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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.

Related Insights

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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Experience SpherexAI at NAB 2025

Spherex is headed to Las Vegas for NAB 2025, and we’re bringing a bold new expansion of our flagship product, SpherexAI. Join us at Booth W1456 in the West Hall of the Las Vegas Convention Center from April 6-9 to see how we’re transforming contextual advertising with cultural and emotional intelligence.

As the media and advertising industries look to AI for smarter targeting and better brand alignment, SpherexAI offers a groundbreaking solution. By analyzing the cultural and emotional context of streaming video at the scene level, SpherexAI helps advertisers engage audiences more meaningfully while reducing the risk of misaligned or unsafe ad placements.

The Power of Scene-Level Intelligence

At the heart of our advertising innovation is SpherexAI’s multimodal platform, which processes thousands of signals from every frame—visuals, audio, dialogue, and on-screen text—to create rich metadata that understands the tone, mood, and narrative context of video content.

This deep, scene-level intelligence powers a range of capabilities that can dramatically improve campaign effectiveness:

  • Smarter Ad Targeting – Ads are delivered when viewers are most emotionally receptive, based on the precise tone and content of each scene.
  • Seamless Integration – Ads align with the story arc instead of disrupting it, increasing both engagement and recall.
  • Cultural Sensitivity at Scale – Our patented Cultural Knowledge Graph ensures ad messaging aligns with local customs, values, and regulations in over 200 countries and territories.
  • Enhanced Brand Safety – SpherexAI actively prevents ad placements in scenes that could be offensive, inappropriate, or reputationally risky.

Whether you're building a global campaign or fine-tuning messaging for a specific region, SpherexAI ensures your ads resonate with cultural nuance and emotional precision. Best of all, this isn’t vaporware; SpherexAI can be added to your workflows today!

See It In Action

At NAB 2025, we’ll be demoing how SpherexAI empowers advertisers to connect with audiences in powerful new ways—by aligning their campaigns with the content people are already emotionally invested in.

Book a Demo

Ready to experience the future of contextual advertising? Book a meeting with the Spherex team or drop by Booth W1456 during NAB 2025. We’re excited to show you how scene-level cultural intelligence can elevate your strategy and unlock deeper audience engagement.

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Teresa Phillips Joins OTT.X Buzz Panel to Celebrate Women’s History Month

On March 19, 2025, Spherex CEO Teresa Phillips joined a distinguished panel of female executives for the OTT.X BUZZ session—Women’s History Month Edition. This engaging discussion covered the latest trends in OTT and digital video while shedding light on women's unique experiences navigating the media and technology industries.

Moderated by Charlene Polite Corley, VP of Diverse Insights & Partnerships at Nielsen, the panel featured:

  • Teresa Phillips, Chief Executive Officer, Spherex
  • Jenn Chen, Chief Revenue Officer, JWP Connatix
  • Maria Hellström, Chief Executive Officer, Codemill
  • Laura Martin, Managing Director, Senior Internet & Media Analyst, Needham & Company
  • Paige Sherman, Director, Digital Video Programming, Shout! Studios

Teresa shared valuable insights on leadership, career development, and the evolving role of women in media. Reflecting on her journey in a male-dominated industry and the U.S. Army, she emphasized the impact of mentorship and sponsorship in shaping successful careers. Offering practical advice for early and mid-career professionals, Phillips highlighted the importance of adaptability, recognizing career pivot points, and leading through times of transition.

Key Takeaways from the Discussion Throughout the session, the panelists tackled some of the most pertinent topics facing women and the industry today, including:

  • Work-Life Balance and Corporate Support: The panel explored how companies can better support caregivers, highlighting policies that enable a more inclusive and sustainable work environment.
  • The Rapid Evolution of AI in Media: With AI and automation playing an increasingly central role in content distribution, Phillips emphasized Spherex’s role in leveraging AI-powered tools to help studios navigate cultural and regulatory landscapes worldwide.
  • Leadership in a Shifting Industry: The panelists reflected on how they’ve adapted to significant industry changes, from the rise of FAST channels to the increasing role of data-driven decision-making in content strategy.
  • Challenges and Opportunities for Women in Media: The discussion tackled informal workplace dynamics that impact women’s success, from navigating corporate culture to advocating for fair representation at leadership levels.
  • Balancing Authenticity and Career Growth: Panelists shared insights on maintaining personal authenticity while adapting to workplace expectations in male-dominated spaces.

Looking Ahead: Women Driving Industry Innovation -The panelists reinforced that women’s leadership in M&E is not just necessary—it’s a competitive advantage. As AI, automation, and viewer behaviors evolve, diverse leadership will play a pivotal role in shaping the future of streaming.

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