‘Minions: The Origin of Gru’ released this month in China, and soon after, viewers took to social networks to discuss a notable difference from the international version of the film. The discussion focused on a variant ending that appears only in the Chinese release, sparking debate among audiences across the country.
In the fifth chapter of the ‘Gru: My Favorite Villain’ film series, which debuted a few weeks later than the global release, the Chinese edition contains a distinct conclusion for one of the characters. Observers noted that, compared to the worldwide distribution, some Weibo users observed the ending differed from the rest of the world. To date, Chinese social platforms face restrictions comparable to the ways Twitter has been blocked in the country, which can influence how regions discuss and perceive changes in film endings.
Set against a backdrop reminiscent of 1970s San Francisco, the animated feature follows a young Gru as he shifts from timidity to a life of crime, aided by a mentor whose fate diverges in the Chinese version. While the global audience witnesses the mentor’s name as Willy Kobra, in China the character’s arc leads to a dramatic arrest by authorities under circumstances that involve a pretend death and a long prison term. The explanation for the altered ending is presented through a sequence of still images added to the end credits of the Chinese screening, signaling a different narrative beat for local viewers.
Additionally, Chinese distributors state that, despite Gru’s profession as a villain, the character ultimately becomes someone who cares deeply for his family, a message conveyed in the film’s closing moments. This shift aligns with a broader approach seen in some markets where the final tone emphasizes family values alongside the protagonist’s personal evolution.
Endings tailored for specific markets are not unusual in China, where authorities or platforms may request or permit modifications to censor nudity, sensitive political content, or sexual scenes. It remains unclear whether the ending adjustment for Minions was driven by censorship demands or by producers aiming for a version deemed more acceptable for the Chinese audience. The practice, while common in various forms, highlights how cinematic releases can vary by region while still sharing a core story.
A parallel example from cinema history is David Fincher’s 1999 classic Fight Club, which also saw a variant release on a Chinese platform. Tencent Video presented a version that altered certain scenes to reflect local sensibilities, even as the broader narrative about rebellion and societal collapse remained familiar to viewers. This illustrates how regional platforms balance storytelling with local norms, sometimes resulting in distinctly different viewing experiences for audiences in different markets.