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“What Is Peppa?” – Viral Ad Campaign for ‘Peppa Pig’ Movie Makes the British Pig More Chinese Than Ever

It’s the Chinese new year of Peppa Pig.

Manya Koetse

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A new ad campaign for the upcoming Peppa Pig movie features a grandfather living in rural China who goes on a quest to find out what Peppa is. The commercial is a huge success on Chinese social media, and strikes a chord with netizens for touching upon various societal and cultural issues. Peppa is more Chinese than ever now.

“What is Peppa?” That is the question that is currently going viral on Chinese social media, with the hashtag #WhatisPeppa (#啥是佩奇#) receiving a staggering 400 million times on social media platform Weibo at time of writing.

The reason for the trend is an ad campaign, titled ‘What’s Peppa’, promoting the Peppa Pig Celebrates Chinese New Year film, a production by Entertainment One and China’s Alibaba Pictures.

The promotional video (5:39 length, watch featured video), that came out via various online channels on January 17, focuses on a grandfather living in a remote rural village who is anticipating the Spring Festival reunion with his son and his family, who now live in a big city.

The grandfather, named Yu Bao, wants to know what gift to get for his little grandson. When calling his family on a bad connection through his old 2G mobile phone, the word “Peppa” is all he gets from his little grandson before his phone breaks down. But what’s Peppa?

Yu Bao then goes on a comical mission to find out what Peppa is: looking it up in the dictionary, asking his friends -who are just as oblivious as he is-, and asking the entire village.

At the local shop, it is suggested that ‘Peppa’ is some kind of shampoo.

Eventually, one of the female villagers, who used to be a nanny, knows what Peppa is. She tries to explain it to Yu Bao, who now even seems willing to paint his own pig pink for his grandson. She explains that it is a pink cartoon pig whose face looks somewhat like a traditional fire blower.

With some guidance, the grandfather then goes to work and creates a unique ‘Peppa Pig’ gift from a metal air-blower to surprise his grandson during Chinese New Year.

But much to his disappointment, he then receives a phone call from his son, who tells him they are not coming home for Chinese New Year – before the connection drops again.

As grandpa, sad and lonely, is walking by the side of the road, his son suddenly appears in his car, telling him that the connection dropped too soon; he was not just telling him the family was not coming for Chinese New Year, he was trying to tell him that they invited him to come to their home instead.

When the family is finally reunited, it is time for the proud grandfather to show the result of his difficult quest for Peppa to his grandson.

The grandpa’s mission is complete: he gives his grandson a one-of-a-kind Peppa Pig.

The commercial ends with the entire family enjoying the upcoming Peppa film in the cinema together. When a friend from the village calls the grandfather to let him know he finally found Peppa thanks to his new smartphone, Yu Bao says: “It’s okay, I found Peppa already!”

The last shot of the video shows Yu Bao’s friend, a sheepherder, standing with his new phone, while someone in the back plays the tune of the Peppa cartoon. The big slogan on the wall is partly based on a popular catchphrase from another Chinese ad, and says: “At the start of the New Year, don’t accept gifts; the whole family goes to the city to watch Peppa instead.”

 

What’s Peppa Pig?

 

Peppa Pig is a popular children’s cartoon that first aired as a British animated television series (produced by Astley Baker Davies) in May of 2004. It took more than eleven years before the show was officially launched in the PRC (CCTV/June 2015).

The Peppa Pig family, including George.

Since then, Peppa Pig has become one of the most popular programs for preschoolers in China. But not just preschoolers love the pig; it has also become highly popular among young adults, who wear Peppa t-shirts, Peppa watches, and are major consumers of China’s thriving Peppa industry.

In 2018, Chinese popular short video app Douyin (also known in English as Tik Tok) removed approximately 30,000 short videos relating to British cartoon Peppa Pig from its platform, as Peppa had turned into somewhat of a subversive symbol to a Chinese online youth subculture dubbed ‘shehuiren‘ (社会人) (read more here).

This news item led to some confusion in Western media, where it was often suggested that Peppa was completely banned in China. She is, in fact, not banned; she is now more popular than ever.

 

Peppa the Movie

 

Amid the huge success of Peppa in China, it was announced in the summer of 2018 that Chinese tech giant Alibaba was working together with Entertainment One on the release of a Peppa Pig movie especially for the Chinese market, as this year’s Chinese New Year is the start of the Year of the Pig.

The movie, titled ‘Peppa Pig Celebrates New Year’ (小猪佩奇过大年), is set for a nationwide release on February 5, the first day of the Chinese Lunar New Year. This is the most popular time for big blockbusters to come out, as many people are free during Chinese New Year and have the time to go out to the cinema together with their families.

The movie itself revolves around Peppa and little brother George and their parents, who are having a reunion for the Spring Festival. It features various Chinese traditions, and of course, something unexpected will happen.

 

Why This Peppa Ad Campaign is So Brilliant 

 

The Peppa ad has really struck a chord on Chinese social media for various reasons. The video was directed by Beijing director Zhang Dapeng (张大鹏, 1984), who also directed the actual Peppa movie, and the campaign is also sponsored by China Mobile.

What this ad campaign does:

It mixes the love for Peppa with the warm feeling of Chinese family reunions during Chinese New Year.

It presents a nostalgic idea of the Chinese village community, where neighbors come together and look out for each other.

It touches upon the issue of China’s rapid urbanization, that has caused many villages to become deserted and isolated as younger generations have settled in the cities.

It highlights how China’s digitalization is leaving behind its elderly population (read more here).

It shows the strong grandparent–grandchild relationship; usually, Chinese grandparents play an active role in raising grandchildren, something that has been changing due to younger generations moving to the city.

In other words; the advertisement completely draws the figure of Peppa Pig into a Chinese socio-cultural context, where it symbolizes the strong connection between Chinese families amid China’s rapid urbanization and digitalization.

By now, the Peppa campaign is making its rounds from Weibo to WeChat and elsewhere on the Chinese internet, with some online sellers already offering a remake of the Peppa present for sale as a collector’s item. Bloomberg reports that Chinese stocks connected to Peppa Pig have surged after the clip went viral yesterday and today.

“I give this video 100 points!” some commenters on social media write, with others saying it has made them tear up. “This already is the best ad campaign of the year.”

Peppa was already a famous figure in China, but with this viral hit and the upcoming movie, the British pig really has become a part of China’s popular culture and media environment: it’s the Chinese new year of Peppa Pig.

UPDATE (Jan 19): [Now passed one billion views] Want to understand more about this movie and its context? Check out our video here.

By Manya Koetse and Miranda Barnes

Spotted a mistake or want to add something? Please let us know in comments below or email us.

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

Manya Koetse is the founder and editor-in-chief of whatsonweibo.com. She is a writer, public speaker, and researcher (Sinologist, MPhil) on social trends, digital developments, and new media in an ever-changing China, with a focus on Chinese society, pop culture, and gender issues. She shares her love for hotpot on hotpotambassador.com. Contact at manya@whatsonweibo.com, or follow on Twitter.

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China Arts & Entertainment

Wandering Earth 2 Production Costs: Why Director Frant Gwo is Nicknamed ‘Master in Begging for Alms’

Contributing to the Wandering Earth 2 production without getting paid? It’s “powering up Chinese sci-fi with love.”

Wendy Huang

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Wandering Earth director Frant Gwo (Guo Fan) is also nicknamed the ‘Master in Begging for Alms’ (化缘大师) on social media. His efforts to convince actors and companies to contribute to the movie has kept production costs relatively low.

With the sci-fi blockbuster The Wandering Earth II, directed by Guo Fan (郭帆 aka Frant Gwo) taking center stage during this Spring Festival movie season, there have been many social media discussions about the film and how it has been reviewed (read here), as well as about the production of the film, or more particularly, about the total production costs for this film.

Based on a story written by Liu Cixin, author of the award-winning sci-fi novel The Three-Body Problem, The Wandering Earth II is the prequel to the 2019 blockbuster hit The Wandering Earth, China’s all-time highest-grossing sci-fi film and the fifth highest-grossing non-English film of all time.

It is reported that the production investment costs for The Wandering Earth II reached approximately 600 million yuan ($88.5 million). Compared to the production budget of American sci-fi hit films such as Interstellar ($165 million) or Inception ($160 million), Chinese audiences had expected The Wandering Earth II to have much higher production costs than the reported budget, especially considering the spectacular scenes featured in the film.

The relatively lower production costs sparked discussions on Chinese social media, where the hashtag “Guo Fan – the Master in Begging for Alms” (#郭帆 化缘大师#) went trending, gaining in popularity as multiple insiders shared more stories about the production of the movie.

The hashtag, which suggests that Director Guo is a ‘Fundraising Master’ for keeping production costs low, has received over 70 million views at the time of writing. The Chinese 化缘 huàyuán means to raise funds for something or to ‘beg alms’ (like Buddhist monks or Taoist priests do).

Guo’s strict budget control already became a hot topic after the 2019 release of The Wandering Earth. One of the most famous stories is that of the movie’s main star Wu Jing (吴京), as he allegedly began as a guest celebrity and ended up as the leading actor without getting paid, while investing approximately 60 million yuan ($8.85 million) in the film’s production.

A female presenter recently also shared her story on Weibo about her free participation in the production of The Wandering Earth in 2019, which apparently showed the film’s tight production budget. In her post, she wrote: “They didn’t fool me, instead, they just told me directly that I wouldn’t get paid.” Considering the rare opportunity to act in a Chinese sci-fi production, she went to the set at her own expense and filmed scenes, including outdoor scenes in the snow and freezing cold, only to end up being featured less than a second in the finished film. Nonetheless, she said she was still proud to be a part of the landmark Chinese sci-fi film.

Perhaps the idea of taking part in a groundbreaking Chinese science fiction film has made many individuals, companies, and organizations willing to work with Guo’s team, even if no additional compensation or payment was provided.

XCMG Machinery (Xuzhou Construction Machinery Group Co, Ltd), China’s premier company in industrial design, is also one of these companies. The company set up a team of a total of 319 XCMG staff members to support the project and provided a wide range of operational and transformable machinery equipment for the UEG (United Earth Government) in the film. They called this “powering up Chinese Sci-fi with love.”

Chinese netizens already nicknamed Wandering Earth (流浪地球) “Little Broken Ball” (小破球) back in 2019. The “Ball” refers to the Earth – the second character (球) of Earth in Chinese (地球) literally means ball. It was the director himself who initially referred to his film this way, and this nickname was then popularized among netizens to describe how the Earth is in crisis in the film, but it also refers to how difficult it was for Guo to produce the film.

The fact that Guo managed to produce Wandering Earth II with a relatively limited budget compared to other big international sci-fi movies has instilled some pride among netizens. One popular blogger (@秦祎墨) suggested the actual production value of the movie went far beyond the quoted $88.5 million thanks to the collective spirit of Chinese companies who did all they could to turn this film into a mega hit.

Others praised Guo for being able to get so many people and companies involved, claiming that if it wasn’t for him, the movie would have ended up costing at least twice as much.

Some are already looking forward to a potential Wandering Earth III, saying that the ‘Little Broken Ball’ series has already managed to gather such a strong team of companies, technical support, post-production innovation and experts, that the ‘Wandering Earth universe’ should not stop after two films.

Reflecting on being nicknamed the ‘Master of Begging for Alms,’ director Guo himself reportedly expressed his gratitude toward everyone who worked on the film who was “tricked” by him, saying it is their generosity that eventually made the production of The Wandering Earth II possible.

By Wendy Huang, with contributions by Manya Koetse

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China Arts & Entertainment

Chinese Social Media Reactions to The New York Times Bad Review of ‘Wandering Earth 2’

A New York Times bad review of ‘Wandering Earth II’ has triggered online discussions: “China’s gonna save the world, the US can’t stand it.”

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This Chinese Spring Festival, it’s all about going to the movies. After sluggish years for China’s movie market during the pandemic, Chinese cinemas welcomed millions of visitors back to the theaters during the weeklong Spring Festival holiday.

Much-anticipated new movies attracted Chinese moviegoers this festive season, including Full River Red by Zhang Yimou, the suspenseful Hidden Blade, or the animated Deep Sea by Tian Xiaopeng.

But the undisputed Spring Festival box office champion of 2023 is Frant Gwo’s Wandering Earth II (流浪地球II), the sequel to China’s all-time highest-grossing sci-fi epic Wandering Earth (2019), which also became the fifth highest-grossing non-English film of all time.

The narrative of the follow-up movie Wandering Earth II actually takes place before the events of the first film and focuses on the efforts by the United Earth Government (UEG) to propel the Earth out of the solar system to avoid planetary disaster. This so-called Moving Mountain Project – which later becomes the Wandering Earth Project – is not just met with protest (the majority of Americans don’t believe in it), it also bans the Digital Life Project, which supports the idea that the future of humanity can be saved by preserving human consciousness on computers (backed by an American majority). The film is all about hope and resilience, human destiny, and geopolitics at a time of apocalyptic chaos.

Outside of China, the sequel was also released in, among others, North American, Australian, and UK cinemas.

Although the film, featuring movie stars Wu Jing and Andy Lau, received an 8.2 on the Chinese rating & review platform Douban, a 9.4 on movie ticketing app Maoyan, dozens of positive reviews on Bilibili, and was overall very well-received among Chinese viewers, a bad review by The New York Times triggered discussions on Chinese social media this weekend.

Chinese media outlet The Observer (观察者网) initiated a Weibo hashtag about “The New York Times‘s completely sour review of Wandering Earth II” (#纽约时报酸味拉满差评流浪地球2#, 6.2 million views at time of writing).

The New York Times review of Wandering Earth II, titled “The Wandering Earth II Review: It Wanders Too Far,” was written by Brandon Yu and published in print on January 27, 2023.

Yu does not have a lot of good things to say about China’s latest blockbuster. Although he calls the 2019 The Wandering Earth “entertaining enough,” he writes that the sequel is a movie that is “audaciously messy” and has lost “all of the glee” its predecessor had:

“(..) the movie instead offers nearly three hours of convoluted storylines, undercooked themes and a tangle of confused, glaringly state-approved political subtext.”

The topic was discussed on Chinese social media using various hashtags, including “The New York Times Gave Wandering Earth II a 3″ (#纽约时报给流浪地球打30分#, #纽约时报给流浪地球2打30分#).

Instead of triggering anger, the bad review actually instilled a sense of pride among many Chinese, who argued that the review showed the impact the movie has made. Some commenters pointed out that the movie is a new milestone in Chinese cinema, not just threatening America’s domination of the movie industry but also setting a narrative in which China leads the way.

“We’re gonna save the world, and America just can’t stand it,” one commenter replied.

That same view was also reiterated by other bloggers. The author and history blogger Zhang Yi’an (@张忆安-龙战于野) argued that The New York Times review was not necessarily bad; it actually shows that Americans feel threatened by the idea of China’s important role in a new international world order, and by the fact that China actually will have the capacity to lead the way when it comes to, for example, space technology innovation, robotics, and artificial intelligence.

Zhang argues that if a similar movie had been made by India as a Bollywood blockbuster – including exploding suns and wandering earths – The New York Times would have been more forgiving and might have even called it cute or silly.

But because this is China, the film’s success and its narrative plays into existing fears over China’s rise, and it clashes with American values about what the international community should look like.

Zhang writes: “The China in the movie doesn’t boast itself as the savior of the world, but in reality, China really is capable of saving the world. The United States is no longer able to do so (电影里的中国没有把自己吹嘘成救世主,现实中的中国真的有能力做救世主。而美国却已经不能了).”

One popular Film & TV account (@影视综艺君) also summarized the general online reaction to the bad review in the American newspaper: “Whenever the enemy gets scared, it must mean we’re doing it right. Our cultural export has succeeded.” That post received over 120,000 likes.

On Zhihu.com, some commenters also attached little value to the review and showed how the overseas reviews of Wandering Earth II widely varied in their verdict.

Meanwhile, a state media-initiated hashtag on Weibo claimed on January 28 that Wandering Earth II has actually “captured the hearts of many overseas audiences” (#流浪地球2海外上映获好评#), and that the film’s “imaginative” and “wonderful” visuals combined with its strong storyline were being praised by moviegoers outside of China.

On IMDB, the movie has received 5.9/10; it has gotten a 70% Rotten Tomatoes score. The Guardian gave it 2/5. Meanwhile, on Weibo, one reviewer after the other gives the film 5/5 stars.

Weibo blogger Lang Yanzhi (@郎言志) writes: “Recently, we’ve seen a lot of attacks and slander directed at the China-made science fiction movie Wandering Earth 2, especially coming from Western media and pro-Western forces, because the film’s “Chinese salvation” narrative made them uncomfortable. This was already the case when the first film in the series was released. It is very clear that Wandering Earth is not just a movie: it is a symbol of great influence.”

By Manya Koetse , with contributions by Zilan Qian

 

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