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Female Comedian Yang Li and the Intel Controversy

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“How to look at the boycott of Yang Li?” (#如何看待抵制杨笠#) became a top trending topic on social media site Weibo on Monday after female comedian Yang Li was dismissed as the spokesperson for American tech company Intel over a controversial ad campaign.

On March 18, Intel released an ad on its Weibo account in which Yang says “Intel has a taste [for laptops] that is higher than my taste for men” (“英特尔的眼光太高了,比我挑对象的眼光都高.”)

The ad drew complaints for allegedly insulting men, with some social media users vowing to boycott the tech brand. On Sunday, Intel deleted the ad in question from its social media page and reportedly also removed Yang from her position as their brand ambassador.

The commotion over the ad had more to do with Chinese comedian Yang Li (杨笠) than with the specific lines that were featured in it.

Yang Li is controversial for her jokes mocking men (“men are adorable, but mysterious. After all, they can look so average and yet be so full of confidence“), with some blaming her for being “sexist” and “promoting hatred against all men.”

Since she appeared on the stand-up comedy TV competition Rock and Roast (脱口秀大会) last year, she was nicknamed the the “punchline queen” and became one of the more influential comedians in present-day China. Yang now has nearly 1,5 million fans on Weibo (@-杨笠-).

Yang Li’s bold jokes and sharp way of talking about gender roles and differences between men and women in Chinese society is one of the main reasons she became so famous. Intel surely knew this when asking Yang to be their brand ambassador.

In light of the controversy, the fact that Intel was so quick to remove Yang also triggered criticism. Some (male) netizens felt that Intel, a company that sells laptops, could not be represented by a woman who makes fun of men, while these men are a supposed target audience for Intel products.

But after Yang was removed, many (female) netizens also felt offended, suggesting that in the 21st century, Intel couldn’t possibly believe that their products were mainly intended for men (“以男性用户为主”)? Wasn’t their female customer base just as important?

According to online reports, Intel responded by saying: “We noted that the content [we] spread relating to Yang Li caused controversy, and this is not what we had anticipated. We place great importance on diversity and inclusion. We fully recognize and value the diverse world we live in, and are committed to working with partners from all walks of life to create an inclusive workplace and social environment.”

However, Intel’s decision backfired, as many wondered why having Yang as their brand ambassador would not go hand in hand with ‘promoting an inclusive social environment.’

“Who are you being ‘inclusive’ too? Common ‘confident’ men?”, one person wrote, with others saying: “Why can so many beauty and cosmetic brands be represented by male idols and celebrities? I loathe these double standards.”

“As a Chinese guy, I really think Yang Li is funny. I didn’t realize Chinese men had such a lack of humor!” another Weibo user writes.

There are also people raising the issue of Yang’s position and how people are confusing her performative work with her actual character. One popular law blogger wrote: “Really, boycotting Yang Li is meaningless. Stand-up comedy is a performance, just as the roles people play in a TV drama.”

Just a month ago, another Chinese comedian also came under fire for his work as a brand ambassador for female underwear brand Ubras.

It is extremely common in China for celebrities to be brand ambassadors; virtually every big celebrity is tied to one or more brands. Signing male celebrities to promote female-targeted products is also a popular trend (Li 2020). Apparently, there is still a long way to go when the tables are turned – especially when it is about female celebrities with a sharp tongue.

By Manya Koetse

Li, Xiaomeng. 2020. “How powerful is the female gaze? The implication of using male celebrities for promoting female cosmetics in China.” Global Media and China, Vol.5 (1), p.55-68.

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