China Insight
“What’s Modernisation?” – Chinese State Media Explain China’s ‘New Era’ With a Rap
No three-and-a-half-hour speech, but a three-and-a-half minute video explains China’s new strategies in this latest propaganda clip on social media.

Published
6 years agoon

No three-and-a-half-hour speech, but a three-and-a-half minute video – Chinese state media explain China’s new strategies through catchy rap music and trendy graphics.
The much-anticipated 19th Party Congress opened last Wednesday in Beijing with Xi Jinping’s three-and-a-half-hour speech on “Thoughts on Socialism with Chinese Characteristics for a New Era” (新时代中国特色社会主义思想), which presented the Party’s new concepts, thoughts and strategies – with Xi himself at its core.
Shi-jiu-da (十九大, ‘big 19’) is the popular abbreviation for the 19th Congress of the Communist Party of China. This Plenum is held once every five years and is the highest level political meeting in the Chinese calendar. The meeting is also a big topic on Chinese social media; the Weibo hashtag for the ‘big 19’ event #十九大# was viewed over 3,6 billion times on Friday.
As with previous major political gatherings, speeches and rhetoric are not the only means by which the Party and state media seek to convey their message to the wider population. A video titled “What is modernization? Let us tell you in a rap!” (“现代化”是什么化?一段嘻哈告诉你!) is the latest in a series produced by state broadcaster CCTV. The video is being spread through social media.
The clip (click link or see embedded video below), that lays out the government’s stategies for China’s ‘new era’ through rap music with bright graphics, was widely distributed on Chinese social media this week by various media platforms and institutions, from the Economic Observer (@经济观察报) to the Ministry of Public Security.
The translation of the video’s full text* is as follows:
Let’s go!
This October in Beijing
…will all be arriving!
The time has come for 十九大(shi-jiu-da)
Listen out for the important voices
十九大 (shi-jiu-da) let’s say a little about it
There is a lot of information here
So, listen out carefully and I’ll speak slowly
In the past, China has always advanced courageously
As we have said before,
When difficult problems are solved then great things can be established!
Our nation is full of vigor and vitality!
Anti-corruption efforts are strong
Many tigers have been taken down
From rocket lift-offs to submarine exercises,
Technology is changing our lives
Haha, Haha, Haha,
As I’m going to show up next, we have plans going forward…
[Xi Jinping’s voice speaking:]
By the time we reach the middle period of this century, we will have built a modern socialist state which is rich and powerful, democratic, civilised, and harmonious. In this way, we will have realized the great rejuvenation of the Chinese people.
[Rap continues:]
But, building in accordance with the needs of modernization
What even is modernization?
Let me tell you:
[End of rap, start of explanation by lecturer:]
100 years ago, Sun Yat-sen set out a blueprint for modernization in ‘Strategy for Building a Nation’: build train tracks, repair the roads, construct large ports. At that time, this was still considered fantastical and unrealistic.
But today, train lines criss-cross the whole nation! They run N-S between Beijing-Guangdong-Shanghai, as well as across the well-trodden route of Lanzhou-Chengdu-Chongqing. The length of the journey on the bullet trains just keeps reducing!
Again, at the time the People’s Republic was founded, not even a tractor could be built! Thus, building a modern, industrial socialist nation became our aim.
In 1954, the first National People’s Congress was held. This was the first time the aim of achieving the Four Modernizations was clearly referenced. In just the next few years, factory after factory was built, including those of Anshan Steel works and Changchun car manufacturers.
Our workers are powerful!
This was a song I would listen to when I was young, and hearing it I would know my dad would soon finish work for the day and so I would quickly pack away all my marbles. Entering the period of opening and reform, Deng Xiaoping named the Four Modernizations as the way to ‘Chinese Modernization’, as well as wanting to become a middle-income nation.
In the 1970s, when people married, the three major durable consumer goods were still watches, bicycles and sewing machines. In the 80s, this became fridges, color TVs, and washing machines, and by the 90s changed again into air conditioning, cameras, and camcorders.
[Xi Jinping’s voice:]
Now, information technologies such as the internet are changing with each passing day. This is leading a new revolution in society and bringing new dimensions into human lives.
[Presenter continues:]
A report from the 18th Party Congress, published on 8th November 2012, mentioned the ‘4 New Modernisations.’ This has led to the implementation of an innovation-driven development strategy. Over the last 5 years, the major technological developments we have made have accumulated further and further. The computing in the Sunway Taihu Light is the most advanced in the world.
The quantum satellite Mozi Hao is unparalleled. The Tiangong 2 satellite has been sent off smoothly. Each of these wondrous engineering projects is a feat of its own! What a country!
In 2013, General Secretary Xi Jinping then added one more modernization into the fold, that being to ‘continue to advance the nation’s governing system, and to modernize our governing capabilities.’
Modernisation as a whole is very impressive. Frankly speaking, only this modernization of the inner qualities of officials and organizations will enable them to govern the country and change the civilized norms.We don’t take a break from modernization!
[Rap continues:]
Yeah, now that we have become a middle-class society
We have reached the most important section of our reform agenda
What are the issues that affect the lives of the middle class?
At this stage in the development of Socialism with Chinese Characteristics,
People are heading in the direction of a better life
The Party must remember
This is a new beginning!
In what direction is the bullet train heading?
After 200 years, will the Chinese dream have been realized?
What expectations do Chinese families have for their future?
Will the 十九大 (shi-jiu-da) answer these questions for you?
Of course!
Both the design and the genre of the new clip show some resemblance to clips launched during the Belt and Road Summit earlier this year.
On Weibo, a platform that is heavily controlled during the 19th National Congress, the video was shared hundreds of times. Although discussions on the video are limited due to current restrictions, one surprised netizen just posted: “Can I actually comment on this?!”
By Alice Mingay
Follow @whatsonweibo
* Full Text:
Let’s go!
在十月里的北京
。。。。都到这里 (3-4)
十九大要来了
听听到重要的声音
十九大,说点嘛?
这里信息有点多
你听我慢慢说
过去砥砺奋进
也我们互相说过
难提解决大事办成
祖国朝气蓬勃
反腐力度很大
打掉的老虎很多
胖五升空,蛟龙下水
科技改变生活
哈哈,哈哈,哈哈
接下来,我们还有个目标
[习近平的声音:]
到本世纪中叶建成富强民主
文明和谐的社会主义现代化国家,
实现中华民族伟大复兴。
–中共中烟总书记、国家主席、中央军委主席习近平
建设现代化
那现代化是什么?
来,听我跟你说
百年前,孙中山在[建国方略]里描绘了现代化的蓝图
建铁路、修公路、建造水平大海港
这些的当时,还被认为是‘空想’
而如今,京广、京沪穿南北
兰渝铁路通蜀道
复兴号路途时间再修短
再说,新中国刚成立时
一台拖拉机都不能造
建成社会主义现代化工业国就是我们的目标
1954年,第一届全国人民代表大会
第一次明确提出要实现四个现代化
随后的几年里,鞍山无缝钢管厂、长春第一汽车制造厂一个厂接一个厂
咱们工人有力量
‘咱们工人有力量’
小时候一听到这首歌就知道爸爸要下班了,赶紧把玻璃球收起来
迈入改革开放新时期,邓小平把实现四个现代化的目标称为‘中国式的现代化’,也就是‘小康之家’。
70年代,人们结婚, ‘三大件’还是手表自行车缝纫机
80年代,冰箱、彩电、洗衣机
90年代变成空调、音像、录像机
现在以互联网为代表的信息技术日新月异
引领了社会生产新变革
创造了人类生活新空间
2012年11月8号的中共十八大报告提出了 ‘新四化’
实施创新驱动发展战略
这五年,祖国的科技发展硕果累累
超级计算机“神威-太湖之光”世界第一
量子卫星‘墨子号’世界独一无二
‘天宫二号’顺利发射
奇迹工程一个个,厉害了,我的国
2013年习近平总书记又给这新四化加了一化
不断推进国家治理体系和治理能力现代化
整个现代化,有点厉害了
说白了,就是国家机构官员素质的现代化是治理国家变得文明规范
建设现代化,我们不放假
Yeah, 如今全面建成小康社会
到最关键的议程
小康心内还是什么事关你我的生活
中国特色社会主义进行的发展阶段
人民群众向往的美好生活
党中要记得
这是一个新的起点
复兴号驶向哪儿?
两个一百年后,中国梦实现了吗?
对于祖国家庭未来,还有那些期待?
来过这十九大,还为你来解答?
必须的
Edited by Manya Koetse
Spotted a mistake or want to add something? Please let us know in comments below or email us.
©2017 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.
Alice Mingay is a final year undergraduate Chinese Studies at the University of Oxford. She has spent over a year in Beijing and has a particular interest in Chinese Internet and Chinese Law. She is currently researching the development of China’s e-courts.

China Arts & Entertainment
From Comedy to Controversy: Behind the Li Haoshi Incident
Exploring the dynamics that led to the social storm involving Chinese comedian ‘House’ Li Haoshi.

Published
1 week agoon
May 21, 2023
The Li Haoshi scandal sheds light on a complex interplay of factors, including the working conditions within the Chinese comedy industry, the expectations placed on performers in China’s entertainment realm, and the significant role of the People’s Liberation Army (PLA) in shaping Chinese nationalism. A deep dive by What’s on Weibo.
Humor is no joking matter. While the business of humor can be competitive and challenging no matter where you are in the world, there are some special considerations and implications for working in humor in China.
This week, Chinese comedian Li Haoshi (李昊石), who performs under the name ‘House’, experienced firsthand that there are strict limitations to what can be openly satirized or joked about in China today. When one of his jokes about two stray dogs described them by referencing a famous People’s Liberation Army (PLA) slogan, he found himself at the center of a social media storm. One related hashtag received over 1.1 billion views on social media platform Weibo this week.
The phrases used in the comic skit, with Li saying they came to mind while watching the dogs chasing a squirrel, were: “Forge exemplary conduct, fight to win.” The lines are part of the PLA slogan “Follow the Party! Fight to win! Forge exemplary conduct!” (“听党指挥,能打胜仗,作风优良!”), which was used by Xi Jinping in 2013.
Li Haoshi was not just socially canceled by angry netizens who defended the honor of Chinese soldiers and slammed the comedian for being so unpatriotic, he also saw his career go up in flames. His shows were called off, he was banned from social media, his employer was fined more than $2 million, he was blacklisted under orders of the China Performing Arts Association (CAPA), and he is now under official investigation.
Following the controversy, there were different views on Chinese social media regarding the issue (read more here). Although the majority of commenters argued that the PLA is never to be joked about, some people also lamented that online discussions lacked nuance.
This scandal sheds light on a complex interplay of factors, including the working conditions within the Chinese comedy industry, the expectations placed on performers in the Chinese entertainment world, and the important role played by the People’s Liberation Army (PLA) in shaping Chinese nationalism.
HUMOR AND STAND-UP COMEDY IN CHINA
Humor has played a prominent role in Chinese language and culture for centuries, manifested through a diverse array of jokes and humorous texts. Professional comedians, who served to entertain the aristocrats, have been around since as early as 800 BC.
Although humor has always been there, it has not necessarily always been appreciated. Confucianism has played a significant role in devaluing humor in China, as it formally regarded humor and satire as inferior forms of aesthetic expression. Chinese rulers who did not tolerate criticism or dissent also could not appreciate jokes or comics which, in any way, went against their rule and authority (Sullivan & Sullivan 2021, 102; Yue 2008, 403-413).
In the early days of modern China, following the collapse of the Qing dynasty, there was a notable resurgence of various forms of humor and jokes that spanned two decades, including cross-talk (xiàngsheng 相声) and skits (xiǎopǐn 小品). It was during this period that the Mandarin word “yōumò” (幽默) was introduced, derived from the English term “humor.” This term was coined by the renowned Chinese writer and translator Lin Yutang (林语堂), who faced the challenge of finding an exact Chinese translation for the English word (Hsu 2015, 2).
For decades, from the founding of People’s Republic of China to the Anti-Rightists Movement and the Cultural Revolution and beyond, there was not much yōumò around. As described by David Moser (2004), the constraints imposed by the Party and political sensitivities severely limited the content and topics that comedians could explore.
The comparatively relaxed political atmosphere of the post-Mao era gave rise to novel forms of humor and comedy. In subsequent years, influenced by the United States, “stand-up comedy” (tuōkǒuxiù 脱口秀) also gained popularity. Initially originating in small bars or cafes in major cities such as Shanghai and Beijing, this comedic genre swiftly spread across the nation.
But similar to numerous other performance forms in China, stand-up comedy faces challenges in maintaining its spontaneity and provocative nature. Performers and comedy clubs are required to obtain licenses and gain script approval, while also navigating strict boundaries regarding politically sensitive topics that are strictly off-limits (Sullivan & Sullivan 2021: 102).
This does not mean that stand-up comedy is not thriving in China. On the contrary, the genre has only become more popular over recent years as stand-up comedy performers skillfully navigate the boundaries of what is acceptable by employing different techniques, such as irony, self-deprecation, and surreal humor to offer alternative perspectives within the permitted discourse (see: Chen and Gao 2023). In doing so, Chinese stand-up comedy has evolved beyond its American influences and embraced more traditional Chinese comedic language techniques from xiàngsheng and other performing arts.
In today’s landscape, Chinese comedians face a multitude of boundaries beyond just political ones. Operating within an environment where cultural and commercial factors hold significant sway, it becomes almost inevitable for popular performers to encounter controversy at some point in their careers. Authorities, audiences, sponsors, or companies may take offense at the content of their comedic expressions, adding further complexity to their navigation of these boundaries.

Li Dan, Papi Jiang, and Yang Li previously also faced criticism for their “inappropriate” or “vulgar” jokes.
The online comedian Papi Jiang (Papi酱), for example, saw her videos being taken offline in 2016 for containing “vulgar language and content,” after which she vowed to choose her words more carefully in the future. Female stand-up comedian Yang Li (杨笠), also known as the “punchline queen,” was dismissed as the spokesperson for American tech company Intel in 2021 for her jokes that allegedly insulted men. The popular talk show host and comedian Li Dan (李诞) sparked controversy for promoting female underwear brand Ubras with a slogan that was deemed sexist.
In such a working environment, it is difficult to fathom that the 31-year-old Li Haoshi, who had previously appeared on the immensely popular stand-up comedy competition show “Rock & Roast” Season Four, was unaware that his reference to a PLA slogan would surpass the acceptable boundaries. However, like many comedians, he may simply have been testing the limits.
THE POWER OF PERFORMERS
Another factor that comes into play when exploring the reasons behind the ‘House’ scandal is the special role attributed to Chinese performers.
Although Chinese performers and renowned names in the cultural industries have always been seen as fulfilling an exemplary role, this notion holds even greater significance in the era of social media, where Chinese performers and celebrities wield tremendous influence in an online environment with over one billion internet users. The rapid growth of online entertainment-focused apps and platforms has also created opportunities for unknown performers to achieve overnight fame.
There have been various studies about celebrities in China. One study from 2019 by Sullivan and Kehoe highlights the complexity of China’s celebrity scene. Because while the industry flourishes, it still operates under strict regulations imposed by both the state and industry stakeholders. Additionally, moral values play a significant role in shaping the industry. Sullivan and Kehoe argue that the state, through media and cultural industries, retains control over the symbolic economy within which celebrities operate (2019, 242).
Channeling public opinion and safeguarding social stability are priorities for Chinese authorities, and the influence of Chinese celebrities is often used to promote Party ideology and policies. While authorities encourage Chinese famous performers to act as positive role models, negative news surrounding the country’s popular stars is often perceived as having a “negative social impact” or a “bad influence on public morale.”
There are some some noteworthy instances that exemplify the significance of moral values and the role of Chinese celebrities as role models. One such example occurred in 2019 when Roy Wang (Wang Yuan 王源), a young Chinese singer and actor widely regarded as one of the country’s most influential teenagers, found himself embroiled in controversy after being caught smoking during a restaurant dinner in Beijing.
The incident surrounding Wang’s smoking quickly ignited a firestorm on Chinese social media. The controversy stemmed from two main factors. Firstly, Beijing had implemented a ban on smoking in all public indoor spaces since 2015, making Wang’s actions a violation of the law by lighting up in a restaurant. Additionally, as an influential teen icon, Wang held the responsibility of being a role model to his numerous fans, amplifying the impact of his behavior.
The idea that China should “raise the bar” for becoming a celebrity was widely propagated in 2021. In that same year, the China Association of Performing Arts (CAPA) officially released new guidelines for Chinese performers aimed at promoting adherence to the principles of “social morality.” According to these guidelines, performers could face a permanent ban from their profession if they fail to comply.
The guidelines are meant to “promote the healthy development of the performer industry” and lay out the “practice norms,” which stipulate that performers, among other things, should abide by national laws and regulations, should honor their contracts and comply with copyright laws. But they also stipulate that they should “love the motherland and support the Party’s line and policies” (“热爱祖国,拥护党的路线方针政策”), “persevere in the orientation that literature and art should serve the people and socialism” (“坚持文艺为人民服务、为社会主义服务的方向”), and “actively uphold a positive image” (“积极树立正面形象”).
By joking about the PLA, Li Haoshi violated some of the rules laid out by CAPA. His severe punishment not only demonstrates to the public that Chinese performers/celebrities should abide by the same laws as ordinary citizens – if not be held to even higher moral standards, – it also serves as a cautionary message to other entertainers, urging them not to overstep boundaries and to uphold their responsibility as public figures to positively impact public morale.
THE SACRED PLA
In addition to Li Haoshi’s position as a stand-up comedian and his role as a performer/celebrity, another significant aspect of this controversy revolves around the status of the People’s Liberation Army (PLA) in contemporary China. PLA soldiers are revered as the heroic “soldier sons of the people” who display unwavering loyalty to the Party and the nation.
The People’s Liberation Army (PLA) was founded in 1927, with Mao Zedong counted among its founders. It played a crucial role in the rise of the Chinese Communist Party and the establishment of the People’s Republic of China in 1949.
In addition to its core duty of protecting the country and conducting military operations, the PLA is also involved in other tasks such as peacekeeping efforts and disaster relief. However, its primary and most significant role is to serve as the military branch of the Chinese Communist Party (CCP) and ensure the CCP’s continued leadership in China. By safeguarding China’s sovereignty, territorial integrity, and unity, the PLA carries both a military and symbolic significance.
The PLA plays a major part in Chinese nationalist discourses, while simultaneously also playing a central role in driving nationalism in China. Whether it is the social media spectacle of China’s Taiwan military exercises or ‘100.000 soldier loving girls‘ during the Wuhan floods, the PLA acts as “a bridge between nationalism as an abstract ideological concept and as an everyday concern of the people for the security of their country” (Ji 2004, 248).
Military propaganda, often disseminated online, is important in reinforcing the image of PLA soldiers as guardians of the nation. When four Chinese PLA soldiers were killed during a border clash with Indian troops in 2020, Chinese state media outlets made noteworthy efforts to shape the ways in which the soldiers are to be remembered, blending political and personal elements while lauding their unwavering patriotism. In doing so, they posted their photos along with phrases such as “The place where I stand is China” and “I will defend the motherland with my life.”
Those insulting the PLA can face serious consequences under the “Heroes and Martyrs Protection Law” which was introduced in 2018. In 2021, former Economic Observer journalist Qiu Ziming (仇子明), along with two other bloggers, were the first persons to be charged under the new law as they were detained for “insulting” the Chinese soldiers. Qiu, who had 2.4 million fans on his Weibo page, made remarks questioning the number of casualties China said it suffered in the India border clash. He was sentenced to eight months in prison.
Li Haoshi’s faux-pas is particularly sensitive because the lines used in his joke indirectly made a comparison between PLA soldiers and stray dogs, while also placing words famously used by Xi Jinping in a ridiculous context. Additionally, as highlighted by Chinese bloggers and China Digital Times editor Alexander Boyd, Li’s joke potentially alludes to a scene from the 1956 Chinese war movie Battle on Shangganling Mountain (上甘岭) during the Korean War, where soldiers were depicted chasing after a squirrel. The intention of the scene was allegedly to showcase the kind-hearted nature of the brave soldiers of the Volunteer Army.
Was Chinese comedian Li Haoshi, with his controversial dog-chasing-squirrel joke, alluding to this squirrel-chasing scene from the famous 1956 Chinese Korean War movie "Battle on Shangganling Mountain"? Various Weibo bloggers claim that there is a connection. pic.twitter.com/2AjQKeIhVD
— Manya Koetse (@manyapan) May 21, 2023
Some people believe that Li Haoshi was purposely alluding to that scene with his joke, and in doing so, insulted China’s Korean War ‘martyrs,’ which is illegal under the martyr defamation law. That would be a serious offense. In 2022, former investigative journalist Luo Changping was sentenced to seven months in prison and ordered to make a public apology for insulting Chinese soldiers portrayed in a blockbuster movie about the Korean War.
Whether or not Li intended to make such a connection or put much thought into his joke remains uncertain. However, many netizens are angry with Li for various reasons. Chinese nationalists defend the honor of their hero soldiers, while others blame Li for not respecting the boundaries within which he should operate.
Furthermore, Li’s colleagues, Chinese stand-up comedians, are also upset that he took the risk of making a politically incorrect joke, which has put the entire industry under scrutiny. This incident has created more tension for other performers in an already challenging work environment.
On Chinese social Q&A platform Zhihu, one experienced stand-up comedian performer from Shandong shared his view on the matter, suggesting that Li has brought harm to their industry:
“For commercial performances, our lines have to first have to go through a script reading meeting, they will then go through 4-6 open rounds of ‘polishing,’ and then go through the script polishing of the copywriters working for the show. (..) Moreover, the words and phrases we use in our jokes must have a contextual understanding and source. Therefore, there is no way that Li Haoshi was not aware of the history and origin of the sentences he used.
At the same time, all of our jokes in commercial performances require approval. Therefore, Li Haoshi obviously knew that this particular joke wouldn’t pass the approval, so he intentionally didn’t submit it. This is not a case of ignorance, it is simply being malicious.”
Overall, Li Haoshi’s case serves as a warning to others to be cautious with their words, whether used during performances, talk shows, interviews, or online.
Jokes are not to be taken lightly in a media environment where every line carries weight. When humor becomes such a serious matter, it becomes increasingly challenging to stay funny.
By Manya Koetse
References (other online sources hyperlinked in text)
Chen, Dan, and Gengsong Gao. 2023. “The Transgressive Rhetoric of Standup Comedy in China.” Critical Discourse Studies 20 (1): 1-17.
Hsu, Pi-ching. 2015. Feng Menglong’s Treasury of Laughs. Leiden, The Netherlands: Brill.
Ji, You. 2004. “Nationalism, the Chinese Defence Culture and the People’s Liberation Army.” In: Leong H. Liew and and Shaoguang Wang (eds), Nationalism, Democracy and National Integration in China, pp. 247-268. London: RoutledgeCurzon.
Moser, David. 2004. “Stifled Laughter: How the Communist Party Killed Chinese the Chinese Humor Form of Xiangsheng.” Danwei.org http://www.danwei.org/tv/stifled_laughter_how_the_commu.php, accessed via https://www.academia.edu/5929719/Stifled_Laughter_How_the_Communist_Party_Killed_Chinese_the_Chinese_Humor_Form_of_Xiangsheng [20 May 2023].
Sullivan, Lawrence R. and Nancy Sullivan. 2021. Historical Dictionary of Chinese Culture. New York and London: Rowman & Littlefield
Sullivan, Jonathan, and Séagh Kehoe. 2019. “Truth, Good and Beauty: The Politics of Celebrity in China.” The China Quarterly 237 (March): 241–256.
Yue, Xiao Dong. 2008. “Exploration of Chinese Humor.” Humor: International Journal of Humor Research 21 (4): 407-421.
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China Arts & Entertainment
A Joke Too Far: 3 Social Media Views on Chinese Comedian Li Haoshi Getting Canceled over PLA Pun
From Weibo to WeChat, from Douyin to Zhihu, Li Haoshi’s joke has sparked widespread conversations, and opinions vary.
Published
1 week agoon
May 18, 2023
There is a delicate balance between humor and controversy, and Chinese comedian Li Haoshi recently discovered the consequences of crossing that line. In a punchline that took aim at China’s People’s Liberation Army, Li found himself at the center of a significant controversy. Is Li deserving of his ensuing cancellation? On Chinese social media, opinions are divided.
A Chinese comedian’s politically incorrect joke is the topic that everyone has been talking about this week, even making international headlines.
Li Haoshi (李昊石), a comedian who performed under the stage name ‘House’ with the famous Chinese comedy company Xiao Guo company (笑果文化), recently faced accusations of making offensive remarks towards the Chinese army during one of his shows. As a result, he has been subjected to a ban on social media platforms and has also been prohibited from participating in future performances.
The show in question took place on May 13th and while the performance officially was not allowed to be filmed, some attendees recorded the particular joke that caused controversy and then exposed House on social media. According to a Zhihu user who claimed to have secretly recorded the entire show, the joke went as follows:
“Shanghai is an international metropolis where everything is aligned with international standards. After I moved to Shanghai, I adopted two stray dogs. Strictly speaking, they weren’t stray dogs. We found them on a nearby mountain, and they were wild dogs. We can’t really say we rescued them because they were at the top of the food chain in the mountains and didn’t need our help. We were more like a makeover show, experiencing city life. These two dogs were indeed the top predators on the mountain. When I first saw them, it felt like I was witnessing a wildlife documentary. The two dogs would chase a squirrel like a missile launched into the air. Normally, when you see dogs, you find them cute, and your heart melts. You think of these words. But when I saw these two dogs, only eight words flashed in my mind: ‘Good discipline, capable of winning battles’ (作风优良, 能打胜仗). They were truly exceptional. I walked proudly on the streets of Shanghai with these two dogs. The only problem was that they had so much energy. My physical fitness couldn’t keep up.”
The triggering aspect of this joke lies in the eight words “zuò fēng yōu liáng, néng dǎ shèng zhàng” (“作风优良, 能打胜仗”: “Good discipline, capable of winning battles”). This slogan has long been associated with the Chinese People’s Liberation Army (中国人民解放军, PLA) as a standard used to describe and motivate the army. The lines, used by Xi Jinping in 2013, are used together with another phrase, namely that of “tīng dǎng zhǐhuī” (“听党指挥”), meaning “to obey the Party’s command” or “follow the Party’s leadership,” together encapsulating the principles of the Chinese military.

“Obeying the Party’s command – Capable of winning battles – positive work ethic” – these famous phrases were used in a comical context by Chinese comedian House. (Image source).
Using the army’s slogan to describe two wild dogs is considered offensive to the PLA’s “sacred and inviolable” image.
The joke was considered such a serious faux pas that Party newspaper People’s Daily posted about it on social media platform Weibo two days later, claiming that performers in talkshows should be cautious with their words and be careful to stay within appropriate boundaries.
They also suggested that there should be consensus within the industry on where the bottom line is on which jokes can and cannot be made. People’s Daily used the phrase “tuōkǒu mò tuōguǐ, wán gěng xū yǒu dù” (“脱口莫脱轨,玩梗须有度”), which can be translated as: “Do not deviate when speaking freely, and use jokes [memes/punch lines] with moderation.”
The word used for ‘talkshow’ is tuōkǒuxiù 脱口秀, a Chinese term that literally translates to “talk show” but actually mostly refers to stand-up comedy shows and a type of popular form of entertainment in which performers showcase their humorous storytelling skills in an engaging and often improvisational manner.
Li Haosi’s controversial joke garnered more significant attention from Chinese state media. After People’s Daily initial post, they made another Weibo post addressing the issue. The post began with the hashtag “There is a sense of security called the soldier sons of the people” (#有一种安全感叫人民子弟兵#), which is a widely used phrase to describe the People’s Liberation Army (PLA) and highlight the close relationship between the military and the Chinese people.

A second post by People’s Daily about the Li Haoshi controversy paid tribute to China’s PLA soldiers.
In the post, People’s Daily expressed their support for the PLA and condemned any action or statement that might be seen as disrespectful or offensive towards the military and the soldiers who serve as the guardians of the Chinese people (“人民子弟兵不容冒犯”). They tagged their post with the hashtag “People’s Daily Discusses ‘House’ Offending the Soldiers Sons of the People” (#人民日报评House冒犯人民子弟兵#), which has since received over 670 million views on Weibo.
As the controversy surrounding Li Haoshi escalated, fuelled in part by Chinese state media, it has also became a prominent topic of discussion among the general social media userbase. From Weibo to WeChat, from Douyin to Zhihu, Li Haoshi’s joke has sparked widespread conversations. Within these online discussions, there are three prominent and recurring viewpoints that we will explore here.
1: TOLERANCE & MORE FREEDOM OF SPEECH
“You ‘wolf warriors’ and ‘little pinkies’ are only good at conducting witch hunts! It is actually you who should be canceled.”
The notion of talk shows being regarded as “an art of offense” (“一种冒犯的艺术”) is widely discussed on Chinese social media these days. Evaluating the boundaries between ‘acceptable humor’ and ‘crossing the boundaries’ continues to be a topic of discussion, with some advocating for performers’ artistic freedom of expression and speech, arguing that “there is no offensive art, but all kinds of genuine art can be offensive.”
In a since-deleted WeChat article, one Chinese blogging account expressed readers’ concerns regarding the Li Haoshi controversy. A major concern raised was not just about freedom of expression for performers, but about freedom of expression within this topic itself, suggesting that the online discourse surrounding the ‘House controversy’ allows very limited space for actual debate and offers no opportunity for people to discuss the different perspectives of the story.
On Weibo, some individuals express similar concerns about the lack of nuance in the discussion. Apart from censorship or top-down control, they worry about a general discussion environment that leaves no space for opposing opinions. One person commented: “You ‘wolf warriors’ and ‘little pinkies’ are only good at conducting witch hunts! It is actually you who should be canceled.”
“The more people comment, the more extreme they get,” another person wrote. Meanwhile, the comment sections of various popular posts discussing the issue were either disabled or heavily filtered, to the extent that none of the 244 listed comments were visible.
2: CROSSING A RED LINE
“It is very simple. Making jokes is not the same as malicious slander.”
Many people do not agree with those advocating for a more tolerant approach to the Li Haoshi controversy. A seeming majority of Weibo users argue that ‘talk shows’ should not serve as a sanctuary for “inappropriate speech.” They assert that public speeches have inherent “bottom lines” that cannot be crossed. Performers should be aware of these existing red lines, and should not use their profession as an excuse to express problematic statements.
One popular blogger (@胜利主义章北海) argued that comedians are already well aware that they have certain boundaries; offending their audience would rob them of their income, and they are also careful not to insult their boss or colleagues: “They would not dare to [offend them]. They are conscious of these boundaries. So why would they dare to offend the PLA?”
Many agree with this stance: “It is very simple. Making jokes is not the same as malicious slander.”
In these online discussions, the United States is often cited as an example due to its strong emphasis on free speech. Some Chinese netizens note that even in the U.S. and other Western countries, there are also topics or jokes that would be considered off-limits and could lead to consequences such as being canceled.
The Weibo account “Xu Ji Observation” (@徐记观察, previously recognized for positive online content and the promotion of the “mass line”) mentions how some people in America were condemned for even hinting at disrespecting the military. American quarterback Tom Brady was widely criticized in 2021 after comparing playing football to military deployment, and Pete Davidson was slammed for making fun of an American representative and war veteran who had lost one eye during his deployment in Afghanistan. Both Brady and Davidson had to apologize.
Although many people agree with Xu Ji’s observation, others argue that the comparison is not entirely fair, as the consequences faced by Chinese performers who get ‘canceled’ go beyond a simple apology. In China, as exemplified by Li Haoshi’s current situation, an apology alone is unlikely to resolve the matter (read more about China’s canceled celebrities here).
3: ALWAYS HONOR OUR SOLDIERS
“”We can do without talk show hosts or celebrities, but we cannot do without our soldier sons of the people!”
There is also a large group of netizens who argue that this discussion should not be about ‘freedom’ versus ‘boundaries’ at all, but instead should focus on the mere fact that the Chinese comedian deliberately insulted the “soldier sons of the people,” and in doing so, committing a crime according to the “Heroes and Martyrs Protection Law.”
Although Chinese state media have led narratives surrounding this controversy in which they stress the ‘sacredness’ of the PLA, its mission, and duties, there are many netizens who say they feel the same. House’s joke has triggered anger among Chinese social media users who emphasize the dedication of the PLA and condemn any jokes targeting them.
In many online posts, bloggers highlight the heroic actions of the PLA in the past and, using patriotic images of soldiers with national flags, remind people about how they selflessly rescued people during the Wenchuan Earthquake or persistently guarded the South China Sea.
One popular comment said: “We can do without talk show hosts or celebrities, but we cannot do without our soldier sons of the people!”
While online discussions surrounding the Li Haoshi controversy are ongoing, Chinese authorities have concluded that the joke constitutes a legal violation. As of May 18th, House’s social media account has been suspended, he has been boycotted by the China Association of Performing Arts, and the Beijing Police have announced their intention to investigate the case due to House’s alleged “severe insult to the People’s Liberation Army during his performance, causing a highly negative societal impact.”
Furthermore, Xiao Guo, the company representing House, has received an official warning and has had over 1.35 million yuan ($190,000) in “illegal gains” confiscated, along with a fine of 13.35 million yuan ($1.8 million) imposed by the police. In response to this penalty, the company has canceled all scheduled performances in China and terminated their contract with Li Haoshi.
Read more related articles:
◼︎ “Love the Motherland” – New Moral Guidelines for Chinese Performers Come Into Force
◼︎ Chinese Comedian Li Dan under Fire for Promoting Lingerie Brand with Sexist Slogan
◼︎ Female Comedian Yang Li and the Intel Controversy
◼︎ 25 ‘Tainted Celebrities’: What Happens When Chinese Entertainers Get Canceled?
By Zilan Qian and Manya Koetse, with contributions by Miranda Barnes
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