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Chapter Dive

The Concept of ‘Involution’ (Nèijuǎn) on Chinese Social Media

Nèijuǎn (involution) has become a commonly used term on Chinese social media, but what is it?

Manya Koetse

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Chinese TV drama A Love for Dilemma (“小舍得”) has reignited an ongoing debate about the problem of ‘involution’ in Chinese society today.

A scene from the Chinese TV drama A Love for Dilemma (“小舍得”) has reignited online discussions on the concept of nèijuǎn 内卷, “involution,” which was also a top buzzword in China in 2020.

A Love for Dilemmais a 2021 TV drama directed by Zhang Xiaobo (张晓波), who also worked on…

Manya Koetse is a sinologist, writer, and public speaker specializing in China’s social trends, digital culture, and online media ecosystems. She founded What’s on Weibo in 2013 and now runs the Eye on Digital China newsletter. Learn more at manyakoetse.com or follow her on X, Instagram, or LinkedIn.

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1 Comment

1 Comment

  1. Brian

    June 21, 2021 at 5:07 am

    Yeah, that’s terrible. But, honestly? It’s kind of funny watching citizens of a self-described communist nation slowly reinvent Marxism, like how the Bitcoin folks found out the hard way about why finance regulations exist. “Involution” as it’s called here has been a known concept since the early 18th century at least, existing today in Marxism as a small part of immiseration and like theses.

    We also see mentioned a common myth among believers in capitalism: The (capitalist Mode of Production) market will always seek the most efficient forms of organization.

    This is usually explained in a Darwinian fashion, where organizations that are less efficient tend to die out at a higher rate than the leaner, meaner ones. In the opening stages of liberalization, when a market or markets are born, this holds true… briefly.

    As the capitalist MoP develops, markets become stagnant as the means of production coagulate into a shrinking capital (bourgeois) class. At a late stage, formerly competitive markets end with a clear set of winners, these markets congeal, and competition is all but rendered impossible as a newly powerful interest sector ensures its longevity by raising barriers to entry, shutting out newcomers. They have many ways to do this. Bribes, pricing schemes, lobbying, etc… all while propagandizing themselves as competitive titans and any attempts to break their stranglehold as non-competitive.

    The myths and the propaganda is effective, as evidenced by the hapless Chinese citizens. Who, just like their Western counterparts, are dismayed at their circumstances, but still believe that their suffering serves the winner of a natural Darwinian order where anything that promises a better life is eaten, and that this awful way of living is inevitable.

    Free of competition, the heirs of the formerly competitive market winners are now free to demand ridiculous (and, ultimately, self sabotaging) things of their employees, like 60-90 hour work weeks. As Jack Ma was quoted, “the 12-hour work day is a blessing.” He means for him, not for the poor saps who work those shifts. The funny part is… he’s wrong. Having employees work insane hours hurts the competitiveness of the organization… not that competitiveness matters at this stage of capitalism, anyway.

    We’ve known since forever that employee productivity per hour sharply drops after about four hours a day (or 20 hours a week). The increased scheduling burden of hiring two employees to work eight hours a day is more than offset by higher productivity efficiency. Everyone working those silly 60-90 hour weeks is made miserable for no reason, their long workdays counter-productive. This is not punished by the market because it has ceased to be competitive (or never was).

    But alas, humanity’s most popular myth lives: “If a better way was that simple, someone would have done that already.”

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Chapter Dive

The Power of Ugly: Why Niu Lai Became China’s Unlikeliest Box-Office Hit

How the two-person animated film Niu Lai turned its “ugly” visuals, dreamcore nostalgia, and remarkable cinema journey into a nationwide participatory meme.

Manya Koetse

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A mother-and-son duo’s animated 3D film earned just 342 yuan ($US50) on opening day. Then its crude visuals turned it into a viral success, propelling it into the top ten of the year’s domestic animated releases. A meaningless ‘miracle’ or sign of shifting cultural sentiments? An explainer.

Something extraordinary has happened in Chinese cinemas this month. A tiny animated film about a yellow cow on a dreamlike adventure opened in a few hundred Chinese theaters on August 5, 2026, with zero promotion and no trailer. On its first day, the movie’s box office revenue totaled just 342 yuan (US$50).

Nobody could have expected that this microbudget indie movie, initially playing to empty seats, would become a nationwide viral hit—not because people thought it was good, but because they found it so aesthetically ugly.

The 86-minute 3D animation is titled Niu Lai (牛来, literally “Here Comes the Cow/The Cow Comes”). It was produced by just two people from Dalian: 34-year-old Xin Yumeng (信雨萌) and his mother, Sun Lifang (孙丽芳). The pair spent five years making it.

The plot follows a young calf named Niu Lai, who is too afraid to stand. In his dreams, he befriends a skylark and a young leopard on a sometimes-scary adventure, during which he grows up, loses his mother in a wolf attack, and eventually wakes up with new life lessons.

Despite being complete newcomers to the film industry, Xin and his mother handled everything themselves, from directing and writing to animation, voice acting, and music—theirs were the only two names in the end credits.

They registered the script in 2021 and, after passing the content review, received a public-screening permit in 2024. The narrative contained no apparent sensitivities, and all the paperwork was in order. A film distributor they knew reportedly helped them secure screenings at a few hundred cinemas (even though, after seeing the film’s quality, he had advised them against a theatrical release).

Around August 13-14, the movie went viral when a few netizens who saw it shared their disbelief at the primitive visuals, which contrasted sharply with the…

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China Digital

How Chinese AI Videos Turned Foreigners into Villains

How viral AI videos turn racialized outsiders into threats and violent Chinese heroes into defenders of social order, China’s first nationally broadcast AI drama, and why a newspaper is being sold for 50 times its original price.

Manya Koetse

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Welcome to China Trend Watch (Week 30–33 | 2026), where I bring you the latest trends, memes, and debates driving conversation across Chinese social media. Subscribe here to receive future editions.

 

Over the past few weeks, a noteworthy amount of AI-related news has been trending on Chinese social media, which is reflected in this week’s edition.

Now that AI has entered every corner of media consumption and online life, related discussions seem…

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