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Date:
September 25, 2020

Exploring The Mulan Controversy

Disney’s new film “Mulan” has become a worldwide sensation, but not for the reasons one might think. The live-action film has generated an unusual amount of political debate. “Mulan,” directed by  Niki Caro,  is Disney’s remake of its 1998 animated film, based on the classic Chinese ballad. Due to the pandemic, the studio released the film on its streaming service Disney+, with plans to screen the film theatrically in countries where cinemas are open.

After keeping quiet calls to boycott the film dominated social media, top Disney brass admitted that a string of controversies created issues for the studio. During a virtual conference , chief financial officer Christine McCarthy discussed the challenges faced by Disney before and after the release of the film.

How does an innocent remake of an animated classic explode into a social media nightmare for a studio specializing in family fare? In this case, several things went wrong for Disney.

The Hong Kong Protests Controversy

In February 2019, China introduced a contentious extradition bill which allowed criminals to be transferred freely between Hong Kong, Taiwan, Macau and mainland China. Critics feared that the bill would be exploited to allow Hong Kong to send criminal suspects to mainland China. The people of Hong Kong saw it as one more attempt by the Chinese Communist Party to encroach on its freedom. Citizens protested strongly and the anti-extradition bill movement evolved into a pro-democracy movement . In retaliation, the Hong Kong Police used aggressive force to discourage protesters which increased the divide between the Hong Kong police and citizens.

Amid the protests, notable Chinese figures such as Jackie Chan and Liu Yifei , among others, voiced their support for both the Chinese government and the Hong Kong police. Liu, a naturalized American citizen, is the lead character who plays Mulan. She shared a meme which was construed as support for the Hong Kong police. It did not take long for the post to circulate and spark backlash from pro-democracy supporters. With that, the call began for a boycott of “Mulan” and #BoycottMulan started to trend in several countries. The second problem for “Mulan” is its filming location.

The Uighur Dispute

It appears parts of “Mulan” were filmed in Xinjiang , China, two years ago. Viewers noticed this in the credits when Disney thanked eight government bodies in Xinjiang, a western province in China where around  2 million Uighur Muslims  have been allegedly forced into concentration camps by the Chinese government. The film credits specifically praise the police security bureau in  Turpan , a city in eastern Xinjiang with a large Uighur population. Experts say that bureau is  tasked with running some of the internment camps and was  blacklisted  last year by the U.S. Commerce Department.

The outcry over the filming location now includes U.S. lawmakers . Politicians from both parties have already  criticized China  over a range of issues in the run-up to the November 2020 elections. American politicians fired off vehement missives against Disney. Representative Mike Gallagher, Republican of Wisconsin,  tweeted  that “while the CCP is committing crimes against humanity in Xinjiang,  @Disney  thanked four of the propaganda departments that are lying to the world about these crimes. It also thanked the Turpan Public Security Bureau, which is on the entity list for its role in these atrocities.”

Reactions Against Direct to Streaming Release

Even in Europe, the strife doggedly follows “Mulan.” The news that Disney  would bypass cinemas by premiering “ Mulan ”  directly onto Disney+  provoked a furious backlash from international exhibitors who felt the studio was declining support in times of need. In France, Gerard Lemoine, a frustrated theater owner, displayed his anger with Disney’s decision in an extreme fashion. Lemoine, who owns the French indie venue Cinepal in Palaiseau, posted a video of him destroying “Mulan” pop-up art via Twitter. Lemoine’s video has over 328K views and the post received a substantial amount of replies.

Cultural Dissonance

Though Disney did its best to create a film that that would appeal to China, many Chinese viewers rejected the film as offensively inauthentic. “The Americans invited all the famous Chinese actors they could think of and piled together all the Chinese elements that they could find to create this car crash,” reads one of the most popular reviews . “It’s full of Western stereotypes and conjectures about China, and particularly ancient China.”

Many viewers in China felt that Disney’s new heroine starts out from childhood already equipped with superhero-like abilities, thanks to her extraordinary reserves of “qi.” While Chinese viewers are familiar with the concept of “qi,” they are puzzled by Disney’s take on the vital energy traditionally considered to underlie the practice of Chinese medicine and martial arts, asking: “What exactly is ‘qi’ here?”- hinting that concepts were applied without any real understanding of the cultural roots.

“Mulan,” much like “ Crazy Rich Asians ” was initially celebrated in the West for being a landmark for Asian American representation, due to its all-Asian cast . Yet many of the elements included to boost its cultural resonance have not succeeded in appealing to its target mainland audience.

One viewer wrote that the script’s constant repetition of the terms “loyal, brave and true” felt like “ a Google Translate take on Chinese .” In one scene, Mulan throws away all her protective armor in the middle of a battle. To the ethnic audience, the choice is obviously nonsensical, but it is also highly unfilial, since the garb is a treasured heirloom from her father.

Chinese audience members are familiar with the original ballad in its classical Chinese. They intimately know final lines — an allegory for gender equality that male and female rabbits look identical when running side by side. Numerous respondents laughed at how the film presents this by having the young heroine spot two rabbits in a field and commenting on how she could not determine their gender, calling the moment one of “forced East-West fusion.”

Once again, “Mulan” clearly demonstrates Hollywood’s lack of detail and accuracy in its attempt to bridge the cultural gap between the East and the West.

Disney’s chief financial officer Christine McCarthy said, in her statement addressing the criticism, “Let me just put something into context. The real facts are that “Mulan” was primarily shot — almost entirely — in New Zealand.” She continued, “In an effort to accurately depict some of the unique landscape and geography of the country of China for this period drama, we filmed scenery in 20 different locations in China.” McCarthy then explained, “It’s common knowledge that to film in China, you have to be granted permission. That permission comes from the central government. So, in our credits, it recognized both China and locations in New Zealand. I would just leave it at that, but it has generated a lot of issues for us.”

Authorities in China recently ordered media outlets not to cover “Mulan’s” release in China. While no official reason is given, reports conclude the international backlash relating to Xinjiang is likely the major cause.

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Spherex CEO Teresa Phillips Talks Practical AI for Global Content Localization at EnTech Fest

At this year’s DEG EnTech Fest, Spherex CEO and Co-Founder Teresa Phillips joined a panel to explore one of the most practical and impactful uses of AI in entertainment today: localization.

During the session titled “Practical AI For Speed and Savings in Localization,” Phillips shared how Spherex is leveraging AI to deliver “deep video understanding” that accelerates compliance and rating decisions in over 200 markets. As she explained, understanding the context—cultural, visual, and narrative—is crucial in determining whether a piece of content is suitable for audiences worldwide.

“AI can now detect not just what happens in a scene, but how it might be interpreted in different cultural and regulatory environments,” said Phillips. For example, in Scandinavian countries, if a trusted figure, such as a clergy member, commits an unethical act onscreen, it can dramatically impact a film’s age rating. SpherexAI is trained to identify these nuanced moments, flagging them for human review when needed.

Phillips also highlighted the role of AI in augmenting human decision-making, noting that “AI agents can be trained to ask humans the right questions—like whether the drinking in a scene is casual or excessive—ensuring more consistent, scalable evaluations.”

The conversation also acknowledged the broader industry shift that AI is bringing to localization workflows—from quality control (QC) to artwork generation, compliance, and project management. With automation poised to displace some entry-level roles, Phillips raised a key question for the future: “If junior roles are the first to be automated, how do we bring new talent into the industry? We have a responsibility in our organizations to create opportunities for the next generation.”

Joining Phillips on the panel were Silviu Epure (Blu Digital Group), Chris Carey (Iyuno), Kelly Summers (The Sherlock Company), and Duncan Wain (Zoo Digital), offering a 360° view on how AI is transforming the way stories cross borders.

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Why Content Differentiation Matters More Than Ever

In today’s fragmented global media landscape, a one-size-fits-all approach no longer works. Media companies face increasing pressure to tailor their content strategies to suit diverse regulatory standards, cultural norms, and viewer expectations.To thrive, they must adopt a new mindset—content differentiation—as both a business imperative and a competitive advantage.

What Is Content Differentiation?

Content differentiation is the strategic process of customizing how media is packaged, presented, and monetized based on the context in which it is distributed. Unlike basic content localization, which focuses mainly on language and format adjustments, content differentiation goes deeper. It aligns content with the regulatory, cultural, and commercial realities of each market, platform, and audience.

The goal is to ensure that content resonates locally while maintaining global scale. Differentiation helps media companies maximize reach, reduce regulatory risk, and improve monetization—all without compromising creative intent.

Why It’s Needed Now
  • Regulatory Complexity: Governments are tightening rules around age ratings, depictions of violence, sexuality, religion, and topics of national interest. These laws vary widely across regions, creating a compliance minefield for global distributors.
  • Cultural Expectations: What works in one market can trigger backlash in another. Cultural nuances—around gender roles, family dynamics, or social taboos—shape how content is perceived and whether it’s embraced or rejected. In many cases, outdated depictions of identity, relationships, or social dynamics can resurface as flashpoints when content is distributed years later in new markets.
  • The Importance of Metadata: Streaming platforms now host massive libraries with considerable overlap in titles across services. In this environment, having accurate, detailed metadata—including production details, talent, , and advanced descriptors—is critical for making content discoverable, marketable, and ultimately profitable. Without it, even high-quality content risks being overlooked.
Meeting the Challenge with SpherexAI

Solving these challenges requires more than manual review or basic tagging—it demands a scalable, intelligent system that understands both the content itself and its contextual significance. That’s where SpherexAI comes in.

SpherexAI is a high-fidelity metadata platform built to help media and entertainment companies implement content differentiation at scale. Using multimodal AI, it analyzes every frame of video—evaluating visuals, audio, dialogue, and on-screen text—to generate rich, actionable metadata that informs compliance decisions, discovery, and monetization.

SpherexAI extends beyond basic content tagging. It analyzes material against global regulatory requirements, identifies cultural nuances and sensitivities, and detects potential risks prior to distribution. Additionally, it enhances content visibility in crowded platform environments by enriching metadata with precise descriptors, scene-level details, emotional tone analysis, and contextual insights—elements that improve content discovery and ad targeting.

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If you're ready to differentiate your content for every audience, platform, and region, SpherexAI can help. Contact us to schedule a demo or speak with our team about how metadata-driven intelligence can power your global strategy.

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NAB 2025 – Recognizing a Changed Industry

Another National Association of Broadcasters (NAB) conference is in the books, and if anything has changed in the media and entertainment industry, the conference and attendees were there to discuss it. From content evolution to changes in audience preferences to AI being everywhere, to trade uncertainty, it was a topic of conversation at NAB 2025. Official categories included: Artificial Intelligence, Cloud Virtualization, Creator Economy, Sports, and Streaming. If a general conclusion could be drawn, it’s that the legacy media business no longer cuts in today’s market, and to survive these new realities, businesses must rethink how they fit in.

Everything Is Changing

One of the biggest takeaways from NAB is the impact the creator economy is having on the industry. Dozens of panels focused on how individuals and small-team productions have upended traditional business models and economics, attracting large audiences from traditional producers while also siphoning away ad revenues and production contracts. Recognizing this trend, hundreds of exhibitors demonstrated how their products or services support all types of creators while also providing benefits to traditional media companies. The NAB also introduced two new initiatives to support this growing sector: the Creator Council and the Creator Lab.

In a keynote session, media cartographer Evan Shapiro highlighted the extent of the shift, pointing out that by 2027, the creator economy is expected to grow to half a trillion dollars, nearly doubling its value from last year ($250 million). Shapiro, recognizing the difference between the creator economy and influencers, cites their effectiveness in attracting and engaging large audiences without having to deal with “gatekeeper-led content.” His final point was that this new reality presents the M&E industry with two options: embrace it or get left behind.

Market and Regulatory Uncertainty

The current uncertainty in global trade markets and the impact of tariffs on product purchases has cast a significant chill on many exhibitors at NAB. This was especially true for those companies whose products were manufactured or included parts from impacted countries or markets (services are not yet subject to tariffs). Many companies encouraged customers to expedite purchases to take advantage of existing inventories and avoid significant cost increases as tariffs are implemented. Attendees and speakers also expressed concerns about how regulatory changes from the FCC and regulators in other countries might impact  children's television programming, the news distortion policy, technical rules (e.g., ATSC 3.0), and TV carriage rules (e.g., non-duplication, and syndicated exclusivity).

Monetization Evolves as Markets Evolve

The continued growth of OTT/FAST and the rapidly expanding creator economy means competition for eyeballs and ads will only become more intense. Evidence of this was on clear display during NAB 2025:

  • Traditional Broadcast Disruption: The rise of streaming services and changing viewer habits are challenging traditional broadcast models, necessitating a reimagining of revenue strategies.
  • Fragmented Audiences: The audience is increasingly fragmented across linear streaming, on-demand platforms, and traditional broadcast, making it more difficult for advertisers to reach consumers effectively.
  • Hybrid Models: Streaming services are increasingly adopting hybrid monetization models, such as AVOD or FAST, to supplement their subscription revenues.

A key component of all of these strategies is high-fidelity metadata. Without it, content marketing, search, and discovery, as well as contextual advertising, are much more difficult to achieve. With it, compliance, brand safety, and audience acceptance increase significantly.

AI Everywhere

Artificial Intelligence (AI) and its increasing impact on content creation, marketing, and virtual production were everywhere at NAB 2025. Nearly 300 exhibiting companies from around the world demonstrated products that included or were enhanced by AI across every phase of content production, marketing, advertising, and distribution. Among them, Spherex highlighted its flagship product, SpherexAI, and demonstrated how it is transforming global video compliance and contextual advertising through scene-level intelligence and cultural insight. It also facilitates ad placement where they will resonate and yield better audience results.

The takeaways from NAB 2025 paint a clear picture: the media and entertainment landscape is in constant flux, demanding adaptability and innovation for survival. The undeniable surge of the creator economy, coupled with market and regulatory uncertainties and the evolving monetization models driven by streaming, presents both challenges and opportunities for traditional and new players. Overlaying all of this is the pervasive influence of artificial intelligence, poised to reshape every facet of the industry.

Ultimately, NAB 2025 underscored a fundamental truth: standing still is no longer an option. The future of media and entertainment belongs to those who embrace change, leverage new technologies, and understand the shifting dynamics of both content creation and audience engagement.

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