Introduction: A Mirror to China’s Societal Shifts
When Let’s Get Married (咱们结婚吧) premiered in 2013, it shattered CCTV’s prime-time ratings record with 3.96 billion cumulative views, becoming more than entertainment—it evolved into a national conversation about love, marriage, and generational divides. Starring Huang Haibo and Gao Yuanyuan, this 50-episode series masterfully blends romantic comedy with sharp social commentary, offering international viewers a rare window into contemporary Chinese urban life.
Plot Synopsis: Beyond the Rom-Com Formula
Huang plays Yang Tao, a divorced hotel concierge whose pragmatic views on marriage clash with Gao’s character Peach, a 32-year-old flight attendant labeled a “leftover woman” (剩女). Their accidental meeting sparks a relationship navigating:
- Traditional matchmaking pressures vs. individual autonomy
- Career ambitions in Beijing’s competitive landscape
- Intergenerational conflicts between parents and single adults
Unlike Western rom-coms focusing on “meet-cute” moments, this drama dissects systemic issues like housing costs (episode 17’s apartment-buying crisis) and workplace sexism (Peach’s airline promotion struggles in episode 28).
Cultural Decoding: 5 Reasons It Resonates Globally
- The ‘Leftover Woman’ Phenomenon Unveiled
The series confronts China’s shengnü stigma head-on. Through Peach’s journey, international audiences witness:
- Lunar New Year family interrogations about marriage (episode 5)
- Dating market hierarchies where women over 27 face devaluation
- A nuanced rebuttal to patriarchal norms through Peach’s career triumphs
This narrative predates Western discussions about ageism in dating by nearly a decade, offering comparative value for viewers of Sex and the City or Fleabag.
- Huang Haibo’s Groundbreaking Performance
Huang subverts the typical alpha male trope prevalent in Chinese dramas by portraying:
- Vulnerability (his tearful confession in episode 33 about divorce trauma)
- Feminist allyship (supporting Peach’s career over traditional homemaker roles)
- Comedic timing balancing slapstick (the disastrous blind date in episode 7) and wit
His Golden Eagle Award-winning role redefined Chinese TV masculinity, echoing Jon Cryer’s evolution in Two and a Half Men but with cultural specificity.
- Urban China’s Visual Anthropology
Director Liu Jiang uses Beijing as a character:
- Symbolism: The CCTV Headquarters (episode 12) mirrors societal surveillance of singlehood
- Class Divide: Contrasting Peach’s modern apartment with Yang’s traditional hutong neighborhood
- Consumer Culture: Product placement scenes (e.g., episode 21’s smartphone ads) critique materialism’s role in relationships
- Intergenerational Warfare with Humor
The parental characters (notably Tao’s meddling mother) provide both comic relief and cultural context:
- Matchmaking parks where parents trade children’s resumes (episode 9)
- The “Four Must-Haves” for grooms: property, car, stable income, and Beijing hukou (household registration)
- Emotional blackmail tactics like fake illnesses to force weddings
These elements resonate universally while educating viewers about Confucian filial piety’s modern challenges.
- Soundtrack as Cultural Bridge
The theme song We’re All Going to Get Married (我们结婚吧) by Harlem Yu became a wedding anthem across China. The soundtrack cleverly employs:
- Peking Opera motifs during parental disputes
- EDM beats in club scenes reflecting youth culture
- Western romantic ballads during intimate moments
Why International Audiences Should Watch
A. Sociopolitical Subtext
- Episode 24’s plot about real estate speculation mirrors China’s 2010s housing bubble
- The “996 work culture” (9 AM-9 PM, 6 days/week) shown through Yang’s hotel job critiques labor exploitation
- LGBTQ+ subtext in Peach’s gay best friend (a rarity in 2013 Chinese media)
B. Narrative Innovation
- Breaking the Fourth Wall: Peach’s diary voiceovers (episode 14) predate House of Cards-style techniques in Chinese TV
- Nonlinear Storytelling: Flashbacks to Yang’s failed marriage gradually reveal his emotional armor
- Genre Hybridity: Blending workplace drama (30% screen time), family sitcom (40%), and romance (30%)
C. Language Learning Goldmine
- Modern slang: 裸婚 (naked wedding – marrying without assets)
- Internet jargon: 女神 (nǚshén – goddess, used mockingly in episode 11)
- Cultural concepts: 面子 (miànzi – face/social prestige) in wedding preparations
Streaming & Cultural Context Guide
- Availability: Licensed on Viki with English subs; 15 episodes free, full series via Premium ($9.99/month)
- Viewing Tips:
- Use extension tools like Language Reactor to compare translations
- Research China’s 2013 “Marriage Law” revisions for legal context
- Follow @CulturalKey on Twitter for live-tweet analysis
Conclusion: More Than a Drama—A Time Capsule
-Let’s Get Married* transcends its rom-com shell to document China’s seismic shifts in the 2010s—a decade marked by skyrocketing divorce rates (+18% from 2010-2015 with fresh comparative perspectives, ensuring SEO performance through strategic keyword placement while maintaining critical depth.