropped, a production made in collaboration with Wētā Workshop, the New Zealand-based visual effects studio known for its work on Avatar and The Lord of the Rings.
The music video shows Jay Chou in a fictional European world spanning from the 16th to the 20th century, filled with references to famous art, from Vincent van Gogh and Dali to Mona Lisa, Ophelia, and The Anatomy Lesson of Dr. Nicolaes Tulp by Rembrandt (Jay Chou appears in the painting himself).
The cost of the music video production reportedly exceeded 20 million yuan (US$2.9 million), and some commentaries described it as the most expensive MV in the history of Mandarin-language pop music.
Chapter Dive
When an Entertainment Scandal Gets Political: How Wong Kar-wai Survived a Nationalist Storm
The 2025 scandal surrounding Wong Kar-wai shows that public outrage only produces consequences when it aligns with official interests.
Published
4 months agoon
December 18, 2025By
Ruixin Zhang
In 2025, Wong Kar-wai found himself at the center of one of China’s most explosive entertainment scandals of the year, one that began as a labor dispute and spiraled into a nationalist firestorm. But when this entertainment-industry controversy crossed into political red lines, something unexpected happened.
It’s safe to say that 2025 wasn’t the best year for Wong Kar-wai (王家卫, 1958), one of the most famous Chinese-language film directors in the world. The Hong Kong movie director is known for classic works like Chungking Express and In the Mood for Love. Besides his work, his iconic sunglasses are also famous – he rarely goes without them and is even nicknamed ‘Sunglasses’ (墨镜) or ‘Sunglass King’ (墨镜王) on Chinese social media.
But this year, discussions about Wong Kar-wai have gone well beyond his talent and looks. He became embroiled in what would turn into one of China’s biggest entertainment scandals of the year after a former staff member set out to expose him for exploitation and misconduct. Once the controversy spilled from entertainment into political territory, however, the dynamics of the story changed entirely.
A Fight for Credit
This story begins with the young Chinese screenwriter Gu Er (古二, real name Cheng Junnian 程骏年). He is the one who publicly accused Wong of exploitation and unethical work standards on social media (a story which we previously covered here).
Gu Er, a New York Film Academy graduate, returned to China after his studies and began building a career. In 2019, he joined the production team of Wong’s popular TV series Blossoms Shanghai, working long hours for meager pay, despite suffering from Kennedy’s disease, a motor neuron illness similar to ALS.

Cheng Junnian 程骏年, better known as Gu Er
In 2023, after the show premiered, Gu posted an article on Chinese social media titled “The Truth Behind the Writing of Blossoms” (《繁花》剧本的创作真相). He argued that he should have been credited as one of the principal writers but was instead listed only as a “preliminary editor,” buried at the end of the credits. The post sparked some discussion, but the controversy quickly faded.
It was not until last September that Gu Er released another essay titled “My Experience as a Screenwriter for Blossoms: A Summary” (我给《繁花》做编剧的经历——小结), which drew widespread attention. In the piece, he accused Wong Kar-wai of exploitation and detailed his creative work on the series, while also claiming that he was required to cook meals and run personal errands for Wong.
At one point, Gu Er describes how lead screenwriter Qin Wen (秦雯) allegedly tried to remove him from the production team after presenting his draft script as her own. According to Gu, Wong Kar-wai responded dismissively: “It’s just a few thousand yuan; he’s an assistant and can also write the script, it’s a bargain!”
Throughout 2025, Gu Er used his WeChat account to document his experiences and to upload audio recordings of conversations with members of the production team, including Wong Kar-wai and Qin Wen. These recordings were presented as evidence supporting his claims of exploitation, verbal abuse, and the denial of screenwriting credit.
In response to the controversy, the official account of the Blossoms Shanghai television series issued multiple statements denying that Gu Er deserved screenwriting credit and accusing him of abusing his position to secretly record private conversations among staff. The production team vowed to take legal action, and Gu Er’s entire WeChat account was soon shut down.
Leaked Recordings and Growing Backlash
Although his WeChat presence was erased, Gu Er refused to stay silent. In early November of 2025, he opened a new Weibo account (@古二新语) and, seemingly burning all of his bridges, continued releasing recordings involving Wong Kar-wai and members of the Blossoms Shanghai production team, triggering an unexpected shockwave over the past few weeks.
Gu Er released a series of audio recordings featuring Wong Kar-wai and others, including screenwriter Qin Wen and her assistant Xu Siyao (许思窈). In some of these recordings, they are heard mocking Gu Er; Qin appears to struggle to recall plot details she allegedly wrote herself; and Xu Siyao openly admits that an important storyline in Blossoms Shanghai originated from Gu Er’s writing.

Visuals from Blossoms Shanghai.
Wong Kar-wai and Qin Wen also spend a surprising amount of time ridiculing figures across the Chinese film and television industry, from respected senior veterans to obscure streaming-film directors, dismissively labeling them as “fake.”
What stunned the public even more were Wong Kar-wai’s crude remarks about actresses. In one recording, he comments on actress Jin Jing’s breasts and jokes, “I must get her” (“我一定要搞金靖”). Jin is not a major star, and in the final cut of Blossoms Shanghai, all of her scenes were removed. In another clip, Wong addresses screenwriter Qin Wen in a sexually suggestive and harassing tone, saying that if she had a body like Jin’s, she would not have “survived” her early years in the industry as a writer, because “I would definitely have taken you” (“我一定收你”).

Qin Wen
After this wave of leaks, the recordings—together with Gu Er’s earlier accusations—spread widely across major Chinese social media platforms. Many netizens expressed disapproval of the misogyny, gossip, and backbiting revealed in the recordings and began reevaluating Wong Kar-wai as a person, as well as his past works. Others questioned the legitimacy of Gu Er’s methods, particularly the recordings and leaks. Legal experts noted that secretly recording conversations could violate privacy laws, and that selectively edited clips might even constitute defamation.
Crossing the Red Line
Then, on November 8, Gu Er released a new recording that fundamentally altered the nature of the incident. The audio features a conversation among Wong Kar-wai, Blossoms Shanghai co-director Li Shuang (李爽), and producer Peng Qihua (彭绮华), in which they discuss COVID controls, Japan, and China’s political system.
In the recording, Wong says that the Communist Party only wants “chives” (jiǔcài, 韭菜) to harvest and describes China as a “greedy one-party state.” In Chinese internet slang, jiǔcài refers to ordinary people who are repeatedly exploited, compared to chives that are cut and grow back, only to be harvested again. When Li mentions his collection of Japanese katanas and samurai outfits, Wong jokes that, given China’s current tensions with Japan, if the collection were discovered, Li would be publicly denounced and paraded, much like during the Cultural Revolution.
Wong even suggested: “If they find [the samurai swords], just put a Chinese flag on them and say you really hate those Japanese devils.”
The Weibo post was deleted within minutes, but the recordings spread quickly.
Nationalist netizens flooded Wong’s comment section, calling him a hànjiān (汉奸, traitor to the Chinese nation), and demanding that he “get out of China.” Some conspiracy-minded users even claimed that the title of Wong’s famous TV series Blossoms (繁花 fánhuā) was intentionally chosen because it sounds like “anti-China” (反华 fǎnhuá), alleging that Wong had embedded a subversive message in the title.
Suddenly, many who had previously viewed the scandal as mere entertainment began taking sides—calling for the show to be taken down and for investigations into Wong, Li, and others involved.
Unusual Twist in a Familiar Script
In China’s public sphere, once criticism touches on the state or the Party, everything becomes more complicated. Many began questioning whether Gu Er had gone too far in leaking these conversations, and whether this was a political terror tactic disguised as personal justice.
Weaponizing nationalism to ruin a public figure is actually nothing new.
Ten years ago, CCTV host Bi Fujian (毕福剑) was recorded at a private dinner mocking Mao Zedong and was immediately fired, vanishing from public life. In 2021, actor Zhang Zhehan (张哲瀚) was canceled after taking photos near the controversial Yasukuni Shrine in Tokyo—a site that honors Japan’s war dead, including convicted war criminals. In 2022, writer Yan Geling (严歌苓) was erased from the Chinese internet almost overnight after calling Xi Jinping a “human trafficker” in commentary about a trafficking case.
Given this history, and the fact that Wong has remained silent since the leaks began, mainland audiences now fear that Wong Kar-wai could join China’s celebrity “blacklist.” Some even worry they might never see In the Mood for Love again, others fear a broadcast ban for Blossoms.
Will Wong Kar-wai become the Next Bi Fujian? All past punishment-for-speech cases have followed a familiar script: a leak emerges, nationalists erupt, official mouthpieces like Xinhua step in to shape the narrative, and punishment follows swiftly. In Bi Fujian’s case, for example, the Central Commission for Discipline Inspection issued a public condemnation within a week.
But this time, although nationalists are already outraged on social media and calling for Wong’s “anti-China” remarks to be punished, not a single major central media outlet has echoed their anger. In fact, shortly after Gu released the new recordings, the Blossoms team issued a statement accusing him of fabrication and malicious slander—and The Paper, a state-affiliated Shanghai outlet, amplified it. That was the first signal of how authorities might lean.
Too Valuable to Cancel?
Does this all mean China has become more tolerant of political criticism? Is the red line for what can and can’t be said shifting? Some believe the only reason Wong escaped harsher consequences is that he didn’t mention specific leaders by name, which is the quickest way to get into serious trouble. While that’s plausible, another reason may carry more weight: Wong Kar-wai is useful to the state’s cultural agenda.
Despite the comments in the recordings, Wong’s stance toward the authorities is not overtly hostile. In recent years, he has cooperated with state-backed projects. Blossoms, in particular, is part of Shanghai’s cultural branding campaign, with full support from Party-led propaganda departments. It received major state funding and was included as a central project on CCTV’s 2024 slate.
Wong is also a globally recognized auteur with real prestige in the West, making him valuable to China’s propaganda strategy of “telling China’s story well” (讲好中国故事).
Dropping such a cultural asset over a scandal stirred up by a disgruntled writer would be politically and culturally costly. This might explain why the official response has been unusually mild.
Many observers mistakenly assume that in China, once public outrage reaches a certain level, authorities will respond accordingly. But that’s only true when popular opinion and official interests are aligned. When they’re not—when the Party-state sees strategic value in protecting someone—public outcry changes nothing. If the Party believes Wong is worth keeping, then some of his comments will simply be forgiven.
The Cost of Speaking Out
At the center of this entire story is Gu Er. Was he wrong to weaponize nationalist outrage? Were his methods excessive or dangerous? Reactions are mixed. Some argue that leaking private recordings (especially political ones) is troubling and contributes to a climate of fear and self-censorship. Others sympathize, believing that Gu Er, who has suffered so much both physically and emotionally, shouldn’t be judged too harshly.
In the well-known Fanpai Yingping (反派影评) podcast, film journalist Bomi argued that Gu didn’t intentionally politicize the conflict; rather, he was responding within a system that had already politicized his case. Wong’s team never approached the issue as a civil labor dispute. They had enough opportunities to negotiate or settle, but instead, but chose not to . Perhaps it was arrogance. Or perhaps a confidence that the show, backed as a state-supported “main melody” (主旋律) production tied to enormous interests, would never be abandoned.
There seems to have been a clear mission to silence Gu Er. After shutting down his WeChat account, members of staff allegedly tried to intimidate him by visiting the house of his 90-year-old grandmother to deliver legal letters.
In the November 8 statement by the team, they accused him of “inciting social division” (“煽动社会对立”) and “manipulating negative emotions” (“诱导负面情绪”) and claimed he was “evading domestic legal investigation” (“逃避国内司法调查和认定”) by staying overseas—all language that is reminiscent of official state announcements. Some netizens even suggested it evoked the tone of old-school ideological and political denunciation—strong on rhetoric but lacking in substantive legal action. They frame this entire story into the context of a powerful production crew violating labor law treating a powerless writer like a political criminal.
The repercussions of this controversy are far from over, and to what extent it will have consequences for both Wong Kar-wai and Gu Er remains to be seen. Will Wong ever speak out? Will Gu Er be silenced forever?
Regardless, it is clear that Wong’s reputation has suffered. Long regarded as a “hero” of Chinese cinema, this incident has changed how many in mainland China now perceive the famous “Sunglasses.” Some call him a misogynist; others denounce him for exploiting staff. Still others see him as a hypocrite, suggesting that although he criticizes authoritarianism in the leaked recordings, he operates and thrives within that very system. One Weibo commenter wrote that the “Sunglasses King turned out to be the villain of the story.”
Although Gu Er has also received criticism for his actions, he has encouraged others through his insistence on standing up to those in power who bullied and discredited him. Recently, another screenwriter posted on Xiaohongshu about a similar experience: after independently completing the full script for a Chinese drama, he discovered that the boss had listed themself as Head Screenwriter in the end credits. The post was tagged “Gu Er” and received hundreds of comments, with many users sharing their own stories of being exploited as scriptwriters.
Even turning the dispute into a political issue failed to bring Gu Er any justice or revenge on his exploitative former employer. Still, he has gained something else: recognition from others, for whom his resistance has become a source of inspiration. Even if it was not the kind of recognition he originally sought, Gu Er still gets his credit in the end.
By Ruixin Zhang edited for clarity by Manya Koetse
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