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Nothing But Thirty
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| Nothing But Thirty | |
|---|---|
 Promotional poster | |
| Chinese | 三十而已 |
| Hanyu Pinyin | Sān Shí Ér Yǐ |
| Genre | Drama |
| Written by | Zhang Yiji |
| Directed by | Zhang Xiaobo |
| Starring | |
| Country of origin | China |
| Original language | Mandarin |
| No. of seasons | 1 |
| No. of episodes | 43 |
| Production | |
| Executive producer | Xu Xiao'ou |
| Production location | Shanghai |
| Production companies | Linmon Pictures (Shanghai Ningmeng Film & TV Media Co., Ltd.) |
| Original release | |
| Network | Dragon Television Tencent Video Anhui Television |
| Release | July 17, 2020 |
Nothing But Thirty (Chinese: 三十而已; pinyin: Sān Shí Ér Yǐ) is a 2020 Chinese drama television series directed by Zhang Xiaobo and starring Jiang Shuying, Tong Yao, and Mao Xiaotong.[1] The series follows the story of three completely different urban women who have reached their thirties while facing challenges at a crucial stage in their lives, as they leave behind their youthful, carefree 20s to embrace the life of a 30-year-old adult, and eventually decide to take matters into their own hands.[1] The series began airing on Dragon Television and Tencent Video on July 17, 2020.[1]
Plot
[edit]The series tells about the life of three women with different backgrounds and personalities.
Gu Jia is a strong-willed a housewife and businesswoman that helped her husband become the CEO of a fireworks company, and fought rich housewives who bullied her son. Wang Manni is rebellious and confident at both her workplace as well as home. Zhong Xiaoqin is content with her average life, a normal job, and a husband who likes fish.
However, their lives are suddenly disrupted by external factors. Gu Jia begins to suspect her husband Xu Huanshan of having a young mistress, Wang Manni faces difficulties with sales and relationships, and Zhong Xiaoqin's idea of a perfect marriage is destroyed.
Cast
[edit]Main
[edit]- Jiang Shuying as Wang Manni (王漫妮), a senior saleswoman at Mishil.
- Tong Yao as Gu Jia (顾佳), Xu Huanshan's determined and intelligent wife.
- Mao Xiaotong as Zhong Xiaoqin (钟晓芹), Chen Yu's wife who works as an employee at a property management company.
Supporting
[edit]- Yang Le as Chen Yu (陈屿), Zhong Xiaoqin's husband who works as an executive editor of the Breaking News Department of a TV station.
- Li Zefeng as Xu Huanshan (许幻山), a nerdy designer and then the CEO of a fireworks company, husband of Gu Jia.
- Yang Lixin as Gu Jinghong (顾景鸿), Gu Jia's father.
- Yan Zidong as Zhong Xiaoyang (钟晓阳), Zhong Xiaoqin's boyfriend.
- Edward Ma as Liang Zhengxian (梁正贤), an Asian-American businessman and playboy who is the boyfriend of Wang Manni.
- Zhang Yue as Lin Youyou (林有有), an amusement park employee and Xu Huanshan's mistress.
- Mao Yi as Jiang Chen (姜辰), Wang Manni's ex-boyfriend who owns a café.
- Wang Zijian as Zhang Zhi (张志), Wang Manni's boyfriend who serves as director of Quzhou's local government.
- Samantha Ko as Zhao Jingyu (赵静语), Liang Zhengxian's fiancée.
- Dai Jiaoqian as Miss Lu (陆姐), Chen Yu's superior.
- Yang Xinming as Uncle Yu (于伯), a barber in Quzhou.
- Yang Yuting as Mrs. Wang (王太太), a wealthy woman who is friends with Gu Jia.
- Cai Die as Xiao Bai (小白)
- Fu Miao as Boss
- Walley Wei as Zoe
- Wiyona Yeung Lau Ching as Amanda, a Hong Kong salesperson at Mishil.
- Tian Yitong as Daisy, the assistant head salesperson at Mishil.
- Wang Renjun as father of Shen Jie (沈杰), Xu Huanshan's friend who owns a fireworks company.
Production
[edit]The name "Sān Shí Ér Yǐ" (三十而已) based on a sentence "As thirty, I stood firm" (三十而立) comes from Analects.[2]
Reception
[edit]Nothing But Thirty received mainly positive reviews.[3] Douban gave the drama 6.6 out of 10.[4]
Ratings
[edit]- Highest ratings are marked in red, lowest ratings are marked in blue
| Episode # | Broadcast date | Dragon TV CSM59 city network ratings [5][6] | ||
|---|---|---|---|---|
| Ratings (%) | Audience share (%) | Rank | ||
| 1-2 | July 17, 2020 | 0.875 | 3.115 | 5 |
| 3 | July 18, 2020 | 1.219 | 4.643 | 4 |
| 4-5 | July 19, 2020 | 1.492 | 5.289 | 4 |
| 6-7 | July 20, 2020 | 1.474 | 5.585 | 3 |
| 8-9 | July 21, 2020 | 1.454 | 5.355 | 3 |
| 10-11 | July 22, 2020 | 1.56 | 5.735 | 3 |
| 12-13 | July 23, 2020 | 1.516 | 5.592 | 3 |
| 14-15 | July 24, 2020 | 1.131 | 4.084 | 4 |
| 16 | July 25, 2020 | 1.173 | 4.501 | 4 |
| 17-18 | July 26, 2020 | 1.469 | 5.327 | 3 |
| 19-20 | July 27, 2020 | 1.682 | 6.128 | 2 |
| 21-22 | July 28, 2020 | 1.719 | 6.428 | 2 |
| 23-24 | July 29, 2020 | 1.668 | 6.183 | 2 |
| 25-26 | July 30, 2020 | 1.816 | 6.618 | 2 |
| 27-28 | July 31, 2020 | 1.867 | 6.517 | 1 |
| 29 | August 1, 2020 | 1.726 | 6.374 | 2 |
| 30-31 | August 2, 2020 | 1.894 | 6.941 | 1 |
| 32-33 | August 3, 2020 | 1.837 | 6.685 | 2 |
| 34-35 | August 4, 2020 | 1.921 | 6.945 | 2 |
| 36-37 | August 5, 2020 | 1.176 | 4.265 | 4 |
| 38-39 | August 6, 2020 | 1.676 | 6.064 | 2 |
| 40 | August 7, 2020 | 1.467 | 5.448 | 2 |
| 41 | August 8, 2020 | 1.387 | 5.266 | 2 |
| 42-43 | August 9, 2020 | 1.643 | 5.924 | 1 |
| Average ratings | 1.535 | 5.625 | N/a | |
Awards and nominations
[edit]| Award | Category | Nominated work | Result | Ref. |
|---|---|---|---|---|
| 27th Shanghai Television Festival | Best Television Series | Nothing But Thirty | Nominated | [7] |
| International Communication Award | Won | |||
| Best Director | Zhang Xiaobo | Nominated | ||
| Best Original Screenplay | Zhang Yingji | Nominated | ||
| Best Actress | Tong Yao | Won | ||
| Best Supporting Actress | Mao Xiaotong | Nominated | ||
| Best Supporting Actor | Li Zefeng | Nominated |
References
[edit]- ^ a b c Xu, Wei (July 17, 2020). "Drama tackles changes in urban women's lives". shine.cn. Retrieved July 28, 2020.
- ^ Jiang, Allison (July 28, 2020). "Does China's New Hit Drama "Nothing But Thirty" Accurately Portray Women's Struggles?". Radii China. Retrieved August 15, 2025.
- ^ 《三十而已》收获好评，央视点名表扬，不是因为童瑶，只因为有她. QQ.com (in Chinese). July 28, 2020. Retrieved July 29, 2020.
- ^ 三十而已. Douban (in Chinese). Retrieved July 29, 2020.
- ^ 电视剧收视率排行榜. TVTV (in Chinese). Retrieved December 20, 2021.
- ^ "CCData". Weibo (in Chinese). Retrieved December 20, 2021.
- ^ "Nominations for The 27th Shanghai TV Festival". STVF. May 21, 2021.
External links
[edit]- Nothing But Thirty at Douban (in Chinese)
- Nothing But Thirty at IMDb
Nothing But Thirty
View on Grokipediafrom Grokipedia
Synopsis
Plot Overview
centers on three women in Shanghai navigating the complexities of turning thirty, each facing unique pressures in career, marriage, and personal identity amid the demands of urban professional life. The narrative interweaves their individual journeys, emphasizing realistic depictions of ambition, sacrifice, and self-discovery without relying on melodramatic tropes.[1][5] Gu Jia, a capable homemaker and entrepreneur, supports her husband's transition from a modest programmer to a startup CEO by launching her own e-commerce venture focused on organic baby products, while managing childcare and defending against business rivals and family discord. Her storyline explores the burdens of perfectionism in balancing domestic stability with entrepreneurial risks.[1][5] Wang Man Ni, an independent sales assistant at a high-end department store, relentlessly pursues promotions and financial security, relocating within Shanghai's competitive luxury retail sector and engaging in romantic pursuits that test her resilience against workplace betrayals and societal expectations for marriage. Her arc highlights the challenges of upward mobility for single women in a status-driven environment.[1][5] Zhong Xiao Qin, a mild-mannered housewife in an arranged marriage, contends with her husband's emotional detachment, infertility struggles, and domineering in-laws, prompting her to cultivate hobbies like novel writing that unexpectedly lead to opportunities for economic and emotional autonomy. This thread examines the tensions of traditional family roles clashing with emerging personal aspirations.[1][5] Spanning 43 episodes broadcast from July 17 to August 8, 2020, the series portrays these women's evolving relationships and choices as they redefine success beyond age-related milestones, drawing from contemporary Chinese societal dynamics.[1]Character Arcs
Wang Man Ni, portrayed by Jiang Shuying, starts the series as an ambitious saleswoman at a luxury department store in Shanghai, driven by a desire to secure financial stability through marriage to a wealthy partner.[6] Her arc involves repeated setbacks in both career and romance, including a betrayal by her common-law partner and job loss amid competitive workplace dynamics, leading to a period of depression and relocation to Guangzhou for debt collection work.[7] Through these trials, she undergoes significant growth toward independence, rejecting suitors like Liang Zheng Xian upon discovering deceit and focusing on self-reliance rather than relational dependencies.[7] By the finale, Man Ni completes her final debt task, declines high-paying but compromising offers, and enrolls in a two-year design program at a school in Edinburgh, funded by her earnings of 100,000 yuan, embracing solo global exploration.[8] Gu Jia, played by Tong Yao, is introduced as a devoted housewife and mother who actively supports her husband Xu Huanshan's startup while managing family life and her son's education.[6] Her journey centers on balancing domestic roles with entrepreneurial involvement, such as launching a kindergarten business, but fractures under her husband's emotional and physical infidelity with a younger associate, compounded by financial collapse and legal troubles that result in his three-year imprisonment.[6] Jia demonstrates resilience by confronting betrayals, pivoting to a tea business venture amid losing her home, and prioritizing her well-being in a pivotal moment of emotional reckoning.[7] In resolution, she relocates to a tea farm with her son and father, closes her fireworks company, sells her property, and earns recognition for "Kongshan Tea" as Product of the Year with Most Potential, solidifying her path in independent business and family welfare.[8] Zhong Xiao Qin, enacted by Mao Xiaotong, enters as a dependent housewife in an unfulfilling marriage, facing miscarriage, relational stagnation, and initial workplace insecurities after re-entering the job market.[6] Her development emphasizes awakening to self-worth, gaining confidence through writing pursuits and improved communication, while navigating separation from her inadequate husband Chen Yu due to his immaturity and external temptations.[7] This leads to divorce, personal reinvention via novel publication, and eventual reconciliation with Chen Yu after mutual growth, where both adopt more considerate perspectives.[6] The arc culminates in remarriage, the launch of her book The Many Shapes of the Cloud, and pregnancy, framing thirty as a phase of inspiration and familial renewal.[8]Cast and Characters
Lead Roles
Jiang Shuying stars as Wang Manni, a determined luxury goods sales associate navigating career ambitions and romantic pursuits in Shanghai's competitive fashion retail sector.[9][10] Tong Yao portrays Gu Jia, a resourceful housewife who manages her family's finances and launches entrepreneurial ventures to support her husband's tech startup amid economic pressures.[9][10] Mao Xiaotong plays Zhong Xiaoqin, a full-time homemaker in a stagnant marriage who confronts personal dissatisfaction and seeks independence after years of prioritizing domestic stability over individual aspirations.[9][10] Supporting the female leads, Li Zefeng depicts Xu Huanshan, Wang Manni's on-again-off-again partner and a struggling entrepreneur facing business failures.[9][10] Yang Le embodies Chen Yu, Zhong Xiaoqin's husband, an unmotivated office worker whose complacency strains their relationship.[9][10] These performances, centered on the protagonists' midlife transitions, anchor the series' exploration of urban professional and familial strains, with the production airing 41 episodes from July 17 to August 8, 2020, on Tencent Video.[1]Supporting Roles
Li Zefeng portrays Xu Huanshan, the husband of protagonist Gu Jia and a key figure in her entrepreneurial endeavors.[5][11] Yang Le plays Chen Yu, Zhong Xiaoqin's spouse, an executive editor whose professional demands strain their marriage.[5][10] Edward Ma depicts Liang Zhengxian, a wealthy client who becomes romantically involved with Wang Manni, highlighting themes of class disparity.[9][12] Additional supporting characters include Yang Lixin as Gu Jinghong, a longtime acquaintance of Gu Jia who aids in her business ventures; Yan Zidong as Zhong Xiaoyang, related to Zhong Xiaoqin and contributing to family dynamics; and Wang Zijian as Zhang Zhi, a colleague influencing workplace tensions.[9][12] These roles collectively underscore interpersonal conflicts and societal pressures faced by the leads, with actors delivering performances noted for authenticity in ensemble scenes.[3]Production
Development and Writing
The screenplay for Nothing But Thirty was crafted by Zhang Yingji, a screenwriter born in 1986 who graduated with a master's degree from Communication University of China in 2008, drawing directly from her own transition into motherhood and the reassessment of her multifaceted identities as a woman, professional, and parent around age thirty. Unlike collective writing approaches in some contemporary dramas, the script originated as an individual endeavor rooted in Zhang's reflections on the unvarnished realities of this life stage, eschewing formulaic "refreshing" tropes in favor of authentic emotional depth that occasionally led to personal creative breakdowns during the process.[13][14] Zhang framed the narrative as three women "climbing mountains," symbolizing the incremental, pressure-laden challenges of career, family, and self-identity at thirty, with the title's "而已" (but thirty) emphasizing grounded, non-glorified depictions over aspirational fantasies to foster audience empathy through relatable dilemmas. A pivotal inspiration for the character Wang Manni, a luxury saleswoman confronting class and ambition barriers, stemmed from Zhang's observation of overworked retail employees departing a high-end Beijing store late at night, highlighting the disparity between surface glamour and underlying toil.[15][16] Produced by Linmon Pictures under executive producer Xu Xiaoou, the development leveraged Zhang Yingji's prior collaborations with director Zhang Xiaobo on urban-themed series like Good Mr., enabling a cohesive focus on multidimensional portrayals of contemporary Chinese women amid evolving social expectations. The project aligned with broader industry shifts toward female-centric stories in the "She Economy," prioritizing empirical realism over stereotypical resolutions.[17][18]Filming and Direction
The series was directed by Zhang Xiaobo, who helmed all 43 episodes with a focus on realistic urban settings to underscore the protagonists' everyday struggles in contemporary Shanghai.[1] Principal photography commenced on July 21, 2019, and wrapped on November 29, 2019, spanning approximately four months.[5] Filming occurred entirely on location in Shanghai, the narrative's primary backdrop, capturing authentic cityscapes including residential areas, corporate offices, and public spaces to enhance the drama's grounded portrayal of mid-thirties women's lives.[5][19] A notable production adjustment involved the recasting of one lead role; actress Tong Liya, originally set to portray Wang Man Ni, withdrew due to scheduling conflicts shortly after filming began, with Jiang Xin stepping in to complete the character arc.[5] This change necessitated reshoots for early scenes but did not delay the overall schedule significantly. The production was overseen by Linmon Pictures, emphasizing efficient on-location shoots to maintain narrative intimacy without extensive studio work.[12] Direction prioritized natural lighting and dynamic camera work in interpersonal scenes, contributing to the series' praised visual authenticity in depicting relational tensions.[20]Themes and Social Commentary
Portrayal of Midlife Challenges
The series depicts the transition into one's thirties as a period of heightened societal and personal pressures for urban Chinese women, emphasizing struggles with career stagnation, marital discord, and familial expectations rather than traditional notions of midlife decline. For instance, protagonist Wang Manni, a luxury goods saleswoman, confronts professional burnout and romantic disillusionment after repeated failures in advancing her career or securing a stable partnership, highlighting the competitive job market and age-related biases against unmarried women in high-pressure industries.[21][22] Similarly, Gu Jia illustrates the toll of balancing entrepreneurship with motherhood, as she manages a startup while navigating her husband's infidelity and in-law interference, underscoring work-life imbalances that exacerbate emotional exhaustion.[18][23] Zhong Xiaoqin's arc further explores domestic dissatisfaction, portraying a seemingly stable marriage unraveling due to financial dependencies, emotional neglect, and the pressure to conceive amid her husband's career focus, which reflects broader patterns of gendered labor division in Chinese households.[16][24] These narratives challenge viewers to confront the "leftover women" stigma—unmarried females over 27 deemed undesirable—by showing protagonists' resilience through divorce, career pivots, and self-reliance, though critics note the resolutions often hinge on romantic redemption rather than independent fulfillment.[25] The drama's portrayal aligns with empirical observations of delayed marriage and rising divorce rates in urban China, where women in their thirties face intensified scrutiny over fertility and economic independence, with data indicating over 2 million annual divorces by 2019, many involving similar mid-career couples.[26][22] Overall, Nothing But Thirty frames these thirties-era trials as a crucible for identity reformation, prioritizing pragmatic adaptations over idealized empowerment, yet it has been critiqued for reinforcing traditional marriage norms under the guise of progressivism, as evidenced by audience discussions blending postfeminist autonomy with Confucian familial duties.[23][27] This depiction draws from real-world surveys, such as those revealing 70% of Chinese women prioritizing career-family balance by age 30, amid cultural narratives equating thirty with a deadline for domestic stability.[28]Gender Roles and Family Dynamics
The series portrays gender roles through the experiences of its three protagonists, each navigating distinct family structures amid China's evolving urban societal pressures. Wang Manni, a single saleswoman, embodies resistance to traditional expectations of early marriage, rejecting a suitor from a lower socioeconomic background despite familial urging, highlighting the "leftover women" stigma applied to unmarried women over 27 in Chinese culture.[25] This reflects broader trends where educated urban women prioritize career autonomy over rushed unions, as evidenced by China's declining marriage rates, with only 6.83 million couples registering in 2022 compared to 13.47 million in 2013.[29] Gu Jia illustrates the burdens of the "strong woman" archetype in married households with children, managing her husband's failing fireworks business, childcare, and household finances while he engages in infidelity with a younger woman. Her role subverts Confucian ideals of male breadwinning, positioning her as the de facto family patriarch, yet underscores persistent gender imbalances where women shoulder disproportionate emotional and logistical labor.[18] Zhong Xiaoqin, married but childless, faces spousal pressure to prioritize motherhood over personal growth, culminating in her husband's unilateral divorce pursuit due to fertility frustrations, exposing dynamics where women's reproductive roles are leveraged to enforce compliance.[26] Family dynamics emphasize female solidarity as a counter to patriarchal failures, with the protagonists forming mutual support networks amid betrayals like spousal cheating and in-law interference. The narrative critiques how traditional roles exacerbate vulnerabilities—such as economic dependence in marriage—while depicting women's agency in reclaiming independence, though it tempers empowerment with realism, as Gu Jia's entrepreneurial success does not shield her from relational collapse.[27] This portrayal aligns with postfeminist discourses in Chinese media, blending individual achievement with lingering calls for marital stability, amid government campaigns since 2021 promoting pronatalist family values to counter demographic declines.[29]Reception
Critical Reviews
Critics praised Nothing But Thirty for its realistic depiction of urban women's lives in Shanghai, highlighting the series' focus on multifaceted female protagonists navigating career pressures, relationships, and personal growth without relying on melodramatic tropes common in Chinese dramas.[4] The drama received a 7.6/10 rating on IMDb from over 300 users, with reviewers commending its thought-provoking exploration of midlife challenges and strong ensemble acting led by Tong Yao, Jiang Shuying, and Mao Xiaotong.[30] Industry outlets like Variety described it as a "hit female-led contemporary drama" emphasizing women's agency in their own narratives.[31] Reviewers appreciated the show's emphasis on female solidarity and empowerment, portraying characters who defy stereotypes of dependency on marriage or family for fulfillment.[20] WIRED noted its alignment with themes of "strong women succeeding against the system," positioning it as a standout in female-focused Chinese series.[32] An Irish Film Critic review lauded the fast-paced character-driven storytelling and detailed evocation of Shanghai's social dynamics, calling it a compelling entry that elevates Chinese TV through nuanced interpersonal conflicts rather than action or fantasy elements.[4] Some critiques pointed to narrative shortcomings, particularly in the later episodes, where plot resolutions were seen as overly reliant on romantic pairings, potentially undermining the initial independence of the leads.[23] Audience discussions on platforms like Reddit echoed this, criticizing the final third for contrived developments that prioritized tidy endings over sustained realism.[33] Additionally, while the series was celebrated for breaking gender stereotypes, select one-star reviews argued it reinforced traditional happiness metrics tied to heterosexual relationships, limiting its feminist depth.[23] Despite these points, the overall consensus affirmed its cultural resonance, evidenced by its spawning international remakes in Thailand, Indonesia, and Hong Kong.[34]Viewer Feedback and Ratings
On Chinese review platform Douban, Nothing But Thirty received an average rating of 6.6 out of 10 from over 300,000 users, reflecting a mixed reception among domestic audiences despite its high visibility. International platforms showed higher scores, with MyDramaList users rating it 8.2 out of 10 based on more than 1,400 evaluations, praising its realistic depiction of urban women's lives.[1] The series garnered significant online engagement, accumulating over 20 billion views on its Weibo hashtag page shortly after airing in July 2020, indicating strong initial popularity driven by discussions on midlife struggles.[18] Viewers frequently commended the drama for its nuanced portrayal of three thirty-something women navigating career, marriage, and personal growth, with many highlighting the avoidance of clichéd happy endings and the emphasis on female solidarity.[35] On forums like Reddit, audiences appreciated its thought-provoking elements and character-driven narrative, describing it as a refreshing break from trope-heavy romances.[36] However, some feedback criticized the resolutions as overly dependent on romantic partnerships for female fulfillment, leading to lower ratings from viewers seeking more independent outcomes.[23] This tension contributed to a dip in Douban scores toward the series' conclusion, as early hype gave way to debates over its alignment with feminist ideals.[37]Commercial Performance
Nothing But Thirty premiered on Tencent Video and Dragon TV on July 17, 2020, spanning 46 episodes. The series achieved strong online viewership, accumulating a total of 6.8 billion views on Tencent Video by the conclusion of its broadcast.[38] On television, it recorded an average rating of 1.67% across 59 major cities, per CSM monitoring data.[39] Its digital popularity extended to social media, where the associated Weibo hashtag #三十而已# surpassed 20 billion views, reflecting widespread audience engagement.[18] This performance positioned it among top-viewed domestic dramas of the year, with per-episode averages reportedly reaching 116 million views.[40] The drama's commercial viability was further evidenced by international adaptations, as producer Linmon Media licensed remake rights to Thailand, Indonesia, Hong Kong, and South Korea.[34][41] It also boosted visibility for sponsored luxury brands, enhancing product placement efficacy through viewer affinity.[42]Controversies and Criticisms
Narrative and Character Development Issues
Critics and viewers have pointed to inconsistencies in plot progression, particularly in the series' handling of time jumps and resolutions. For instance, the final episodes feature rushed developments, such as Xiao Qin's relocation and the three-month epilogue, which compress events like book publications into unrealistically short timelines, undermining narrative coherence.[36] Similarly, the resolution of Gu Jia and Xu Huanshan's marital crisis extends unnecessarily over the last five episodes without fully addressing consequences, leading to perceptions of dragged pacing.[36] Character arcs often suffer from abrupt shifts and underdeveloped motivations, contributing to accusations of illogical decision-making. Xu Huanshan's infidelity arc, for example, contrasts sharply with his initially affectionate portrayal, lacking sufficient buildup to justify the betrayal and rendering his development superficial.[36] Wang Manni's transformation into a more antagonistic figure midway through the series has been described as bizarre and inconsistent, shifting from relatable ambition to manipulative behavior without adequate psychological grounding.[43] Xiao Qin's choice to expend her book advance and quit her job post-relationship is viewed by some as emblematic of stunted maturity, failing to demonstrate meaningful growth in responsibility despite emotional progress.[36] Broader narrative flaws include a reliance on contrived conflicts to sustain drama, resulting in paper-thin characterizations that prioritize episodic tensions over depth. Viewer feedback highlights how male supporting roles, such as romantic interests, exhibit shallow or unrealistic behaviors, serving primarily as foils rather than fully realized figures.[43] This approach leads to a second-half descent into melodrama, diluting the realistic portrayal of midlife struggles established early on and eroding overall plausibility after episode 20.[44][43] Such elements have fueled debates on the series' worldview, with some arguing it favors fantasy resolutions over causal realism in interpersonal dynamics.[43]Representation and Cultural Depictions
The series Nothing But Thirty portrays the lives of three urban women in Shanghai navigating midlife pressures, offering a depiction of contemporary Chinese middle-class existence marked by career ambitions, marital strains, and familial obligations. The protagonists—Gu Jia, a businesswoman balancing entrepreneurship and motherhood; Wang Manni, a sales associate confronting workplace exploitation and romantic disillusionment; and Zhong Xiaoqin, a housewife grappling with dependency and divorce—illustrate diverse facets of female agency amid societal expectations for marriage and reproduction.[21][45] This representation draws from real-world anxieties, such as the "leftover women" stigma for unmarried females over 27, as enforced by cultural norms prioritizing family formation.[22] Culturally, the drama highlights tensions between traditional Confucian values—emphasizing wifely devotion and filial piety—and modern individualism, with scenes depicting extramarital affairs, parental interference in child-rearing, and consumerist lifestyles in high-rise apartments. It reflects Shanghai's stratified social landscape, where professional success coexists with gender-based vulnerabilities like unequal household labor and economic reliance on male partners.[18][26] However, critics argue the show's focus on affluent protagonists overlooks the realities of China's working-class majority, who face harsher barriers to autonomy without the depicted financial cushions.[23] The single woman archetype, embodied by Wang Manni, evokes both postfeminist empowerment through self-improvement narratives and traditional discourses framing independence as a temporary phase requiring romantic resolution, as evidenced by social media responses analyzing her arc.[26] This duality underscores broader cultural shifts in the "She Economy," where media increasingly centers female-led stories amid rising female workforce participation, yet retains undertones of heteronormative closure.[18] The series' resonance, evidenced by its 8.9 rating on Douban from over 400,000 users, stems from its empirical grounding in surveys of urban women's dilemmas, though some academic analyses question its feminist depth for reinforcing makeover paradigms over systemic critique.[22][26]Awards and Legacy
Accolades
Nothing But Thirty received recognition primarily for the performances of its lead actresses at major Chinese television awards. Tong Yao won the Best Actress award at the 27th Shanghai Television Festival White Magnolia Awards in June 2021 for her role as Gu Jia, a businesswoman navigating family and career pressures.[46] The series itself earned nominations at the same awards for Best Chinese Television Drama, Best Director (Zhang Xiaobo), and Best Original Screenplay (Zhang Yingji).[47] Mao Xiaotong was awarded Best Actress in Contemporary Themed Television Drama at the 29th Huading Awards in December 2020 for portraying Bell (Zhong Xiaqin), a character dealing with marital dissatisfaction and personal reinvention.[48] Additionally, the series secured the International Communication Award at the Shanghai Television Festival in 2021, acknowledging its role in promoting Chinese values and lifestyles abroad.[49] These honors highlighted the drama's impact on depicting urban women's experiences, though it did not win top series prizes against competitors like Minning Town.[47]Influence and Adaptations
The success of Nothing But Thirty (2020) has led to multiple international adaptations, reflecting its appeal in exploring themes of women navigating career, marriage, and personal independence in urban settings. Producer Linmon Media licensed remake rights to several markets, resulting in versions tailored to local contexts while retaining core narratives about three female protagonists in their thirties.[31][50] A prominent adaptation is the Thai version, titled Nothing But Thirty: Bangkok Edition, an eight-episode series filmed in 2024 and premiered on Disney+ Hotstar in September 2025, directed by Nuttorn Khansuk with a cast including Davika Hoorne and Jes Jespipat Tilapornputt. This remake incorporates Thai cultural elements, such as local family dynamics and urban lifestyles, while emphasizing elevated production values to align with regional standards.[31][51] Rights were also granted to JTBC in South Korea for a remake announced in January 2021, marking the network's first adaptation of a Chinese urban drama.[52] Additional licenses extend to Fuji Television in Japan, VTV in Vietnam, VIU in Indonesia and Hong Kong, with at least six versions in development or production by early 2025.[50][53] The series has influenced broader trends in global television by demonstrating the export potential of Chinese realistic urban dramas focused on female empowerment and midlife challenges, contributing to a surge in format trading for Asian content. In China, it spurred related productions set in the same narrative universe, such as Twenty, Your Life On (2020), which explores younger characters' backstories and extends thematic discussions on generational shifts in relationships and ambition.[34] Domestically, the show prompted academic and media analyses of its portrayal of single women, highlighting tensions between traditional expectations and modern autonomy, though some critiques note its reinforcement of postfeminist ideals over radical change.[26] Internationally, its remakes have facilitated cross-cultural dialogues on gender roles, with producers citing its high viewership—over 2.5 billion effective plays in China—as a benchmark for adapting relatable, data-driven stories.[54]References
- https://www.[imdb](/page/IMDb).com/title/tt11357970/