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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 editor-in-chief of www.whatsonweibo.com. She is a writer and consultant (Sinologist, MPhil) on social trends in China, with a focus on social media and digital developments, popular culture, and gender issues. Contact at manya@whatsonweibo.com, or follow on Twitter.

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China Arts & Entertainment

Oh, the Drama! Chinese Opera Performance Turns into Stage Fight as Drunken Man Attacks Actors

This local traditional opera performance unexpectedly turned into a stage fight.

Manya Koetse

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On October 9 in Zhejiang’s Lishui city (Laozhu Town), a theatrical performance unexpectedly turned very dramatic when a drunken man stormed on stage to fight with the performers.

A video showing the Chinese opera performance being disturbed by the drunkard, turning it into a chaotic stage scene, is gaining major attention on Chinese social media.

The incident occurred Friday night around 9 pm, when the Laozhu Theatrical Troupe was performing.

Videos of the incident that are circulating online show how one man comes on stage, attacking one of the actors. The scene escalates into a big fight when others try to intervene. The police were quick to arrive at the scene.

Various news reports suggest the man started to act out after getting into an argument with one of the ‘Huadan’ (花旦) performers of the troupe. In traditional Chinese opera, the Huadan characters are young female roles, often seductive in appearance and quick with their words.

Local police posted on Weibo that the chaos was caused by a 33-year-old local who started to become aggressive after he had too much to drink. The man is charged with disorderly conduct and is currently detained.

The case received even more attention on social media when it turned out that the 33-year old troublemaker is the son of the head of a neighboring village.

Many Chinese netizens feel that the man is spared by Chinese news media outlets, which only report about a “drunken man” who was “causing trouble.” They insist that the real story should be properly reported.

“The son of the village chief took liberties with a huadan actress who rejected him, and then he kicked her, causing her to lose consciousness. He then beat up other actors,” some commenters explain.

“He is not just a ‘drunkard’, he’s the son of the village secretary.”

“What an explosive performance it was!” one Weibo blogger writes.

By Manya Koetse

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

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

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China Arts & Entertainment

Rotten Girls: China’s Thriving Online Boys’ Love Culture

It is an online subculture that has been around for more than a decade, and it is not likely to die out any time soon.

Manya Koetse

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They are mocked, hated, and misunderstood, yet China’s so-called ‘Rotten Girls’ are at the core of an online subculture that has been thriving for years.

 
This is the “WE…WEI…WHAT?” column by Manya Koetse, original publication in German by Goethe Institut China (forthcoming), see Goethe.de: WE…WEI…WHAT? Manya Koetse erklärt das chinesische Internet.
 

China’s ever-buzzing social media sphere sees trends, topics, and movements pop up every single day and then fade away quickly when their novelty is gone. But there are some trends that turn into something bigger, bringing forth communities and online subcultures that keep on thriving for years, with the participants building their own spaces in the online environment.

One such space belongs to those who, with some self-mockery, define as “Rotten Girls” (fǔnǚ 腐女), derived from the Japanese fujoshi. In the Chinese context, ‘Rotten Girls’ are young women with a passion for fictional stories, drama series, and manga (comic books) featuring gay male erotica and romantic relationships called ‘yaoi.’

‘Rotten girls’ do not just consume these stories, primarily written by and for women, they also create and share them with others to discuss.

In Chinese, the gay erotica known as yaoi is also called ‘danmei’ (耽美) or ‘BL’ (for ‘Boys’ Love’) – all umbrella terms for contents of male-male homoerotic fiction. The genre plays a major role in various corners of the Chinese internet. It is an online subculture that has been around for more than a decade, and it is not likely to die out any time soon.

Media and technology both play a big part in the sharing of fǔnǚ fantasies. These fantasies can range from boys holding hands to more pornographic ones, but the main point of the imaginary is love and intimacy (Galbraith 2011, 213).

 

Always Another BL Trend

 

There is always something different trending in the world of Rotten Girls. This summer, for example, the release of the Japanese 18+ games ‘Lkyt’ by BL game brand Parade received a lot of attention. A previous game by Parade, ‘Room No. 9,’ is also still popular among BL fans in China. The game revolves around two young men, long-time friends, who get locked inside a room where they are subjected to a behavioral analysis experiment. The two have to make some taunting decisions, including possibly being forced into sexual activity with each other, in order to make it out alive.

Another major topic that went trending within the Rotten Girls community some years ago, even attracting the attention of western news media, was the British crime drama Sherlock. Many Chinese viewers in the BL scenes were convinced that detective Sherlock Holmes (played by Benedict Cumberbatch) and his sidekick Watson (Martin Freeman) were not just professional partners, but a romantic couple. This practice of imagining a relationship between two characters is also known as ‘CP,’ an abbreviation for “coupling” or “character pairing.”

The ambiguous relationship between Holmes and Watson – and the very fact that they are not explicitly homosexual – suits the fantasies harbored by China’s fǔnǚ. There are countless examples of how BL fans photoshopped Sherlock images into homoerotic scenes, making up their own stories and endlessly discussing the relationship between Holmes and Watson.

Fanart: Holmes and Watson share a passionate kiss

BL fans are active in various online spaces. There are Rotten Girls communities on Chinese literature websites, discussion boards, and on ACG-focused platforms such as Bilibili (ACG is a popular abbreviation of “Anime, Comic and Games”). Boys’ Love is practically everywhere: short stories, web novels, manga, anime, games, and series are all actively created, consumed, and shared within the BL fandom.

The Chinese Jinjiang Literature City site (1998) is one of the earliest and most influential websites for the danmei genre, where some top channels receive millions of clicks. The Chinese web novel author ‘Priest’ is among one of the most successful authors (some translations in English can be found here).

But besides the special BL fiction forums, there are also many fǔnǚ accounts on the more mainstream social media platforms such as WeChat and Weibo. Under Weibo hashtags such as “Fǔnǚ Daily” (#腐女日常#), “BL Webtoons” (#bl条漫#), “BL Manga” (#bl漫画#), “Original Danmei” (#原创耽美#), and many more, Rotten Girls discuss their favorite danmei works and the latest news on a daily basis.

Although the Rotten Girls have been increasing their sphere of influence, it hasn’t been without controversy. Not only are they often looked down upon for their love for male homoeroticism, some LGBT people also criticize them for silencing the voices of actual gay men or erasing real-life gay experiences.

 

From Japanese Toy Boys to Chinese Danmei

 

Where did this all begin? China’s BL subculture finds it roots in Japan. The popularity of danmei came up with the growing influence of Japanese popular culture in China.

In the early 1990s, Japanese manga and anime titles started flooding the Chinese market, often as unauthorized (pirated) copies. With this wave of Japanese entertainment products hitting the Chinese market, there were also those belonging to the genre of BL.

In Japanese fiction and manga, the theme of male-male romance intended for a female audience emerged as early as the 1970s but did not really rise to popularity until the early 1990s, when Japanese mainstream media saw a ‘gay boom’ and representations of male homosexuality became in vogue.

The year 1993 truly was a ‘gay year’ in the Japanese media and entertainment industry. In “Producing Gayness” (1997), Sho Ogawa describes how one Japanese magazine even offered readers a “Gay Toybox”: full color paper gay dolls to cut out, including matching clothes from jackets to sports uniforms and even leather bondage gear. Instructions that came with the paper dolls encouraged readers to play with them, “give them a lovely name” and “imagine a campus love affair” between them.

It was also in this same year of 1993 that many Chinese young women first discovered the genre of Japanese Boys’ Love, mainly through the dissemination of pirate manga, novels, and magazines in Chinese bookstores.

Throughout the years, the Chinese genre of danmei has become much more than just an imported entertainment genre from Japan, and it is also somewhat different from the subgenre of ‘slash fiction’ in the West.

Danmei literally means “to indulge in beauty,” and it has developed its own characteristics, taking a predominantly literary form while also strongly resonating with Japanese visual culture (Madill et al 2018, 5). Since the first Chinese BL-focused monthly magazine appeared in 1999, the genre has mixed with various local and other foreign media and celebrity cultures (e.g. that of South Korean and Thailand), and has become a truly Chinese fan culture phenomenon (Chen 2017, 7; Yang & Xu 2017, 3).

 

Safe, Subversive, and Pure Love

 

Those outside the danmei subculture often wonder what makes ‘Boys’ Love’ so appealing to so many young women. There are various explanations and interpretations of why female fans enjoy writing and reading about male homoeroticism.

Chen Xin, who studied the topic of Boys’ Love at the University of British Columbia, offers “safety” as one explanation for the popularity of danmei, as it gives its readers, mostly straight women, the freedom to fantasize in a way that is removed from their own romantic lives. This is also reiterated by other scholars, who argue that BL provides a safe fantasy where female fans can avoid the objectification of women while exploring the boundaries of their own sexuality.

The concept of ‘pure love’ is one of the funü’s greatest attraction to BL. According to them, it is the most romantic type of love because it transcends the boundaries of gender. The male protagonists in these stories do not identify as gay, but fall in love with other men nevertheless. “It doesn’t matter if you are male or female, I just love you” and “It’s not that I am gay, I just love a man” are classic sentences within Rotten Girls’ fiction (Dai 2013, 34).

Zhang Chunyu (2016) also highlights the genre as an outlet for female writers and readers to explore sexuality and pleasure in a “subversive” way. Rotten girls position males as the objects of female desire, and in doing so, they challenge traditional gender stereotypes and appreciate gender fluidity.

China’s Rotten Girls subculture is also ‘subversive’ in another way. Because of its focus on homosexuality and eroticism, danmei fandom is subject to online censorship. According to China’s cyberspace regulations, online content should adhere to the “correct political direction” and “strive to disseminate contemporary Chinese values.” Over the past few years, there have been various moments when displays of homosexuality were targeted by censors.

An anti-pornography campaign of 2014 resulted in the shutdown of hundreds of websites and social media accounts. Throughout the years, dozens of danmei authors have been arrested and many sites were closed or deleted for creating and distributing homoerotic content (Chen 2017, 9; Madill et al 2018, 6; Zhang 2016, 250).

Despite the strict internet control, fǔnǚ and BL content are still going strong. In order to circumvent censorship, the words and images used are often coded or nuanced enough not to get deleted – but BL fans will still understand and enjoy the subtext.

Over the past years, China’s Rotten Girls have grown from a niche community to a force to reckon with on the Chinese internet. They have become a phenomenon that is often discussed in the media and is even researched by many academics.

“We’ve become professionals now,” one ‘Rotten Girl’ joked on Weibo recently.

Another commenter replied that the rise and possible fall of the danmei community is, eventually, intrinsically linked to how much room is given by China’s internet regulators. Although the past decade has demonstrated that Rotten Girls are not easily scared away by censorship and shutdowns, their future eventually does depend on the online accessibility to BL media and forums.

“If there is no relaxed online environment, it doesn’t matter how professional we are,” one commenter writes: “We might come to a standstill.”

What the future will hold for China’s Rotten Girls remains to be seen. Whether met with controversy or censorship, for now it seems impossible to put the Rotten Girls back into the closet they came from.

By Manya Koetse
Follow @whatsonweibo

 
This text was written for Goethe-Institut China under a CC-BY-NC-ND-4.0-DE license (Creative Commons) as part of a monthly column in collaboration with What’s On Weibo.
 

References

Chen, Xin. 2017. “Boys’ Love (Danmei) Fiction On The Chinese Internet: Wasabi Kun, The Bl Forum Young Nobleman Changpei, And The Development Of An Online Literary Phenomenon.” MA Thesis, University of British Colombia https://www.semanticscholar.org/paper/Boys%27-Love-(Danmei)-fiction-on-the-Chinese-internet-Chen/63e7b494653bc1d849461b7a8f3d57aad05be452 [Aug 30, 2020].

Cohane (阿扣-绝赞爬墙中). 2020. “第二章 中国内地BL文化发展历史整理 [Part Two: A History of Development of Mainland China BL Culture Development]” (In Chinese). Weibo Article, Aug 8, https://weibo.com/ttarticle/p/show?id=2309404536531036799045 [Aug 26 2020].

Dai, Fei 戴非. 2013. “腐女心理 [Funu Psychology]” (In Chinese). 大众心里学 Popular Psychology (12): 34-35.

Galbraith, Patrick W. 2011. “Fujoshi: Fantasy Play and Transgressive Intimacy among “Rotten Girls” in Contemporary Japan.” Signs 37 (1): 211-232.

Larigakis, Sophia. 2017. “Boys’ Love: The Gay Erotica Taking China by Storm.” Sophialarigakis.com, Nov 6 https://www.sophialarigakis.com/writing/boys-love-china [Aug 29, 2020].

Madill, A., Zhao, Y. and Fan, L. 2018. “Male-male marriage in Sinophone and Anglophone Harry Potter Danmei and Slash.” Journal of Graphic Novels and Comics, 9 (5): 418-434.

Ogawa, Sho. 2017. “Producing Gayness: The 1990s “Gay Boom” in Japanese Media.” PhD Dissertation, University of Kansas.

Yang, Ling and Yanrui Xi. 2016. “Danmei, Xianqing, and the making of a queer online public sphere in China.” Communication and the Public 1 (2): 251-256.

Yang, Ling and Yanrui Xu. 2017. “Chinese Danmei Fandom and Cultural Globalization from Below.” In: Lavin, Maud, Ling Yang, and Jing Jamie Zhao (eds). 2017. Boys’ Love, Cosplay, and Androgynous Idols – Queer Fan Cultures in Mainland China, Hong Kong, and Taiwan. Hong Kong: Hong Kong University Press, page 3-20.

Zhang, Chunyu. 2016. “Loving Boys Twice as Much: Chinese Women’s Paradoxical Fandom of “Boys’ Love” Fiction.” Women’s Studies In Communication 39 (3): 249–267.

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