Film Name: 十万个冷笑话2 / One Hundred Thousand Bad Jokes II
Unlike the straightforward comedic satire of “One Hundred Thousand Bad Jokes,” the magical power in “One Hundred Thousand Bad Jokes II” stems from a divine artifact entrusted to the elite class. A commoner named Xiao Jingang, raised in an orphanage and making a living through petty theft, possesses the simple love of an ordinary person and an unremarkable yet grounded life goal—to bring happiness to those he loves. “One Hundred Thousand Bad Jokes II” chronicles this commoner’s rise against the elite.
It’s easy to understand why Xiao Jingang was consumed by the artifact’s power and spiraled out of control. This can be attributed to class transition syndrome. When someone from the common class suddenly enters the elite circle that controls power and resources, they can easily be swallowed by that sudden “abundance,” losing their true self and even their humanity. They fear losing these things and reverting to their former state. Having finally gained the ability to protect their loved ones, how could they ever let go so easily?
It’s easy to understand why Athena, the River God, and the Thunder God—representing the elite class as a privileged offspring, a secretary, and a enforcer—looked down on the commoner Little Kong. Yet ultimately, they were all moved by a certain pure bravery and natural kindness within him. In Chinese culture, the ultimate power isn’t martial might, but morality. Much like the imperial examination system, morality served as the tool and pathway for commoners to ascend into the elite ranks.
It’s also easy to grasp the significance of imagination as the ultimate battlefield. In a rule-bound world dominated by elites, the emergence of a vast realm of imagination—a massive zone of non-conformity—inevitably provokes fear among the elite. This realm not only draws the world into its orbit but deconstructs it in its own way. Much like how the subculture represented by “One Hundred Thousand Bad Jokes” challenges mainstream culture. “One Hundred Thousand Bad Jokes II” functions precisely like a little golden monkey, executing an invasion of the mainstream by the subculture realm through this mental breach.
Yet, much like Sun Wukong ultimately cannot escape the Buddha’s grasp, in a world of binary class opposition, the little golden monkey merely achieves an underdog rise from mortal to deity—ascending from the commoners’ ranks into the elite. This orderly world remains largely unchanged. Just as anime culture will inevitably lose its rebellious edge once it becomes a new elite culture—just wait and see. This might be the biggest “cold” joke in our world.
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