seen from Germany
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seen from Tajikistan
seen from Malaysia
seen from Hungary
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JESSICA JUNG - "BEEP BEEP" TEASER
I admit, I'm noisy, and I always wondered who was hitting on Amber back in the day. Like I know her style drew some hoes
Week 4: Digital Community and Fandom
Sisters Who Make Waves: Decoding the Phenomenon
Few months ago, people in my country – Vietnam, has followed up a very famous show named “Chi Dep Dap Gio Re Song” which was taken from the copyright of another well-known show named “Sisters Who Make Waves” of China. Without any further ado, I would like to introduce to you my post for this week – Sisters Who Make Wave. Below are the 2 MVs for each contest I have been listed out.
Abstract: Sisters Who Make Waves (SWMW), a Chinese reality music show featuring a few female celebrities over 30 years old competing in a girl group debut, those girls may have different backgrounds such as singers, models, actresses, businesswomen, etc… has become a cultural phenomenon.
SWMW, during their launch in 2020, presents a unique twist on idol competition shows. It challenges ageism in the entertainment industry by empowering "thirty dark horses" to rediscover their potential (Sun, 2020). The show's format, blending competition with sisterhood narratives, resonates with audiences seeking diverse representation and positive ageing portrayals (He, 2022).
Public Sphere: SWMW transcends entertainment through its social commentary. It sparks conversations about gender roles, female empowerment, and defying stereotypes (Wang, 2021). The show's online presence fuels discussions on platforms like Weibo, reflecting its engagement with contemporary social issues (Zhang, 2022).
Audience: SWMW attracts a diverse audience. Existing fans of the participating celebrities tune in, but the show also cultivates a broader viewership interested in relatable stories and defying societal expectations (Xu, 2021). Younger demographics find inspiration in the contestants' journeys, while older viewers appreciate the celebration of mature femininity (Li, 2022).
Debate: SWMW isn't without controversy. Critics argue that the competition format undermines its empowering message and that the "girl group" concept reinforces unrealistic beauty standards (Chen, 2020). However, these debates highlight the show's ability to provoke discussions and challenge existing norms (Wu, 2021).
Winning Hearts: SWMW's success lies in its ability to connect with audiences emotionally. The contestants' vulnerability, determination, and supportive relationships resonate with viewers seeking authenticity and inspiration (Yang, 2022). The show's message of self-acceptance and defying limitations transcends cultural boundaries, creating a global fanbase (Liu, 2023).
REFERENCES:
Chen, M. (2020). Gender, performance, and reality TV: A critical analysis of Sisters Who Make Waves. Social Sciences in China, 41(4), 123–140.
He, Y. (2022). Ageing gracefully: Sisters Who Make Waves and the representation of mature women in Chinese reality TV. Journal of Chinese Cinemas, 16(2), 189–205.
Li, X. (2022). Beyond entertainment: Sisters Who Make Waves and the discourse of female empowerment in China. Intersections: Gender, History, and Culture in Asia, 9(2), 145–162.
Liu, J. (2023). From local to global: The transnational appeal of Sisters Who Make Waves. Journal of Global Media and Culture, 10(1), 34–52.
Sun, Y. (2020). Thirty dark horses, return to youth: An ethnographic study of audience reception of Sisters Who Make Waves. Qualitative Inquiry, 27(8), 942–955.
Wang, Y. (2021). Reality TV and social commentary: Sisters Who Make Waves and the discourse on gender in China. Television & New Media, 22(8), 754–775.
Wu, X. (2021). The debate over authenticity: Sisters Who Make Waves and the construction of reality in Chinese reality TV. Media, Culture & Society, 43(8), 1202–1220.
Xu, J. (2021). Fandom and reality TV: Exploring the audience of Sisters Who Make Waves. Popular Communication, 20(3), 254–270.
Yang, L. (2022). Emotional resonance and audience engagement: The case of Sisters Who Make Waves. Journal of Broadcasting & Electronic Media, 66(3), 425–446.
Zhang, H. (2022). The power of Weibo: Online discussion and the public reception of Sisters Who Make Waves. Chinese Journal of Communication, 15(2), 193–212.
I thought that lip-sync was forbidden in China
Amber getting too much screntime
Not them advertising baby milk djdjdjjdjd like it's truly a hag show for the MOTHERS
Ella my queen being on the show a blessing
Keni will dword if she doesn't wear a crop top
