Set in the Three Kingdoms period, 'Meng Zong Cries for Bamboo' is a film that explores themes of filial piety, public works, and the nascent Chinese LGBTQ movement. The film's artistic choices, such as the unreliable laws of physics, symbolize the political and physical challenges of the time. Meng Zong, the protagonist, displays foresight and selflessness, while his mother, Mama Meng, teaches the importance of respecting nature. The film subtly critiques the Chinese healthcare system, highlighting the lack of federal assistance for low-income families. Master Rong, a humorous and intriguing character, adds depth to the narrative.

Chinese people have a fascination with Jews, often based on stereotypes that are positive in China but negative in the West. Despite limited direct interaction with Jewish people, Chinese perceptions are shaped by broad but shallow knowledge, leading to a form of 'pro-Semitism' that attributes wealth, intelligence, and media control to Jews.

Jesse Appell, an intercultural comedian, reflects on his recent tour performing Chinese-language comedy across 13 cities in Canada and the US, including rural Missouri and Ohio. He shares his experiences and jokes about Beijing street food, highlighting the reach of Chinese comedy beyond traditional borders.

Jesse Appell, an intercultural comedian, announces the Great LOL of China North America Tour, where he will perform Chinese-language comedy shows at universities across North America and give English-language talks about Xiangsheng and humor. He aims to bridge cultural gaps and share his experiences with both Chinese and Western audiences, hoping to foster understanding and laughter.

The author describes an experiment in translating and performing the absurdist comedy of Mitch Hedberg for a Chinese audience. Despite cultural differences and the challenge of adapting Hedberg's unique delivery, the performance was a success, with jokes about relatable topics receiving laughter and applause. The experience demonstrated that even unconventional comedic styles could be localized and appreciated across cultures, underscoring the importance of delivery in comedy.

The passing of Robin Williams has resonated globally, affecting people across different cultures, including the English-speaking world and China. His work, particularly 'Aladdin', 'Dead Poet’s Society', and 'Crazy Ones', has been widely remembered and cherished. Comedy is seen as a universal brotherhood, with Chinese comedians acknowledging Williams' influence on their craft. The loss of a comedian like Williams is felt deeply, as it represents the loss of unique insights into comedy that cannot be easily replicated or documented. Jesse Appell, the creator of the blog 'The Great LOL of China', reflects on the cultural impact of Williams and the shared grief within the comedic community.

The article explores the cultural perceptions and humor surrounding American gun culture from a Chinese perspective. It highlights the superficial understanding of America in China, often shaped by Hollywood and media, and contrasts it with the deeper issues of gun violence and mental health. Through anecdotes and comedy routines, the piece underscores the differences in how gun-related violence is perceived and joked about in both countries, while also pointing out the broader cultural misunderstandings that persist.

Localizing comedy in China involves adapting performances to resonate with local audiences, a practice common among traditional Xiangsheng performers and stand-up comedians. Performers often modify their material to reflect local culture, food, and infrastructure, sometimes at the request of sponsors such as local TV stations or government offices. These adaptations can range from singing local opera with altered lyrics to changing jokes to include local food references, as seen in Wuhan with hot dry noodles instead of Beijing's lamb kebabs. The article highlights the importance of local relevance in comedy and the positive reception of localized content by audiences and officials.

The author humorously recounts an experience of making a Chinese government official laugh during a standup performance at a U.S. Consulate event in Wuhan. The event, held on July 1st, was part of the Consulate’s July 4th celebrations and attended by high-level officials from the Hubei government. The narrative highlights the cultural exchange and the unique setting of the performance.

The article humorously discusses the cultural phenomenon of the 'Two Sentence Speech' in Chinese events, which, contrary to its name, is never just two sentences long. The author, a performer of the traditional Chinese comedy style Xiangsheng, shares his experiences with these speeches, which are a staple at company parties and minor government ceremonies. He recounts an incident where a venerable actor, You Benchang, was invited to give a speech after a stand-up comedy show, which was well-received but felt culturally out of place. The author reflects on the cultural importance of respecting elders and wonders if future Chinese stand-up comedy will continue to incorporate these speeches.

The article explores the complexities of performing stand-up comedy in China, focusing on the cultural and social sensitivities that comedians must navigate. It highlights the challenges posed by censorship and the audience's conditioned responses to sensitive topics. Despite these constraints, there is a strong interest in edgy comedy, particularly among younger audiences, as evidenced by the popularity of shows like Baozou Dashijian. The piece underscores the importance of understanding audience reactions and the role of comedians in addressing sensitive issues without triggering discomfort.

During the 25th anniversary of Tiananmen Square, a Beijing comedian recounts the unusual cancellation of a stand-up comedy show and the backstage tension among comedians due to the presence of Cultural Affairs Bureau officials. The officials reprimanded a comedian for a joke about the Chinese flag, and the stand-up club was fined more than its three-year gross profit and advised to shut down all future shows. The author reflects on the challenges of performing comedy in China and the desire for more subtlety in official interactions.

The article discusses the scandal involving Chinese actor Huang Haibo, who was arrested for soliciting a prostitute. It highlights the public and media reaction, including jokes and social commentary, and suggests that the incident serves as a convenient distraction from more serious issues. The Public Security Bureau of Beijing is portrayed as benefiting from the scandal by demonstrating their crackdown on moral corruption without addressing broader issues in the sex worker industry. The piece reflects on the universal nature of celebrity scandals and their impact on society.