Oppenheimer Hits Screens in China, But Jean Tatlock's Nudity is Censored

Chinese cinemagoers noticed that a nude Florence Pugh, who plays Jean Tatlock, is covered by a ‘little black dress’ in China’s version of Oppenheimer.

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Chinese cinemagoers noticed that a nude Florence Pugh, who plays Jean Tatlock, is wearing a computer-generated black dress in China’s version of Oppenheimer. Instead of criticizing the censorship, many people praised the little black dress, suggesting China’s editing is better than India’s.

Christopher Nolan’s summer blockbuster has finally hit the screens in China, five weeks after it was first released in the United States and several other countries.

Back in July, it was first confirmed that the movie would be released in Chinese mainland theaters on August 30, causing a buzz.

The film centers on the efforts leading up to the bombings of Hiroshima and Nagasaki, highlighting the Manhattan Project led by J. Robert Oppenheimer and his team of scientists. Over the course of several years, they dedicated themselves to the development and design of the atomic bomb. After bombings on August 6 and 9, 1945, Japan surrendered on August 15, marking the end of WWII and the Second Sino-Japanese War, the latter of which had merged into World War II in 1941.

It now turns out that the movie could not have come at a ‘better’ time to boost ticket sales in the mainland, as anti-Japanese sentiments have flared in mainland China since last week, when Japan formally announced its decision to discharge Fukushima wastewater into the ocean. Within this context, the history of war often comes up in online discussions.

Back in July, SCMP’s Fran Lu already noted how China was likely to follow the example of India and the Middle East in dealing with the nude scenes, adding a computer-generated black dress on topless Jean Tatlock, played by Florence Pugh, in a sex scene.

On Wednesday, Chinese moviegoers soon posted about how Pugh was indeed covered by a ‘little black dress.’ They also suggested that the Chinese censored version was done better than the Indian one. “I can even see some texture to it, making it look real,” some Weibo commenters noted.

“Not bad at all,” others remarked.

Chinese censorship of nudity is known for being quite blatant. An infamous illustration is the way Fan Bingbing’s cleavage in The Empress of China was edited out, only showing tightly-cropped shots that depicted only the actresses’ heads and shoulders.

Last year, a live-streamed Coachella concert caused some hilarity (and frustration) among Chinese viewers when censors had a hard time catching up with covering nudity during a Megan Thee Stallion performance (see video below).

Coachella is also being livestreamed via WeChat. Apparently, this performance not only made censors sweat, everyone was also joking that they're singing a song about Shanghai Puxi District. #MeganTheeStallion #Shanghailockdown pic.twitter.com/2ltSqzFC9c

— Manya Koetse (@manyapan) April 17, 2022

The computer-generated little black dress diverges from China’s typical, less nuanced approach to editing and cutting.

”The little black dress should be nominated for the Golden Rooster Awards for Best Visual Effects,” another moviegoer joked (the Golden Rooster Awards are film awards given in mainland China).

“Thumbs up for the little black dress,” other Weibo users wrote after seeing the movie.

By Manya Koetse & Zilan Qian

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The leaked Coco Lee recording has been dominating online discussions, with one related hashtag receiving over 2,6 billion (!) views on Weibo.

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A leaked audio recording of the late superstar Coco Lee discussing her negative experiences with Chinese talent show Sing! China (中国好声音/The Voice of China) has become the no 1 searched topic on Weibo these days. The accusations against the popular show have shaken up China’s entertainment circles and the online condemnation of ethical standards in the industry also has offline consequences.

Coco Lee (李玟), an iconic Hong Kong-born pop star who had been active in the music industry for nearly three decades, tragically ended her own life on July 5th of this year. Her passing unveiled her previously hidden struggle with depression, exposing a more vulnerable side to her glamorous and impeccable image. Later, public discussions about Coco Lee focused on her marriage and family situation.

That is until this week, when a troubling audio clip featuring Coco Lee was exposed in which the singer accused the production team of talent show Sing! China (a revamped editon of The Voice of China), alleging mistreatment. This revelation has sparked public discontent and reshaped public perceptions of both the singer and the show.

The 9-minute-long audio recording surfaced on Weibo on August 17, originating from undisclosed sources. It presented a candid and emotionally charged narrative of Coco Lee’s experiences as a mentor/judge on the talent show.

Sing! China (中国好声音) is a music competition show broadcasted by Zhejiang TV (浙江卫视) and produced by Star (CM) Holdings Ltd. It is the Chinese version of the international reality television singing competition franchise The Voice, based on the reality singing show The Voice of Holland.

Not long after Coco Lee’s passing, fans raised concerns about the alleged unpleasant experiences Coco had with Sing! China and its production team back in 2022, during the recording of the seventh season. This included a fall that resulted in a leg injury, which further exacerbated Coco Lee’s already declining mental and physical health condition.

The leaked recording of Coco Lee’s experiences on the show primarily covers several points:

◼︎ First, while she was secretly battling breast cancer, Coco Lee chose to participate in The Voice of China to support young music enthusiasts. She joined without even knowing what the exact compensation would be.

◼︎ Coco Lee disagreed with the show’s competition format, which eliminated contestants without assigning scores. She advocated for fairness but faced resistance from the program. The production team allegedly even physically confronted her, grabbing her clothes, and a director’s assistant threatened her to leave immediately.

◼︎ Coco spoke out for contestant Fige (菲戈), who she thought faced unfair treatment. A video of her defending Fige circulated online, pressuring the production team to address the issue. They eventually gave Fige another chance in the show but demanded that Coco Lee would clarify on Weibo that there were no problems with the production team, attributing the issue to misunderstandings.

◼︎ On the final recording day of Sing! China on October 14th, despite Coco Lee’s declining health—complaining of numbness and loss of warmth in her left leg—she chose not to use a wheelchair or crutches. She wanted to maintain her appearance by wearing high heels. However, the production team denied her request to have guest artist Wang Zepeng stand by her side.

◼︎ Last, following the show’s airing, Coco Lee expressed deep disappointment. She felt as if her efforts and dedication were invisible, and her body had suffered for the sake of the show.

By now, the related Weibo hashtag “Leaked Recording of Coco Lee Denouncing ‘Voice of China’ Before her Death” (#李玟生前控诉中国好声音录音曝光#) has received a staggering 2,6 billion views.

After the recording was exposed, the production team behind Sing! China issued a late-night statement on August 17. The statement said:

“Recently, some self-media accounts have spread maliciously edited audio clips regarding Coco Lee denouncing ‘The Voice of China’ before her death, in 2022. This is disresprectful to the deceased and also seriously damages the show’s image. We strongly condemn it. As a coach on ‘Sing! China’ 2022, Ms. Coco Lee fully devoted herself to her work. Any misunderstandings that might have come up during the period have already been dealt with. Out of respect for the deceased, we won’t go into this matter too much and we will always remember her true dedication to the show. Let the deceased rest in peace!”

Statement by “Sing! China”

Although the talent show accused netizens of editing the audio recordings, Coco Lee’s own sister confirmed the authenticity of the recording. A related hashtag garned over 400 million views (#李玟姐姐称网传视频属实#).

Sending Ripples Through China’s Entertainment Sphere

By now, the Coco Lee audio clip has completely shaken up China’s entertainment circles and has been dominating social media platforms. Many Coco Lee fans, as well as regular netizens, have united in outrage over her alleged mistreatment.

Other Chinese celebrities have also voiced their support for Coco Lee. The hashtag “Celebrities Speaking Out for Coco Lee” (#为李玟发声的明星#) has garnered over 170 million views on Weibo by now. Respected Chinese stars such as Jin Xing (金星), Hang Hong (韩红), Yang Pei-an (杨培安) say they believe Coco Lee and hope for justice.

Following the viral spread of the clip, ‘Jammy’ Li Jiajie, a previous contestant on Sing! China, also expressed his solidarity with Coco Lee on Weibo and further condemned the show. He accused the program of engaging in practices such as position buying, enforcing extensive binding contracts, and showing disregard for rules and disrespect towards contestants.

The next morning, however, Li’s posts were removed and he suddenly issued a statement expressing that the comments he made were not actually “based on facts,” making apologies and asking netizens to refrain from spreading misinformation (#李嘉捷向好声音致歉#). If anything, Li’s words and their sudden disappearance caused more confusion and added fuel to the fire.

“This only further strenghthens my believe that Sing! China is rotten to the core,” a popular comment said.

Online Crusade Against Zhejiang TV

As public indignation grew, people started shifting the blame from the Sing! China show to the broadcaster behind the program, Zhejiang Television (浙江卫视), as well as producer Star Holdings (星空华文传媒).

Some netizens even coined the term “Murderer TV” (杀人卫视) to refer to Zhejiang TV, pointing out other disturbing incidents associated with this network’s reality shows.

As early as 2013, Zhejiang TV was condemned by netizens for “disregarding human life” after a young team assistant drowned during a training session for the show Celebrity Splash China.

One of the most notable cases mentioned is the tragic death of 35-year-old actor Godfrey Gao (高以翔) during the filming of the sports reality show Chase Me (追我吧) by Zhejiang TV in 2019. The Taiwanese-Canadian model and actor reportedly suffered a heart attack while on set. Afterward, the show faced criticism for pushing contestants to physical exhaustion and reportedly failing to implement proper safety measures – both factors allegedly contributing to Gao’s unexpected death.

The massive online critique on the TV station also has some potential offline consequences. On social media platforms such as Douban, netizens have compiled lists of sponsors for the upcoming 2023 Sing! China season, urging others to join them in boycotting them.

According to Bloomberg, producer Star Holdings witnessed a significant decline in its stock by 23%, marking the largest drop since the company’s listing in December. This decrease resulted in the eradication of approximately $1.5 billion in market value from the stock, which had surged to more than quadruple its initial value at its highest point.

Rather than solely targeting Zhejiang TV, some netizens have implicated the broader Chinese entertainment industry for putting too much pressure on the people working on their programs. They argue that the industry’s prioritization of viewership and profitability has seemingly contributed to the blurring of ethical boundaries across the sector, and netizens have collectively been calling for more transparency and fairness in China’s entertainment industry.

For now, people are demanding that Sing! China should stop airing until they have corrected their mistakes; Zhejiang TV should critically do a self-inspection and publicly disclose the results. Lastly, audiences are waiting for a public apology to Coco Lee from Sing! China, and an acknowledgement that those involved should be penalized.

Many believe that the truth will eventually always come to light. The fact that Coco Lee, from beyond her grave, managed to cause such a storm in the Chinese entertainment realm is yet another testament to her influence in China’s pop culture and her pursuit of justice within a profit-oriented industry. Weeks after her death, it is her voice that has managed to make a huge impact in China, and there is a hopeful sentiment that the current shock following the recording will bring about positive changes in the future.

By Ruixin Zhang and Manya Koetse

Part of featured image via Nextapple.com

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Despite initial low expectation, this Chinese ‘Lord of the Rings’ has now garnered a devoted online community of fans who are helping to boost its success.

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It has become a major summer box office hit in China: Creation of the Gods I. Despite its initial lackluster performance, audiences raved about the mix of traditional Chinese mythology and high-tech industrialized cinema, and a loyal online community of fans boosted its ticket sales.

Early this week, the Weibo hashtag “Creation of the Gods I Breaks 2 Billion Yuan [US$275M] in Box Office” (#封神第一部票房破20亿#) became a trending topic on Weibo, followed by a hashtag celebrating raking in 2.2 billion [US$302M] on Friday (#封神第一部票房破22亿#), showcasing the remarkable success of Creation of the Gods I: Kingdom of Storms (封神第一部：朝歌风云) in both Chinese cinemas and across social media platforms.

Together, the hashtags have amassed an impressive 230 million views to date, underscoring the growing popularity of this summer box office sensation.

Directed by Chinese film director Wuershan (乌尔善), Creation of the Gods I: Kingdom of Storms stands as the initial film within the trilogy of the fantasy epic Creation of the Gods, also known as Fengshen Trilogy (封神三部曲).

The mythological epic is considered the most ambitious and expensive production in Chinese film history with a planned budget of 3 billion yuan (approximately US$410 million).

The film, which was officially released on July 20th, achieved its box office milestone 25 days after its release. The success of Creation of the Gods I can largely be attributed to the collaborative efforts of the production team and a dedicated group of fans who volunteered to promote the film online, a phenomenon referred to as zìláishuǐ (自来水).

Zìláishuǐ (自来水) literally means ‘tap water’ but it is a label for those netizens who spontaneously promote a film or artist without getting paid for it.

The three characters, 自来水, are actually an abbreviation of the term 自发而来的网络水军 (zìfāérlái de wǎngluò shuǐjūn: “self-organized internet water army”).

This term has emerged on Chinese social media in recent years, signifying a group of individuals who willingly promote films or television series out of love and admiration. Their actions are driven by personal enthusiasm and passion. Unlike those who are paid to promote something, these ardent fans invest their own time and effort into amplifying the presence of their favorite films or shows.

This concept first gained prominence within the fan community of the film Wolf Warrior (战狼) in 2015. It gained broader recognition with Monkey King: Hero Is Back (西游记之大圣归来) later that same year when zìláishuǐ successfully influenced numerous cinemas to increase showings for the animated movie. Earlier this year, zìláishuǐ once again played a crucial role in boosting the popularity of The Wandering Earth II (流浪地球2) upon its release.

The origins of the Fengshen Trilogy can be traced back to an initial pinghua (平话) story – which laid the foundation for later written narrative forms in China, – namely King Wu’s Campaign Against [King] Zhou (武王伐纣平话), that emerged sometime between the Song (960-1279) and Yuan (1271-1368) dynasties, as well as the Investiture of the Gods (封神演义), a novel from the Ming (1368-1644) dynasty.

This captivating narrative delves into the history of the Shang (c. 1600-c. 1046 BC) and Zhou (c. 1046-771 BC) dynasties, intricately weaving together folklore, legends, and a variety of mythical beings and creatures.

The official movie poster.

Wuershan reportedly came up with the idea for the movie after watching The Lord of the Rings: The Fellowship of the Ring in 2001 and publicly shared his intention to turn the Fengshen story into a film in 2012. The project officially commenced in June 2014.

From February 2017 onwards, a global audition was held to select the lead actors and actresses, who then underwent 6-8 months of specialized training. The filming started on August 2018, and concluded in January 2020.

The narrative of Fengshen holds tremendous popularity in China. Nevertheless, this extensive familiarity might actually present a challenge when it comes to triggering the audience’s interest. Past mythological films produced in China have often left viewers with exceedingly low expectations – or even a lack of expectations altogether – for this genre of Chinese cinema.

The challenges encountered by Wuershan and his team were amplified by the three-year-long pandemic and the investment issues of the film’s primary production company, Beijing Culture. The pandemic introduced uncertainty about the film’s release, while Beijing Culture, the primary investor, faced complications due to its involvement in actress Zheng Shuang’s project. Zheng’s reputation had already taken a significant hit when she was accused of abandoning her two surrogate babies in the US, followed by substantial fines for tax evasion (read more).

Although the filming concluded, the movie’s release date was pushed back, prompting concerns about the film’s quality and noticeably dampening the expectations and excitement among Chinese netizens. In June 2023, the announcement of the film’s official release date also failed to generate significant attention or interest among netizens.

At the early stages of promoting the film, the movie’s marketing team adopted a strategy in which they mostly highlighted the young, good-looking, and muscular actors starring in the film. But this approach made some netizens believe that the film had to rely on such visuals to attract audiences because its overall quality was just not up to par.

Based on data from the Chinese ticketing platform Maoyan, Creation of the Gods I garnered a modest box office earnings of slightly over 49 million yuan (US$6.7M) on its opening day, positioning it in the eighth spot among other films that were launched around the same time. This outcome was not just quite disappointing for a project that had received a substantial investment of 3 billion yuan – it was actually pretty disastrous.

In spite of its tumultuous production journey and initial cautious response from Chinese moviegoers, as the film continued to be screened in theaters, an increasing number of netizens began to develop a genuine fondness and admiration for Creation of the Gods I.

1: New Portrayal of Su Daji

The presentation of the storyline, especially the reinterpretation of the renowned character Su Daji (苏妲己), garnered praise from moviegoers.

In the original story of Investiture of the Gods, Su Daji was held responsible for the downfall of the Shang Dynasty due to her seduction of Yin Shou (殷寿), the King of the Shang Dynasty. This fateful enticement ultimately metamorphosed him into a ruthless ruler, leading to the demise of the dynasty.

Within China, an ingrained idiomatic expression places responsibility on women for unfortunate occurrences, known as “a beauty that brings disaster” (红颜祸水), and Su Daji has long been emblematic of this notion. However, Wuershan and his screenwriting team chose to diverge from this perspective in the film. Instead, the movie portrays Su Daji as a manifestation of Yin Shou’s ambitious nature. It underscores that Su Daji wasn’t the catalyst for the dynasty’s downfall; rather, Yin Shou himself was responsible for his own downfall.

Although not everyone agrees with this new portrayal of Su Daji, the controversy around the character’s representation has brought greater attention to the film.

2: Fresh Faces in China’s Cinema

Another factor contributing to Creation of the Gods I‘s success in capturing the affection of early moviegoers is the commitment exhibited by both the younger and more seasoned actors and actresses, whether in leading roles or supporting positions.

The majority of actors and actresses who assumed key roles in the film were newcomers to the entertainment industry, introduced through a global audition process. This extensive search encompassed around 15,000 individuals worldwide, culminating in the selection of over 30 participants for a specialized training camp.

The actors and actress before and after the training courses. Snapshots from the film’s production documentary.

Within this training program, they underwent instruction in martial arts, equestrianism, archery, drumming, ancient qin music, and a variety of cultural courses, including pre-Qin history and etiquette. These courses were devised based on the Six Arts: rites (礼), music (乐), archery (射), chariotry or equestrianism (御), calligraphy (书), and mathematics (数). These arts formed the core of education in ancient Chinese culture and were required to be mastered by students during the Zhou dynasty.

3: Costume & Set Design

The production team’s meticulous attention to detail in the costumes and set designs further increased the film’s popularity.

For example, the production team built an entire forest system ecosystem reminiscent of Tibet’s Linzhi and Motuo forests, all within a 10,000-square-meter studio in Qingdao. This was partly due to the protective status of Tibet’s forests, rendering filming scenes involving horse riding impossible. The set allegedly was so lifelike, that many butterflies and insects were attracted to the forest after it was completed.

The Longde Hall set, via The Paper.

Similar stories also includes the construction of the main set, the Longde Hall (龙德殿) which was built up by a set design team consisting of 1,500 workers, with 800 of them specializing in wood carving.

After learning all these stories behind the movie, many Chinese netizens have come to believe that the film is not as bad as initially thought. They attributed its underperformance at the box office not to its quality but to an inadequate promotional strategy and execution. In response, many have rallied to support the film.

Lately, a big group of fresh enthusiasts for Creation of the Gods have come together on Chinese social media and are growing rapidly as a community of ‘Fengshen zìláishuǐ‘ (封神自来水): voluntary and passionate supporters and promoters of the Fengshen Trilogy.

Shui Mu Ding (@水木丁), a Chinese columnist and writer, who is also a member of the ‘Fengshen zìláishuǐ,’ shared her emotions after observing the film’s first-day box office results: “Picture yourself strolling along the beach and stumbling upon a beached whale. You may not have the power to help it, but would you just turn around and leave? It seems impossible to let go.”

She then wrote an article and published it on WeChat and Weibo, recommending this film to her readers and followers. Some people questioned if she was paid for it, but she said she did this “simply because I want to.”

Simultaneously, other members of the ‘Fengshen zìláishuǐ‘ community are also contributing to broaden the film’s impact through various approaches.

For example, they use the content of the film to create memes on social media.

One of the trending memes is the “God Bless You” meme created by netizens. The meme features Chen Kun’s role in the film – Yuanshi Tianzun, one of the highest deities in Taoism.

Due to actor Fei Xiang’s (费翔) prolonged stay in English-speaking countries, he carries a unique accent when speaking Mandarin. Chinese internet users have noticed this and discovered that in his dialogue, there are certain pronunciations resembling English words. For this reason, together with some word jokes in Chinese, this kind of ‘Chinglish’ (‘Yinglish’ 商务殷语) has become a source of online banter.

They also cleverly “hijack” ongoing trending topics linked to the actors involved in the film, even when these subjects weren’t directly linked to the film itself. By employing a clickbait approach or crafting posts reminiscent of gossip news narratives, their ultimate goal is to persuade netizens who viewed this hashtag to learn more about the film and, ideally, entice them to go to the cinemas to see the movie.

A review penned by the stepson of Chinese actress Chen Shu (陈数). He composed the review in both Chinese and English, intending to recommend the movie to people outside of China.

Then there are those people sharing their experiences after viewing the movie in the cinema and posting them on different social platforms. Some fans even choose to watch the film in theaters twice, three times or even more, pondering over details and sharing their discoveries online, to showcase their support for the film.

Among the many reviews shared by Fengshen zìláishuǐ, the credits list at the end of the film, just before the bonus scene, keep poppping up. This extensive roster of names, scrolling across the screen for about three minutes, shows the immense scale of this challenging project, resonating deeply with many moviegoers and sparking discussions on the industrialization of Chinese films.

As highlighted in prior interviews, director Wuershan possesses a clear vision for enhancing and refining Chinese film production. His ideas encompass streamlining film production processes by genre, implementing structured and methodical approaches to oversee every facet of filmmaking, and seamlessly integrating cutting-edge technologies.

Wuershan talking about producing the movie.

These principles have been seamlessly woven into the production of the Fengshen Trilogy, setting new standards for the industrialization of China’s film realm.

For instance, prior to actual filming, Wuershan conducted multiple animation previews and rehearsals, aligning his team with his creative vision and mitigating potential losses arising from miscommunication. This approach not only trimmed shooting and editing expenses but also facilitated meticulous planning of the shooting schedule.

Given the film’s extensive utilization of visual effects and reliance on blue screen technology, director of photography Wang Yu (王昱) and his team devised an ingenious technique to craft an expansive screen. They ingeniously repurposed excavator buckets into blue panels, collaborating with the excavator team to erect the blue screen as needed. Through precise control of various angles, they erected a sprawling screen wall.

In another instance of production innovation aimed at standardizing filming procedures, the production team veered away from conventional boxed meals and fast food, instead establishing an actual “Fengshen Canteen” to cater to their workforce of 8000 members, strictly following China’s food safety regulations.

In his quest to explore new ways to improve China’s movie industry industrialization, Wuershan joins the ranks of other directors such as Guo Fan (郭帆) (The Wandering Earth 2) or Chen Sicheng (陈思诚) (Lost In The Stars). They’re all dedicated to innovating film processes across various genres by melding Hollywood knowledge with their own filmmaking expertise to bolster China’s film industry. Guo Fan also visited the set of Fengshen Trilogy to learn from the filming process.

This idealism and drive to improve China’s film industry at large has also resonated with Fengshen zìláishuǐ, futher motivating them to continue their efforts in promoting high quality Chinese films like Creation of The Gods

For now, some fans are already concerned about how their beloved “domestically produced masterpiece” will perform in the international market. But most zìláishuǐ are still busy to promote the movie on Chinese social media and further helping to grow its box office numbers, paving the way for the release of the first and second films of the trilogy during the upcoming summer vacations in China – next year and the year after. If all goes well, we’ll know what they’ll do next summer.

By Wendy HuangFollow @whatsonweibo

Edited for clarity by Manya Koetse.

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By Manya KoetseZilan QianSending Ripples Through China’s Entertainment SphereOnline Crusade Against Zhejiang TVBy Ruixin Zhang and Manya Koetse自来水Rocky Start for a Multi-Billion-Dollar FilmCaptivating the Hearts of Moviegoers1: New Portrayal of Su Daji2: Fresh Faces in China’s Cinema3: Costume & Set DesignZilaishui to the Rescuecreate memes“hijack” ongoing trending topicssharing their experiencesEmbracing a New Era in the Industrialization of China’s Film IndustryStay updated on what’s trending in China & get the story behind the hashtag