According to a report by China Youth Daily, on Dec. 30, 2025, scholars, government officials and industry practitioners gathered at a symposium on the structure and employment impact of China’s micro-drama sector. At the event, Peking University National School of Development (NSD) released a comprehensive study titled The 2025 Report on the Development Landscape of China’s Micro-Drama Industry and Its Employment Effects.

On Wednesday, NSD’s WeChat account made the full report available for download.

Around the same time, Qiushi, a flagship magazine of the Communist Party of China Central Committee, published a feature article in the second issue of 2026 on the development of the short-drama sector. The piece, written by Hu Yifeng, deputy director of the China Federation of Literary and Art Circles’ theory research office, didn’t directly cite the NSD report, but echoed several of its key data points.

Meanwhile, practitioners across Chinese social media have been sharing their own, ground-level observations about the business.

I don’t personally watch micro-dramas, but I think this industry is worth paying attention to.

Today, I want to walk through what stood out to me in these two pieces, especially how official and academic observers are evaluating the sector, and what the numbers suggest about its growing connection to employment and flexible work.

Before diving in, a brief word about the institution behind the report.

NSD, formerly the China Center for Economic Research (CCER), was founded in the 1990s and has long played a key role in China’s reforms. In 2024, the school marked its 30th anniversary. Its current dean, Huang Yiping, described it as a key driver of China’s systemic economic reforms. Over the years, many scholars affiliated with the school have written candid accounts of how academic research fed into policymaking. One memoir I’d especially recommend is by founding professor Zhang Weiying, for anyone curious about how university think tanks have shaped China’s reform trajectory.

According to NSD, the micro-drama study was led by Professor Zhang Dandan, together with a research team. In estimating the sector’s broader employment impact, they drew on methodologies used by organizations such as Boston Consulting Group and the Creative Industries Policy and Evidence Centre, as well as domestic research on China’s film and cultural industries.

1. The growing influence of micro-dramas in China

The article in Qiushi notes that in 2025, micro-dramas experienced explosive growth, emerging as a new frontier in China’s cultural consumption market.

China’s monthly output of micro-dramas has stabilized at around 3,000 titles, with the user base reaching 696 million — covering more than 60 percent of the country’s internet population. Hundreds of millions of viewers are hooked on these bite-sized shows, where twists come every five seconds and entire lifetimes unfold in just ten minutes.

The NSD report also sketches a profile of who is actually watching micro-dramas. It argues that the highly modular and easily replicable storytelling of micro-dramas, built around fast hooks and constant twists, neatly fills the fragmented downtime of food-delivery riders, commuting office workers, and even older viewers. The emergence of a user base exceeding 700 million, the report notes, reflects not a niche taste but a broad-based pattern of cultural consumption rooted in China’s mass audience.

Boosting consumption, of course, is a top priority for policymakers in China right now. From that perspective, the explosive growth of micro-dramas appears to align closely with the country’s broader push to optimize its economic structure and stimulate domestic demand.

2. Micro-dramas’ growing footprint overseas

The Qiushi article argues that micro-dramas have become an emerging force in China’s cultural “going global” push, with their international reach expanding rapidly. It also provides data to illustrate the sector’s rising overseas influence.

In just the first eight months of 2025, China’s overseas micro-drama market generated 1.525 billion U.S. dollars in total revenue, up 194.9 percent year on year.

The NSD report also highlights the industry’s growing international spillover effects:
“The wave of short dramas going overseas has created new professional niches serving foreign markets — including script translation, multilingual dubbing, overseas distribution and operations, and international rights trading. At the same time, foreign directors and actors have begun coming to China to produce English-language or bilingual short dramas, further expanding employment opportunities in cross-cultural production, audiovisual translation, and on-site coordination.”

3. The economic impact of micro-dramas, especially on employment in China

The micro-drama industry’s ecosystem has become more mature, with more than 100,000 companies now operating in the sector nationwide. In 2025, the industry directly employed about 690,000 people across China.

Both Qiushi article and the NSD report mentioned a key figure: the industry directly supports around 690,000 jobs. The NSD report provides a detailed explanation of how that number was calculated:

At present, there is no unified official statistical framework covering employment in either the production or acting segments of the micro-drama industry. Existing industry data tend to focus on market size or viewership, offering little systematic insight into the labor market. Against this backdrop, our research team conducted extensive fieldwork, in-depth interviews, and cross-verification across multiple data sources. Using a structured model built on clearly defined assumptions, we estimated the scale of employment in the short-drama sector. The findings show:

(1) Production crews — including in-house screenwriters, directors, producers, cinematographers, lighting technicians, art directors, costume and props staff, sound engineers, and post-production personnel — form the most stable and technically intensive segment of the industry’s workforce, totaling around 450,000 people.

(2) Lead and supporting actors represent a comparatively smaller but highly professional group, numbering about 32,000.

(3) Extras constitute the largest, most accessible, and most fluid segment of employment. This group most directly reflects the industry’s role in supporting flexible employment and migrant workers, with approximately 207,000 people.

Taken together, these three groups indicate that in 2025 the short-drama industry directly supported around 690,000 jobs nationwide.

Building on this baseline, the report applies an indirect employment multiplier of 1.95, estimating that in 2025 the short-drama sector indirectly supports another 1.34 million jobs across related industries.

It notes that employment multipliers in the broader cultural and film sector typically range between 1.95 and 3.0. Choosing 1.95 therefore represents a deliberately conservative assumption, helping avoid overstating the industry’s spillover effects.

Adding the 690,000 direct jobs to the 1.34 million indirect jobs, the report concludes that micro-dramas could support around 2.03 million jobs in total in 2025.

The study also places these numbers in the context of China’s broader employment pressures. The labor market, it argues, is marked by the coexistence of overall job pressures and structural mismatches. The number of university graduates continues to rise. The class of 2026 alone is expected to reach 12.7 million while key groups such as migrant workers face increasing uncertainty over job stability and job quality amid industrial restructuring and fluctuating demand.

Against this backdrop, an industry capable of generating roughly two million jobs is clearly worth paying attention to — especially given that many of these positions have relatively low entry barriers and offer flexible forms of work.

Qiushi also discusses the reasons behind the rise of micro-dramas and offers its own analysis of the sector’s rapid growth. Since I’m not approaching this from the perspective of an entertainment industry insider, I won’t go into detail here. If you’re curious, you can easily consult the original piece, or even have AI walk you through it.

4. “Growing pains” of a fast-developing industry

The magazine also lays out several of the industry’s current challenges:

As a new cultural format born of the digital age, micro-dramas have achieved rapid growth and impressive results. At the same time, however, the sector still faces shortcomings in areas such as content quality, industry governance, and evaluation systems — the inevitable “growing pains” of a fast-developing industry.

On the quality of micro-dramas, the article argues that the number of truly outstanding micro-dramas remains disproportionately small compared with the sector’s sheer scale. In its words, the situation resembles “vast forests producing only a tiny bit of coal,” a vivid way of saying that high output has yet to translate into high-quality hits.

Some productions are eager to brand themselves around “mainstream values,” yet lack careful script development or convincing performances. The result is often dull storytelling, rough production values, and lukewarm audience responses. Others manage to tap into popular social sentiments but stop at surface-level treatments of trending topics — with repetitive character setups, similar plots, and interchangeable aesthetics, making it hard to deliver anything substantive or memorable. Still others show little commitment to original storytelling, chasing clicks and traffic instead.

In terms of industry governance, the article notes that the workforce is highly fluid. While this mobility injects energy and speeds up iteration, it may also undermine the resilience and institutional stability the sector needs for long-term development. The piece also calls for improving platform algorithms to break out of “aesthetic echo chambers,” and for embracing innovation in response to new technologies such as AI-generated content (AIGC).

Finally, it points out that the evaluation system for micro-dramas — how quality and impact are assessed — remains relatively underdeveloped.

5. Viewing time & short-drama production bases

Beyond the headline numbers, a few other details in the report also caught my attention — particularly how much time people now spend watching micro-dramas, and the emergence of dedicated production hubs in cities like Zhengzhou and Xi’an.

The report notes that from January to August 2025, average daily usage per user rose steadily from 95.7 minutes to 120.5 minutes, and has since remained stable in the 1.5–2 hour range. What’s striking is that viewing time did not fall back after an initial burst of popularity. Instead, it continued to edge upward from an already high base. In other words, micro-dramas are no longer a passing trend — they have become deeply embedded in people’s daily routines, evolving into a highly “sticky,” habitual form of entertainment consumption.

Geographically, production has also begun to cluster. Zhengzhou and Xi’an have emerged as two of the country’s most important short-drama production bases. Industry estimates suggest that each city launches roughly 400–600 new productions per month, together accounting for nearly 30 percent of national output. Meanwhile, Hengdian, with its extensive historical and costume-drama sets, has become the filming location for nearly 90 percent of China’s period micro-dramas.

According to the report, this kind of regional specialization not only reduces homogenized competition but also improves professionalization and production efficiency across the industry.

If I get the chance, I’d love to visit one of these production hubs myself to see how these shows are actually made on the ground.

Have you watched any Chinese micro-dramas? If there’s anything you’re curious about, feel free to leave a comment.

The event has brought together over 600 guests — including scholars, experts, and political figures from around 140 countries and regions — for in-depth discussions on civilization, underscoring the importance of cultural diversity and cooperation in a world marked by turbulence and uncertainty.

At the forum, several Chinese speakers shared valuable insights on China's approaches to cultural heritage protection and the promotion of cultural exchanges.

I noticed a common point mentioned by all these Chinese experts: international exchange and cooperation have played a crucial role in the preservation and transmission of China’s cultural heritage. The reform and opening-up policy has been essential in advancing preservation techniques and helping the world better understand Chinese culture.

Today's newsletter highlights key perspectives from this important dialogue.

Topic: Major Challenges Facing China's Cultural Heritage Protection

Speaker: Liu Yuzhu, head of the China Foundation for Cultural Heritage Conservation

Key Insights:

China's cultural heritage protection faces several critical challenges, including insufficient social consensus, conflicts between economic development and heritage preservation, limited social participation, and the need for enhanced international cooperation. These challenges are not unique to China—I've observed that countries worldwide, with the possible exception of some European nations, face similar issues.

How can we address these challenges? First, we must actively engage society in understanding and protecting cultural heritage values, transforming people from bystanders into participants and guardians.

Second, governments must fulfill their primary responsibilities, particularly in establishing legal frameworks, institutional mechanisms, and public investment—areas where government action is irreplaceable.

Third, social participation remains insufficient in China. We need to learn from international best practices, especially from European countries, regarding legal frameworks, incentive policies, rights and obligations, and recognition systems. Given China's 5,000-year civilization and vast array of heritage sites, government efforts alone cannot ensure comprehensive protection—social engagement is indispensable. Finally, international cooperation has proven highly effective over the years, particularly in combating transnational cultural property crimes, artifact repatriation, archaeological research, and exhibitions.

Topic: Preserving Dunhuang's Cultural Heritage

Speaker: Su Bomin, dean of the Dunhuang Academy,

Key Insights:

The Dunhuang Academy's development has been inseparable from international cooperation. Through reform, opening up, and a favorable environment for global collaboration, we've enhanced our conservation techniques, broadened our perspectives, and adopted advanced international preservation concepts and practices, significantly improving Dunhuang's cultural heritage protection.

Furthermore, Dunhuang Studies has deepened cross-cultural exchanges between nations. Dunhuang culture itself represents a crystallization of multicultural exchange. As Professor Ji Xianlin noted, traces of all four major world civilizations can be found in Dunhuang, making it a concentrated hub of multicultural interaction. Through international exchanges, we've enabled people worldwide to gain deeper understanding of Dunhuang culture while benefiting from global perspectives in interpretation and analysis.

Currently, we have an American expert working with us, bringing valuable international perspectives. We've held "Dunhuang Culture Week" events in the United States twice in recent years. During these embassy-hosted events, American visitors were amazed by the vibrant colors and diverse imagery of Dunhuang murals. This reinforces our commitment to taking Dunhuang culture global and fostering greater cultural exchange.

Topic: Effective Cultural Transmission

Speaker: Wang Wei, Director of Henan Provincial Institute of Cultural Relics and Archaeology

Key Insights:

As an archaeologist with 43 years of experience, I initially focused on the origins and development of Chinese civilization before expanding internationally to excavate sites in Egypt, Honduras, and Uzbekistan. Chinese civilization's longevity stems from its continuous absorption of advanced foreign elements while maintaining innovation. For instance, wheat, cattle, sheep, and metallurgy came from West Asia, while China contributed silk, ceramics, jade, and millet cultivation techniques westward. Civilization exchange drives progress.

Through reform and opening up, Chinese archaeology and heritage protection have absorbed advanced methods from Europe and America, demonstrating the vital importance of exchange for civilization's existence and development. We're delighted to witness China's "museum boom" and growing public interest in traditional culture.

Effective cultural transmission requires: 1) Deepening research—studying both our own and other cultures for mutual understanding; 2) Strengthening protection; 3) Enhancing interpretation and promotion. Today's "archaeology fever" results from museums becoming more accessible. Twenty years ago, only archaeologists could understand museum displays; now exhibitions are more engaging and accessible. Good interpretation helps audiences appreciate our culture's rich connotations while maintaining interest. This applies internationally—whether through physical or virtual exhibitions, cultural artifacts should enable people of all nationalities to deeply understand their meaning and facilitate exchange, sharing our civilizational achievements globally.

Topic: Building a Sound Art Museum

Speaker: Qin Siyuan, Co-founder of the Sound Art Museum

Key Insights:

The Sound Art Museum represents a fascinating project that raises fundamental questions: What is a sound art museum? How do we display and exhibit sound? As the world's first institution to present sound through a museum format, we face unique challenges.

Traditional music requires physical structures for display and performance—ancient instruments like the guqin exemplify this. However, theoretically, we don't need such physical frameworks to perform music. In the 21st century, new musical presentation models have become commonplace.

When creating our sound museum, we first needed to construct the physical space, completed in Beijing in 2023. We exhibit both tangible music and people's sonic memories. Visitors can immerse themselves in Antarctic sounds, natural sounds including those unique to Xinjiang, southern Chinese silk and bamboo music, as well as sounds of science, art, society, and contemporary sound art—all presented in our Beijing facility.

We now aim to transcend musical limitations, exploring how digital technology and museums can present richer content to the public. Recently, we've partnered with two important Chinese organizations—the Institute of Zoology at the Chinese Academy of Sciences and the China Environmental United Association—on a collaborative project. We invite artists and professionals from various fields and countries to help create innovative projects in China, enabling unprecedented exploration and understanding of nature through digital technology, including new ways of sharing music and information.

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Shandong, with 9.86 trillion yuan (about 1.37 trillion U.S. dollars) GDP in 2024, is China’s third-largest province by economic size, following Guangdong and Jiangsu. Together, the top three provinces have surpassed the GDP of the world’s third-largest economy.

Fifteen years ago, during the inaugural Nishan forum in Shandong, sinologists and philosophers grappled with the question of how Confucianism -- a 2,500-year-old philosophical tradition seen as timeless wisdom capable of addressing global challenges -- could remain relevant in a rapidly changing world.

Today, in an era described by Chinese leaders as one in which "changes unseen in a century accelerating and multiple risks intertwined," is Confucianism gaining renewed significance, or drifting further from contemporary relevance?

We explored this question through conversations with James Hankins, professor at Harvard University's Department of History, and Lingdong Kong, a 76th-generation descendant of Confucius (whose Chinese name is Qiu Kong) and professor at Shandong University's School of Political Science and Public Administration, both of whom participated in this year's forum.

Also, don't miss the recent Inside the China Room with Jiang Jiang podcast episode featuring Daniel A. Bell, discussing Confucianism's impact on contemporary China.

Ginger River Review

Ep.16 How Confucianism shapes today's China and guides a new global dialogue — A conversation with Daniel A. Bell ahead of the Nishan forum

This week on Inside the China Room with Jiang Jiang, I'm joined by Daniel A. Bell, vice president of the International Confucian Association and chair of Political Theory with the Faculty of Law at the University of Hong Kong…

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9 months ago · 25 likes · Jiang Jiang and Yifei Shi

James Hankins

Lingdong Kong

Question: In today’s rapidly evolving international and political landscape, with so many pressing global issues, how do you see the Nishan Forum -- and Confucianism, in particular -- contributing to the promotion of peace, benevolence, and justice, values that Confucius championed over two millennia ago?

Prof. Hankins: Well, I think one of the insights that political Confucianism offers is that there is an inverse relationship between the tendency of the state to want to control everything and the virtue of the people. So if the people are not virtuous, the state is forced to pass more laws, to have more surveillance, and more severe punishments. However, when the people become virtuous, the state can be freer. There can be more pluralism, there can be more toleration.

So I think this is a finding of history and not just a political theory, that there is this inverse relationship between virtue and political oppression. And the same thing applies internationally as well. Because when you have good relationships among people of different civilizations, and those relations are well conducted and people behave themselves well, you have much less chance of trade wars and real wars breaking out.

When I hear people in my country talking about trade wars, assuming that China is an evil country, I assume that the same things are said about the United States. It’s because they don’t know anything about China. And I sometimes hear that there is a kind of nationalistic element in China that has similar views about the United States. But these are ignorant views.

And the more people know about the complexity of things, the more people understand that there are many people who want to improve China and make it better in many ways. And there are many people in the United States who don’t like sometimes what our country has become. And they also want to improve their society. Most people can work together and they should be working together.

Prof. Kong: No era can completely toss aside or disconnect from tradition; every period builds upon its past. Tradition always plays a role—it’s not something you can just call on when you want it or dismiss when you don’t. It’s always there, whether we recognize it or not. The major shifts we’re seeing today are partly because society is changing so fast.

Modern development, especially in science and technology, has progressed more quickly than anyone expected. It’s moving at such a pace that sometimes we can't keep up, and that creates a lot of uncertainty and even fear about what the future holds.

In this big-picture context, a lot of people are starting to look back at the ideas of ancient thinkers, thinking that maybe they reflect a more authentic understanding of the relationship between humans and nature, and between people themselves.

For example, ideas in our traditional culture, like "the harmony between heaven and humanity," or the importance of family bonds—these might be more relevant now than ever, as we face this rapidly changing world. It seems like the things we need today are right there in our own traditions.

Question: As China increasingly positions itself as a global center, there are growing concerns in various countries, with some speculating about potential territorial expansion. Given your expertise in Confucianism, do you think a deeper understanding of Confucian values could offer a clearer perspective on China's approach to modernization?

Prof. Hankins: Yes, I do. And I believe that if people heard what I’ve just heard at the forum, they would understand that the Confucian tradition is not militaristic. It doesn’t place power in the hands of military people. Even during Chinese history, there were military people in the 12th century who were Confucians. There’s a monument to Yue Fei (a Chinese army general of the Song dynasty, and is remembered as a patriotic national hero) in Hangzhou, at West Lake.

In the West, philosophers have long warned against giving too much power to men who were motivated primarily by the desire for military glory and conquest. Plato was against it. Aristotle was against it. The moral restraint that these philosophers advocated was never built into the Western tradition the way that it was in China's Confucian institutions.

China has never been an aggressive nation. Not everyone agrees with this, but overall, I think China’s foreign relations tend toward peace.

In history, China has experienced civil wars and wars with barbarians -- such as the Xiongnu, the Mongols. I'm speaking not of the present, but of imperial China. But its relations with other Confucian societies, such as Korea, Japan, and Vietnam, are almost uniformly peaceful. And that’s what Confucian teachings emphasize.

Prof. Kong: If problems could be addressed using Confucian principles, the core idea would be "harmony is most precious 和为贵." Confucianism generally advocates for avoiding conflict, but in cases of competing interests, the decision to engage in war is not solely determined by individual desires; it largely depends on the attitudes of the parties involved.

Although traditional Chinese culture does not promote war, history shows that conflicts have occurred in China. Therefore, it is clear that culture is not the only factor at play—many other elements contribute to the outcome. To suggest that culture alone can prevent war would overstate its influence; it is not sufficient to completely avoid conflict.

Confucianism is an inherently inclusive system, one that emphasizes the importance of learning from and integrating other cultures. In the current international context, where major powers interact, the goal should be to resolve disputes through cooperation and peaceful methods, as this benefits all parties.

Whether it is the United States, China, or any other nation, countries are ultimately pursuing their own interests, rather than solely fighting for ideological reasons.

The focus should instead be on the potential for mutually beneficial cooperation between differing interests. In this context, various ideologies can coexist, learn from each other, and integrate.

Looking at East Asian countries that modernized later, we see they are all part of the Confucian cultural sphere. In contrast, countries that follow liberalism, Christianity, or Islam, such as those in Latin America, Africa, or certain parts of Asia, haven't achieved the same success.

The only exceptions are the East Asian countries that modernized later -- like South Korea, Japan, and Singapore, as well as regions such as Hong Kong and Taiwan. What’s striking is that all of these countries and regions that have successfully become economically advanced, are at the heart of the Confucian cultural sphere, showing that Confucianism doesn’t hinder modernization. In fact, it’s been a solid foundation for it.

Question: Prof. Hankins, you’ve just discussed the core ideas behind the clash of civilizations at a seminar of the forum. In your view, what is the essence of this "clash"? And how do you assess the concept of the "Thucydides Trap" in this context?

Prof. Hankins: I don't believe that civilizations as such clash. When they meet geographically they tend to hybridize and blend, unless governments prevent that from happening (as with India and Pakistan). The only time civilizations clash is when empires or nation-states clash. Sometimes, these powers invoke the values of their civilization to rally their citizens, claiming their civilization is threatened.

Well, I don’t think civilizations clash. The nation-states and empires clash. The so-called "Thucydides Trap" was invented by one of my colleagues at Harvard, who was a political theorist. But I’m sorry to say, as a historian, it’s not a valid theory.

Thucydides’ trap is about the rising power and the existing power. But, is that Athens or is that Sparta? It's not really very clear. In fact, the real dynamic was that the major world power at the time was the Persian Empire, which was intervening in Greek politics all the time. So the situation is much more complex than the simplistic idea of a rising power versus an established one.

The "Thucydides Trap" is not something people should feel threatened by. But unfortunately, people in the United States and China both do take it seriously. I think they should stop paying attention to Harvard professors and instead look at history.

Question: Prof. Kong, what generation are you from in the Confucius family line? As a native of Shandong, do you think the strong aspiration among Shandong people to become civil servants and serve the country is rooted in the Confucian principle of "He who excels in study can follow an official career 学而优则仕"?

Prof. Kong: I’m from the 76th generation of Confucius’ descendants. In our family, the second character of our names indicates our generation order. For example, my name, Kong Lingdong, where "Ling" represents the 76th generation. This system is quite structured and has remained consistent. This also reflects an important part of Confucianism: an ethical order, much like a social hierarchy. In the Kong family, you can easily identify someone's generation just by looking at their name.

As for traditional Confucianism, it’s all about self-improvement, family, and eventually, governing and bringing peace to the world. The idea behind "He who excels in study can follow an official career" wasn’t about seeking a government position for personal gain. It's about serving society and the greater good.

Over time, however, this idea has been misunderstood, with many people today focusing too narrowly on the idea of becoming an official, missing the deeper intent of contributing to the community and governance.

Question: In today’s fast-paced, uncertain world, history is often regarded as one of our greatest teachers in times of doubt. Many argue that history tends to repeat itself. How do you think we can draw lessons from history, particularly from Confucianism and traditional Chinese thought, and apply them to navigate future opportunities and challenges?

Prof. Hankins: In my view, history is an antidote to fanaticism. The more you know about history, the less likely you are to indulge in black-and-white thinking or to catastrophism. I think Confucianism is also a transmitter of civilized values and serves as an antidote to the dangers of fanaticism. Fanaticism is what destroys civilizations. That’s why traditions of learning and moral self-cultivation are so important. I believe strongly that China should be the bearer of Confucian civilization, and the world will benefit from it.

Prof. Kong: Confucianism’s strength lies in its inclusiveness. Throughout history, it has encountered numerous external ideologies and cultures. Despite these challenges, Confucianism has consistently absorbed, adapted, and integrated these influences, ultimately evolving into a more dynamic and relevant system of thought.

When it comes to liberalism, Confucianism can benefit by adopting some of its reasonable principles. This is an area where traditional Confucianism should further develop. If Confucianism is to have a greater impact in the future, it will need to incorporate more liberal values. While Confucianism’s emphasis on collectivism aligns with the ideals of socialism, reconciling it with liberalism will require a more complex process of integration.

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Over the past three days, Xinhua News Agency has published four articles exploring key issues at the heart of the debate, including the necessity of central government approval, the role of the lot-drawing ceremony, the significance of traditional religious rituals, and whether reincarnated individuals themselves have the authority to decide matters of reincarnation.

The first article focuses on arguing the necessity of central government approval in the reincarnation of Grand Living Buddhas.

1. Central government approval is fundamental principle, legal safeguard of Grand Living Buddha reincarnation: signed article -- by Li Hui, assistant researcher at College of Philosophy, Nankai University

In the Tibetan Buddhist reincarnation system, the three fundamental principles of "search within the Chinese territory, drawing lots from the golden urn, and approval from the central government" form a comprehensive and rigorous framework for succession. This system serves as a vital safeguard for national unity, ethnic solidarity, and the proper order of Tibetan Buddhism. Among these principles, "approval by the central government" is the system's ultimate and most essential step. Far from being a mere administrative formality, it carries profound historical logic, legal foundation, and practical significance. This principle is essential for ensuring an orderly reincarnation process, as well as for maintaining social stability and enduring peace.

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In 1793, the Qing government promulgated the "Imperially Approved Ordinance for Better Governance of Tibet (29-Article Ordinance)," with its first article explicitly stipulating that the reincarnation of Living Buddhas had to follow the procedure of "drawing lots from the golden urn," and affirming the central government's approval authority over the reincarnation. In 1936, the government of the Republic of China issued the "Regulations on Lama Reincarnation," mandating that the reincarnation of grand Living Buddhas must be reported to the central government before proceeding with historical conventions, traditional religious ritual search, the lot-drawing ceremony, and the final approval by the central government.

Following the founding of the People's Republic of China, the reincarnation of Tibetan Buddhism Living Buddhas has been managed by governments at various levels in accordance with the law. In 1959, the democratic reform abolished the feudal serfdom under theocracy in Xizang, liberating the reincarnation institution and ushering in a new era. Since 1949, the state has successfully overseen the reincarnations of several prominent Living Buddhas, including the 16th Living Buddha Karmapa, the 10th Panchen Erdeni, and the sixth Regent Reting Rinpoche. By 2024, 93 newly reincarnated Living Buddhas had been confirmed upon government approval.

It traces the historical context, outlining how both the Qing Dynasty and the Republic of China exercised approval authority over such reincarnations. The article emphasizes that central government approval is a vital manifestation of national sovereignty, a prerequisite for safeguarding national unity and social stability, and a legal declaration of a modern state's governance over religious affairs.

The second article lays out a detailed historical and political argument for the legitimacy and necessity of the golden urn lot-drawing ceremony in the selection of reincarnated Living Buddhas in Tibetan Buddhism — particularly that of the Dalai Lama.

2. Lot-drawing ceremony is a traditional religious ritual and historical convention that must be upheld in reincarnation of Living Buddhas -- by Liu Huan, an assistant research fellow at the Institute of Ethnology and Anthropology, Chinese Academy of Social Sciences

From the perspective of internal development, it became increasingly evident that members of the Tibetan aristocracy in the Qing Dynasty wantonly interfered with the selection and identification of reincarnations, in an attempt to expand their influence. When identifying reincarnations, the behavior of Chos Skyongs, or Dharma protectors who were responsible for practicing divination by drawing divining sticks or tossing coins, were left unchecked. Bribed by ecclesiastical and secular forces, they arbitrarily specified reincarnations -- therefore most of the selected boys came from aristocratic families, seriously undermining the sanctity and fairness of the reincarnation system. For instance, when searching for the Eighth Dalai Lama's reincarnation, although the Qing Dynasty government sent the third Zhangjia Living Buddha to Xizang to preside over related matters, the finally selected boy was related to the sixth Panchen; the younger brother and nephew of the third Zhangjia Living Buddha were respectively identified as the Nagya and Rakho Living Buddhas; the elder and younger brothers of the sixth Panchen became the Dhunpa Hutuktu of Tashilhumpo Monastery and the 10th Living Buddha of the red hat system of Karma Kagyu Sect respectively; one niece of the sixth Panchen was the Samding Dorje Phagmo Living Buddha. All these examples demonstrate manipulation by family forces on reincarnations. In response, Emperor Qianlong lamented in his article on Lamas that the reincarnations of grand Lamas seemed to have come from one family, which is almost the same as a hereditary title.

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In the face of various drawbacks, the Qing Dynasty government followed the trend of historical development and formulated the golden urn lot-drawing system. After the end of the Gorkha War, the Qing government issued the Imperially Approved Ordinance for Better Governance of Tibet (29-Article Ordinance) (hereinafter referred to as the "Ordinance") in 1793, the first of which stipulated the establishment of the lot-drawing system. This system has henceforth been written into the Qing Dynasty's regulation for the department of foreign-related affairs and established at the legal level. According to the regulation, when searching for the reincarnations of grand Living Buddhas, the names and birthdates of the candidates need to be written on signboards in Manchu, Han and Tibetan languages, and placed in a specially made golden urn. The Qing Dynasty government's high commissioner in Xizang and the grand Living Buddhas would officially draw the lot to identify the signs in front of the statue of Sakyamuni Buddha in Jokhang Temple, and report to the central government for approval after selection.

Tracing the system’s origins to the Qing Dynasty’s 1793 ordinance, the article argues that the lot-drawing ritual was introduced to combat aristocratic manipulation and preserve the sanctity of reincarnation procedures.

The third article emphasizes that the identification of a reincarnated Dalai Lama must strictly follow time-honored Tibetan Buddhist rituals, including divination, visions from sacred sites like Lhamo Latso Lake, behavioral tests, and most importantly, the lot-drawing ceremony using the golden urn, followed by final approval from the central government.

3. Religious rituals fundamental source of legitimacy for Living Buddha reincarnation -- by High-level Tibetan Buddhism College of China

After the passing of the 13th Dalai Lama, the local regional government, in accordance with traditional religious rituals and historical conventions, carried out the search, identification, and enthronement of the 14th Dalai Lama. Based on signs such as the 13th Dalai Lama facing northeast at the time of his death, and following traditional religious rituals including consulting oracles from Dharma protectors and observing the holy lake to find signs about the reincarnation's location, a search team located the reincarnation candidate, Lhamo Thondup (later known as the 14th Dalai Lama, Tenzin Gyatso), in Huangzhong County, Qinghai Province.

......

The search and identification of the reincarnation of a late Dalai Lama is the most complex and closely watched process within the reincarnation system of Living Buddhas in Tibetan Buddhism. It is not a simple search but one that strictly adheres to a system of traditional religious rituals, combining mystical revelation (such as observing the holy lake, divination, and insights from senior monks), rigorous verification (including recognition of relics and behavioral tests), and historical conventions (such as search within the Chinese territory, drawing lots from the golden urn, and approval from the central government). This system is deeply rooted in the core beliefs of Tibetan Buddhism, reflecting its sanctity, historical continuity, and standardization, and is a vital part of Tibetan Buddhism's unique religious culture.

It presents this system as a deeply rooted religious tradition that combines mystical insight, historical continuity, and institutional authority. It argues that the golden urn ceremony, established in the Qing Dynasty, reflects both the spiritual sanctity of the reincarnation process and the sovereignty of the Chinese state. Citing the example of the 14th Dalai Lama’s recognition in 1940—approved and overseen by the Nationalist Government—it concludes that only reincarnations carried out within China, and in line with these prescribed religious and historical practices, can be considered legitimate in the eyes of Tibetan Buddhist.

In the fourth article, Li Decheng of the China Tibetology Research Center challenges the claim that reincarnated individuals—such as the Dalai Lama—can independently decide the course of their reincarnation. Drawing on centuries of historical records and religious conventions, the article argues that the reincarnation of Living Buddhas in Tibetan Buddhism has always been a process governed by collective religious rituals, approval from local and central authorities, and legal oversight. From the 16th century onward, successive Dalai Lamas were identified and confirmed through procedures such as signs, religious consultations, and—beginning in the Qing Dynasty—the golden urn lot-drawing system, all under the supervision of secular governments.

4. Reincarnation of Living Buddhas never decided by reincarnated individuals -- by Li Decheng, deputy director-general of and a research fellow with China Tibetology Research Center

Recently, the Dalai clique and international anti-China forces have colluded to clamor about the reincarnation of Tibetan Buddhist Living Buddhas, claiming that it is an internal religious affair to be decided by the reincarnated individuals themselves. Historical facts demonstrate that the reincarnation of Tibetan Buddhist Living Buddhas, including the search for and confirmation of successive Dalai Lamas, has never followed such a precedent. The reincarnation of Living Buddhas is by no means merely an internal religious matter, nor is it solely the "unique predestined bond" claimed by the 14th Dalai Lama. Instead, it reflects national sovereignty, governmental authority, religious principles, and the sentiments of lay followers.

......

Since the establishment of the reincarnation system of Living Buddhas, it has consistently adhered to and respected principles and traditions of government oversight, management according to law, confirmation through doctrinal determination, and respect for the sentiments of the faithful. There is simply no basis for the reincarnated individual alone to decide the matter, and any attempt to politicize the reincarnation of Living Buddhas will ultimately prove futile.

The article outlines four foundational principles for the reincarnation system: government oversight as an expression of national sovereignty; legal regulation in line with rule-of-law norms; doctrinal determination rooted in religious rituals like the golden urn ceremony; and respect for the sentiments of lay believers, who are overwhelmingly located in China. It stresses that no historical precedent supports the idea of self-determined reincarnation. Instead, the process is portrayed as both a religious and state-regulated matter—one intended to prevent manipulation and preserve the integrity of Tibetan Buddhism within China’s legal and political framework.

According to the latest statistics, Shanghai welcomed approximately 670,900 foreign tourist visits in April alone, a 40.5 percent increase compared to the same month last year and even higher than the 640,800 recorded in April 2019. Meanwhile, Beijing received 454,920 foreign visitors in April, up 23.5 percent from the 368,281 in April 2019.

Against this backdrop of growing inbound travel, today I’d like to introduce a YouTube video that might be especially helpful for those planning a trip to China.

American couple Mike and Ashley—who have over 70,000 subscribers on YouTube—recently shared 14 insights from their two-month journey across China. This was their second visit to the country: the first time, they spent just a few days on a 144-hour transit visa, but the experience left such a strong impression that they returned with a 10-year multiple-entry visa and explored a wide range of Chinese cities.

In addition, I’ve invited Yifei, who belongs to China’s Gen Z generation, to reflect on some of the couple’s observations and share her thoughts from a local perspective.

Tip 1: Chinese cities have developed to the next level

Mike and Ashley said many Westerners think of China as a developing country. So they were rather amazed by how developed some Chinese cities are. Due to negative media coverage about China, they expected it to be somewhat like Vietnam, largely dominated by small villages and rural landscapes.

So when they told their friends and family back home about the highly developed Chinese cities they witnessed, they were all "shocked" and "surprised." They believe many Westerners' impressions of China are still stuck in the 1980s, but China has long since transformed. This was what shocked them on their first visit to China, but they think many Westerners still haven't realized this. Overall, they consider Chinese cities among the most developed they've ever visited.

When expressing these views, they specifically displayed this text at the bottom of the video: "This video is not sponsored; all opinions are their own." Also, they only mentioned that Chinese cities are very developed, not the rural areas.

Yifei:

This point seems valid to me. For many Westerners who have not visited China, the initial impression is often that the country is far more developed than expected. This is primarily due to China’s strong infrastructure, effective implementation, and efficiency. Since becoming the world’s second-largest economy in 2010, China has experienced significant and consistent economic growth. While cities like Shanghai, Shenzhen, and Beijing are highly developed, China’s large geographical area offers a range of experiences. For those interested in a more serene, nature-oriented setting, Yunnan Province in southern China is surely worth considering.

Tip 2: China is HUGE

They mentioned that China is even bigger than the United States.

This couple comes from a small town in Alaska with only 1,000 people, so imagine their shock when arriving in Beijing and Shanghai with populations over 20 million -- each city felt like a different country.

For example, Shanghai gave them a very modern, fashionable vibe, while Beijing felt more traditional and down-to-earth. Guangzhou reminded them of Southeast Asian cities with probably their similar climate and relatively cheaper prices, as well as more third-world foreigners travelling around. And Chengdu and Chongqing had yet another different scenery. They discovered that in China, just traveling a few hundred miles could mean completely different food, culture, and architecture.

Yifei:

To put it in perspective, China spans 9.6 million square kilometers, over twice the size of the European Union, which covers 4.37 million square kilometers. The country offers a wide range of landscapes, climates, cuisines, and customs, varying from the north to the south and from coastal areas to the interior. Traveling across China provides a unique opportunity to experience a diverse range of environments and cultures within one nation. This is especially true during traditional festivals like the Spring Festival or the Dragon Boat Festival, when visitors can observe a variety of regional customs and cultural practices in a relatively short period.

Tip 3: China's transportation is extremely convenient

They mentioned that high-speed rail is the best way to travel in China -- very convenient and fast, and that China's business class of high-speed rail is better than first class, which is the opposite case to the U.S. They felt first class was the worst option -- either go cheap with second class or comfortable with business class. They found Chinese high-speed rail prices more expensive than expected, but considering the long distances, frequent departures, and time saved by not having airport-style security, this transportation remains the best choice. They also mentioned that China's sleeper trains can save on accommodation costs, though they wouldn't choose this option, and preferred a good night's sleep in a hotel. They especially recommended the Trip app. The couple emphasized it wasn't an ad -- they just genuinely found it helpful. I checked, and it's under Ctrip, so it seems their English version is well done. Overall, they find China to be a vast country. However, its transportation system is fast and convenient. You can travel hundreds of kilometers in just a few hours. High-speed rail requires no luggage check-in, only simple security checks. There are no complicated boarding procedures. It's incredibly convenient.

Yifei:

The development of high-speed rail in China has been incredibly fast. I still remember twenty years ago, when long trips meant taking regular trains or even sleeper trains. The carriages were crowded, and the travel time was much longer compared to today’s high-speed rail. For instance, a trip from Beijing to Shanghai (about 1,318 kilometers) used to take 12 hours. Now, the fastest high-speed train on the Beijing-Shanghai route covers the same distance in just four and a half hours. To give you an idea, 1,318 kilometers in Europe would take you across five or six countries, from the Baltic to the Mediterranean.

Tip 4: Remember to always carry your passport

Having traveled globally for the past three years, they feel China stands out in the extremely high frequency of passport use. From buying SIM cards and booking attraction tickets to entering train stations and visiting places like the Great Wall and the Forbidden City, a passport is often required. It's not just for booking -- passport checks are also needed when entering train stations and some attractions. So remember to always carry your passport to avoid unnecessary troubles.

Tip 5: The language barrier is significant

They believe among all countries they've visited, China has the smallest proportion of English speakers.

Young Chinese people use translation apps, but the elderly don't use them as much. However, they're all very friendly and eager to help. No need to worry too much about the language barrier. Taking public transportation in China is relatively easy because high-speed rail, subway, and bus station names generally have English translations, so you won't get lost. They found the most difficult and frustrating times in China were when they were very hungry and entered a restaurant with no food pictures on the menu, and Apple's translation app didn't work well, so they didn't know what they were ordering. They also remind that Google Translate doesn't work in China. Of course, the best approach at such times is to ask the staff and owners for help—they'll all be very friendly in helping solve the problem. So they said they hadn't had one thing that wasn't good in China.

Yifei:

In fact, most of China’s Gen Z have been learning English since elementary school, with English being a key subject in the Gaokao, the national college entrance exam. While students tend to excel in listening, reading, and writing, speaking is often their weak point, especially in inland cities. So, if you speak to them on the street, their English might seem limited, but it's likely just because their speaking skills aren’t as developed. The situation is likely different in cities like Shanghai, Beijing, or Shenzhen.

Tip 6: There's no great map app

They said Google Maps doesn't work in China. Apple Maps can find places, but it's not very user-friendly and can't search for nearby restaurants like Google Maps. They know China's "Dianping" app is very useful, but because it's all in Chinese, they could only take lots of screenshots and use Apple's translation to translate the screenshot pages, very inefficient and the translations weren't always accurate.

Point 7: China has many electric vehicles; be careful crossing streets

China drives on the right, so if you're from a country where driving is on the left, be cautious when crossing streets. They mention this because China has more electric vehicles than any country they’ve visited, and electric cars are very quiet. There have been times when cars approached without them hearing anything, so they remind everyone to stay alert.

Yifei:

Another helpful tip for navigating the streets: with the rise of food delivery services in China these years, electric bike riders can often be seen zipping around. It's a good idea to stay alert as you walk, just to stay safe!

Tip 8: China's popular attractions are definitely worth visiting, but it's important to plan ahead

They initially wondered if China's famous attractions were overhyped and not as impressive as claimed, but they turned out to be just as good as advertised. For example, their experience at the Great Wall was excellent -- despite being one of China’s most popular sites, it ended up being one of their best experiences, especially with the cable car ride up and down. They advise travelers to better estimate the vast scale of China’s cities. They didn’t plan their time well enough in advance, and at times, the cold weather caused them to miss out on some attractions.

Yifei:

I agree with what the couple said. Another point to note is that many of my friends from other parts of China also complain when they visit Beijing for the first time -- they always say you have to plan ahead because many attractions require reservations in advance.

Tip 9: No cash needed for any transactions

They recommend using Alipay and WeChat Pay for payments, but they also mention two instances where they couldn't pay street vendors because the QR codes didn’t accept international credit cards. As a backup, it’s a good idea to withdraw some cash in advance. They recalled withdrawing 1,000 yuan (about 139 U.S. dollars) in cash when arriving in China, and two months later, when leaving, they still had 750 yuan left. You don't need to worry about phone battery either—power banks for rent are everywhere on Chinese streets. They found power banks literally everywhere -- hotel lobbies, Lawson convenience stores, gas stations, small shops, very convenient. They wished other countries had this too. In summary, they emphasize spending some time setting up Alipay and WeChat Pay before coming to China -- it doesn’t take much time and is well worth the effort.

Tip 10: Chinese food is INCREDIBLE

They said one of their favorite things in China was the food, and they loved it maybe a little too much. Before coming to China, they'd only ever had Chinese food at restaurants back home and worried they'd be stuck eating just fried rice and noodles. But once they arrived, their eyes were opened. Their favorite part of the trip became discovering all the unique Chinese foods and trying dishes they’d never experienced before. They were impressed by visiting the world’s largest hotpot restaurant and even made a special video about it while in Chongqing. Another standout memory was eating dim sum at a restaurant in Guangzhou -- they found it incredibly delicious, especially since they love dumplings, and this place had some of the best. They still remember the restaurant's name: Taotaoju 陶陶居. Additionally, this American couple was impressed by another restaurant in Nanjing called Nanjing Impressions and found it delicious and thought all of Nanjing's restaurants were good and cheap, remembering a full table of food for less than 30 dollars. They gained weight in China. Finally, they say to be brave about trying Chinese street food, but remember not to eat at places with lots of flies -- instead, go to high-traffic locations where food turnover is fast and there won't be hygiene issues. They care about hygiene -- they mentioned often getting food poisoning, presumably from unclean food, when traveling to various other countries, but during their two months in China, they didn't get food poisoning even once. So they feel Chinese food is very clean with high hygiene standards, which is why they recommend trying street food.

Tip 11: Prepare a VPN

Tip 12: China is very affordable

They said the reason they hadn't traveled to China before was thinking it would be expensive like other East Asian countries, and they wish someone had told them earlier how affordable China is. Except for intercity transportation costs being relatively expensive, once you're in a city's downtown area, overall prices are very cheap. Their hotel prices generally ranged from 35 to 50 dollars (the cheapest was about 22 dollars), but they found them surprisingly good, even with robots delivering food to the door and one-button curtains -- such advanced rooms for less than 50 dollars a night.

Tip 13: There are many different visa options available

They've been to China twice. The first time was to Beijing using the 144-hour visa-free transit policy, which has now been extended to 240 hours. The second time, feeling 10 days wasn't enough, they applied for a 10-year multiple-entry visa. As American citizens, these are currently the only two tourist visa options available.

Tip 14: China is worth visiting

They particularly emphasized: First, don't listen to what your friends and family say -- just come to China and experience it yourself. China is absolutely worth visiting. Also, the relationship between governments is different from people; Chinese people treat Americans very friendly and warmly. It's worth visiting.

Some overseas China watchers may not be familiar with Wang Shuo — and that’s perfectly understandable. For much of the past two decades, he has kept a remarkably low profile, retreating from public view even as his influence quietly endured. To help bridge the gap, I asked DeepSeek to generate a brief three-paragraph introduction to Wang Shuo for international readers — followed by my own thoughts on why this rare interview is worth your time.

1. Literary Style and Breakthrough: Wang Shuo is one of the most subversive writers in contemporary Chinese literature, known for his razor-sharp wit and irreverent storytelling that shattered the solemn conventions of traditional literature. Works like Wild Beast (动物凶猛) and The Troubleshooters (顽主) depict the lives of ordinary people and social outcasts, deconstructing grand narratives while exposing the absurdity and restlessness of post-reform China. His so-called "hooligan literature" (pizi wenxue) not only challenged the then-mainstream thought but also reinvigorated Chinese writing, making him a pioneer of avant-garde fiction.

2. Social Critique and Cultural Impact: Wang’s writing is fiercely critical, satirizing bureaucracy, moral hypocrisy, and materialism—all of which reflected the spiritual crisis of a society in transition. His novels and essays served as a mirror, capturing the confusion and struggles of everyday people amid China’s market economy boom. This rebellious "Wang Shuo spirit" influenced an entire generation and even permeated pop culture (e.g., the TV series Stories of an Editorial Board), becoming a defining phenomenon in 1990s China.

3. Controversy and Legacy: Though controversial for his "desecration of the sacred," Wang revolutionized Chinese literary language by elevating Beijing slang, dark humor, and colloquial rawness into high art. His work inspired later writers and artists (e.g., Wang Xiaobo, Feng Xiaogang) and forced society to confront the line between authenticity and pretense. Today, Wang Shuo is recognized not just as a literary rebel but as a keen chronicler of China’s social transformation—whose value lies precisely in his "untimely" honesty.

My Personal Take: If you're hoping for commentary on geopolitics or current affairs from Wang's interview after nearly two decades of silence, you’ll likely be disappointed. This interview isn’t about that. Instead, Wang reflects on his daily life, his fondness for scrolling short videos, what cats have taught him about mortality, why he still writes, and what led to his latest long novel series, In the Beginning (起初).

Wang Shuo — and the cultural moment he represented in the 1990s — is inseparable from the stories of China’s social transformation during the early years of reform and opening-up. His writing captures the raw emotion of that era — the anxiety, confusion, excitement, and struggle — all filtered through the lens of ordinary people.

To understand China, one need not always start with diplomacy, China-U.S. relations, or the Taiwan question. Sometimes, the most revealing insights come from voices like Wang’s — not because they are trying to “explain China” to the world, but precisely because they aren’t. Wang Shuo may not be speaking to an international audience in this interview, but if you're interested in China, he’s absolutely worth listening to.

The New World‘s Interview — Wang Shuo: I Swore I'd Never Live Past 40, Now I'm Almost 70

Wang Shuo's last video interview was eighteen years ago, and this is now. In The New World interview, we asked Wang Shuo 10 questions.

After watching the interview video and reading the text, compare it with this official summary from his TV appearance 18 years ago, and you'll see how he's changed: "Renowned writer Wang Shuo graced the major talk show 'Phoenix Salon,' pontificating and passing judgment on others, still maintaining his persona, cursing as soon as he sat down. Besides expressing disdain for certain figures' remarks, he harshly criticized various literary figures."

Wang Shuo in the "Phoenix Salon" interview in 2007

After that, Wang Shuo went into seclusion for over a decade. The only thing that emerged was a written report published in Southern People Weekly in 2015. Through it, people learned that Wang Shuo had cats—one named Duoduo, another named Babu; learned about his daily life, making himself a pizza-style flatbread for breakfast with extra cheese for nutrition; learned he was immersed in writing, planning to write three to four hundred thousand words, saying "Whether it gets published or where it gets published doesn't matter—as long as it comes out before I die."

Looking back now, that novel was "In the Beginning," a massive 1.4 million words, with the first volume published in 2022. The story is no longer set in contemporary Beijing but spans from the battles between the Yan and Yellow Emperors to the Western Han Dynasty. He says he's talkative and wants to get his words out—that's what the novel is written for.

It was because of this book series that The New World got the opportunity to interview Wang Shuo. We sent 10 questions to Wang Shuo through the editorial department of "In the Beginning" and received the following responses.

Below is Wang Shuo's latest interview transcript from the 2025 The New World interview.

Wang Shuo: Chatting like this is fine. If there were a bunch of strangers below, I couldn't do it. When people come to my place, I'm on home turf. If it's unfamiliar territory, I'm actually on guard.

I've been scrolling short videos for ten hours a day recently. It's driving me crazy—my vision's getting worse, my dry eye is acting up, I'm sick of it. I'm planning to quit these short videos.

It's all just mindless scrolling out of boredom, and now I can't focus on anything. I think I should read a book, but then I think, maybe just scroll a bit? And boom—an hour's gone.

I like watching history, military stuff, and military history. There are some internet-famous cats I always follow. I also watch cooking videos—Western baking, and dishes I eat myself like mashed potatoes with cheese and eggs. I don't make anything that complicated, but I like watching them fuss around kneading dough forever. There are some who make flatbread—brush on oil, knead the dough, add shortening, and the bread stays soft forever.

There's one dish I really want to eat just from watching, but I won't—it's this place in Chengdu called Laoma's Pork Trotters. The trotters are stewed until white, the skin stretching as they're placed in a bowl of red sauce. Watching them slurp it down...

When I'm writing, if I wake up at midnight I can't fall back asleep. I have to come out and write for two hours before going back to bed. I used to drink tea, but sometimes I really couldn't sleep when I went back, so now I don't drink tea anymore. I recently discovered my uric acid—I have gout—suddenly dropped by over a hundred. I wondered what happened, and it's because I stopped drinking tea.

I still cook every day. Let me tell you, the foolproof dish is ground meat stir-fried with anything. The heat requirements aren't strict—just cook it through, add soy sauce instead of salt and it won't be too salty. Now because my blood lipids are high and I have serious metabolic issues, I'm eating steamed vegetables. I couldn't have imagined it before—steamed vegetables with a splash of soy sauce. Oh man, it's so bland.

I vacuum too. While vacuuming I think about all sorts of random things, and often I can think them through. It's like when you're driving and thinking—new words pop into your head.

I try to handle every detail of daily life myself. When writing, there are many gaps between plot points that need details to fill them. Without life details, it's all too dry. But if you're not writing, I suggest don't do housework either—better to go out and play, find people to chat with over tea.

I originally had a place where I wanted to die, but then I thought, forget it, I'll die here. Because I never considered getting sick—you have to see doctors, have to speak clearly with people.

So I'll die here, die in this house. My daughter says don't die in the house—it'll be hard to sell. Hahaha. I figure it'll definitely be cardiovascular, a stroke, that kind of death.

My own cats, sixteen and seventeen years old—one had mammary cancer, one hyperthyroidism, both died. I'd raised them for over a decade. I haven't been with any person for that long. There are over a dozen cats buried in my yard, though I didn't raise all of them to death—some died and were buried here.

I'm not sad, I feel for them... because I think all beings suffer in this world. There's nothing worth clinging to in life—what's so good about it? Life is just what it is. I think I'll learn from them in the future, face death bravely, not shamelessly cling to life. Be clean about it—cats die very cleanly. They can really endure pain. I think that's remarkable.

Why are you so superstitious? You're afraid to talk about this. Is it heavy? Not heavy at all. I'm almost seventy—I think talking about this is perfectly fine.

A lifetime passes especially quickly, in the blink of an eye, really just a blink. Actually the slowest part is the first thirty years. After forty, each decade flies by. Before you know it, how did fifty become sixty?

When I was young, I thought forty was really old. I made pacts with people saying I absolutely wouldn't live past forty, yet here I am, shamelessly living past forty. You know back then many old people were particularly shameless, going around writing inscriptions for people, attending all sorts of random meetings—there were groups organizing meetings with various people. I thought when I got old I absolutely couldn't be like that, and after getting old I shouldn't show my face anymore—who wants to see your old face? Haha.

When I was young I liked cloudy days and light rain. Back then I'd see old men leaning against walls—what were they doing? Later I discovered you really do need to lean against walls. After sixty you really need to bask in the sun. Life's destination is the corner by the wall. All my recent social gatherings are with seventy-year-olds—people in their eighties have started appearing.

To be honest, aging hasn't changed me much psychologically. There's a mirror in my house where I still look young. But I really want to take a photo of myself in that mirror to see if I'm hallucinating. It's very strange—in that mirror I don't age, but in other mirrors I look old.

When we were kids there was a food called stinky Chinese toon. It still exists, but I've never eaten it. At my age, I won't eat things I haven't tried, won't meet people I haven't met. Life can just continue as it is, right?

Young people today have a lot of pressure. Back in our day it was even more uncertain. In 1980, society had just begun transforming. I was probably a bit carefree then. The jobs back then sound like nothing now—earning just over 30 yuan a month, barely enough for food, but there was no pressure.

Everyone lived in cramped spaces then—families of four or five in one room. There was no real estate market. When someone's kid grew up and got married after returning from the countryside, they'd build a tiny 5-square-meter room inside.

The key was the wealth gap wasn't big then, so no one made you angry. These short videos make you angry every day—your sense of unfairness is especially strong.

Back then you could still look down on households with ten thousand yuan—they were all just released from prison, not good people. The richest person made ten thousand yuan, and we thought if you made ten thousand you could retire.

The other day in conversation, someone asked if I'd want to go back to being young. I definitely wouldn't. If I went back now I couldn't handle it. Living from the beginning is too exhausting. Even if you don't worry about money, starting over is too tiring—dealing with people of all ages, managing various relationships with family, parents, wife, kids. Too exhausting.

A couple days ago someone asked if my life has been pretty smooth. I thought about it for a while and had to admit I've had a pretty smooth life. Nothing major has happened to me. Everything that's happened I did myself, and I own up to it. What I did myself never got out of control—it was basically within my ability to manage. So I've been able to preserve my personality until now, like it says in "Nine Stories"—try to preserve your nature. Actually every era has people who sail through smoothly. People shouldn't be tortured. That stuff about suffering builds character? Bullshit.

There's nothing I really want to do in this life anymore. I'm not curious about the world anymore. The world is what it is, nothing new.

The editors from my time were all older—I considered them teachers. Now you all, to me you're all kids. Hey, do you think editors won't be needed in the future? In how many years will print disappear, right?

Now everyone says AI will replace all jobs and everyone will just stay home. I actually think that's when literature and art will revive. Either you'll film things yourself or write things—you'll still need platforms for electronic versions.

Screenwriters already have an AI platform producing scripts. But complete personalization still doesn't work, and think about it—it's fed existing material. If academic papers check for plagiarism, when you ask it to write scenes, won't it plagiarize?

Of course I think eventually you'll give AI ideas, because writing has technical aspects—let it handle the technical completion, collaborate with it to write. I think that works. So then it'll all be about pure skill, relying on traffic for money. That's how it'll be in a hundred years, right?

What would I want to say to my younger self? I don't want to talk to him—he wouldn't understand anything I'd say.

We were dumber then than you are now. At least you have more information. Back then I really wondered if everything had already been written.

Before 1980, China didn't really have the concept of writers—writers were either old or dead. Actually the vastness of writing means no matter how many people came before you, there's still space for you.

I started writing in '79 when I was in the army—that was scar literature. Today it's embarrassing to say which writers you liked back then.

I'd just been drafted, and because I got terribly seasick, I was sent to a warehouse on land as a medic. There was nothing to do—I was just idle. You know back then there was no TV, no movies, no pop songs—only novels and poetry. Bei Dao, Gu Cheng, these people were like rock stars. When they went to universities, students went crazy.

And writing fiction could change your fate—win an award for a short story and boom, you'd be transferred to a professional department with a proper position. Of course I wasn't after that—not that I wasn't, I just didn't dare think about it.

There weren't many novels then. Each one published caused a sensation, everyone read each one. After reading them, an arrogant thought arose in me: Just this? I can do this too. Written like this?

When I said "I can write this too," I meant written this badly, I can write. I think writing requires strong confidence. I've met many smart people without confidence, and they have this mistaken idea that they have to write well before showing it—operationally they hold themselves back.

The young Wang Shuo

When I was in the army I wrote a story. Back then soldiers only had one magazine—"PLA Literature and Art." I sent it there and hey, they published it. Back then editors would even revise your work. My story was maybe three to five thousand words, and the editor revised fifteen hundred or two thousand words and published it.

In our unit, a grassroots unit, that was an incredible thing. The General Political Department called, and they transferred me to Beijing to review manuscripts. That left an impression—with my bit of cleverness, if I really had no other way, I could make a living from this. So I just kept writing randomly.

Back then we didn't talk about literature among ourselves, just chatted randomly. There were many writers' gatherings, but we just played cards together.

Let me tell you, most writers themselves are particularly boring. A truly extroverted person can't be this kind of writer. Most don't say much—playing cards together can get awkward. Everyone can only pretend to chat sincerely, but how long can that last?

Back then there were old writers who loved holding exchange meetings. I attended a few—pretty pointless. Mostly surface talk—what could they say? Literature is something you understand through your own experience. Where you're weak, you're weak—you can't change it, you can't get past it. For most people, just read their work. The work is them.

The writers who influenced me most—I had them back then, but now I'm ashamed to admit it.

Many authors I liked, I later saw through their flaws. When I read, I always look for their weaknesses. Really, all novels have flaws, none are perfect. When I see the flaws I stop reading—when I see them straining, showing weakness, I feel I've understood this person.

When I was young I especially liked two people—Hemingway and Remarque. When I saw Hemingway's telegraph style, that "Farewell to Arms," having a romance with a nurse—we'd all done that, I was a medic, haha. Actually I haven't completely seen through these two yet. Hemingway's macho posturing at the end showed some cracks. I think "The Old Man and the Sea" isn't good—I don't like that kind of thing. But he really did survive plane crashes, two or three times, he really did it. But that's fake machismo—I don't like it.

Wang Shuo in his study

A couple days ago I read about some Greek poet who supposedly removed all literary decoration and only stated facts, influencing people like Brodsky and a bunch of others. I bought a copy, and one poem really disgusted me—about being a Greek in a Greek palace seeing all this glory, Byzantine splendor, feeling especially proud. I thought, what does imperial glory have to do with you? Is this nobility? This is just taking imperial glory as your own glory. I immediately disliked this person.

I think leaving your name for posterity is delusion. Among those who've achieved immortality, I think most aren't that remarkable. Take those thunderously famous 18th-century works we read as kids, that critical realism, Tolstoy and such—you can't read them now. What rambling stuff—it's all period-specific.

In China, only a few can truly be immortal. Qu Yuan might last, but honestly, after millennia not that many people read him—students have to for coursework. The "Dao De Jing," "Analects," "Great Learning," "Doctrine of the Mean"—all just a few thousand characters. Can they last another ten thousand years? After ten thousand years, few people will even know Chinese, let alone classical Chinese.

As a kid I read the section about Emperor Wu in "Comprehensive Mirror in Aid of Governance." When I grew up and returned to the book, that section became the most familiar to me. As for myself, I don't think there's any need to write about my own life anymore, but I have things to say, so I'll just say them through other people.

I originally thought writing about emperors wasn't a good idea because emperors are easily reduced to concepts, especially famous ones like Emperor Wu. I wasn't sure how to write it at the time. Then I read Joseph Heller's "God Knows." Back then I still had some... a prostrate feeling toward history and emperors—not prostrate, maybe half-kneeling, thinking history was great and imperial achievements glorious.

Then when I first read "God Knows"—written like that, making King David so messed up. That shattered some things in my mind.

I think emperors and generals come from the people—they're essentially common folk. They're not that great, their minds aren't that sharp. It's those fake loyal ministers below, those bastards giving them terrible advice, creating lots of absurd situations. Actually, just write them as ordinary people—that's how I reconciled with myself.

“In the Beginning” long novel series

Looking at my writing "In the Beginning," I'd say I wrote from middle age to old age. In middle age there was more playful writing, but toward the end it became increasingly serious.

When I was younger I also thought about making money through writing—that's normal. Writing is a craft, and practice makes perfect. Money-making books are formulaic, following patterns—you really don't need to put yourself into those, you can write them by learning techniques.

But writing is multifaceted. Some people don't write for money—they transition from writing for money to writing for themselves. Actually many people stop writing when they can't make money. Many of my contemporaries changed careers, went into business.

Different ages bring different choices. When you write for others, you actually need to cater to them. Writing for yourself is more comfortable. I don't think there's much difference in quality. Those who make lots of money—great. Those who don't make money, who write especially for themselves—once it's written, the goal is achieved. In the end, people can only live for themselves, right?

I think literary talent is daydreaming. There's nothing to discuss about real life—everyone lives mechanically. Only the habit of daydreaming is interesting.

Writing it out is like putting what's in your heart outside. I have this feeling. But sometimes I get confused living life, thinking real life is fake, unimportant—what's important is writing it out, summarizing it.

Actually looking back on my life, I was a talkative child. So I talk a lot, want to get my words out—that's what novels are written for. Next time I write I need to find another angle, say it all again. Slowly empty out all the words in my belly, then I'll feel settled in this life.

To begin, if you approach the Chinese term for "politics"—“政治” (zhèng zhì) — from the perspective of "训诂学" (Chinese philology), you will find that it is, in a sense, derived from the older concept of "righteous governance"—“正治” (zhèng zhì). This is a dual result of the evolution of Chinese characters and the historical development of thought.

The key to understanding the term “政” (zhèng) lies in the character “正” (zhèng). As Confucius said in The Analects:

"政之为言，正也，所以正人之不正也。德之为言，得也，行道而有得于心也."

"Politics, in its essence, is about righteousness, for its purpose is to correct what is wrong in people. Virtue, in its essence, is about attainment; it is the practice of the Way that leads to inner fulfillment."

This statement reflects Confucius’ understanding of politics and morality, and it is of great significance to Chinese conceptualizations of politics. Here, "政" (zhèng) does not merely refer to politics in the modern sense, but also encompasses the concepts of law, order, and governance.

Confucius believed that only in a society that is fundamentally just, reasonable, and orderly can people be treated equally. Without such an environment, individuals might abuse power and position to serve their own interests, thereby disadvantaging the poor, the weak, and the powerless, who become vulnerable to exploitation and oppression.

In the Dao De Jing, the Daoist classic, there is also mention of the idea that “以正治国”, which translates roughly as "govern the state with righteousness (zhèng)."

Actually, the character “正” is deeply embedded in Chinese culture and daily life. In Chinese, important occasions call for "正装" (formal attire), the main meal is referred to as “正餐” (proper meal), and the room facing the main gate is called "正屋" (the main room). We also have terms like "正坐" (sitting properly), "正确" (correct), and "指正" (to correct), all of which emphasize the significance of “正” in Chinese cultural framework.

Now, turning to the character “治” (zhì), its historical roots also provide valuable insight into Chinese political thought. Throughout Chinese history, particularly in the face of natural disasters such as floods, there has been a strong emphasis on prevention and preparing for the unexpected.

Yu the Great, around 2000 BCE, successfully controlled the floods, laying the foundation for Chinese flood management and becoming a symbol of perseverance and selflessness in Chinese culture.

This approach is reflected in the concept of “治,” which, in its original form, refers to the management or regulation of water systems. The character itself, shaped with a reference to water, suggests the idea of management from the most basic level—where things begin—just as water is best controlled at its source. Thus, the character "治" symbolizes a methodical and preventive approach to governance.

It should be noted that not all schools of thought in China offer the exactly same interpretations of "正治“ (righteous governance). Confucianism emphasizes the integration of personal cultivation with political responsibility, as seen in the maxim “修身齐家治国平天下” (cultivate oneself, harmonize the family, govern the state, and bring peace to the world). Daoism advocates for "无为而治” (governing by non-action), suggesting that rulers should align with the natural order and minimize interference. Legalism stresses the combination of law, strategy, and power, with the ultimate goal still being the achievement of social stability and justice. These ideas, to varying degrees, are inspired by the concept of “天下为公” (All under Heaven, or the world, is for all), which reflects the public and moral nature of politics in Chinese culture.

The concept of "Tianxia" (天下), often translated as "All under Heaven," is central to Chinese political philosophy. Historically, it refers to a political worldview where China sees itself not as a hegemonic power but as a central, harmonious entity, capable of bringing stability and peace to surrounding nations. This model contrasts with the Western concept of nation-state sovereignty, emphasizing cooperation and mutual benefit rather than territorial dominance. The ideal of "Tianxia" speaks to a political vision grounded in shared well-being and moral order.

大道之行也，天下为公

The path of great virtue is such that the world is for all

"大道之行也，天下为公" expresses the highest political ideal: that the governance of society should be based on the principle that the world belongs to all. This shows that China has long opposed the notion that a strong nation must dominate others, and rejects the zero-sum mentality of "win or lose." Instead, “天下为公” advocates for mutual cooperation, harmony, equality, and shared development.

With the establishment of the imperial bureaucracy during the Qin and Han dynasties, the term "正治“ (righteous governance) further evolved into a more specialized concept “政治” (politics). In historical texts such as the Han Shu (Book of Han) and Shi Ji (Records of the Grand Historian), the term “政治” became associated with a broader system of governance, reflecting the institutionalization of statecraft and the bureaucratic structures that supported it.

By this time, "politics" had moved beyond the general notion of governance to refer specifically to the systems, laws, and structures that defined statecraft in the context of the imperial state.

In contemporary China, politicians often speak of “民心” (people's support, or the will of people) as the highest form of "politics" (“民心是最大的政治”). This concept is also deeply rooted in Chinese tradition, as evidenced by the ancient saying which comes from the Shang Shu (Book of Documents), a compilation of 58 chapters detailing the events of ancient China.

民为邦本，本固邦宁

The people are the foundation of the nation; a stable foundation leads to a peaceful country

"民为邦本，本固邦宁" mentioned in Shang Shu reflects the profound recognition of the power of the people by ancient Chinese statesmen, as well as their deep concern for the long-term stability of the state.

The "people-centered" philosophy remains an essential component of Chinese political culture and continues to influence contemporary political discourse. It serves as a reminder to leaders to always consider the needs and interests of the people, and to ensure that policies and actions align with the will of the populace. Only when the state genuinely cares for its people and guarantees their rights and well-being can it earn the trust and support of the people, ensuring the long-term stability of the state.

This idea has been further enriched by proverbs and idiomatic expressions such as “载舟覆舟” (the boat can carry or capsize the boat) and “水能载舟亦能覆舟” (water can carry a boat, but it can also capsize it), which vividly express the decisive role of the people in the governance of the state. These expressions not only underline the importance of the people but also reinforce the inherent power balance between rulers and their subjects in the Chinese political system.

In today's world, the deficits in peace, development, and governance pose significant challenges to humanity. Of these three "deficits," governance is the root cause. The issues of peace and development largely arise from this governance deficit, as the current global governance system, rules, and capacities are insufficient to effectively tackle global challenges, resulting in disorder at the international level. Politicians risk descending into “歪治” (corrupt governance), with ordinary people bearing the brunt of the consequences.

In such an environment, the principles of “正治” (righteous governance) and “民心” (the will of the people) remain relevant as China navigates those complex international relationships and domestic challenges. The focus on “people-centered” politics can be seen in the government’s emphasis on multilateral cooperation in areas such as economic development, poverty alleviation, and response to climate change.

The question of which aspects of China’s practices other countries can learn from and which may be difficult to adopt is another matter. However, I hope we can find more common ground between China’s governance wisdom, historical experience, the spirit of the times, and current realities, while identifying the greatest common denominator between China’s governance principles and those of the West and other civilizations, in order to steer global governance toward a more just and rational direction.

I've been a movie buff since I was a kid, and I can vividly remember the excitement of going to the cinema with my friends to watch Harry Potter and the Deathly Hallows (Part 1) when it premiered in the Chinese theaters over a decade ago. It was such a memorable experience. So it was indeed a thrill for me to see the Harry Potter series return to theaters this fall.

Last month, I had an opportunity to attend the Golden Rooster Film Festival in Xiamen, a coastal city in southern China, where I watched the Chinese premiere of Here, the latest film by Robert Zemeckis, also the director of the Oscar-winning Forrest Gump.

During the film festival, I participated in a seminar featuring a conversation between Director Zemeckis and acclaimed Chinese filmmaker Chen Kaige. I also had an excellent talk with Annie Song, a young Chinese independent producer, on new trends in China's film industry.

Inspired by this experience, I wrote a piece about the role of cinema in cultural exchange, especially between China and the U.S., right after the film festival.

Attending this film festival for the first time, Edward Drake, a young director from the American film industry, told Xinhua that he gained a lot of inspiration from watching the conversation between Chinese director Chen Kaige and American director Robert Zemeckis.

"It's fascinating to see two incredibly different filmmakers from China and the United States united by their shared commitment to telling great stories about the human condition. They approach their craft from distinct Eastern and Western perspectives. That's the beauty of film -- it can transcend cultural boundaries, bring people together, and is all rooted in our shared humanity," he said.

With the year drawing to a close, I thought it’d be nice to wrap up the year with a reflection on the movie scene and take a closer look at how American blockbusters have performed in the Chinese market throughout this year. After all, Hollywood plays a significant role in the global film industry, and China remains one of its most important markets. [Fact check: China has been firmly positioned as the second-largest movie market globally since it overtook Japan in 2012.] And that’s how this newsletter came about.

In total, around 30 U.S. films were released in the Chinese mainland, with a mix of blockbusters, sequels, and adaptations capturing the attention of local audiences.

One of the most recent and highly anticipated releases is 《狮子王：木法沙传奇》 Mufasa: The Lion King, a prequel to the 2019 version of The Lion King, officially premiered in Chinese theaters on Dec. 20, garnering a box office of 10.48 million yuan (about 1.46 million U.S. dollars) on the first day. According to Maoyan, even before its official release, nearly 90,000 people were eagerly anticipating its debut in China, with the vast majority giving it a perfect score of 10 out of 10.

I’ve compiled a list of the top three American films released in the Chinese mainland that grossed over 500 million yuan, as well as 10 American films that grossed between 100 million and 500 million yuan as follows, according to data from Maoyan Professional Version.

Box office earnings over 500 million yuan

Top 1:《哥斯拉大战金刚2：帝国崛起》 Godzilla x Kong: The New Empire

Box Office: 957 million yuan

Release Date: March 29

Top 2:《异形：夺命舰》Alien: Romulus

Box Office: 786 million yuan

Release Date: Aug. 16

Top 3:《毒液：最后一舞》 Venom: The Last Dance

Box Office: 684 million yuan

Release Date: Oct. 23

Box office earnings over 100 million yuan

1. 《死侍与金刚狼》Deadpool & Wolverine (Box Office: 430 million yuan; Release Date: July 26)

2. 《神偷奶爸4》Despicable Me 4 (Box Office: 423 million yuan; Release Date: July 12)

3. 《变形金刚：起源》Transformers One (Box Office: 152 million yuan; Release Date: Sept. 27)

4. 《功夫熊猫4》Kung Fu Panda 4 (Box Office: 373 million yuan; Release Date: March 22)

5. 《沙丘2》Dune: Part Two (Box Office: 352 million yuan; Release Date: March 8)

6. 《头脑特工队2》Inside Out 2 (Box Office: 344 million yuan; Release Date: June 21)

7. 《猩球崛起：新世界》Kingdom of the Planet of the Apes (Box Office: 209 million yuan; Release Date: May 10)

8. 《寂静之地：入侵日》A Quiet Place: Day One (Box Office: 129 million yuan; Release Date: June 28)

9. 《养蜂人》The Beekeeper (Box Office: 114 million yuan; Release Date: Jan. 12)

10. 《海洋奇缘2》Moana 2 (Box Office: 102 million yuan; Release Date: Nov. 29)

It's clear that the three films grossing over 500 million yuan are all iconic Hollywood blockbusters. Yet, even the highest earner, Godzilla x Kong: The New Empire, didn't break the 1 billion yuan mark, falling well short of expectations.

It’s noteworthy that Alien: Romulus, a horror film rated R in the U.S. for bloody violence and strong language, was released uncut in the Chinese mainland.

The film grossed approximately 351 million U.S. dollars worldwide, with 105 million U.S. dollars (30%) coming from domestic box office sales. Surprisingly, its performance in China outpaced that in the U.S., earning 786 million yuan.

One key factor in the film's success this summer may have been the controversy surrounding its content, particularly the news of parents complaining that the movie's intense scenes had terrified their 8-year-old children.

The story quickly went viral, trending on Weibo, X-like social media platform in China, with 140 million views. Many Weibo users however pointed out that the film poster clearly stated "Parental Advisory: Not Suitable for Minors," shifting the blame back onto the parents.

Probably, these discussions have sparked curiosity among potential audiences, and many then flocked to theaters to see what the fuss was about.

To better understand the performance of these American blockbusters in the Chinese market, a key indicator is the list of the top ten highest-grossing films in China this year.

On Nov. 27, the total box office revenue in the Chinese mainland officially reached 40 billion yuan for the year, three months later than last year. Leading the way is 热辣滚烫 YOLO, which has claimed the top spot as the highest-grossing film of the year, grossing 3.46 billion yuan. Following closely are 飞驰人生2 Pegasus 2 and 抓娃娃 Successor, securing second and third place, respectively, both surpassing 3.3 billion yuan.

The top eight box office-grossing films this year are all domestically produced, with only one American film making it into the top 10 -- Godzilla x Kong: The New Empire, which ranks 9th. Alien: Romulus, ranked 11th, came close to breaking into the top 10, but was edged out by the Japanese animated fantasy film The Boy and the Heron, which claimed the 10th spot.

From this, it’s clear that the lion’s share of this impressive 40 billion yuan comes from homegrown Chinese films. On the other hand, Hollywood blockbusters, once the uncontested champions of the Chinese market, now seem to be in a deep slump.

This year is not an isolated instance of Hollywood films losing their appeal among Chinese audiences; it’s part of a broader trend that has been unfolding over the past few years.

This trend calls to mind an insightful article published by The New York Times in early 2024, titled "Why China Has Lost Interest in Hollywood Movies," which examines why no American films ranked among the 10 highest-grossing in China in 2023.

This is a stark contrast to the past when Hollywood superhero films consistently shattered box office records in China.

Rolling back ten years, half of the top 10 highest-grossing films in 2014 in the country were American blockbusters, and the highest-grossing film at the time was Transformers: Age of Extinction, which grossed nearly 2 billion yuan. Interstellar, X-Men: Days of Future Past, Captain America: The Winter Soldier, and Dawn of the Planet of the Apes took 5th to 8th place, each grossing over 700 million yuan.

This trend is also captured by Statista, an online statistics portal providing data on various sectors, in a recent articlepublished by Lai Lin Thomala on the statistics & facts about the film industry in China.

"Hollywood studios are eager to grab a slice of China's lucrative box office market, but it has become increasingly difficult for foreign titles to expand their market share in China......Chinese filmmakers have enhanced their competitiveness, content quality, and variety. Many latest releases have been well-received among Chinese movie fans and generated over 100 million yuan in the box office," the author noted.

The author also put forward that in the recent few years, the appeal of domestic productions focusing on national sentiment remained strong, with Full River Red being the blockbuster in 2023. Other mega-hit domestic titles are the sci-fi movie The Wandering Earth, the animation film Ne Zha, the war film The Eight Hundred.

As far as I see, there could be several reasons behind it.

1. Domestic films on the rise

On one hand, the Chinese film market has been beefing up its production content and quality, with a growing number of films -- ranging from sci-fi blockbusters to narrative-driven stories -- that cater to local tastes and are produced to high standards. The industrialization of filmmaking has significantly improved, as seen in smash hit blockbusters like Creation of The Gods I, Ne Zha, and The Wandering Earth.

Data shows that in 2023, the Chinese mainland film market’s total box office reached 54.9 billion yuan, with domestic films accounting for 83.77 percent of the total box office revenue.

Guo Fan , director of China's sci-fi blockbuster threequel The Wandering Earth, said during an interview with Xinhua that one key advantage Chinese scriptwriters and directors have is cultural resonance.

"Chinese filmmakers and audiences share the same cultural context, which leads to emotional connection and common themes," Guo highlighted. "While Hollywood films are high quality, their reception in China differs from that in global markets. Chinese audiences are increasingly drawn to domestic films, driven by shared emotions and cultural concerns."

2. Fatigue with overreliance on Hollywood IP

Superhero films, with the MCU (Marvel Cinematic Universe) leading the charge, are the most prominent example. Since the release of Iron Man in 2008, and peaking with Avengers: Endgame in 2019, audiences have watched over a decade’s worth of MCU films, totaling more than 20 movies.

The Hollywood writers' strike during the pandemic also severely impacted film quality. A Hollywood Reporter article titled "Now What? The Five Crises Confronting a Post-Strike Hollywood" offers an insightful look into the aftermath.

With writers--the creators of a film's story--on strike last summer, the industry faced a disruption in fresh ideas, leading many films to fall back on formulaic plots and lackluster depth. Relying too heavily on existing IP or repeating familiar storylines, these films struggled to offer anything new or emotionally resonant with the Chinese audiences, especially Generation Z.

To capture the attention of Chinese audiences in the future, American films will need to move beyond their “path dependence” on familiar cultural narratives. While action-packed spectacles and traditional storytelling still resonate to some extent, young Chinese viewers are increasingly seeking more depth and relevance.

3. Fierce competition with streaming platforms

In recent years, movie-watching habits in both China and the U.S. have undergone a dramatic transformation.

"A common challenge faced by the Chinese and American film industries is that during the pandemic, people gradually developed a dependency on online streaming content. After the pandemic, this shift in consumption habits has posed challenges for the film industries in both countries," said Liang Junjian, associate professor at Tsinghua University.

With so many entertainment options now available, movies are no longer the go-to choice for many viewers. Whether it's gaming, live-streaming, or online shows, audiences have more ways than ever to stay entertained. As a result, the entire film industry, including Hollywood, now struggles to capture attention in an increasingly crowded entertainment landscape.

The impact of the 2023 writers' strike has continued to reverberate throughout Hollywood this year, with the overall quality of films falling short of pre-pandemic standards.

However, as the effects of the strike continue to fade, 2025 is shaping up to feature a promising lineup of familiar blockbuster contenders with strong potential in the Chinese market.

Potential Hollywood blockbusters in China for 2025

• Captain America: Brave New World

• Snow White

• Mission: Impossible - The Final Reckoning

• Jurassic World Rebirth

• Zootopia 2

• Avatar: Fire and Ash

Personally, I'm betting on Avatar 3, which is set for release at the end of 2025, to make a robust comeback. What about you?

I have received the Chinese full-text version and the English version of the foreword of the report.

According to Xinhua, the Synergization of Civilizations is a thesis that embodies values centered on humanity, integrity and innovation, mutual learning through exchange, shared destiny and harmonious coexistence. It advocates for the inclusive coexistence of different civilizations while transcending historical, cultural, geographic and institutional differences.

The report advocates for the inclusive co-existence of different civilizations while transcending historical, cultural, geographic and institutional differences.

It drew my attention as the foreword of the report mentioned

修昔底德陷阱”并非必然，“文明冲突”绝非宿命

The “Thucydides Trap” is not an inevitability, and the “clash of civilizations” is certainly not predetermined.

I believe this aligns with China's current perspective on geopolitical tensions. The introduction further notes:

中华文明的交融理念以及文明实践给予世界重要启示：“人类只有肤色语言之别，文明只有姹紫嫣红之别，但绝无高低优劣之分……我们应该秉持平等和尊重，摒弃傲慢和偏见，加深对自身文明和其他文明差异性的认知，推动不同文明交流对话、和谐共生。”我们应当立足于自身文化主体性谋求长远发展，推动优秀传统文化在现代化进程中焕发新生。

The concept of harmonious coexistence within Chinese civilization offers significant insights for the global community: “Human beings are different only in terms of skin color and the language used. No civilization is superior over others ...What we need is to respect each other as equals and say no to hubris and prejudice. We need to deepen understanding of the difference between one's own civilization and others', and work to promote interaction, dialogue and harmony among civilizations.” Each civilization should pursue long-term development grounded in the subjectivity of its own culture, revitalizing exceptional traditional practices throughout the modernization process.

The highlighted section is from the keynote speech by Xi Jinping at the opening ceremony of the Conference on Dialogue of Asian Civilizations on May 15, 2019. It brought to mind a recent discussion I had with an overseas China watcher. We explored how Chinese civilization has never sought to impose its culture on others. The Chinese people recognize and respect cultural differences.

The report includes four parts: Synergization and Cultivation of Civilizational Genes, Synergization Forms Civilizational Demeanor, Synergization Highlights Value Propositions, and Synergization Shapes the Future of Civilization. Xinhua has published a mind map summarizing the four parts (Chinese).

I have uploaded the Chinese version of the report on Google Drive for you to download and will put the English full-text version here once I get it.

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