In the ephemeral world of collectibles, Labubu’s journey from obscurity to auction-record fame - and subsequent market correction - mirrors a seismic shift in cultural consumption. Once traded at 1,080,000 RMB yet now facing a 50% price plunge after restocks, this "ugly-cute" figurine embodies capitalism’s dance with emotion. As Peking University scholar Hu Yong (胡泳) observes, its appeal lies in violating norms: merging infantile familiarity with unsettling novelty. For a generation navigating digital isolation, Labubu isn’t just plastic; it’s a vessel for identity, rebellion, and the quiet erosion of grand narratives. The Baby Schema Paradox Labubu’s disproportionate eyes and miniature body exploit an innate human trigger: the Kindchenschema (baby schema). Animal behaviorist Konrad Lorenz’s theory reveals our hardwired urge to protect infantile features - a tool brands weaponize for emotional consumption. Yet Labubu subverts this. Its jagged teeth and hollow gaze inject discomfort into cuteness, creating what Professor Cui Di (崔迪) calls "a dark innocence." Where Hello Kitty radiates saccharine purity, Labubu hybridizes charm with chaos, rejecting "standardized" aesthetics to resonate with adults disillusioned by performative optimism. This duality expands its reach. Traditional "mēng" (萌, cute) toys exclude those seeking sophistication, but Labubu’s grotesque allure bridges demographics. Its design acknowledges…

No matter which ancient - cdrama it is, there's always a headband on or behind the character's head. This seemingly simple headband can make the wearer look graceful and full of Chinese charm. How can such a simple accessory be so appealing? Let me state my view first. This headband is extremely common in TV dramas and Hanfu makeup and styling. For instance, Liu Shishi (刘诗诗) often sported headband looks in the ancient - costume drama Huai Shui Zhu Ting (淮水竹亭). Although we usually just call it a "headband", it actually has multiple names. Let's briefly sort out its common names and wearing methods. Netizens joke that this headband is like a veteran actor, as it appears in every ancient - costume drama with excellent "acting". One of its names contains a character that's difficult to write (a character composed of "xu" on top and "jin" at the bottom, pronounced "xu", meaning a hair rope). According to Zhu Zi's Family Rituals (朱子·家礼), for mourning women, the "xu - jin" is a piece of slightly thin linen about eight inches long, used to tie the hair roots with the rest hanging at the back. In the Song Dynasty's Records of the…

Why do fairies in ancient costume dramas always have two loops on their heads? It seems that in the ancient costume dramas I watched as a child, fairies all sported this hairstyle. Usually, there are two loops, but there can also be multiple loops. What's the name of this hairstyle? Let me give the answer first. This hairstyle is called the Double-loop (Bun) Immortal-worshipping Hairdo, which evolved from the Double-loop Hairdo. "Bun" and "loop" are interchangeable, just different terms. The Double-loop Hairdo was originally a hairstyle for young girls, and multiple loops can also be collectively referred to as "Bun Hairdos". But perhaps because it's so beautiful, this hairstyle also frequently appears in paintings of immortals, such as the famous ancient painting The Nymph of the Luo River and The Scroll of Eighty-seven Immortals. Since then, the fashion has spread throughout history. Because it's the hairstyle of fairies, people weren't satisfied with the traditional name of the double-loop and gave it a new name, "Immortal-worshipping Hairdo". As the name suggests, "this style can only be found in the heavens". Evolution of the Hairstyle You can see that there's an evolutionary context from the traditional Double-loop Hairdo to the Double-loop Immortal-worshipping…

Why were the immortals in ancient costume dramas easily distinguishable at a glance? In today's Xianxia (仙侠) - themed movies and TV shows, the image of immortals usually features white, long robes fluttering in the wind, along with a combination of Chinese and Western photo - studio styles. So, which one is the "real immortal"? Let me state the conclusion first. The images in old - fashioned TV shows were mostly modeled after the traditional costumes in immortal paintings, rather than being conjured up out of thin air. In contrast, modern Xianxia dramas adopt a uniform white color scheme and loose - hair makeup due to modern minimalist aesthetics, which has created a stereotypical impression of Xianxia among most young people. However, can we just make wild guesses about immortal costumes without a dynasty background? No. Looking at the Xianxia dramas in recent years, there are those with ancient Chinese styles, Western styles, or a blend of both. But without exception, pure white and light - colored outfits dominate. No wonder fans say, "To look charming, wear all white." When we examine ancient murals, we find that the immortals' clothing was colorful. The ancients also painted immortals, and like us…

In the world of Qipao, sleeve selection is crucial! In Qipao making, sleeves are an extremely important part. They not only help the skirt and waist achieve a slender silhouette but also accentuate the delicate beauty of the shoulders and neck. Moreover, a uniquely - designed and romantic sleeve is like the icing on the cake, an extension of decoration and an enhancement of beauty. Today, I'll focus on the sleeve types and styles of Qipao and discuss what kinds of sleeves it has. Classic Qipao Sleeve Types Sleeveless: A versatile Qipao style, it's light and simple, allowing the arms to be more fully exposed, which helps elongate the arm lines and create a slender figure. Shoulder Sleeve: The shoulder and sleeve parts are connected, creating soft shoulder lines and highlighting the overall feel of traditional Qipao, naturally fitting the curve of our shoulders. It's especially friendly to ladies with narrow shoulders and is often used in younger - styled Qipao. Moon Sleeve: Based on the sleeveless design, a small sleeve is added, softening the shoulder lines and providing some coverage for a slimming effect. Ultra - short Sleeve: Slightly longer than the moon sleeve, offering better coverage for the…

Yang Zi's Ming-style square collar in the ancient costume drama "Jia Ye (家业)" is truly eye - catching. Square collars are rare even today, so were they really popular in ancient times? Netizens are saying it's such a niche style! Let's start with the fact that similar rectangular and square collars already existed during the Shang and Zhou dynasties. However, the structure of these collars still requires further research, and they weren't very popular. Among traditional collars, the cross - collar was the most common. Rich Ming - style Collars By the Ming Dynasty, there was a wide variety of collars, including stand collars, round collars, square collars, and cross collars. While the front - opening collars popular in the Tang and Song Dynasties and classic cross collars were common, square collars were relatively rare. But they often appeared in Ming Dynasty portraits. You could wear a cross - collar or stand - collar inside a square collar, like Yang Zi wearing a stand - collar and Han Dongjun a cross - collar in the leaked photos of "Jia Ye" Artifacts with Square Collars Many clothing artifacts unearthed from the Ming Dingling Mausoleum feature square collar elements. Most of them…

Recently, the postures of actors in two popular ancient - costume dramas have once again become a hot topic. Why do people care so much about postures? Because postures are extremely important for both ancient - style actors and those who wear Hanfu. Let me state the conclusion first. What we often call posture is actually a person's figure and deportment, which are usually shown when walking, sitting, and standing. In the words of the older generation, it means sitting and standing properly. In current ancient - costume dramas, most characters have high social status, so the audience has higher requirements for them. After all, for a real gentlewoman from a prominent family, there are more constraints from etiquette, and the appearance presented should be more proper. However, in today's TV dramas, it's hard to see the so - called real 'gentlewomen from prominent families'. One reason is the poor postures. For example, the hunchback, the so - called 'rich and noble hump', and the forced standing postures can all reflect obvious posture problems. There are also details shown in expressions, such as the eyes and smiles. A good posture should at least be visually comfortable, natural, and aesthetically pleasing.…

September 9th is a special festival in Chinese traditional festivals. The Double Ninth Festival on this day is special because of its auspicious meaning. On the 9th day of the 9th lunar month, both the day and the month are 9, so it's called "Chongjiu". Also, 9 belongs to Yang in ancient times, and double Yang is a good omen and a good meaning. So on this day, there have always been traditional customs like "climbing high to drive away evil spirits, wearing dogwood, appreciating chrysanthemums, and sacrificing to heaven, earth, and ancestors to express gratitude for the harvest". In addition, it's also a festival for visiting relatives and respecting the elderly. In 1989, our government officially designated the 9th day of the 9th lunar month as "China's Senior Citizens' Day". On such a celebratory day, buying a gift for elders to show respect and love has become a top priority for many people. So what kind of gift to choose? If you haven't decided yet, we suggests giving your relatives or mother a cheongsam, which represents the beauty of Chinese national essence and is a women's national dress. It not only echoes the traditional festival atmosphere of the Double…

After the Spring Festival in 2025, the movie market has been lackluster. Whether it's short holidays like Tomb - Sweeping Festival and Dragon Boat Festival or the five - day May Day holiday, there have been few good movies. As half of 2025 has passed and the summer movie season is approaching, the first part of the suspense drama Jiangyuan Nong (酱园弄), directed by Peter Chan and starring popular and powerful actors such as Zhang Ziyi, Lei Jiayin, and Wang Chuanjun, was officially released nationwide on June 21. From the preview screening to the official release in just a few days, the movie has gained significant popularity. The Founding of a Republic Jiangyuan Nong is known as the suspense version of The Founding of a Republic. It not only has Zhang Ziyi and Lei Jiayin in leading roles but also features well - recognized powerful actors like Wang Chuanjun, Mei Ting, and Fan Wei as supporting roles. With the support of high - profile stars such as Li Xian, Jackson Yee, Zhang Zifeng, and Xie Na, the movie has attracted much attention from its inception to filming and later promotion. Especially, it's rare for Yang Mi and Zhao Liying, two…

In the summer of 2025, a total of 88 new films are set to hit the screens, with the potential to break through the 1.5 - billion - yuan box office mark. Shanghai Film Group released a slate of 26 films and TV shows, including highly - anticipated domestic movies like Little Monster from Langlang Mountain. Wanda Film disclosed dozens of movies and TV series, such as Malice and Strange Tales from a Lonely Studio: Lanruo Temple. Industry insiders said they expect more films to boost the summer - schedule market performance and surpass that of the same period last year. This year's summer - schedule film slate is evenly distributed, which is expected to continuously drive the box office during the period. As the ten - day Shanghai International Film Festival is about to end, the film market officially enters its most important time of the year. According to Maoyan Professional Edition data, the total box office (including pre - sales) for the 2025 summer schedule has exceeded 100 million yuan. Among the 88 films to be released during this period, there are much - awaited domestic movies like She's Got No Name, The Lychees of Chang'an, East Pole…

2025 marks a monumental year for Chinese animation, signaling a cultural renaissance that has fans worldwide buzzing with anticipation. This isn't just a wave - it's a tsunami of creativity, with over a dozen highly anticipated films set to debut, reflecting China's growing confidence in storytelling and technological innovation. For decades, Japanese and Western animations dominated the global scene, but 2025 changes the game. Studios like Shanghai Animation Film Studio and creators such as Yi Zhongtian (易中天) (famed for his historical expertise) are pushing boundaries, blending ancient myths with cutting-edge CGI. The lineup includes titles ranging from fantasy adventures to historical epics, all poised to captivate audiences with their unique narratives. This surge is fueled by rising domestic talent and international recognition, as seen in films like A Story About Fire (燃比娃), which premiered at the Berlin International Festival. For anime enthusiasts, this year promises an unprecedented feast of imagination, where every release feels like a step toward redefining what animation can achieve in the 21st century. Stories That Redefine Fantasy Among the standout films, Endless Journey of Love (时间之子) stands out with its blend of historical Shanghai and supernatural intrigue. Set for release on May 30, it follows Qian…

Sinners masterfully employs blues music not merely as soundtrack, but as the dying heartbeat of Black cultural autonomy. Protagonist Sammy’s guitar symbolizes resistance against cultural erasure - a defiant stance against the whitewashing of Black musical heritage. His transition from blues to jazz mirrors a painful truth: the commodification of Black art dilutes its soul. Blues, born from the agony of slavery and systemic oppression, loses its raw authenticity when repackaged for mainstream consumption. Sammy’s lament, "My joy ended before that sunset," echoes the grief of generations witnessing their narratives sanitized for palatability. Hollywood’s reduction of Black characters to tropes - absent fathers, drug dealers, or comic relief - stands in stark contrast to Sinners’s textured portrayal. The film critiques how Black culture is flattened into marketable stereotypes: gold chains, sagging pants, and violence. This commodification creates a vicious cycle where audiences internalize these caricatures as reality, stifling authentic representation. When Sammy clings to his guitar, he isn’t just holding an instrument; he’s grasping the last thread of unadulterated Black expression in a landscape dominated by cultural vultures. The erosion depicted extends beyond art into identity. As blues morphs into entertainment, Black intellectuals grapple with a hollow victory: visibility without…

Behind the shimmering visuals of Chinese Studio: Lanruo Temple (聊斋：兰若寺) lies an equally compelling story - one told not by brushstrokes or pixels, but by the art of voice acting. The film’s newly released voice acting featurette reveals a bold experiment: a squad of seasoned voice talents stepping up to breathe life into thirteen lead characters across six distinct tales. This isn’t just a casting choice; it’s a masterclass in versatility. Take Zhang He (张赫) and Lin Qiang (林强), the voices of Xuanguizi and Lingchan Shiren in The Well Story (井下故事) and The Taoist of Mount Lao (崂山道士). Their recording sessions, as shown in the featurette, are a playful dance of creativity. “We just went with what felt fun,” Zhang quips, while Lin adds whimsical animal sounds - from growls to chirps - to amplify the characters’ quirks. For The Lotus Princess (莲花公主), young actor Fu Bohan (傅铂涵), voicing Dou Xu (窦旭), found himself charmed by co-actor Cheng Li’s delicate voice, mistakenly assuming she was a child. “She sounds so sweet and innocent!” he admits, a testament to the voice actors’ ability to transcend age and form. Equally striking is the emotional depth these artists bring. For The Painted Skin…

Crisis or Opportunity? The atmosphere at Shanghai Film City during the 27th Shanghai International Film Festival (SIFF) was electric. Audiences queued for hours to catch Claude Lanzmann’s nine-hour Holocaust documentary Shoah or David Lynch’s midnight trilogy. Yet outside this bubble, reality bites: China’s overall box office revenue for May 2025 plummeted to 1.7 billion yuan, down 42% year-on-year. This stark duality frames Chinese cinema’s 120th anniversary - a celebration shadowed by existential questions. Veteran Hong Kong action director Yuen Heping (袁和平) struck a defiant note: "Chinese cinema has many more 120 years. Film will not disappear" . But as producers and directors gathered at forums, their discussions centered on reinvention. With rising production costs, fragmented audiences, and streaming rivals, how does an industry built on theatrical spectacle evolve? When Film Festivals Outshine Theatres Zhou You's (周游) experience mirrors the film festival's screening craze. Despite accounting for less than 0.1% of showtimes, SIFF ranked 5th in daily box office from June 16-18, grabbing over 8% of daily revenue. That's wild - proof cinephiles will go all out for rare screenings. For ten days, Shanghai transformed into a cinephile’s pilgrimage site. Diehards like Zhou You crammed five films daily, fueled by coffee…

64 Monkeys Herald a Legend's Return The internet erupted. A single image - 64 spectral monkeys locked in furious combat across a roiling cloud sea - instantly reignited decades of collective memory. This wasn't just concept art; it was a clarion call. After a staggering ten years in development limbo, the cinematic adaptation of Journey to the West's (西游记) most enigmatic chapter, "The True and False Monkey King," finally has tangible form, aiming for a 2026 release. At its heart lies the unparalleled legacy of Liu Xiao Ling Tong, the actor whose portrayal of Sun Wukong in the seminal 1986 TV series remains the undisputed gold standard, etched into the DNA of Chinese popular culture. Liu Xiao Ling Tong (六小龄童), now 64, embodies the Monkey King like no other. His iconic silhouette - the phoenix-feather crown, the shimmering golden staff - transcends mere performance; it is Sun Wukong for generations. His famous, often-misunderstood declaration - "Adaptation is not random fabrication; dramatic interpretation is not nonsensical chatter" - resonates with newfound weight today. Once perceived as artistic arrogance, it now reads as fierce cultural custodianship, a shield forged from deep reverence against decades of derivative, often disrespectful, commercial exploitation of the…

The Shanghai International Film Festival shimmered with surprise on June 14th as director Rao Xiaozhi (饶晓志) unveiled not one, but two highly anticipated sequels to his groundbreaking black comedy franchise, A Cool Fish (无名之辈). Nobody: Turning Tide (否极泰来) will ignite summer screens on July 5th, while Nobody: What Truly Matters (意义非凡) promises a darkly humorous New Year’s Eve celebration on December 31st. This bold dual release strategy marks an ambitious expansion for the series, transforming standalone tales of provincial chaos into a globally interconnected saga. Seven years after the original film became a sleeper hit, its unique blend of razor-sharp wit and profound empathy for society’s underdogs continues to resonate. The first A Cool Fish wasn’t just a box office success; it etched characters like Hu Guangzhi (Zhang Yu) and Ma Jianyin (Ren Suxi) into China’s cinematic consciousness, proving that stories of small-town desperation could capture nationwide hearts. The announcement of dual sequels signals Rao’s confidence in evolving these beloved misfits from local curiosities into accidental players on an international stage. Returning with the original creative nucleus, the sequels promise amplified stakes and broader horizons. Ren Suxi (任素汐) reprises her role, hinting that Turning Tide descends into "sheer madness, drama,…

Liu Shishi's Strappy Bustier Is So Special. Netizens say they haven't seen such a style in costume dramas since then. In the costume drama Strange Women in Liao Zhai (聊斋奇女子), when Liu Shishi, playing Xin Shisiniang (辛十四娘), danced, she wore a very special "wide - strapped underwear". Were ancient undergarments really so "modern"? And what were they called? Let's start with the conclusion. There were numerous forms of ancient undergarments. Some people simply called them "Moxiong" (抹胸). In a broad sense, it was a "general term" for ancient undergarments. As the name implies, it was clothing that covered the chest. There were one - piece Moxiong styles, strappy styles, and even cross - strappy styles. The styles were truly diverse. The Moxiong in Hanfu encompasses various undergarment categories. As more people used this term, it became a "generalized term". The names also differed in different periods, and some were even named according to the tombs where they were unearthed. Although in some excavation reports, Moxiong was directly marked, each period had its own mainstream characteristic undergarments. Moxiong Styles Currently, we know that the "mo" in Modu (肚兜), Mofu (抹腹), and Moe (抹额) is pronounced "mò". In this phrase, its original…

What's the name of the rabbit - like hairstyle on Song Zuer's head? In ancient - costumed dramas, we often spot this kind of rabbit - like hair bun, which netizens lovingly call the 'rabbit hairstyle'. What's its origin? Why do female stars adore it? Let me share the conclusion first. This hair bun resembling rabbit ears can generally be called 'double buns'. Double buns are a general term for two buns. Looking into specific styling details, they can also be named 'Lily Buns', 'Intertwined - heart Buns', etc., all styles of double buns. There's a gap in the middle or they're crossed, and it was a popular hairstyle in the early and prosperous Tang Dynasty. We can see it in many TV dramas, usually paired with Tang - style Hanfu, like the chest - high shirt and skirt, showing simplicity and vitality, as well as a girlish charm. According to 'Zhonghua Gujin Zhu' by Ma Gao of the Five Dynasties, the Lily Bun was very trendy during the Zhenguan period: 'During the Zhenguan period, people combed the Submissive Bun. Also, Yang Yuhuan combed side buns and did the crying - makeup. There were also the Sorrow - coming Bun,…

If there's any Chinese actress who knows how to wear a Qipao best, Gong Li undoubtedly tops the list. As an ambassador promoting Qipao culture, Gong Li has been showcasing the beauty of Chinese aesthetics to the world since her debut at international film festivals in 1988. Today, I'd like to focus on Gong Li and explore the remarkable chapters she has written with Qipao over the decades, as the most accomplished and influential Chinese actress in global cinema. Through her choices and presentations, we can rediscover the beauty, charm, and versatility of Qipao in different contexts. In 1988, Gong Li attended the Cannes Film Festival for the first time to promote her film King of the Children. Her youthful face was complemented by a pearl - white jacquard Qipao with subtle patterns, marking the beginning of her iconic association with Qipao. In the early days, her Qipaos were understated—short sleeves paired with a narrow skirt, adorned with delicate handmade floral buttons and statement earrings, creating a perfect balance of elegance. Even when standing alongside actresses like Sylvia Chang and Pan Hong, Gong Li radiated grace. 1990: Elegant Curve In 1990, at the Cannes closing ceremony, she wore another white…

Today, let's continue the previous special topic about Gong Li's red - carpet shows throughout the 1990s, which can be regarded as a dazzling cheongsam show. In this long - spanning show, Gong Li presented us with a perfect and eye - catching display. The arrival of the new millennium marked the end of an era and the gentle start of another. All nostalgic and classical elements achieved unexpected development and presentation under the influence of new - style culture, with the cheongsam being a representative. If we look at the cheongsam's development in the vast waves of the entire era's civilization, it would be an extremely long - winded narrative. However, using Gong Li's choices as a reference, it's easier to discover the changes and context. In 2000, a new era began. Gong Li was invited to be the chairperson of the jury at the 50th Berlin International Film Festival, becoming the first Chinese judge to enter the three major European film festivals. It can be said that from 2000 on, Gong Li transformed from a Chinese actress into a globally influential superstar and a symbol of Chinese cinema. This change was also very concretely reflected in her subsequent…