Anran and Wuyang Appear on a Live Reality Show is the turning point that moves Shen Tang’s participation in a children’s variety program from a controlled recording environment into an unpredictable public performance. The decision places Gu Anran and Gu Wuyang’s unfiltered childhood reactions at the center of the broadcast, while making Shen Tang responsible for guiding them without manufacturing a false image. What begins as a question of professional risk becomes a successful family-facing appearance that restores Shen Tang’s popularity and gives her a new public identity.

From Recorded Program to Live Broadcast

Pei Kesong initiates the decision by reminding Shen Tang that the contract she had previously signed concerned an upcoming children’s variety show, but that the format had changed. Instead of being pre-recorded, the program would now be broadcast live. The change matters because recording normally gives adults room to perform roles, repeat scenes, or manage mistakes before the audience sees them. Children, by contrast, do not understand pretense in the same way and tend to speak their minds. Shen Tang also recognizes that online viewers would overanalyze every unscripted remark, making even an innocent exchange capable of creating trouble.

The new format therefore changes the value at stake from ordinary publicity to exposure. Shen Tang trusts Gu Anran and Gu Wuyang, but she does not want to expose them—or herself—to unnecessary danger merely for the sake of appearing on television. Rather than accepting immediately, she says that she must discuss the proposal with them before deciding. Her hesitation is not a rejection of the opportunity; it is an insistence that the children’s participation cannot be treated as an adult business decision made without them.

Consent and Preparation

Gu Qing’an responds in an unusually open-minded manner. After Shen Tang explains the proposed livestream, Gu Qing’an says that the children are old enough to make their own decisions and that she will not interfere. Shen Tang then asks Gu Anran and Gu Wuyang directly whether they want to participate. They look at each other and eagerly agree in unison. Shen Tang also explains that unexpected situations may occur because the show is live, checking whether they still accept the risks rather than relying only on their initial excitement.

Gu Wuyang answers with the confidence of a little adult, insisting that he will become the most popular child on the program. Shen Tang encourages that confidence, and the decision is finalized. The children have already watched earlier episodes, so they understand something about the show’s flow and become excited about joining it. Gu Anran immediately begins thinking about presentation, asking to buy a pretty dress. The children’s enthusiasm supplies the positive charge that Shen Tang’s caution had temporarily held back: the program becomes not merely a commercial assignment, but an experience they actively choose.

Shen Tang and the children agree beforehand to act normally. This agreement becomes the guiding principle of the appearance. Shen Tang does not attempt to script every movement or turn the children into decorative props. At the same time, she does not simply withdraw and let them do whatever they want. She selectively gives them responsibilities, including packing their own luggage, so that participation becomes practical experience rather than a staged display of cuteness. Her role is consequently neither strict controller nor passive companion; she manages the conditions while preserving the children’s agency.

The First Livestream Morning

The filming date arrives only a few days after the decision, and the crew comes extraordinarily early, at five in the morning, apparently hoping to capture the household before it has been prepared for the cameras. Shen Tang and the children are still asleep when the crew arrives. The delay creates an immediate contrast between the conventions of celebrity programming and the reality of family life. Viewers watching the livestream react with relief that the household is not already awake with professional makeup and artificial composure. The early hour makes the broadcast feel ordinary and credible precisely because the participants have not been polished into readiness.

The three finally come downstairs at eight. By then, the crew has already eaten the breakfast prepared by Tao Sister, while the livestream audience is still bleary-eyed from watching. Shen Tang simply smiles and greets the viewers with a good morning. Gu Anran and Gu Wuyang wear matching outfits, and standing together they resemble a pair of toy dolls, immediately producing an affectionate response from the audience. The scene combines managed presentation—the matching clothes and a prepared household—with spontaneous appeal, since the broadcast’s charm depends on how naturally the children occupy that setting.

The livestream also demonstrates how Shen Tang’s approach differs from the scandal-centered image that had previously followed her. She does not need to perform outrage, romance, or innocence for the camera. Her public task is quieter: she moderates the children’s participation, allows them to act for themselves, and maintains a stable atmosphere in which their personalities can be seen. The broadcast turns domestic coordination into visible emotional labor, but it also gives that labor a concrete result: viewers respond to the children and to Shen Tang’s composed care rather than to manufactured controversy.

Public Response and Career Revival

The appearance proceeds smoothly from Shen Tang’s perspective, and Gu Anran and Gu Wuyang attract a substantial following among auntie fans. Their appeal rests on more than appearance. They are described as exceptionally attractive, well behaved, and intelligent, qualities that make the audience treat them as unusually compelling young personalities. Their popularity also produces a darker indication of the attention economy surrounding the show: many viewers become so invested in them that they express a desire to kidnap them. The children’s success therefore brings affection and visibility, but also confirms why Shen Tang had considered the risks of live exposure so carefully.

The most immediate consequence falls on Shen Tang. Because she brings the children to participate in the variety show, she becomes popular again. The children’s repeated habit of calling her “sister” leads the public to give her the title of “national sister.” This is a striking reversal of her earlier position as a Z-list celebrity and an “ever-trending queen of scandals,” whose company had paired her with male celebrities to exploit attention while the industry treated her as someone to avoid. The same public mechanism that once converted hostility into rumor now converts her ordinary interactions with the children into a sympathetic and commercially valuable image.

The reversal also reframes Shen Tang’s relationship with publicity. Earlier, Wang Brother had argued that bad publicity was still publicity and that being slandered was less frightening than being unknown. Shen Tang had wanted to quit the entertainment business, seeing no reason to struggle toward a success she believed was not destined for her. The livestream gives that old argument an unexpected answer. She does not regain popularity by embracing scandal or by forcing herself into a romantic pairing arranged by a company public-relations team. She gains it through an unscripted association with Gu Anran and Gu Wuyang, through visible patience, and through a form of public conduct that viewers interpret as genuine.

Significance and Aftermath

The event’s decisive shift is from controlled representation to shared immediacy. The program’s conversion to livestreaming removes the protective distance of editing, while the children’s directness makes them resistant to the polished performance expected of adult celebrities. Shen Tang responds by replacing total control with selective guidance. She prepares the children for possible trouble, obtains their agreement, lets them pack their own luggage, and allows their ordinary behavior to remain visible. The broadcast succeeds because it does not eliminate risk; it makes natural behavior the basis of the performance.

The aftermath extends beyond ratings or a temporary appearance. Gu Anran and Gu Wuyang become popular in their own right, and Shen Tang’s new “national sister” identity gives her a renewed place in public culture. She also finds herself loving the children deeply and feeling an urge to have a child again. That response reveals the event’s private consequence: the livestream does not merely repair her career image. It awakens a maternal longing, tying the public success of the program to a change in Shen Tang’s personal emotional horizon. The children’s candid presence thus transforms a potentially dangerous publicity experiment into a renewed career, a shared family experience, and an altered sense of what Shen Tang may want from the future.