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Chapter Dive

Yearnings, Dreamcore, and the Rise of AI Nostalgia in China

From China’s first soap opera Yearnings to the rise of AI-fueled nostalgia.

Manya Koetse

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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

(follow on X, LinkedIn, or Instagram)

 

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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©2025 Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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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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China Brands, Marketing & Consumers

Quack Like a Goose: Why Beijing Street Vendor “Auntie Goose Legs” Sparked a Nationwide Debate

After the first complaints surfaced, Auntie Goose Legs admitted the truth about her business: she ha been selling duck legs all along.

Manya Koetse

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🔥 Originally published in Eye on Digital China.
My premium newsletter covering the stories, memes, debates, and viral moments shaping online conversations in China. Subscribe here to receive future editions.

If it walks like a duck and quacks like a duck, it might still be a goose – or the other way around. That, at least, is the takeaway from two stories that recently went viral on Chinese social media.

The woman at the center of it all is Beijing street-food vendor Chen Xiufeng (陈秀凤), better known as “Auntie Goose Legs” (鹅腿阿姨). Over the years, she became something of a local celebrity in Beijing’s university district. Originally from Jiangsu, the migrant vendor had been selling her famous roasted goose legs to students since 2011.

She skyrocketed to national fame in 2023 , but became the target of widespread criticism last week after it was revealed that her celebrated goose legs – sold for 16 yuan ($2.20) per piece – were actually duck meat all along.

The controversy came up after the vendor ventured beyond the university area into Beijing’s business district. At the universities, she enjoyed a loyal customer base and dedicated WeChat groups. In her new market, however, customers proved more skeptical. Some noticed that the meat looked suspiciously duck-like; others complained that the color seemed off.

In the university district, Auntie Goose Legs she enjoyed a loyal customer base and dedicated WeChat groups.

After the first complaints surfaced, Auntie Goose Legs admitted the truth on WeChat on June 9.

“The ingredients I originally used were goose legs,” she wrote, “but they have been out of stock for more than fifteen years. The current ingredient is duck legs.”

It turned out that she had only sold goose legs, the product that made her famous, for two months back in 2011 before switching to the much cheaper duck. “Did geese become extinct without us knowing?” some netizens joked.

The revelation quickly exploded online. The hashtag “What Auntie Goose Legs is Selling Turns Out to be Duck Legs” (#鹅腿阿姨卖的是鸭腿#) became the top trending on Weibo for an entire day, with millions of people discussing the topic.

 

Why did millions of people become so outraged over a single Beijing street vendor selling duck instead of goose?

 

Piggybacking on the debate, Anhui-based commentators pointed out that a beloved regional specialty has the exact opposite ‘problem.’ Wuwei smoked duck (无为板鸭) is branded as duck, but is usually goose. According to local standards, however, goose products may be sold under this name, prompting discussions about “hanging up a goat’s head, while selling dog meat“ (挂羊头卖狗肉): advertising one thing while selling another.

Because geese are more expensive than ducks in China, and generally considered tastier, the Anhui duck-is-goose story, unlike the Auntie Goose Legs controversy, did not provoke online anger. Instead, many people saw it as an example of sellers prioritizing flavor over cost. Auntie Goose Legs is seen as doing the exact opposite.

But why did millions of people actually become so outraged over a single Beijing street vendor selling duck instead of goose, especially when there were no indications that anyone became ill? The answer has little to do with poultry and everything to do with trust.

Auntie Goose Legs during the prime time in Beijing’s University District in late 2023 (image via Lianhe Zaobao 联合早报).

Food fraud and mislabeling have been longstanding concerns in China. Earlier surveys found that food safety worries even outweighed concerns about public security and environmental issues, and while China’s food safety record has improved in recent years, public trust remains fragile.

Part of these concerns are immediate and practical. Major scandals in the past involving melamine-tainted infant formula or recycled “gutter oil” have posed serious risks to public health. But the issue goes beyond health risks alone.

 

If a goose can be a duck, then what exactly is the duck?

 

Whereas food safety concerns in many Western countries often focus on contamination, Chinese consumers are frequently just as concerned with economic deception. It is unfair to pay for a more expensive goose and receive a duck. Even if no one gets sick, Chinese consumer law still treats it as fraud.

More important, however, is what such deception does to confidence in the broader food system. If a goose can be a duck, then what exactly is the duck?

As a major 2023 college canteen scandal demonstrated, the build-up of deceit can reach a breaking point among the public. During that somewhat Kafkaesque “rat head or duck neck” (鼠头or鸭脖”事件) controversy, officials insisted a rat head found in a student’s rice was merely a “duck neck,” even though everyone could clearly see the snout and teeth of a rodent.

This kind of gaslighting shatters social trust and reinforces a generalized sense that, as a consumer, you are entirely on your own. When regulators fail to step in honestly, even a seemingly isolated incident comes to symbolize more dangerous forms of systemic food fraud.

And this is where the Auntie Goose Legs story stings the most.

People did not come to her simply because her food was good. Over the years, she had become part of local student life, and she felt safe and authentic. Her pink scooter helmet, which she continued to wear while working, became an iconic symbol of her no-nonsense and humble image. Her success was built on word of mouth and, above all, on the trust her customers placed in her.

That this particular “auntie” deceived her customers by selling a different product than the one she advertised is no longer really about her. If duck is goose, goose is duck, and your local auntie has deceived you for years, then who can you trust anymore?

 

  • Read more about how Auntie Goose Legs rose to fame in 2023 here.

 

By Manya Koetse
(follow on X, LinkedIn, or Instagram)

Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

©2026 Eye on Digital China/Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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Chapter Dive

“Going to Town to Handle Business”: How Adidas Went from Hated in China to a Chinamaxxing Brand

Why has Adidas regained cultural relevance in China while Nike is struggling despite its global strength?

Manya Koetse

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🔥 Originally published in Eye on Digital China.
My premium newsletter covering the stories, memes, debates, and viral moments shaping online conversations in China. Subscribe here to receive future editions.

A viral meme about “going to town to handle business” helped Adidas pull off one of the most successful brand turnarounds in China—and highlights why Nike is struggling to keep up.

Just five years ago, Adidas was one of the most criticized foreign brands in China. Now, it seems to have become one of the most celebrated. Ironically, the brand’s biggest success in China yet started with a mistake it made last month.

In 2021, Adidas – along with Nike and other foreign brands – faced severe backlash and boycotts in China for participating in the Better Cotton Initiative (BCI) move to stop sourcing cotton from the Xinjiang region, which Chinese consumers viewed as a hostile anti-Chinese political stance (and was framed that way by state media and official channels).

Chinese livestreamers for the brands were scolded online, Adidas employees were brought to tears, and stores across the country saw their sales drop. People began posting videos of themselves burning their Nike Air Jordans on Weibo. For the brands involved, it became a marketing nightmare.

Screenshot of SCMP report about the Nike sneakers being burnt, Adidas employees facing backlash back in 2021.

But now, Adidas has managed to completely turn its image around in mainland China, where it is being praised for its top-of-game PR skills.

 

Adidas: Heading to Town to Take Care of Business

 

Over the past few years, Adidas has increasingly embraced “New Chinese Style” (新中式), a design direction that blends Chinese aesthetics with contemporary fashion. The October 2025 launch of its “Chinese New Year Jacket”—combining tang suit-inspired elements with classic Adidas sportswear—became a huge hit, not just in China but globally.

The Adidas Chinese New Year collection became a huge hit in 2025. On the left: American influencer Hasan Piker wearing the jacket while visiting Tiananmen Square in Beijing.

 

But that was only the beginning of Adidas’s social media success in China.

In late May, some netizens spotted a machine-translated text on the Adidas website that immediately went viral for its unintentional humor.

A jacket promoted in English with the unremarkable phrase “pair it with jeans for errands around town“ appeared on the Chinese website as the clunky “pair it with jeans to handle business in the city“ (搭配牛仔裤,在城里办事 zài chénglǐ bàn shì).

The original English text and the clunky machine translation on the right.

More than a simple mistake, it was a cultural mistranslation. Running some errands is not the same as 办事 bàn shì in Chinese, which is more formal, bureaucratic language for handling affairs, such as going to the bank, notary, or police station—not a quick run to buy some eggs and milk.

For many Chinese netizens, the phrase evoked an image of an old villager cycling into the county town for official business, all while wearing an Adidas jacket.

Although the website was quickly adjusted, the meme was already snowballing and evolved into the more playful “off to town to take care of business” (进城办事 jìn chéng bàn shì).

One popular comment played on the rural-to-city associations of the phrase:

💬 “While you’re back in the village talking trash about me, I’m already wearing Adidas and heading into town to take care of business.”

Adidas responded with surprising speed and wit.

Instead of apologizing for the mistake, they posted a video showing their own “off to town to do business” T-shirt, which quickly became available for sale online and at flagship stores in Beijing, Shanghai, and Chengdu.

Chinese actor and Adidas ambassador Li Xian (李现) was later spotted wearing a “handling business” T-shirt, and the comment sections exploded.

 

Adidas read the room and went on to launch a marketing campaign featuring China’s popular possum meme wearing one of its jackets alongside slogans such as “Wear Adidas, Handle Serious Affairs” and “Wear Adi, Handle Big Things“—a nod to the original mistranslation and a series of viral wordplays built around the brand’s Chinese name (including “穿Adi办大事” and “穿Adi, 办das”, with das meaning dàshì 大事, “important business” here).

They also put up signs labeling some of their stores as “Adidas Errands Office” (阿迪办事处).

Rather than distancing itself from the joke, Adidas amplified it, becoming even funnier than the netizens themselves.

Other brands in China, from Lays to Alipay, saw the hype surrounding the meme and also started incorporating the “handle business” phrase into their online campaigns, referencing Adidas.

Various Chinese brands incorporated the Adidas meme into their own campaigns.

Because Adidas’s response felt effortless, authentic, and on-brand, it greatly boosted the brand’s popularity and appeal among young Chinese consumers.

 

Nike’s Grass is No Longer Greener

 

Sportswear giant Nike also became a major trending topic in China over the past week, but for entirely different reasons. Nike hasn’t been doing all that well recently, and the brand’s decline went viral in the same week that Adidas’s success was evident.

Nike became a top trending topic under the hashtag “Chinese consumers are abandoning Nike faster than anyone expected” (中国消费者抛弃耐克比想象中更快) after reports that a pair of sneakers originally sold for 899 yuan (US$132) are now selling for 429 yuan ($63) and still failing to attract buyers.

Nike’s decline is noteworthy because the brand was once booming in China. As with many other Western brands, it symbolized quality, prestige, and a cosmopolitan future for much of the 1990s and 2000s.

In a 2011 study of Chinese consumer aspirations, one respondent imagined a future in which she would drive a Mercedes-Benz, wear Nike, and eat KFC—a vision of modernity built around foreign brands. Another person dreamt of wearing “Nike clothes and Nike shoes (…) on the green grass, swinging golf clubs under the golden sunshine.”[1]

But Nike’s grass is no longer greener. Chinese commenters largely agree that much of the trust and desire surrounding the brand has eroded.

Many former Nike consumers now prefer Chinese brands such as Anta, Li-Ning or ERKE. Multiple posts on Chinese social media cite the Xinjiang cotton controversy as a turning point from which Nike never fully recovered.

 

The Localization Dilemma: A Strategic Catch-22?

 

The contrasting fortunes of Nike and Adidas reveal something important about the position of foreign brands in China today.

As domestic brands improved and narratives of national rejuvenation and the “Chinese Dream” gained prominence under Xi Jinping, consumer sentiment toward Western brands shifted dramatically, especially amid a growing number of controversies involving them.

From a Dolce & Gabbana campaign deemed racist to a witch hunt for Western brands listing Hong Kong and Taiwan as separate countries, international brands increasingly started struggling to find their place between politics, patriotism, and consumers who are choosing “Made in China” over global consumer culture.

As Zhihong Gao[2] observed as early as 2012, the rise of cultural confidence and renewed appreciation for Chinese traditions created a dilemma for foreign brands.

They find themselves caught in a strategic catch-22: if they localize too much, they risk losing the distinctiveness that made their brands attractive in the first place, while also reinforcing consumer preference for local cultural elements; yet if they remain too foreign, they risk appearing culturally tone-deaf and disconnected from Chinese consumers.

This is where Adidas appears to have found a sweet spot.

Unlike Nike, which seems to be living off its past success while showing little urgency in adapting to the Chinese market, Adidas has fully embraced Chinese digital culture, local humor, wordplay, and youth trends without abandoning its own identity.

Rather than pretending to be Chinese, Adidas is participating in Chinese culture as a distinctly foreign brand. By celebrating the unique elements of Chinese culture, both in tradition and modernity, it is boosting both its own image and the cultural pride it is tapping into. That is Chinamaxxing in a nutshell.

 

  • Read more about Chinamaxxing here.
  • Read more about the rise of ‘proudly made in China’ here.
  • Read more about Nike vs ERKE here

 

[1] Kelly Tian and Lily Dong, Consumer-Citizens of China: The Role of Foreign Brands in the Imagined Future China (London: Routledge, 2011), 70–71.

[2] Zhihong Gao, “Chinese Grassroots Nationalism and Its Impact on Foreign Brands,” Journal of Macromarketing 32, no. 2 (2012): 184–185.

 

By Manya Koetse
(follow on X, LinkedIn, or Instagram)

Spotted a mistake or want to add something? Please let us know in comments below or email us. First-time commenters, please be patient – we will have to manually approve your comment before it appears.

©2026 Eye on Digital China/Whatsonweibo. All rights reserved. Do not reproduce our content without permission – you can contact us at info@whatsonweibo.com.

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