Zhang Youxia, Vice Chairman of the Central Military Commission of the Communist Party of China, remarked that X's faction has been entirely apprehended. (Video screenshot)
[People News] As the Lunar New Year of 2026 approaches, Tang Can, who has been absent for over a decade and was once referred to as the 'military enchantress' and 'public mistress,' has made a high-profile return in Beijing by participating in the recording of the Asia Satellite TV Spring Festival Gala. This news has ignited a significant reaction in public opinion both at home and abroad. Observers believe that she was deeply entangled in the major conspiracy against Xi Jinping orchestrated by Bo Xilai and Zhou Yongkang, and it is rumoured that she was personally instructed by First Lady Peng Liyuan to 'settle both personal and public grievances.' The fact that she can reappear on an officially recognised stage in the fourteenth year of Xi Jinping's leadership is astonishing. Current public sentiment suggests that this is not merely a case of a 'wayward star returning' in the entertainment industry, nor is it a typical comeback for a faded celebrity. In the Chinese Communist Party's framework, where 'art is politics,' Tang Can's re-emergence could signal a politically significant development.
Unusual 'pillar' treatment
Let’s begin with the most direct details from the event. According to official reports from several media outlets, including China Daily, the highly anticipated 2026 Ninth 'Tian Nan Di Bei Grand Reunion' Spring Festival Gala has recently completed its recording at the Beijing New Light Film and Television Park.
While this gala is not the main "Spring Festival Gala" aired by CCTV on New Year's Eve, its political importance should not be overlooked. It is a collaborative production between CCTV's subsidiary, "CCTV New Science Animation," and a private performing arts company, titled "Spring Festival Special Misunderstanding." The event is set to be broadcast simultaneously across three platforms: CCTV's digital channel, Asia Satellite TV, and Xinhua Satellite TV, reaching audiences both at home and abroad.
In this gala, Tang Can holds a particularly prominent position. According to official news reports, she is the first artist mentioned, and in the promotional posters, she confidently occupies the central position, known as the C position. What is even more remarkable is that she is not merely making a brief appearance; she performed three songs solo, showcasing her status as a "pillar performer": these include "Opening Red," "Blessing the Motherland," and the highly anticipated piece for 2026, "Hometown Moonlight."
To grasp the impact of Tang Can's return, it is essential to revisit her significant role at the centre of power over a decade ago. It is widely recognised that within the censorship system of the Chinese Communist Party, particularly on platforms associated with 'CCTV', the political and identity scrutiny of participants is exceptionally stringent, with even lesser-known channels not being exempt. The Spring Festival Gala has always been more than just a showcase of singing and dancing; it is an integral part of the power structure. A star's ability to perform at the Gala, the songs they are allowed to sing, and their ranking on the performance list all indicate whether they are included on the political security list recognised by the Chinese Communist Party. Observers believe that for a 'problematic artist' like Tang Can, who has a serious 'political stain', has been involved in a coup, and has a history of imprisonment, no director would spontaneously arrange for her to perform politically significant songs without direct intervention and approval from high-ranking officials.
In fact, Tang Can had already made her comeback. Around 2023, she was seen socialising with actors such as Wang Ji at a star-studded gathering. It was only in early last year that she began to engage with short video platforms, although she did not participate in many commercial performances.
On January 14, an insider from the entertainment industry filmed a video of Tang Can and shared it online. In the video, she appeared refreshed, skillfully preparing pastries while casually discussing her life, and even performed her well-known song, leaving viewers wanting more.
It is clear that after her release from prison, Tang Can has moved away from the political hunting ground that led to her fall from grace and has returned to a normal family life. However, with the recent troubles surrounding Zhang Youxia, her tranquil life may once again be disrupted.
Tang Can's 'Glorious' History
To understand the shock of Tang Can’s return, we must go back more than a decade and revisit the indispensable role she once played at the very centre of power.
Tang Can, born in 1975 in Hunan, joined the Oriental Song and Dance Troupe in 1999, a key cultural unit closely linked to the military and high-level foreign affairs. The individual who truly transformed Tang Can into a 'power hunter' was Li Dongsheng, who was then the deputy director of CCTV.
While at CCTV, Li Dongsheng concentrated on nurturing two types of talents: female hosts and female singers, with Tang Can being his most effective 'pawn.' The two quickly established a relationship characterised by power and sexual favours. Reports from abroad indicate that, in pursuit of his own career, Li Dongsheng presented Tang Can as a 'tribute' to Zhou Yongkang, even introducing her to Zhou's influential associates. This manoeuvre enabled Li Dongsheng, a man who had spent his life in literary work, to miraculously ascend to the position of deputy minister of the Ministry of Public Security. Consequently, Tang Can became the 'glue' within the highest echelons of power in Zhongnanhai.
It is said that Tang Can compiled an astonishingly extensive 'bedmate list,' which included high-ranking military logistics official Gu Junshan, as well as Xu Caihou and Guo Boxiong. Rumours suggest that the number of generals she has been involved with could fill a reinforced platoon, and she has had significant interactions with over 100 generals in the military. Some analysts argue that she was not merely a mistress but also a crucial contact in the coup plans of Bo Xilai and Zhou Yongkang, tasked with gathering high-level intelligence and bridging the gap between political and military spheres.
Observers note that at that time, Tang Can's prominence rivalled that of the current First Lady, Peng Liyuan. She was celebrated at CCTV as the 'new queen of folk songs,' often appearing in military attire, symbolising the image of the People's Liberation Army. Her influence reached deep into every level of the military.
The rivalry between Peng Liyuan and Tang Can.
When discussing Tang Can, it is impossible to overlook the long-standing "personal and public feud" between her and the current First Lady, Peng Liyuan.
Both women hail from the military's cultural and artistic system. Peng Liyuan embodies the traditional, dignified style of folk singing, while Tang Can represents a fashionable, youthful, and expressive approach as the "new folk song diva." Their competition on the same stage has long been an open secret in the industry. Reports suggest that Peng Liyuan has always regarded Tang Can as a potential threat, particularly since Tang Can was promoted to the rank of colonel upon her special recruitment into the military, which was seen by the traditionalist Peng Liyuan as a blatant provocation.
The turning point that transformed their rivalry from artistic competition to a life-and-death struggle was the world-shattering "Bo-Zhou Incident" in 2012. Tang Can was deeply involved in this event, which escalated for Peng Liyuan from a personal vendetta to a matter of political security.
Rumours indicate that in the early days of Xi Jinping's administration, the individual who could determine the fate of the military's cultural and artistic system was Peng Liyuan. Following Tang Can's downfall, Peng Liyuan reportedly intervened personally in the review process, with some claims suggesting she sought to impose the death penalty on Tang Can, aiming to settle both personal and public scores. Ultimately, Tang Can was secretly sentenced to 12 years in prison and detained in Hubei. At that time, it was widely believed that as long as Xi and Peng remained in power, Tang Can would never return to the public eye.
However, it is said that Tang Can adopted the alias "Zhou Ye" to hide her identity, and even the prison administration system could not locate her real name on their lists. Furthermore, the charge registered under the name "Zhou Ye" in the prison system was classified as "economic crime."
The true reason behind Tang Can's downfall is believed to be her deep involvement in the coup plot against Xi Jinping, orchestrated by Bo Xilai and Zhou Yongkang. Analysts suggest that if she were imprisoned under her real name and political charges, it could lead to her 'disappearance' in prison, resulting in significant political turmoil. By using a pseudonym, the possibility of an early release or sentence reduction can be conducted secretly, without drawing public attention.
In reality, this represents a specific strategy employed by the anti-Xi factions within the Communist Party or the old military establishment to provide political protection for Tang Can, thereby retaining political leverage. This ensures that the 'military enchantress,' who possesses numerous high-level secrets, can survive the political storm and await an opportunity to return to the political arena.
Three Major Speculations Regarding Tang Can's Comeback
Reassessing Tang Can's return leads to three surprising speculations:
First, is there a significant reduction in the authority of Xi and Peng? Tang Can's return publicly humiliates Peng Liyuan's status as the 'Cultural Empress.' This suggests that Peng Liyuan can no longer safeguard her own domain in the cultural sector, which she has cultivated for decades. If Peng Liyuan is unable to silence Tang Can, it implies that the power she relies on—Xi Jinping—can no longer maintain control over this propaganda front.
Second, has military control slipped away? Tang Can was once a representative of the old military faction. Her appearance in fashionable attire, singing 'Blessing the Motherland' on official media, sends a message to the entire military: the old forces that were previously defeated by Xi Jinping have returned. Although Zhang Youxia has now fallen, this at least supports the notion that the highest military leadership may not have been in Xi Jinping's hands, but rather under the control of the military elder faction led by Zhang Youxia.
Third, this represents a strategy of 'public disgust' aimed at Xi Jinping and Peng Liyuan. Tang Can's return is not a personal triumph but rather a 'political probe' and a 'public slap in the face' from the anti-Xi factions. They intentionally played this card, which is the most detested and controversial for Xi and Peng, to test Xi Jinping's limits. Meanwhile, both sides remain locked in a struggle, creating an atmosphere in the political sphere that suggests 'Xi Jinping is no longer capable.'
Notably, Tang Can appeared very low-key at the recording venue, even carrying four sets of clothes by herself and taking a ride-hailing service to the event. This feels more like a 'political mission' summoned directly by those in power rather than a glamorous comeback for a star.
Tang Can's story unveils the most distressing yet authentic aspects of power dynamics within the Chinese Communist Party. She was once a mere plaything of power, later transformed into a power broker, and now finds herself as a pawn in the internal conflicts.
For ordinary Chinese citizens, the Spring Festival of 2026 may simply be a gala. However, for the authorities in Zhongnanhai, this event resembles a political battleground. When both sides reach a point of no return in their conflict, even the most splendid gala will eventually come to an end, and the death knell will toll for this party.
(First published by People News)
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