Summary of Key Points
The rough animated film "Niulai" became an unexpected sensation due to its extreme shoddy quality, earning nearly 30 million in box office revenue and outperforming nearly 80% of the films released during the same period. This success is not due to the film's inherent quality but rather reflects the severe homogenization of current entertainment products, leaving the public in a state of widespread boredom and a desperate need for something new, exciting, and that allows for self-expression. "Niulai" has inadvertently become an outlet for these desires,同时也 indicating the decline of traditional consumerism as people begin to define what they consider worth consuming.
I. The Box Office Success of "Niulai": How Magic Is It That a Bad Film Outperforms 80% of Others?
"Niulai" is a rough animation created by a mother and son over five years with no promotional efforts. Its initial box office was just over 7,000 yuan in the first ten days, but it eventually rose to 30 million yuan. What does this achievement represent in the film market? In 2025, 465 new films were released nationwide, with only 48 (10%) earning over 100 million yuan and 335 (72%) failing to even reach that figure. This means "Niulai" outperformed 70-80% of the films, surpassing the box office of the star-studded film "Quancheng Zhuixie" by nearly 100 times (which only earned 317,000 yuan). This contrast between a "bad film" and a "blockbuster" has even surprised director Cui Jingxuan, who stated that it "teared off the facade of mainstream cinema"—after all, many so-called "quality" films are merely formulaic industrial products that fail to capture the audience's attention.
II. Why Do People Still Rush to Watch a Film They Criticize as Shoddy?
Despite criticizing "Niulai" for being "morally polluting," audiences still buy tickets for two main reasons:
1. The Unique Level of Boredom: Current blockbusters compete in special effects and plot clichés, which viewers have grown tired of. The roughness of "Niulai"—such as lagging graphics and peculiar voiceovers—becomes a novelty. This sense of absurdity is more stimulating than the sophistication of repetitive films.
2. A Sense of Casual Self-Pride: Watching an obscure film allows for unreserved laughter, criticism, and creative content creation (like making memes or modifying posters). Investors even use it as a ritual to wish for a good market performance. This sense of participation makes viewers feel on the cutting edge of trends, allowing them to share experiences on social media and gain a sense of recognition (what Zheng Yefu calls the desire for "being awesome").
III. Boredom Everywhere We Look: The Copycat Epidemic
The success of "Niulai" is not an isolated case; it reflects the homogenized boredom in our society:
- Malls: The layout is consistent across cities—cosmetics and jewelry on the ground floor, women's clothing on the second, men's clothing on the third, and underground supermarkets with snacks. Brands are always the same (Uniqlo, HiChai, Haidilao, etc.).
- Snack Streets: Places like Nanluoguxiang, Kuanchaixiang, and Fuzimiao offer the same foods (Changsha stinky tofu, grilled squid, starch intestines) with no difference in taste or packaging.
- Tourist Attractions: Check-in spots are identical, and cultural products (like fridge magnets, bookmarks, ice cream) are all similar.
- Content Products: TV dramas use repetitive storylines, short videos follow the same templates, and articles with slightly changed titles are reposted. These industrialized products provide only superficial stimulation and quickly become boring.
IV. What Do People Really Lack in an Age of Boredom?
Zheng Yefu argues in "The Arrival of the Post-Materialistic Era" that people have three basic needs: comfort, being awesome, and excitement. With basic needs met, comfort is no longer a concern. The current gap lies in the other two:
- Being Awesome: People want to be recognized by others or to showcase their uniqueness (by sharing knowledge that others don't know).
- Excitement: There is a desire for new and thrilling experiences (like watching an unusual bad film or laughing with friends).
Traditional consumerism satisfied the need for being awesome through material possessions (e.g., buying luxury bags), but the effectiveness of such displays has diminished. Now, showing off taste or sharing memes is considered cooler. "Niulai" fills this gap by providing both unique stimulation and a sense of satisfaction through criticism and creativity.
V. Changing Consumerism: People Are Defining What Is Worth Consuming
In the past, consumerism meant merchants telling us what to buy (e.g., advertising suggesting that luxury brands and sophisticated films reflect status). However, homogenized products have made people feel bored, leading them to seek meaningful experiences on their own:
- They don't buy expensive items; they buy things that make them happy (like spending a few dozen yuan on "Niulai" for two hours of laughter).
- They don't buy refined products; they buy things that allow for participation (like making videos or sharing memes).
- They don't buy what others approve of; they buy what they find interesting, even if it's criticized.
The success of "Niulai" demonstrates this shift. The meaning of consumption is no longer defined by merchants but by the public. As long as something provides a way to express boredom and bring joy, even the most "shoddy" products will find buyers.
In Conclusion: "Niulai" is not an example of "bad money driving out good money"; rather, it represents how boredom is driving out formulaic content. Its success reminds us that in an era of abundance, the desire to avoid boredom is the most valuable need. In the future, whether in films or other products, those who can break the monotony and offer fresh excitement and opportunities for self-expression will attract audiences.