The Evolution of Chinese New Year Gala Comedy Skits: A Review of 'Golden Turtle Daughter-in-Law'

The 2025 Spring Festival Gala comedy skit ‘Golden Turtle Daughter-in-Law’ featuring Shen Teng and Ma Li drew mixed reactions, with audiences criticizing its rushed storyline and underdeveloped plot despite addressing relevant social issues like rental disputes in China.

The lunar new year comedy skit “Golden Turtle Daughter-in-Law” presented at China’s 2025 Spring Festival Gala has sparked widespread discussion about the changing landscape of Chinese television comedy. Starring veteran performers Shen Teng and Ma Li, the skit attempted to tackle contemporary social issues while maintaining the traditional comedic elements expected at the annual gala.

The narrative centered around a complex relationship dynamic where Ma Li played the mother of Shen Teng’s girlfriend, creating an interesting generational tension. The plot incorporated modern social issues, particularly focusing on rental disputes and advance payment requirements in China’s urban housing market. This topical approach represented a departure from purely entertainment-focused performances of previous years.

However, the execution fell short of audience expectations in several ways. The pacing felt rushed, with many viewers noting that the comedic timing was compromised by what appeared to be significant script editing. The callback to Shen Teng’s earlier work “Help or Not” from over a decade ago seemed forced rather than organic, highlighting a reliance on familiar tropes rather than fresh material.

The introduction of Sun Qian and Song Yang as supporting characters, while promising, ultimately felt underutilized. Their limited screen time and peripheral involvement in the main plot contributed to the sense of a fragmented narrative. The performance particularly suffered from abrupt transitions and an unsatisfying conclusion that left many plot threads unresolved.

Despite these shortcomings, the skit did manage to resonate with some viewers through its commentary on real estate practices in China, particularly the controversial “electricity and water deposit” policies. The chemistry between Shen Teng and Ma Li, built through years of collaboration, provided moments of genuine entertainment amid the structural issues.

The audience reaction has opened a broader discussion about the evolution of Chinese New Year Gala comedy skits. Many viewers expressed nostalgia for the more carefully crafted performances of previous years, when comedic segments were given adequate time to develop both their humor and social commentary. The restricted time slot allocated to comedy segments has become a point of contention, with audiences suggesting that reducing musical performances could allow for better-developed comedic content.

This performance marks a significant moment in the trajectory of Spring Festival Gala comedy, highlighting the challenges of balancing entertainment, social commentary, and time constraints in modern Chinese television. While the attempt to address contemporary issues deserves recognition, the execution suggests that the format may need reconsideration to better serve both performers and audiences.

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