China Digital
TikTok CEO Shou Zi Chew Hailed as Asian “Solitary Hero” on Chinese Social Media
After the congressional hearing of the TikTok CEO, some called Shou Zi Chew “Mr. Perfect in the eye of the storm.”
While there were enough people on Chinese social media swooning over celebrities this weekend during the Weibo Award Night, there were also many netizens admiring another person, namely Shou Zi Chew (周受资, Zhou Shouzi), the CEO of TikTok.
Earlier this week, Shou Zi Chew appeared before the House Energy and Commerce Committee in the United States, facing a four-and-a-half-hour hearing over data security and harmful content on the TikTok app.
The hearing took place in light of Washington’s increasing concerns over TikTok “as a threat to national and personal security,” with officials calling for a nationwide ban on the app’s U.S. operations – unless Chinese owners sell their stake in the social media platform (more here).
TikTok is a super popular short video app by Chinese company Bytedance, which also runs Douyin, the Chinese counterpart of the international Tiktok app. TikTok has over 150 million users in the U.S. alone.
Being grilled about concerns over China’s influence over the Beijing-based Bytedance and China’s access to American data, Chew emphasized that ByteDance is a private business and “not an agent of China or any other country.”
During the hearing, Chew faced various questions from officials. One clip that was shared a lot on Twitter showed Arizona Republican Congresswoman Debbie Lesko asking Shou Zi Chew:
– “Do you agree that the Chinese government has persecuted the Uyghur population?”
“It’s deeply concerning to hear about all accounts of human rights abuse,” Shou answered: “My role here is to explain – ”
– “I think you’re being pretty evasive. It’s a pretty easy question. Do you agree that the Chinese government has persecuted the Uyghur population?”
“Congresswoman, I’m here to describe TikTok, and what we do as a platform, and as a platform, we allow our users to freely express their views on this issue and any other issue that matters to them,” Shou replied.
– “Well, you didn’t answer the question, ” Lesko said while interrupting Shou.
Another moment that was widely shared was when Congressman Richard Hudson asked Shou Chew:
– “Does TikTok access the home WiFi network?”
“Only if the user turns on the wifi,” Shou replied: “I’m sorry I may not understand the..”
– “So if I have TikTok on my phone, and my phone is on my home wifi, does TikTok access that network?“, Hudson asked.
“It will have to access the network to get connected to the internet, if that is your question.”
– “Is it possible then that it can access other devices on that home wifi network?” Hudson asked.
“Congressman, we do not do anything that is beyond any industry norms. I believe the answer to your question is no,” Chew replied.
On Chinese social media, the hearing received extensive discussion and analysis.
A “Collective Cursing Activity”
Chinese blogger Chairman Rabbit (兔主席), a conservative political commentator who often comments on US-related issues (read more), analyzed the hearing in a recent blog.
According to Chairman Rabbit, the hearing was a one-way conversation from the Congress side, and was more like a “collective ‘cursing’ activity” (“一场集体”骂娘”活动”) than dialogue, with the American officials not giving Shou the time to reply and basically – and rudely – answering their own questions.
The blogger also suggested that Chew was questioned as if he himself represented the Communist Party of China, even though he is Singaporean and the CEO of a private company. Regardless, the Americans seemed to take this time of questioning Shou as an opportunity to vent their anger at the Party and the Chinese government at large.
The main gist of Chairman Rabbit’s blog was shared by many others on social media, with some calling the hearing not much more intelligent than a “kindergarten fight” (“比幼儿园吵架高明不了多少”).
One meme making its rounds on Weibo and Wechat showed a photo of Apple CEO Tim Cook in China versus TikTok CEO Shou Zi Chew in the U.S., suggesting that while the Chinese side treated an American tech giant CEO with warmth and kindness, the American side had treated a Chinese tech giant CEO with coldness and paranoia.
Political cartoon by Singaporean editorial cartoonist Heng shared on Weibo, also published on Twitter by Lianhe Zaobao.
Another image circulating on Weibo is a political cartoon by the Singaporean artist Heng that was also published on Twitter by Lianhe Zaobao, the largest Singaporean Chinese-language newspaper.
The image shows the TikTok CEO tied to a tree, and a pile of wood stacked around him. Three ‘executioners,’ including Uncle Sam, are about to burn Chew at the stake with the help of some “Anti-Chinese Sentiment” fuel.
Shou Zi Chew: Mr. Perfect in the Eye of the Storm
Meanwhile, Chew himself has become super popular on Chinese social media, including on Weibo, Douyin, and Xiaohongshu, where he has become idolized by some (“I won’t even compare you with the stars, you’re much better than the stars.”)
Some bloggers and commenters noted how Chew fits the supposed idea of a ‘perfect Asian’ by staying calm despite unreasonable allegations and emphasizing business interests over culture. One Weibo user (@老叔开画) called Shou Zi Chew “Mr. Perfect in the eye of the storm.”
Mostly, people admire how he stood up against Congress despite being “bullied” by American officials and “defended” China’s interests although he is Singaporean himself. Some called him a “solitary hero” (“孤胆英雄”).
Popular image shared on Weibo shows a Shou where he is today versus how his journey began as a young student.
Then there are those who praise the Singaporean businessman and entrepreneur for his career journey and his work ethic. The now 40-year-old studied in London and graduated from Harvard, he previously worked at Goldman Sachs and Xiaomi, and became the CEO of TikTok at 38 years old.
On the Xiaohongshu app, Chew is mentioned as a source of inspiration on how to remain calm and professional when facing a difficult situation.
Lastly, many fans just think Chew is “charming” and “handsome” – and they focus on details of Chew and his life that have nothing to do with the contents of the hearing. Some Weibo users pointed out how he came to his hearing well-prepared with four bottles of water, others discuss his personal life, including his wife Vivian Kao.
From Weibo to TikTok: Criticism from Two Sides
Besides receiving support from Chinese social media users, Chew’s handling of the hearing was also praised on the TikTok app by international users, including many Americans.
One popular Chew quote during the U.S. congressional hearing that came up on TikTok is how Chew said:
“I don’t think the [Chinese] ownership is the issue here, with a lot of respect, American social companies do not have a good track record when it comes to data security and privacy, just look at Facebook and Cambridge Analytica – and that’s just one example.”
Another popular quote was Chew defending TikTok, saying:
“There are more than 150 million Americans who love our platform, and we know we have a responsibility to protect them, which I’m making the following commitments to you and all our users. Number one: we will keep safety, particularly for teenagers, as a top priority for us. Number two: we will firewall protect the U.S. data from unwanted foreign access. Number three: TikTok will remain a place for free expression and will not be manipulated by any government. And fourth, we will be transparent and we will give access to third-party independent monitors to remain accountable for our commitments.”
Many TikTok users are not just fond of the app – and do not want it to get banned, – they also criticize the U.S. officials for how they handled the hearing, with their lack of technological knowledge and unfamiliarity with the TikTok app shining through in their questions.
Some TikTok creators suggested that the officials missed an opportunity to gain actual knowledge of TikTok’s data handling, and should have asked things like (suggested by TikTok user @sharonsaysso):
– “Are you collecting any passive data from the back end of the phones, even if the person isn’t logged in?”
– “How long are you storing this data for?”
– “What data is being passed to advertisers?”
– “If a user would like to have their data expunged from your systems, is there a process in place with them to easily and fairly quickly have that done?”
– “Have you ever willingly or unwillingly relinquished any of your user data to the government of China or any other country?”
– “Please explain in detail what elements your algorithm considers in its optimization process?”
After American media outlet NBC reported about how TikTok users declared their support for the platform and its CEO after the hearing, screenshots of the article were also shared on Chinese social media.
Chinese political commentator Hu Xijin (@胡锡进) wrote a lengthy post about the TikTok hearing on Weibo, and he also criticized how Chew was facing questions that were already framed and filled with “imaginary accusations” against China.
Hu Xijin and others do not necessarily hail Chew as a “hero,” but instead point out the arrogance and biased approach taken by U.S. official during the hearing.
“They give a dog a bad name and hang him,” some say, with others agreeing that this matter is no longer about the actual facts regarding TikTok’s operations, but about how American authorities have already set their agenda on how TikTok content is problematic and how the app is controlled by Beijing and cannot guarantee the security of U.S. users’ data and privacy.
Some commenters are already predicting the outcome of this matter: “You should prepare for the possibility of being banned or forced to sell.”
Watch a video of the hearing on YouTube here.
By Manya Koetse
With contributions by Miranda Barnes and Zilan Qian
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China Arts & Entertainment
Going All In on Short Streaming: About China’s Online ‘Micro Drama’ Craze
For viewers, they’re the ultimate guilty pleasure. For producers, micro dramas mean big profit.
PREMIUM CONTENT
In February of this year, Chinese social media started flooding with various hashtags highlighting the huge commercial success of ‘online micro-short dramas’ (wǎngluò wēiduǎnjù 网络微短剧), also referred to as ‘micro drama’ or ‘short dramas’ (微短剧).
Stories ranged from “Micro drama screenwriters making over 100k yuan [$13.8k] monthly” to “Hengdian building earning 2.8 million yuan [$387.8k] rent from micro dramas within six months” and “Couple earns over 400 million [$55 million] in a month by making short dramas,” all reinforcing the same message: micro dramas mean big profits. (Respectively #短剧爆款编剧月入可超10万元#, #横店一栋楼半年靠短剧租金收入280万元#, #一对夫妇做短剧每月进账4亿多#.)
Micro dramas, taking China by storm and also gaining traction overseas, are basically super short streaming series, with each episode usually lasting no more than two minutes.
From Horizontal to Vertical
Online short dramas are closely tied to Chinese social media and have been around for about a decade, initially appearing on platforms like Youku and Tudou. However, the genre didn’t explode in popularity until 2020.
That year, China’s State Administration of Radio, Film, and Television (SARFT) introduced a “fast registration and filing module for online micro dramas” to their “Key Online Film and Television Drama Information Filing System.” Online dramas or films can only be broadcast after obtaining an “online filing number.”
Chinese streaming giants such as iQiyi, Tencent, and Youku then began releasing 10-15 minute horizontal short dramas in late 2020. Despite their shorter length and faster pace, they actually weren’t much different from regular TV dramas.
Soon after, short video social platforms like Douyin (TikTok) and Kuaishou joined the trend, launching their own short dramas with episodes only lasting around 3 minutes each.
Of course, Douyin wouldn’t miss out on this trend and actively contributed to boosting the genre. To better suit its interface, Douyin converted horizontal-screen dramas into vertical ones (竖屏短剧).
Then, in 2021, the so-called mini-program (小程序) short dramas emerged, condensing each episode to 1-2 minutes, often spanning over 100 episodes.
These short dramas are advertised on platforms like Douyin, and when users click, they are directed to mini-programs where they need to pay for further viewing. Besides direct payment revenue, micro dramas may also bring in revenue from advertising.
‘Losers’ Striking Back
You might wonder what could possibly unfold in a TV drama lasting just two minutes per episode.
The Chinese cultural media outlet ‘Hedgehog Society’ (刺猬公社) collected data from nearly 6,000 short dramas and generated a word cloud based on their content keywords.
In works targeted at female audiences, the most common words revolve around (romantic) relationships, such as “madam” (夫人) and “CEO” (总裁). Unlike Chinese internet novels from over a decade ago, which often depicted perfect love and luxurious lifestyles, these short dramas offer a different perspective on married life and self-discovery.
According to Hedgehog Society’s data, the frequency of the term “divorce” (离婚) in short dramas is ten times higher than “married” (结婚) or “newlyweds” (新婚). Many of these dramas focus on how the female protagonist builds a better life after divorce and successfully stands up to her ex-husband or to those who once underestimated her — both physically and emotionally.
One of the wordclouds by 刺猬公社.
In male-oriented short dramas, the pursuit of power is a common theme, with phrases like “the strongest in history” (史上最强) and “war god” (战神) frequently mentioned. Another surprising theme is “matrilocal son” (赘婿), the son-in-law who lives with his wife’s family. In China, this term is derogatory, particularly referring to husbands with lower economic income and social status than their wives, which is considered embarrassing in traditional Chinese views. However, in these short dramas, the matrilocal son will employ various methods to earn the respect of his wife’s family and achieve significant success.
Although storylines differ, a recurring theme in these short dramas is protagonists wanting to turn their lives around. This desire for transformation is portrayed from various perspectives, whether it’s from the viewpoint of a wealthy, elite individual or from those with lower social status, such as divorced single women or matrilocal son-in-laws. This “feel-good” sentiment appears to resonate with many Chinese viewers.
Cultural influencer Lu Xuyu (@卢旭宁) quoted from a forum on short dramas, explaining the types of short dramas that are popular: Men seek success and admiration, and want to be pursued by beautiful women. Women seek romantic love or are still hoping the men around them finally wake up. One netizen commented more bluntly: “They are all about the counterattack of the losers (屌丝逆袭).”
The word used here is “diaosi,” a term used by Chinese netizens for many years to describe themselves as losers in a self-deprecating way to cope with the hardships of a competitive life, in which it has become increasingly difficult for Chinese youths to climb the social ladder.
Addicted to Micro Drama
By early 2024, the viewership of China’s micro dramas had soared to 120 million monthly active users, with the genre particularly resonating with lower-income individuals and the elderly in lower-tier markets.
However, short dramas also enjoy widespread popularity among many young people. According to data cited by Bilibili creator Caoxiaoling (@曹小灵比比叨), 64.9% of the audience falls within the 15-29 age group.
For these young viewers, short dramas offer rapid plot twists, meme-worthy dialogues, condensing the content of several episodes of a long drama into just one minute—stripping away everything except the pure “feel-good” sentiment, which seems rare in the contemporary online media environment. Micro dramas have become the ultimate ‘guilty pleasure.’
Various micro dramas, image by Sicomedia.
Even the renowned Chinese actress Ning Jing (@宁静) admitted to being hooked on short dramas. She confessed that while initially feeling “scammed” by the poor production and acting, she became increasingly addicted as she continued watching.
It’s easy to get hooked. Despite criticisms of low quality or shallowness, micro dramas are easy to digest, featuring clear storylines and characters. They don’t demand night-long binge sessions or investment in complex storylines. Instead, people can quickly watch multiple episodes while waiting for their bus or during a short break, satisfying their daily drama fix without investing too much time.
Chasing the gold rush
During the recent Spring Festival holiday, the Chinese box office didn’t witness significant growth compared to previous years. In the meantime, the micro drama “I Went Back to the 80s and Became a Stepmother” (我在八零年代当后妈), shot in just 10 days with a post-production cost of 80,000 yuan ($11,000), achieved a single-day revenue exceeding 2 million yuan ($277k). It’s about a college girl who time-travels back to the 1980s, reluctantly getting married to a divorced pig farm owner with kids, but unexpectedly falling in love.
Despite its simple production and clichéd plot, micro dramas like this are drawing in millions of viewers. The producer earned over 100 million yuan ($13 million) from this drama and another short one.
“I Went Back to the 80s and Became a Stepmother” (我在八零年代当后妈).
The popularity of short dramas, along with these significant profits, has attracted many people to join the short drama industry. According to some industry insiders, a short drama production team often involves hundreds or even thousands of contributors who help in writing scripts. These contributors include college students, unemployed individuals, and online writers — seemingly anyone can participate.
By now, Hengdian World Studios, the largest film and television shooting base in China, is already packed with crews filming short dramas. With many production teams facing a shortage of extras, reports have surfaced indicating significant increases in salaries, with retired civil workers even being enlisted as actors.
Despite the overwhelming success of some short dramas like “I Went Back to the 80s and Became a Stepmother,” it is not easy to replicate their formula. The screenwriter of the time-travel drama, Mi Meng (@咪蒙的微故事), is a renowned online writer who is very familiar with how to use online strategies to draw in more viewers. For many average creators, their short drama production journey is much more difficult and less fruitful.
But with low costs and potentially high returns, even if only one out of a hundred productions succeeds, it could be sufficient to recover the expenses of the others. This high-stakes, cutthroat competition poses a significant challenge for smaller players in the micro drama industry – although they actually fueled the genre’s growth.
As more scriptwriters and short dramas flood the market, leading to content becoming increasingly similar, the chances of making profits are likely to decrease. Many short drama platforms have yet to start generating net profits.
This situation has sparked concerns among netizens and critics regarding the future of short dramas. Given the genre’s success and intense competition, a transformation seems inevitable: only the shortest dramas that cater to the largest audiences will survive.
In the meantime, however, netizens are enjoying the hugely wide selection of micro dramas still available to them. One Weibo blogger, Renmin University Professor Ma Liang (@学者马亮), writes: “I spent some time researching short videos and watched quite a few. I must admit, once you start, you just can’t stop. ”
By Ruixin Zhang, edited with further input by Manya Koetse
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China Brands, Marketing & Consumers
Tick, Tock, Time to Pay Up? Douyin Is Testing Out Paywalled Short Videos
Is content payment a new beginning for the popular short video app Douyin (China’s TikTok) or would it be the end?
News that Chinese social media app Douyin is rolling out a new feature which allows creators to introduce a paywall for their short video content has triggered online discussions in China this week.
The feature, which made headlines on November 16, is presently in the testing phase. A number of influential content creators are now allowed to ‘paywall’ part of their video content.
Douyin is the hugely popular app by Chinese tech giant Bytedance. TikTok is the international version of the Chinese successful short video app, and although they’re often presented as being the same product, Douyin and Tiktok are actually two separate entities.
In addition to variations in content management and general usage, Douyin differs from TikTok in terms of features. Douyin previously experimented with functionalities such as charging users for accessing mini-dramas on the platform or the ability to tip content creators.
The pay-to-view feature on Douyin would require users to pay a certain fee in Douyin coins (抖币) in order to view paywalled content. One Douyin coin is equivalent to 0.1 yuan ($0,014). The platform itself takes 30% of the income as a service charge.
According to China Securities Times or STCN (证券时报网), Douyin insiders said that any short video content meeting Douyin’s requirements could be set as “pay-per-view.”
Creators, who can set their own paywall prices, should reportedly meet three criteria to qualify for the pay-to-view feature: their account cannot have any violation records for a period of 90 days, they should have at least 100,000 followers, and they have to have completed the real-name authentication process.
On Douyin and Weibo, Chinese netizens express various views on the feature. Many people do not think it would be a good idea to charge money for short videos. One video blogger (@小片片说大片) pointed out the existing challenge of persuading netizens to pay for longer videos, let alone expecting them to pay for shorter ones.
“The moment I’d need to pay money for it, I’ll delete the app,” some commenters write.
This statement appears to capture the prevailing sentiment among most internet users regarding a subscription-based Douyin environment. According to a survey conducted by the media platform Pear Video, more than 93% of respondents expressed they would not be willing to pay for short videos.
An online poll by Pear Video showed that the majority of respondents would not be willing to pay for short videos on Douyin.
“This could be a breaking point for Douyin,” one person predicts: “Other platforms could replace it.” There are more people who think it would be the end of Douyin and that other (free) short video platforms might take its place.
Some commenters, however, had their own reasons for supporting a pay-per-view function on the platform, suggesting it would help them solve their Douyin addiction. One commenter remarked, “Fantastic, this might finally help me break free from watching short videos!” Another individual responded, “Perhaps this could serve as a remedy for my procrastination.”
As discussions about the new feature trended, Douyin’s customer service responded, stating that it would eventually be up to content creators whether or not they want to activate the paid feature for their videos, and that it would be up to users whether or not they would be interested in such content – otherwise they can just swipe away.
Another social media user wrote: “There’s only one kind of video I’m willing to pay for, and it’s not on Douyin.”
By Manya Koetse
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