China Digital
The Rise of Pear Video (梨视频): Making Short News Videos Trending on Chinese Social Media
Pear Video (梨视频) is the new kid on the block in the pool of China’s many digital news platforms.
Published
9 years agoon
Pear Video (梨视频) is the new kid on the block in the pool of China’s many digital news platforms. Its rise is noteworthy as it comes at a time when authorities are strengthening regulations on the media sharing ‘non-official’ news videos. Does Pear Video show the way China’s new media is going?
Over the past few months, the promotion and popularity of Chinese video news platform Pear Video (梨视频) has been exponentially growing on China’s various social media platforms. Its rise is noteworthy, especially after Chinese authorities announced new regulations concerning the sharing of ‘unofficial’ online news videos in December of 2016.
According to The Guardian, the new regulations block public (media) accounts on platforms such as WeChat and Weibo from (re)posting “user-generated audio or video” (Haas 2016).
Chinese media sources (e.g. Sina News) reported that these regulations are specifically about user-generated news that focuses on current politics “and such.”
Short videos have become an increasingly popular tool in the world of Chinese media, with short news video platforms like Kanka News (@看看新闻) having thousands of followers on Chinese social media.
WHAT IS PEAR VIDEO?
“China’s leading short news video platform.”
Pear Video calls itself “China’s leading short news video platform” (梨视频是中国领先的资讯短视频平台). With an app and ultra-short informative news clips, it is a digital video platform that is specifically aimed at mobile users.
The company was established in September 2016. It was founded by Qiu Bing, former CEO of Chinese media outlet The Paper. In its official description on its website and Facebook, it states that it has received an investment of over one hundred million RMB (±14.4M$) by China Media Capital, and that its team consists of over 200 members, allegedly producing 200 news videos every day.
The company also states that its team members come from media companies such as, among others, The Paper (澎湃) and the Shanghai Media Group.
Pear Video’s clips often, even daily, make it to the top trending lists of Sina Weibo, recent examples being the video about a pet dog killed by a local guard, a clip on pole-dancing girls at a Taiwanese official funeral, or the report about a man injured during the anti-Japanese protests of 2012.
Pear Video mainly focuses on society, entertainment, and tech news. Besides the more local news, Pear Video also reports on international news, such as developments regarding Trump and Jack Ma, or more marginal news that has become trending in Europe or America.
Pear Video currently has a fanbase of 340.000 on its official Weibo account, but since they are also active on WeChat, their own app, Facebook, YouTube, and other social media platforms, the company currently has a reach of millions – and is growing explosively.
The formula is clean and simple: Pear Video brings news in short edited clips, usually less than a minute, showing news footage and audio with bold captions that explain the background and news value often accompanied by music. The news is easy to digest, very contemporary, and with its trendy design is especially appealing to China’s younger generations.
On Sina Weibo, Pear Video broadcasts its videos through short-video app Miaopai, that partnered up with Weibo in 2013 for easy audiovisual content sharing on the Sina platform.
BEHIND PEAR VIDEO
“The face of commercial media and the heart of Party media.”
In many ways, the launch of Pear Video is similar to the 2014 launch of The Paper, a newspaper directed at China’s younger generations. In 2015, Tabitha Speelman wrote about this new Chinese web-based media outlet in Foreign Policy, calling it a “smarter, sexier” form of state media that adhered to government calls for more “proactive” and “effective” ways of bringing news in a changing media environment.
David Bandurski, editor of the China Media Project, wrote an insightful piece about The Paper in 2016, in which he quoted former Southern Weekly journalist Fang Kecheng in saying that The Paper “has the face of commercial media, and the heart of Party media.”
Bandurski linked the launch of The Paper to China’s new “internet management path” that became apparent at the Wuzhen Summit. Unsurprisingly, its initial funding of 100 million RMB (±14M$) came from the Shanghai United Media Group (SUMG): a state-owned media group. “Propaganda 2.0”, is how the Economist called it.
Seeing the launch of The Paper in the same light as Pear Video – a fresh, new, cross-media 21st-century news platform – it seems that the two media platforms are walking a similar path in making China’s ‘official’ news more appealing to younger audiences.
But there is one slight difference. Although Pear Video’s team also comes from The Paper and from the state-run Shanghai United Media Group, its funding comes from China Media Capital (CMC), a private equity and venture capital firm headed by Li Ruigang. Although not state-owned, it is nevertheless a company that is also backed by the state.
In July of 2016, China’s media regulators called for a development of more powerful media organizations to make more of an impact, not just within but also outside of China, to compete with foreign ones. According to Patrick Frater (Variety 2016), the need for more influential media meant a growing government support for private-sector companies, like China Media Capital.
The establishment and rising popularity of Pear Video coincides with both the official call for more media giants – CMC financed Pear Video within months after this call – and the announcement of new media regulations on the sharing of ‘non-official’ news, after which the big state media outlets like People’s Daily (nearly 50 million followers on Weibo) also started sharing Pear News video on its official account on a daily basis.

People’s Daily now posts Pear Video news content on a daily basis.
Popular news accounts like Sina Video (@新浪视频) also shares their videos, and other short video news accounts such as Weila Video (@微辣Video) or Yishou Video (@一手视频) now seem to have merged with Pear Video and only post Pear Video content on their accounts, making their audience grow even bigger.
With so many official media sharing Pear Video content, and their videos making it to the Sina Weibo top trending lists on a daily basis, it is apparent that the Pear Video cross-media platform has the full support of China’s cyberspace authorities.
THE FUTURE OF CHINESE NEWS MEDIA
“This is the mobile social media generation that rather watches the news than read it – making short videos all the more influential.”
“Short news videos may be a new weapon in the spread of new media,” People’s Daily wrote in September of 2016, the month of Pear Video’s launch. The article notes that in the era of “mobile government”, the public has increasingly higher demands when it comes to taking in information.
“Simple information release no longer meets the needs of users”, the article says, advocating that media should adapt to a new audience that is mobile and wants to take in information through short, insightful videos.
Tsinghua University’s media specialists also stress the importance of short mobile videos for the future of media in China, as becomes apparent in a lecture that was also posted on the Chinese government website.
China’s younger generations are the mobile generation, the ‘bowed head clan‘ (smartphone addicts), who consume the news through their smartphone and are less inclined to watch television news.
They are also used to staying the same app to do multiple things; apps such as WeChat and Weibo are not just where they talk with friends, but also where they play games and watch the news – preferably served to them in short ‘bites.’
Furthermore, the lecture states, it is the mobile social media generation that rather watches the news than read it – making short videos all the more influential.
It is this audience that is the present-day and future media consumer of China. The widespread support for short video platforms like Pear Video and their explosive popularity shows that China’s future official media is mobile, short, and audiovisual. It has a fresh look and a clean layout – it is propagated news in your hands, just a click away. The rise of Pear Video just shows how juicy new Chinese media can be.
– By Manya Koetse
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Many thanks to those providing input on this article.
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References / Further Reading:
Bandurski, David. 2016. “Reading THE PAPER.” Medium / China Media Project (July 7) https://medium.com/china-media-project/reading-the-paper-d15ec241652f#.bu6wblsui [6.1.16].
Frater, Patrick. 2016. “China Wants More Media Giants.” Variety (July 18) http://variety.com/2016/biz/asia/china-wants-more-media-giants-1201816245/ [13.1.16].
Haas, Benjamin. 2016. “China restricts sharing of ‘unofficial’ videos on Social Media.” The Guardian (Dec 20) https://www.theguardian.com/world/2016/dec/21/china-restricts-sharing-of-unofficial-videos-on-social-media [5.1.16].
Speelman, Tabitha. 2015. “Story image for looking for sexier state media? There’s an app for that.” Foreign Policy (Dec 15) http://foreignpolicy.com/2015/12/15/smarter-sexier-chinese-state-media-pengpai-paper/ [6.1.16].
©2016 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.
Manya is the founder and editor-in-chief of What's on Weibo, offering independent analysis of social trends, online media, and digital culture in China for over a decade. Subscribe to gain access to content, including the Weibo Watch newsletter, which provides deeper insights into the China trends that matter. More about Manya at manyakoetse.com or follow on X.
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China Brands, Marketing & Consumers
Signals: Hasan Piker’s China Trip & the Unexpected Journey of a Chinese School Uniform to Angola
Hasan Piker’s controversial China tour, a Chinese school uniform resurfaces in Africa, a new winter hotspot, why Chinese elites ‘run’ to Tokyo, and more.
Published
1 week agoon
November 21, 2025
🌊 Signals — Week 47 (2025)
Part of Eye on Digital China, Signals highlights slower trends and online currents behind the daily scroll. This edition was sent to paid subscribers — subscribe to receive the next issue in your inbox.
Welcome to another edition of Eye on Digital China. Different from the China Trend Watch (check the latest one here if you missed it), this edition, part of the new Signals series, is about the slower side of China’s social media: the recurring themes and underlying shifts that signal broader trends beyond the quick daily headlines. Together with the deeper dives, the three combined aim to give you clear updates and a fuller overview of what’s happening in China’s online conversations & digital spaces.
For the coming two weeks, I’ll be traveling from Beijing to Chongqing and beyond (more on that soon) so please bear with me if my posting frequency dips a little. I’ll be sure to pick it up again soon and will do my best to keep you updated along the way. In the meantime, if you know of a must-try hotpot in Chongqing, please do let me know.
In this newsletter: Hasan Piker’s controversial China tour, a Chinese school uniform in Angola, a new winter hotspot, discussions on what happens to your Wechat after you die, why Chinese elites rùn to Tokyo, and more. Let’s dive in.
- 💰 The richest woman in China, according to the latest list by Hurun Research Institute, is the “queen of pharmaceuticals” Zhong Huijuan (钟慧娟) who has accumulated 141 billion yuan (over 19 billion USD). Women account for over 22% of Chinese billionaires (those with more than 5 billion RMB), underscoring China’s globally leading position in producing wealthy female entrepreneurs.
- 🧩 What happens to your WeChat after you die? A user who registered for NetEase Music with a newly reassigned phone number unexpectedly gained access to the late singer Coco Lee’s (李玟) account, as the number had originally belonged to her. The incident has reignited debate over how digital accounts should be handled after death, prompting platforms like NetEase and Tencent to reconsider policies on long-inactive accounts and take stronger measures to protect them.
- 📱 Although millions of viewers swoon over micro-dramas with fantasy storylines where rich, powerful men win over the “girl next door” through money and status, Chinese regulators are now stepping in to curb exaggerated plots featuring the so-called “dominant CEO” (霸道总裁) archetype, signaling stricter oversight for the booming short drama market.
- ☕ A popular Beijing coffee chain calling itself “People’s Cafe” (人民咖啡馆), with its style and logo evoking nationalist visual nostalgia, has changed its name after facing criticism for building its brand – including pricey coffee and merchandise – on Mao era and state-media political connotations. The cafe is now ‘Yachao People’s Cafe’ (要潮人民咖啡馆).
- 👀 Parents were recently shocked to see erotic ads appear on the Chinese nursery rhymes and children’s learning app BabyBus (宝宝巴士), which is meant for kids ages 0–8. BabyBus has since apologized, but the incident has sparked discussions about how to keep children safe from such content.
- 🧧The 2026 holiday schedule has continued to be a big topic of conversation as it includes a 9-day long Spring Festival break (from February 15 to February 23), making it the longest Lunar New Year holiday on record. The move not only gives people more time for family reunions, but also gives a huge boost to the domestic travel industry.
Hasan Piker’s Chinese Tour & The US–China Content Honeymoon

Livestreamer Hasan Piker during his visit to Tiananmen Square flag-rising ceremony.
It’s not time for the end-of-year overviews just yet – but I’ll already say that 2025 was the US–China ‘honeymoon’ year for content creation. It’s when China became “cool,” appealing, and eye-grabbing for young Western social media users, particularly Americans. The recent China trip of the prominent American online streamer Hasan Piker fits into that context.
This left-wing political commentator also known as ‘HasanAbi’ (3 million followers on Twitch, recently profiled by the New York Times) arrived in China for a two-week trip on November 11.

Piker screenshot from the interview with CGTN, published on CGTN.
His visit has been controversial on English-language social media, especially because Piker, known for his criticism of America (which he calls imperialist), has been overly praising China: calling himself “full Chinese,” waving the Chinese flag, joining state media outlet CGTN for an interview on China and the US, and gloating over a first-edition copy of Quotations from Chairman Mao (the Little Red Book). He portrays China as heavily misrepresented in the West and as a country the United States should learn from.

Hasan Piker did an interview with CGTN, posing with Li Jingjing 李菁菁.
During his livestreaming tour, Hasan, who is nicknamed “lemonbro” (柠檬哥) by Chinese netizens, also joined Chinese platforms Bilibili and Xiaohongshu.
But despite all the talk about Piker in the American online media sphere, online conversations, clicks, and views within China are underwhelming. As of now, he has around 24,000 followers on Bilibili, and he’s barely a topic of conversation on mainstream feeds.
Piker’s visit stands in stark contrast to that of American YouTuber IShowSpeed (Darren Watkins), who toured China in March. With lengthy livestreams from Beijing to Chongqing, his popularity exploded in China, where he came to be seen by many as a representative of cultural diplomacy.

IShowspeed in China, March 2025.
IShowSpeed’s success followed another peak moment in online US–China cultural exchange. In January 2025, waves of foreign TikTok users and popular creators migrated to the Chinese lifestyle app Xiaohongshu amid the looming TikTok ban.
Initially, the mass migration of American users to Xiaohongshu was a symbolic protest against Trump and US policies. In a playful act of political defiance, they downloaded Xiaohongshu to show they weren’t scared of government warnings about Chinese data collection. (For clarity: while TikTok is a made-in-China app, it is not accessible inside mainland China, where Douyin is the domestic version run by the same parent company).
The influx of foreigners — who were quickly nicknamed “TikTok refugees” — soon turned into a moment of cultural celebration. As American creators introduced themselves, Chinese users welcomed them warmly, eager to practice English and teach newcomers how to navigate the app. Discussions about language, culture, and societal differences flourished. Before long, “TikTok refugees” and “Xiaohongshu natives” were collaborating on homework assignments, swapping recipes, and bonding through humor. It was a rare moment of social media doing what we hope it can do: connect people, build bridges, and replace prejudice with curiosity.
Some of that same enthusiasm was also visible during IShowSpeed’s China tour. Despite the tour inevitably getting entangled with political and commercial interests, much of it was simply about an American boy swept up in the high energy of China’s vibrant cities and everything they offer.
Different from IShowSpeed, who is known for his meme-worthy online presence, Piker is primarily known for his radical political views. His China enthusiasm feels driven less by cultural curiosity and more by his critique of America.
Because of his stances — such as describing the US as a police state — it’s easy for Western critics to accuse him of hypocrisy in praising China, especially after a brief run-in with security police while livestreaming at Tiananmen Square.
Seen in broader context, Piker’s China trip reflects a shift in how China is used in American online discourse.
Before, it was Chinese ‘public intellectuals’ (公知) who praised the US as a ‘lighthouse country’ (灯塔国), a beacon of democracy, to indirectly critique China and promote a Western modernization model. Later, Chinese online influencers showcased their lives abroad to emphasize how much ‘brighter the moon’ was outside China.
In the post-Covid years, the current reversed: Western content creators, from TikTok influencers to political commentators, increasingly use China to make arguments that are fundamentally about America.
Between these cycles, authentic cultural curiosity gets pushed to the sidelines. The TikTok-refugee moment in early January may have been the closest we’ve come in years: a brief window where Chinese and American users met each other with curiosity, camaraderie, and creativity.
Hasan’s tour, in contrast, reflects a newer phase, one where China is increasingly used as a stage for Western political identity rather than a complex and diverse country to understand on its own terms. I think the honeymoon phase is over.
“Liu Sihan, Your School Uniform Ended Up in Angola”: China’s Second-Hand Clothing in Africa

A Chinese school uniform went viral after a Chinese social media user spotted it in Angola.
“Liu Sihan, your schooluniform is hot in Africa” (刘思涵你的校服在非洲火了) is a sentence that unexpectedly trended after a Chinese blogger named Xiao Le (小乐) shared a video of a schoolkid in Angola wearing a Chinese second-hand uniform from Qingdao Xushuilu Primary School, that had the nametag Liu Sihan on it.
The topic sparked discussions about what actually happens to clothing after it’s donated, and many people were surprised to learn how widely Chinese discarded clothing circulates in parts of Africa.
Liu Sihan’s mother, whose daughter is now a 9th grader in Qingdao, had previously donated the uniform to a community clothing donation box (社区旧衣回收箱) after Liu outgrew it. She intended it to help someone in need, never imagining it to travel all the way to Africa.
In light of this story, one netizen shared a video showing a local African market selling all kinds of Chinese school items, including backpacks, and people wearing clothing once belonging to workers for Chinese delivery platforms. “In Africa, you can see school uniforms from all parts of China, and even Meituan and Eleme outfits,” one blogger wrote.
When it comes to second-hand clothing trade, we know much more about Europe–Africa and US–Africa flows than about Chinese exports, and it seems there haven’t been many studies on this specific topic yet. Still, alongside China’s rapid economic transformations, the rise of fast fashion, and the fact that China is the world’s largest producer and consumer of textiles, the country now has an enormous abundance of second-hand clothing.
According to a 2023 study by Wu et al. (link), China still has a long way to go in sustainable clothing disposal. Around 40% of Chinese consumers either keep unwanted clothes at home or throw them away.
But there may be a shift underway. Donation options are expanding quickly, from government bins to brand programs, and from second-hand stores to online platforms that offer at-home pickup.

Chinese social media users posting images of school/work uniforms from China worn by Africans.
As awareness grows around the benefits of donating clothing (reducing waste, supporting sustainability, and the emotional satisfaction of giving), donation rates may rise significantly. The story of Liu Sihan’s uniform, which many found amusing, might even encourage more people to donate. And if that happens, scenes of African children (and adults) wearing Chinese-donated clothes may become much more common than they now are.
Laojunshan: New Hotspot in Cold Winter

Images from Xiaohongshu, 背包里的星子, 旅行定制师小漾
Go to Zibo for BBQ, go to Tianshui for malatang, go to Harbin for the Ice Festival, cycle to Kaifeng for soup dumplings, or head to Dunhuang to ride a camel — over recent years, a number of Chinese domestic destinations have turned into viral hotspots, boosted by online marketing initiatives and Xiaohongshu influencers.
This year, Laojunshan is among the places climbing the trending lists as a must-visit spot for its spectacular snow-covered landscapes that remind many of classical Chinese paintings. Laojunshan (老君山), a scenic mountain in Henan Province, is attracting more domestic tourists for winter excursions.
Xiaohongshu is filled with travel tips: how to get there from Luoyang station (by bus), and the best times of day to catch the snow in perfect light (7–9 AM or around 6–6:30 PM).
With Laojunshan, we see a familiar pattern: local tourism bureaus, state media, and influencers collectively driving new waves of visitors to the area, bringing crucial revenue to local industries during what would otherwise be slower winter months.
WeChat New Features & Hong Kong Police on Douyin
🟦 WeChat has been gradually rolling out a new feature that allows users to recall a batch of messages all at once, which saves you the frantic effort of deleting each message individually after realizing you sent them to the wrong group (or just regret a late-night rant). Many users are welcoming the update, along with another feature that lets you delete a contact without wiping the entire chat history. This is useful for anyone who wants to preserve evidence of what happened before cutting ties.

🟦The Hong Kong Police Force recently celebrated its two-year anniversary on Douyin (the Chinese version of TikTok), having accumulated nearly 5 million followers during that time. To mark the occasion, they invited actor Simon Yam to record a commemorative video for their channel (@香港警察). The presence of the Hong Kong Police on the Chinese app — and the approachable, meme-friendly way they’ve chosen to engage with younger mainland audiences — is yet another signal of Hong Kong institutions’ strategic alignment with mainland China’s digital infrastructure, a shift that has been gradually taking place. The anniversary video proved popular on Douyin, attracting thousands of likes and comments.
Why Chinese Elite Rùn to Japan (by ChinaTalk)

Over the past week, Japan has been trending every single day on Chinese social media in light of escalating bilateral tensions after Japanese PM Takaichi made remarks about Taiwan that China views as a direct military threat. The diplomatic freeze is triggering all kinds of trends, from rising anti-Japanese sentiment online and a ban on Japanese seafood imports to Chinese authorities warning citizens not to travel to Japan.
You’d think Chinese people would want to be anywhere but Japan right now — but the reality is far more nuanced.
In a recent feature in ChinaTalk, Jordan Schneider interviewed Japanese journalist & researcher Takehiro Masutomo (舛友雄大) who has just published a book about Japan’s new Chinese diaspora, explaining what draws Chinese dissidents, intellectuals, billionaires, and middle-class families to Tokyo.
The book is titled Run Ri: 潤日 Following the Footsteps of Elite Chinese Escaping to Japan (only available in Japanese and Traditional Chinese for now). (The word Rùn 润/潤, by the way, is Chinese online slang and meme expresses the desire to escape the country.)
A very interesting read on how Chinese communities are settling in Japan, a place they see as freer than Hong Kong and safer than the U.S., and one they’re surprisingly optimistic about — even more so than the Japanese themselves.
Thanks for reading this Eye on Digital China Signals. For fast-moving trends and deeper dives, keep an eye on the upcoming newsletters.
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Many thanks to Miranda Barnes for helping curate some of the topics in this edition.
— Manya
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China Arts & Entertainment
Yearnings, Dreamcore, and the Rise of AI Nostalgia in China
From China’s first soap opera Yearnings to the rise of AI-fueled nostalgia.
Published
5 months agoon
July 2, 2025
The year is 1990, and the streets of Beijing’s Fangshan District are eerily quiet. You can almost hear a pin drop in the petrochemical town, as tens of thousands of workers and their families huddle around their televisions, all tuned to the same channel for something groundbreaking: China’s very first soap opera, Yearnings (渴望 Kěwàng).
Yearnings tells the story of Liu Huifang (刘慧芳), a female factory worker from a traditional working-class family in Beijing, and her unlikely marriage to university graduate Wang Husheng (王沪生), who comes from a family of intellectuals. When Liu finds an abandoned baby girl, she adopts her and raises her as her own, against her husband’s wishes.
The couple is unaware that the foundling is actually the illegitimate child of Wang’s snobbish sister, Yaru. After Liu and Wang have a biological son, the marriage comes under further pressure, eventually leading to divorce. Liu is left as a single mother, raising two children on her own.

Still from Yearnings, via OurChinaStory.
Drawing inspiration from foreign dubbed television shows, Yearnings was produced as China’s first truly domestic, long-form indoor television drama. Spanning 50 episodes, the series traces a timeline from the onset of the Cultural Revolution in the 1960s through to the late 1980s—one of the most turbulent periods in modern Chinese history.
Before the series aired nationally on CCTV and achieved record viewership, the first station to air Yearnings in the Beijing region was the Yanshan Petrochemical TV Station (燕山石化电视台), China’s first major factory TV station (厂办电视台) located in Fangshan District.
Here, in this town of over 100,000, Yearnings garnered an astonishing and unprecedented 98% audience share. The series was truly groundbreaking and became a national sensation—not just because it was China’s first long-form television drama, or because it was a locally produced drama that challenged the long-standing monopoly of state broadcaster CCTV, but because Yearnings marked a major shift in television storytelling.
Until then, Chinese TV stories had always revolved around communist propaganda, or featured great heroes of the revolution. Yearnings, on the other hand, was devoid of political content and focused on the hopes and dreams of ordinary people and their everyday struggles—love, desire, marital tension, single motherhood—topics that had never before been so openly portrayed on Chinese television.
The show’s creators had perfectly tapped into what was changing: the Communist Party was slowly withdrawing from private life, and people were beginning to see themselves less defined by their work unit and more by their home life—as consumers, as partners and parents, as citizens of a new China filled with aspirations for the future. Yearnings’ storyline was a reflection of that.
Chinese-Style “Nostalgia Core”
Yearnings marked a cultural turning point, coinciding with the rapid spread of TV sets in Chinese households. In 1992, economic reforms triggered a new era in which Chinese media became increasingly commercialized and thriving, before the arrival of the internet, social media, and AI tools once again changed everything.
Today, Yearnings still is a topic that often comes up in Chinese online media. On apps like Douyin, old scenes from Yearnings are reposted and receive thousands of shares.
📌 It’s emblematic of a broader trend in which more netizens are turning to “nostalgia-core.” In Chinese, this trend is known as “中式梦核” (Zhōngshì Mènghé), which literally means “Chinese-style dreamcore.”
Dreamcore is an internet aesthetic and visual style—popular in online communities like Tumblr and Reddit—that blends elements of nostalgia, surrealism, and subconscious imagery. Mixing retro images with fantasy, it evokes a sense of familiarity, yet often feels unsettling and deserted.
The Chinese-style dreamcore (中式梦核), which has become increasingly popular on platforms like Bilibili since 2023-2024, is different from its Western counterpart in how it incorporates distinctly Chinese elements and specifically evokes the childhood experiences of the millennial generation. Content tagged as “Chinese-style dreamcore” on Chinese social media is often also labeled with terms like “nostalgia” (怀旧), “childhood memories” (童年回忆), “when we were little” (小时候), and “Millennial Dream” (千禧梦).
According to the blogging account Yatong Local Life Observer (娅桐本地生活观察), the focus on the millennial childhood can be explained because the formative years of this generation coincided with a decade of rapid social change in China —leaving little in today’s modern cities that still evokes that era.
🌀 Of course, millennials in the West also frequently look back at their childhood and teenage years, particularly the 1980s and 1990s—a trend also embraced by Gen Z, who romanticize these years through media and fashion. In China, however, Gen Z is at the forefront of the “nostalgia-core” trend, reflecting on the 1990s and early 2000s as a distant, almost dreamlike past. This sense of distance is heightened by China’s staggering pace of transformation, modernization, and digitalization over the past decades, which has made even the recent past feel remote and irretrievable.
🌀 Another factor contributing to the trend is that China’s younger generations are caught in a rat race of academic and professional competition, often feeling overwhelmed by the fast pace of life and the weight of societal expectations. In this high-pressure environment—captured by the concept of “involution” (内卷)—young people develop various coping mechanisms, and digital escapism, including nostalgia-core, is one of them. It’s like a cyber-utopia (赛博乌托邦).
🌀 Due to the rise of AI tools available to the general public, Chinese-style nostalgia core has hit the mainstream because it’s now possible for all social media users to create their own nostalgic videos and images—bringing back the 1990s and early 2000s through AI-generated tools, either by making real videos appear more nostalgic or by creating entirely fictional videos or images that recreate scenes from those days.
So what are we seeing? There are images and videos of stickers kids used to love, visuals showing old classrooms, furniture, and children playing outside, accompanied by captions such as “we’re already so far apart from our childhood years” (example).

Images displayed in Chinese Dreamcore.
And notably, there are videos and images showing family and friends gathering around those old big TVs as a cultural, ritualized activity (see some examples here).

Stills from ‘nostalgia core’ videos.
These kinds of AI-generated videos depict a pre-mobile-era family life, where families and communities would gather around the TV—both inside and outside—from classrooms to family homes. The wind blows through the windows, neighbors crack sunflower seeds, and children play on the ground. Ironically, it’s AI that is bringing back the memories of a society that was not yet digitalized.
Nowadays, with dozens of short video apps, streaming platforms, and livestream culture fully mainstream in China—and AI algorithms personalizing feeds to the extreme—it sometimes feels like everyone’s on a different channel, quite literally.
In times like these, people long for an era when life seemed less complicated—when, instead of everyone staring at their own screens, families and neighbors gathered around one screen together.
There’s not just irony in the fact that it took AI for netizens to visualize their longing for a bygone era; there’s also a deeper irony in how Yearnings once represented a time when people were looking forward to the future—only to find that the future is now looking back, yearning for the days of Yearnings.
It seems we’re always looking back, reminiscing about the years behind us with a touch of nostalgia. We’re more digitalized than ever, yet somehow less connected. We yearn for a time when everyone was watching the same screen, at the same time, together, just like in 1990. Perhaps it’s time for another Yearnings.
By Manya Koetse
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Sources (other sources included in hyperlinks)
Koetse, Manya. 2016. “From Woman Warrior to Good Wife – Confucian Influences on the Portrayal of Women in China’s Television Drama.” In Stefania Travagnin (ed), Religion and Media in China. New York: Routledge.
Rofel, Lisa B. 1994. Yearnings: Televisual Love and Melodramatic Politics in Contemporary China. American Ethnologist 21(4):700-722.
Wang, Dan (汪丹). 2018. “《渴望》的艺术价值” [The Artistic Value of Yearnings].” Originally published in Beijing Daily (北京日报), October 12, 2018. Reprinted in Digest News (文摘报), October 20, 06 edition. Also see Sohu: 当年红遍大江南北的《渴望》.
Wang Min and Arvind Singhal. 1992. “Kewang, a Chinese television soap opera with a message.” Gazette 49: 177-192.
Zhuge Kanwu. 2021. “重温1990《渴望》:苦得“刘慧芳”希望被导演写“死” [Revisiting 1990’s Yearnings: The Suffering Liu Huifang Hoped to Be Written Off by the Director]. Zhuge Dushu Wu (诸葛读书屋), January 22. https://wapbaike.baidu.com/tashuo/browse/content?id=b699ee532cf79f862bfa14ad.
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