This guy's acting isn't great; he relies on humor and comedy to succeed. Although he has a wide ordinary audience, it's normal not to win awards.
Post
躺赢板
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What do you think is the most embarrassing record in the Chinese film industry? It's that one person acted in 25 films, with a box office totaling 40 billion, the highest in Chinese film history, yet ended up with zero mainstream film awards. Golden Rooster, Hundred Flowers, Huabiao, not a single one.
Shen Teng, Mr. 40 billion box office, zero awards.
How exaggerated is this number? What does 40 billion mean? It’s equivalent to him single-handedly supporting one-tenth of China’s film box office. From 1.4 billion for "Goodbye Mr. Loser", to 5.4 billion for "Hi, Mom", to 4.5 billion for "The Wandering Earth", and 3 billion for this year's Spring Festival movie "The Speed of Life 3". One hit after another.
But if you look at his award history: Golden Goat Award at the Macao International Film Festival “Best Chinese Male Actor”, Pyongyang International Film Festival “Best Actor”. Sounds impressive, but it’s really just an “International Consolation Prize”. The three major domestic awards, even nominations are scant.
This contrast is baffling: how can someone who can get tens of millions to spend money at the cinema not catch the judges' eye?
Some say he acts in comedies, which are not mainstream. This sounds harsh, but it may be the truth. Look at the annual award lists, which comedy has ever won Best Picture? Which comedic actor has ever won Best Actor? In the judges' eyes, comedy equals “pure laughter”, once the laughter is over, it’s done, lacking depth, substance, and artistic value.
But think about it, is Shen Teng’s comedy really “pure laughter”? "Goodbye Mr. Loser" talks about midlife crisis, "The Speed of Life" discusses the tug-of-war between ideals and reality, "Hi, Mom" reflects on familial regrets. Which one doesn’t make you laugh and then cry? Critics say he embodies “the common man's idealism”, allowing the audience to see their own struggles in laughter. Isn’t that more elevated than those serious dramas preaching with a straight face?
Others say Shen Teng’s acting style is fixed, always having that “wilted” look. This is partially true. He does have a fixed style, but look at that scene in "The Speed of Life 3" where he switches from a comical moment to a midlife crisis explosion, the emotional tension is palpable. He’s not playing a role, he represents the collective emotions of that generation—outwardly compromising, but deep down proud, repeatedly facing setbacks yet never giving up.
So the issue isn’t with Shen Teng, it’s with the judges' aesthetic standards.
It’s like you open a restaurant, with long lines every day, customers give a thumbs up after the first bite. Then the culinary association says: your restaurant has never won an award, it’s no good. Who has the problem?
Netizens say it even more harshly: “Awards are chosen by judges, box office is smashed by audiences with money. Those few judges, while the audience is in the tens of millions. You choose your own, I’ll smash mine.”
This hits the core: Shen Teng’s 40 billion is built by ordinary audiences one ticket at a time. It’s not some fan lockout, nor is it capital manipulating tickets, it’s real, everyday viewers. Data from Maoyan shows that the average number of viewers for movies he starred in reaches 28 million, which is 3.6 times that of top stars. 72% of viewers believe “Shen Teng's participation = quality assurance.”
This kind of trust is worth more than any trophy.
Of course, Shen Teng himself may care too. After all, he’s human, who doesn’t want professional recognition? “The Wandering Earth 3” lets him play a serious role, maybe it’s an attempt to break through. He wants to prove: I’m not just good at comedy, I can act in serious dramas too.
But I want to say a word: Brother Teng, you don’t need to prove anything.
What Chinese cinema lacks isn’t trophies, but good films that make audiences leave the cinema with a smile. You already have 40 billion people voting with their feet, that’s stronger than anything. The judges’ trophies may gather dust, but the audience's laughter won’t.
Next award ceremony, if Shen Teng still gets zero votes, don’t feel embarrassed for him. The embarrassment belongs to that award.
Shen Teng, Mr. 40 billion box office, zero awards.
How exaggerated is this number? What does 40 billion mean? It’s equivalent to him single-handedly supporting one-tenth of China’s film box office. From 1.4 billion for "Goodbye Mr. Loser", to 5.4 billion for "Hi, Mom", to 4.5 billion for "The Wandering Earth", and 3 billion for this year's Spring Festival movie "The Speed of Life 3". One hit after another.
But if you look at his award history: Golden Goat Award at the Macao International Film Festival “Best Chinese Male Actor”, Pyongyang International Film Festival “Best Actor”. Sounds impressive, but it’s really just an “International Consolation Prize”. The three major domestic awards, even nominations are scant.
This contrast is baffling: how can someone who can get tens of millions to spend money at the cinema not catch the judges' eye?
Some say he acts in comedies, which are not mainstream. This sounds harsh, but it may be the truth. Look at the annual award lists, which comedy has ever won Best Picture? Which comedic actor has ever won Best Actor? In the judges' eyes, comedy equals “pure laughter”, once the laughter is over, it’s done, lacking depth, substance, and artistic value.
But think about it, is Shen Teng’s comedy really “pure laughter”? "Goodbye Mr. Loser" talks about midlife crisis, "The Speed of Life" discusses the tug-of-war between ideals and reality, "Hi, Mom" reflects on familial regrets. Which one doesn’t make you laugh and then cry? Critics say he embodies “the common man's idealism”, allowing the audience to see their own struggles in laughter. Isn’t that more elevated than those serious dramas preaching with a straight face?
Others say Shen Teng’s acting style is fixed, always having that “wilted” look. This is partially true. He does have a fixed style, but look at that scene in "The Speed of Life 3" where he switches from a comical moment to a midlife crisis explosion, the emotional tension is palpable. He’s not playing a role, he represents the collective emotions of that generation—outwardly compromising, but deep down proud, repeatedly facing setbacks yet never giving up.
So the issue isn’t with Shen Teng, it’s with the judges' aesthetic standards.
It’s like you open a restaurant, with long lines every day, customers give a thumbs up after the first bite. Then the culinary association says: your restaurant has never won an award, it’s no good. Who has the problem?
Netizens say it even more harshly: “Awards are chosen by judges, box office is smashed by audiences with money. Those few judges, while the audience is in the tens of millions. You choose your own, I’ll smash mine.”
This hits the core: Shen Teng’s 40 billion is built by ordinary audiences one ticket at a time. It’s not some fan lockout, nor is it capital manipulating tickets, it’s real, everyday viewers. Data from Maoyan shows that the average number of viewers for movies he starred in reaches 28 million, which is 3.6 times that of top stars. 72% of viewers believe “Shen Teng's participation = quality assurance.”
This kind of trust is worth more than any trophy.
Of course, Shen Teng himself may care too. After all, he’s human, who doesn’t want professional recognition? “The Wandering Earth 3” lets him play a serious role, maybe it’s an attempt to break through. He wants to prove: I’m not just good at comedy, I can act in serious dramas too.
But I want to say a word: Brother Teng, you don’t need to prove anything.
What Chinese cinema lacks isn’t trophies, but good films that make audiences leave the cinema with a smile. You already have 40 billion people voting with their feet, that’s stronger than anything. The judges’ trophies may gather dust, but the audience's laughter won’t.
Next award ceremony, if Shen Teng still gets zero votes, don’t feel embarrassed for him. The embarrassment belongs to that award.
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