SubscribeLog in
Connect with us

Weiblog

17 Funny Weibo Trending Pics

What’s on Weibo brings you an overview of 17 of the most ridiculous and funny classic pictures that have been making their rounds on China’s social media.

Manya Koetse

Published

on

What’s on Weibo brings you an overview of 17 of the most ridiculous and funny classic pictures that have been making their rounds on China’s social media.

2015-05-06 14.19.27Traffic sign saying: “Please drive carefully, there is no near hospital.”

 

2015-05-09 20.04.48When babies show their teeth. 

 

2015-05-09 20.11.48If you got to go, you got to go?

 

2015-05-09 20.34.50This is how a baby is delivered. 

 

2015-05-09 20.59.48Can we blame him?

 

2015-05-10 07.21.41With one free hand for a fourth one.

 

2015-05-10 07.22.02Business as usual.

 

2015-05-10 07.24.12Also, business as usual…

 

1430911739756What happens when you order a knife through Taobao. 

 

1430980971261Not an unusual sight, but nevertheless pretty ridiculous. 

 

2015-05-10 07.24.38Everything’s possible on China’s roads.

 

6356622223113422321730078Traffic sign saying: “Before drunk driving or speeding, please tell your family the passcode of your bank card.” 

 

dogOne way to shave your dog.

 

2015-05-07 23.06.34Who knew Sun Yat-sen was such a good player?

 

aaaAgain: nothing’s impossible on China’s roads. 

 

2015-05-09 21.00.42When there’s an ‘ass’ (驴) on your back. 

 

2015-05-09 20.03.05What ‘Michelin’s baby looks like.

[box] This is Weiblog: the What’s on Weibo short-blog section. Brief daily updates on our blog and what is currently trending on China’s biggest social media.[/box]

©2015 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.

Continue Reading
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Newsletter

Tuning Into the Year of the Snake

Published

on

Featured image created by Xiaohongshu user “小罗Design”, title:《🥟饺子里的温暖 —— 回家过年》/ “The Warmth of a Dumpling – Going home for the Chinese New Year”

PREMIUM NEWSLETTER | ISSUE #45

Overview:
Dear Reader – Watching the CMG Gala
What’s on Weibo Chapters – 15 Years of Weibo
What’s Popular – The “China Chic Girl” & Sketchy Takeout Food
What’s Noteworthy – China’s Artificial Sun
What’s Memorable – “The Spring Festival Survival Toolkit”
Weibo Word of the Week – Fake Foreigners

 

Dear Reader,

 

This week, trending topics in China were dominated by two themes: Trump and the Chinese New Year. Unsurprisingly, it’s clear which of the two is the most significant for most people: the Spring Festival and the journey home. The phrase “回家” (huí jiā), meaning “returning home,” has been flooding social media in recent days.

The Chinese New Year, or the Spring Festival, falls on January 29 this year, welcoming the Year of the Snake. Spring Festival is the most important time of the year for family reunions, and for some, it’s the only time of the year to be together. The travel home, whether by car, plane, or train, often comes with sentimentality and melancholy. Adult children who lead important and busy professional lives suddenly find themselves transformed into their parents’ “babies” again, getting stuffed with food and peppered with endless questions.

“Going home” visualized by Xiaohongshu users through AI and digital images.

Although it is a joyous occasion, the social aspect of the Chinese New Year is not welcomed by everyone. On apps like Xiaohongshu, netizens are publishing guides on how to survive the celebrations, and the term “Spring Festival Social Anxiety” (春节社交焦虑) pops up frequently. Younger people, in particular, who want to avoid questions about their personal lives—such as their work, marital status, or income—often feel stressed out by family reunions and the pressure of not meeting their family’s expectations. For years, netizens have been sharing the questions they dread the most.

 
Spring Festival Gala: The Ultimate Distractor
 

But there is one major ray of light during the long Chinese New Year’s Eve, it’s the show everybody loves to hate but still watches—the China Media Group (CMG) Spring Festival Gala. As the ultimate distractor, it captivates millions of households, providing a much-needed escape from awkward conversations and family pressures.

Better known as Chunwan (春晚), the Spring Festival Gala is one of the world’s most-watched live televised events. Lasting a total of four hours, roughly from 8pm to 1am Beijing time, it has been annually broadcasted since 1983 and has become an integral part of the Chinese New Year’s Eve. While many young people consider the show corny and old-fashioned, it has become deeply ingrained in China’s social media culture, where complaining about the show on Weibo has become its own New Year tradition.

Since 2016, I’ve annually live-blogged the entire show from start to finish. Unfortunately, I won’t be able to do so this year as I’ll be on the road, but here are some key pointers on what to pay attention to.

 
Mixing Official Propaganda with Entertainment
 

📺 First, you might ask: why should you watch the Gala at all? One reason is its sheer viewership and the chance to be part of a collective experience. Last year, over 420 million people reportedly watched the show, generating billions of mentions across social media platforms.

🇨🇳 An even better reason, though, is to see what the show is highlighting. As CMG is under the direct control of the Central Propaganda Department of the Chinese Communist Party, the Gala serves as an important moment for the Party to convey its official ideology, promote traditional culture, and showcase the nation’s top performers. While it’s also a commercial event, the Gala remains highly political, mixing official propaganda with entertainment.

Watching the entire show from start to finish be a bit much, but keeping an eye on the key highlights and noteworthy moments is definitely worth your time. It offers insights into important themes across culture, entertainment, politics, diplomacy, and even military affairs.

🪖 For example, last year’s Gala drew attention with the performance of the PLA song “Decisive Victory” (决胜). Delivered by artists from the PLA Cultural and Artistic Center, the performance featured soldiers in combat gear marching and dancing, with a backdrop of rockets, tanks, and war-like scenes. Taiwanese media framed the song as a reflection of mainland China’s military stance toward Taiwan, and some Weibo users interpreted it similarly. The performance gained further attention because it followed a duet of the song “Etiquette” (礼序) sung by performers from both Taiwan and mainland China, interpreted by some as a statement of “diplomacy comes before violence” (先礼后兵).

🏔️ This year’s Gala will not only feature performances from Beijing but also sub-venues in Wuhan, Lhasa, Wuxi, and Chongqing. For these cities, it’s a valuable opportunity to promote local culture and attract more tourists.

🤖 In recent years, the Gala has also become a platform to showcase China’s innovative digital technologies. In 2021, the show explicitly branded itself as a “tech innovation event” by incorporating 8K ultra-high-definition video, AI+VR studio technologies, and cloud-based performance coordination. This year, expect even more cutting-edge tech, including virtual production, 3D effects, and advanced AI, to bring Chinese cultural performances to life while underscoring China’s role as a global tech leader.

🧏‍♂️ Notably, this year’s Gala will feature audio-described and sign language versions for the first time, making it accessible to visually and hearing-impaired audiences. Sign language interpreters, using AR virtual technology, will appear in the Gala studio alongside the live broadcast. A split-screen feature will show both the live program and the interpreters, supported by AI-generated subtitles for hearing-impaired viewers. This marks a significant step toward a more inclusive approach by state media.

📕 One of this year’s key sponsors is Xiaohongshu (aka Rednote), an app that has recently dominated headlines as a surge of “TikTok refugees” migrated to its platform. Partnering with the Spring Festival Gala is a major traffic and visibility boost, making this one of Xiaohongshu’s most commercially successful years since its 2013 launch.

👩🏻 Also noteworthy: for the third time in a row, the Gala is directed by female director Yu Lei (于蕾), who also directed the 2024 and 2023 Gala. The 46-year-old Yu Lei previously also served as the general scriptwriter and overall designer for the Gala. The past year has really been a flourishing year for female directors in China, from cinema to TV, where female directing talent has been more visible and successful than ever before. This rise of female talent is also reflected in the Gala’s top creative team consists of 19 people: 11 of them are female.

📽 By now, the last rehearsal of the show has already been completed. The entire show is usually completely rehearsed a total of five times before Chinese New Year’s Eve. These rehearsals are recorded and almost nothing ever goes wrong during the live show – besides some bad lipsyncing here and there – since the recording is running at the same time so that producers can always switch to a pre-recorded act.

🔶️ On January 28, the show will also air via various channels, from CCTV to Bilibili, and also via Youtube here. The entire programme is usually released a day before.

Happy watching! Wishing you all joy, prosperity, plenty of dumplings, and good health in the Year of the Snake.

Best,
Manya
(@manyapan)

 

15 Years of Weibo

Last week, I shared the first deep dive of What’s on Weibo Chapters with you. This month, our theme is 15 Years of Weibo. This week, Sinologist and China correspondent Casper Wichmann shares his insights on Weibo’s evolving role in shaping public opinion, its key moments, and whether it can remain a major platform for public discourse in China’s increasingly crowded digital landscape. At the University of Copenhagen, Wichmann previously researched Sina Weibo as a new public sphere on the Chinese internet.

With Weibo now 15 years old, we asked Wichmann about three things:
📌 Weibo’s evolving role in shaping public opinion: Has it become more or less effective, and has its social impact shifted? Which news stories highlight Weibo’s continued relevance or its changing influence?
📌 Changing government strategies on the Weibo platform: What pivotal moments stand out when Weibo emerged as a political tool?
📌 Weibo’s present & future in a crowded digital landscape: Can it still compete as a major platform for public discourse, or is it transitioning into a new role altogether?

Read this feature article to find out what Casper had to say about this:

Read here
 

 

The latest buzz in arts, marketing & pop culture

by Ruixin Zhang

“What should we order for dinner?” is a daily dilemma for millions of Chinese consumers in one of the world’s largest food delivery markets. With numerous platforms, cuisines, menus, and discount options, choosing the right takeout—one that is tasty, affordable, and safe—can feel like a daunting task.

But these days, many Chinese people follow a simple rule to identify bad takeout: if your delivery comes in packaging featuring a playful young woman wearing sunglasses, a traditional Peking opera headdress, and holding a fan—often with the bold trendy character “潮” (cháo, meaning “trend”)—it’s likely to be an unhealthy meal with potential food safety risks.

As one netizen joked, “I was so excited for my takeout, only to see this lady on the package and feel my heart sink.” Why does this seemingly cheerful cartoon figure has come to evoke so much distrust and dislike?

This story starts in 2020, when digital illustrator @YUMI created the “China-chic Girl” image in response to a client’s request for a design that embodied the “China-chic” (国潮, guócháo) aesthetic.

China-chic, or guócháo—literally meaning “national tide”—refers to the rise of Chinese domestic (fashion) brands that often incorporate culturally Chinese elements into contemporary designs. This trend emerged as a reflection of growing nationalist sentiment in China, offering a Chinese counterpart to popular Japanese or Korean-inspired styles. From fashion and makeup to milk tea, ‘China-chic’ quickly became a defining element of China’s consumer culture (read more here).

However, when YUMI’s client failed to pay, she chose to release the design for free public use. YUMI’s creation—a blend of traditional Peking opera elements and modern sunglasses—struck a chord with its simple yet iconic charm. Its accessibility made it even more appealing, and the China-chic Girl soon became the go-to design for restaurants looking for affordable, visually striking takeout packaging.

On China’s wholesale website 1688, you can find a wide range of cheap takeout packaging with the “China-chic girl” on it.

The China-chic Girl was all the rage, until last fall.

Starting in September, some delivery drivers began exposing filthy kitchen conditions on social media, warning customers to avoid takeout from certain restaurants after witnessing food safety issues and kitchen hazards while waiting for orders.

Over time, people began noticing a pattern: the dirtiest kitchens were often small, non-chain establishments with no physical storefronts—just cramped spaces dedicated solely to takeout. Operating on tight budgets, these businesses often chose the inexpensive China-chic girl packaging to cut costs, unintentionally associating the China-chic girl with unsanitary and unsafe food practices.

As a result, netizens—especially young people who heavily rely on food delivery—started compiling guides to help each other avoid sketchy takeout options. The warning signs? Restaurants offering “cashback for good reviews” or those that lack a proper storefront, often listing only food items instead of a real restaurant name. These red flags point to private kitchens, poorly managed spaces, or even unregulated food safety practices. Additionally, many of these ‘China-chic takeouts’ thrive within the “group-buying” model on food delivery platforms.

The “group-buying” model, popularized by platforms like Temu and its Chinese counterpart Pinduoduo (拼多多), allows users to invite friends, family, or colleagues to purchase a product together at a discounted price.

This strategy has since evolved into a pseudo-group-buying model, where even without inviting others, the group-buying discount is still applied. These discounts are carefully calculated by platforms to ensure that, even at reduced prices, profits can still be made due to the high sales volume.

Both Meituan (美团) and Eleme (饿了么)—the two largest food delivery platforms in China—have adopted this approach by introducing budget-friendly services such as Pinhaofan (拼好饭) and Pintuan (拼团) to target lower-tier markets.

For example, a typical 30 RMB ($4.15) takeout might cost only half that price through these services, with additional platform coupons and new user discounts making it almost irresistibly affordable.

But, of course, there’s no such thing as a free lunch. As many users have discovered, getting a full meal for under 10 RMB ($1.40) often comes at the expense of quality. These Pinhaofan takeouts commonly feature pre-made dishes with indistinguishable ingredients, flimsy utensils that can’t even scoop rice, a box of suspicious juice full of artificial coloring, low-grade packaging, and, of course, that cheap, once-iconic China-chic design.

(Want to know more? There’s more to know on how “China chic girl” has gone from being a playful symbol of pride in domestic products to representing the problems of China’s fast and cheap takeout industry: read the rest of the article here.)

 

What’s Noteworthy

Smaller headlines with big impact, by Grimm Belterman

Since the week was filled with headlines about Trump’s inauguration, you might have missed another major event: the breakthrough of China’s “Artificial Sun,” a nuclear fusion reactor, which broke its own record and brought humanity closer to achieving near-limitless clean energy. Online, this milestone was celebrated as a sign of China’s growing technological and scientific leadership, with many envisioning a future of carbon-free energy led by China.

The record was set on January 20, when the Chinese Experimental Advanced Superconducting Tokamak (先进实验超导托卡马克实验装置), or EAST, operated stably for 1,066 seconds. EAST is a nuclear fusion reactor located at the Hefei Institute of Physical Science in Anhui province, designed to generate clean and sustainable nuclear energy.

EAST is often called the “Artificial Sun” because it mimics the process that powers stars—fusing hydrogen atoms to release vast amounts of energy in the form of heat. During this experiment, EAST generated temperatures exceeding 100 million degrees Celsius—around seven times hotter than the Sun’s core. This new record surpassed the previous one of 403 seconds, also set by EAST in 2023, by more than double.

This “triumph” sparked widespread excitement on platforms like Weibo. Hashtags such as “Artificial Sun Sets 1 Billion Degrees for 1,000 Seconds” (#人造太阳创1亿摄氏度1000秒纪录# ) and “China’s Artificial Sun Makes Major Breakthrough” (#中国的人造太阳有重大突破#) made it into the top trending lists. Notably, some netizens framed the achievement within the context of global technology competition, proudly highlighting China’s progress as surpassing that of the US and EU.

 

What’s Memorable

Best reads from the archive

As the 2017 Chinese New Year approached, a humorous and unique song went viral on Chinese social media. It captured the pressure young people face when bombarded with nagging questions from family and relatives during the Spring Festival.

Composer Jin Chengzhi (金承志) and his choir, The Rainbow Chamber Singers (上海彩虹合唱团), won the hearts of Chinese netizens with their hit song “What I Do Is For Your Own Good” (春节自救指南, literally: The Spring Festival Survival Toolkit). A perfect pick for this week’s archive spotlight—check out the explanation and video via the link below.

Read here
 

Weibo Word of the Week

The catchword to know

Fake Foreigners | Our Weibo phrase of the week is 仿冒外国用户账号, fǎngmào wàiguó yònghù zhànghào, meaning “fake foreign user accounts” or “user accounts that pretend to be foreigners.”

The phrase came up in a Weibo hashtag last week that attracted over 210 million views (#抖音已处理1万多仿冒外国用户账号#), about Douyin, the Chinese version of TikTok, having dealt with more than 10,000 fake foreign accounts in the wake of the “TikTok Refugee” trend.

In case you missed it (though you probably didn’t): With a TikTok ban looming in the US (briefly taking effect last Sunday before being delayed), millions of American TikTok users began migrating to other platforms this month. The most notable was the Chinese social media app Xiaohongshu (also known as Rednote), which saw a huge influx of so-called “TikTok refugees” (TikTok难民). Many were searching for what they believed to be a “Chinese version of TikTok” (read more about the story here). Seeing Xiaohongshu’s success, Douyin, the actual Chinese version of TikTok, also opened its registration process to international users.

What started as a protest against the TikTok ban and US policies turned into a surprising celebration of cultural exchange. Chinese and American netizens found a digital space to interact and connect—on the Chinese internet.

However, the hype also brought its downsides. Black market groups quickly jumped on the trend, looking to profit by gaining followers and click traffic. They created thousands of fake “foreign” accounts by reposting videos or even crafting AI-generated foreign personas.

Is the painting moving, or is this just another fake foreigner?

This phenomenon has fueled skepticism among Chinese internet users—already wary of online scams—about connecting with strangers online. One netizen joked, “Don’t buy anything from people and don’t make new friends, and you’ll never be scammed.”

Others commented: “Xiaohongshu and Douyin’s teams must be swamped these days. Meanwhile, Weibo is nice and quiet in comparison!”

This is an on-site version of the Weibo Watch newsletter by What’s on Weibo. Missed last week’s newsletter? Find it here. If you are already subscribed to What’s on Weibo but are not yet receiving this newsletter in your inbox, please contact us directly to let us know.

Continue Reading

China Digital

From “Public Megaphone” to “National Watercooler”: Casper Wichmann on Weibo’s Role in Digital China

With Weibo now 15 years old, we asked Sinologist Wichmann about its evolving role in shaping public opinion, its key moments, and whether it can remain a major platform for public discourse in China’s increasingly crowded digital landscape.

Published

on

WHAT’S ON WEIBO CHAPTER: 15 YEARS OF WEIBO

Over the years, Weibo has undergone significant changes in both its political and social functions. Sinologist and China correspondent Casper Wichmann explored Weibo extensively in his academic research during the platform’s early years. Now, he reflects on its evolution and current role in China’s digital landscape.

Over the past fifteen years, the Chinese social media platform Weibo has been a popular and extensively studied subject in academic research, inspiring countless studies across various disciplines.

In the initial years after the founding of Weibo (read all about Weibo’s founding in this deep dive), Danish Sinologist and China correspondent Casper Wichmann, focused on Chinese digital platforms, dedicated his MA research to studying Sina Weibo as a new public sphere on the Chinese internet. Now that more than a decade has passed, it’s time to reflect on how Weibo has changed and why this matters.

Before Casper shares his observation, some key points from his thesis “Sina Weibo as New Public Sphere.” (For those interested, here is a link to the pdf):

➡️ Wichmann’s thesis (2012) analyzed how the Chinese microblogging platform Sina Weibo serves as a “public sphere” in China, providing a new space for citizens to share information and voice public opinion. Using frameworks like Jürgen Habermas’ theory of the public sphere, Johan Lagerkvist’s concept of ideotainment (blending Party propaganda with entertainment to build legitimacy), and Andrew Mertha’s fragmented authoritarianism (how political pluralization affects policy in China), the thesis explored how Sina Weibo functions as an independent media platform while working alongside traditional media. It examined how public opinion is formed on the platform and the significant influence of both traditional media and the Chinese Party-State.

➡️ The Party-State’s relationship with Sina Weibo is complex, balancing censorship with strategic allowances to monitor public opinion, address corruption, and maintain its legitimacy. Through case studies like the Wenzhou train crash and the Bo Xilai scandal, the thesis illustrated how Sina Weibo can amplify public opinion while also showcasing the Party-State’s ultimate control over discourse.

➡️ While Sina Weibo enables public engagement and amplifies citizens’ voices, Wichmann concluded that its role as a public sphere is limited or “incomplete” due to censorship by the Chinese Party-State, which also hape discourse, use the platform for propaganda, and influences its operations and moderation.

➡️ Wichmann predicted that Sina Weibo would increasingly become a “battlefield of public opinion,” where Chinese citizens and the Party-State would compete to control narratives and influence within this digital space.

With Weibo now 15 years old, we asked Wichmann about three things:
📌 Weibo’s evolving role in shaping public opinion: Has it become more or less effective, and has its social impact shifted? Which news stories highlight Weibo’s continued relevance or its changing influence?
📌 Changing government strategies on the Weibo platform: What pivotal moments stand out when Weibo emerged as a political tool?
📌 Weibo’s present & future in a crowded digital landscape: Can it still compete as a major platform for public discourse, or is it transitioning into a new role altogether?

 

Casper Wichmann

Sinologist, China Correspondent

Casper Wichmann is a Danish Sinologist with an MA degree in China studies from the University of Copenhagen. He wrote his MA thesis on Sina Weibo in 2012 and has especially had an interest in Chinese politics, tech and social media, among many other topics. Since 2023 he has been based in Beijing as the Asia & China correspondent for Danish news media, TV 2 Denmark.

Since 2023 he has been based in Beijing as the Asia & China correspondent for Danish news media, TV 2 Denmark.

📌Weibo’s Role in Shaping Public Opinion

“15 years is a very long time anywhere in the world, but particularly so in China. If you look at how the country has changed as a whole in those past years, it is inevitable that Weibo has also transformed.

One of the biggest things is of course censorship.

I worked on my thesis in the first half of 2012 and handed it in early September that year, and a lot was happening at the time when it comes to China’s online developments. I remember that I even wrote a disclaimer in the very beginning that the whole paper might be obsolete at the time of reading, because you had a sense of where the Chinese government were moving in terms of control.

As it turned out, the government started cracking down on the influential Weibo accounts (‘大Vs’ – big, verified accounts) not long after, and also introduced laws to stop the spread of rumors. This, in turn, also paved the way for WeChat’s rise to prominence. You now have a lot of different platforms and apps on the internet in China for debate and shaping public opinion.

 

“I still believe that you cannot overlook or understate Weibo’s role as the ‘watercooler’ of China.”

 

That said, I still believe that you cannot overlook or understate Weibo’s role as the ‘watercooler’ of China where everybody comes together to talk about current affairs.

In my thesis, I argued that Sina Weibo could be seen as a Habermasian public sphere—an incomplete one—where Chinese citizens can come together and, to a large extent, freely debate information and public opinion. Even though the censorship regime has become far more effective and sophisticated, coupled with increased self-censorship, I still think that conclusion holds true 15 years after Weibo’s launch.

It is an open platform—censorship and control aside—where everyone can read, participate in conversations, and share information with the click of a button. This is clearly demonstrated by the way What’s on Weibo has highlighted many important topics over the years that sparked national debates thanks to Weibo. Additionally, can any foreign brand aiming to succeed in the Chinese market afford to completely ignore Weibo? That would be unthinkable!

 

“Foreign brands can quickly find themselves caught in massive controversies because Weibo still acts as a public megaphone”

 

In terms of its effectiveness in shaping public opinion, I think that depends on how we look at it. For instance, foreign brands can quickly find themselves caught in massive controversies because Weibo still acts as a public megaphone. Just think of the scandals involving Dolce & Gabbana (2018), H&M (2021), or Dior (2022), to name a few.

Still from the promotional D&G video that was deemed racist in China, causing major controversy in 2018 (whatsonweibo).  

There are also examples like the Tianjin explosion in 2015, which quickly became national news and sparked public debate, largely thanks to Weibo—despite the aforementioned censorship measures.

The enormous Tianjin explosions took place on August 12, injuring hundreds of people. Many people only learnt of the news through social media rather than traditional news outlets, which initially did not report the blasts.

Another example is the tragic death of Dr. Li Wenliang, the COVID-19 whistleblower, where netizens mourned his passing while venting their frustrations on Weibo.

Lastly, the spread of the “Voices of April” video—a compilation of real audio snippets capturing Shanghai residents’ struggles during the Covid crisis in April 2022—is another notable example of Chinese netizens overwhelming censorship by reaching critical mass. While this occurred across various platforms, Weibo played a key role due to its nature as a public space for discussion.

All in all, Weibo is still a very important and effective platform on the Internet in China for public discussions, debates, and shaping public opinion. However, it is also up against a censorship regime that has evolved and continues to evolve alongside it. That said, one should never underestimate the creativity of Chinese netizens.”

 
📌Government Strategies and Control on Weibo
 

“In the early years of Weibo, some Chinese politicians and overseers found use of Weibo as a political tool. A specific example I included in my thesis was the drama surrounding the political downfall of Bo Xilai, then party secretary of Chongqing and a rising princeling within the Party, and the Wang Lijun scandal.

There seemed to be considerable evidence that netizens on Weibo were allowed for a long time to criticize and slander Bo Xilai before censorship eventually stepped in. There is no doubt that this made it easier for the Party leadership to oust Bo Xilai following the high-profile corruption case.

 

“As a tool to gauge public opinion, Weibo also enables authorities to monitor potential issues and nip them in the bud before they escalate into major problems”

 

I also think that Weibo’s importance as a tool for the Chinese government to gauge public opinion and sentiment should not be underestimated. It enables authorities to monitor potential issues and nip them in the bud before they escalate into major problems. It also facilitates public scrutiny of lower-level officials and governance within the Chinese system (舆论监督 yúlùn jiāndū, “supervision by public opinion”, also see CMP).

Bo Xilai during his trial.

Another important point is that the government and Party seem to have learned that it is often safer to let people debate, complain, and vent online, as it can give them a sense of being heard and allow them to release frustrations without escalating into physical demonstrations. Of course, there are exceptions where such online discourse also leads to physical protests.

There is also the aspect of how long Chinese netizens can maintain focus on a specific topic. For example, the Tianjin explosion I mentioned earlier quickly became a national debate, but over time it shifted back to being a local issue as Weibo users moved on to other topics. I have no doubt that the Chinese government has increasingly learned to use this dynamic to their advantage. It would be fascinating to study which types of topics reach the top trending lists, how long they stay there, how they are censored, and what topics eventually replace them.”

 
📌Weibo’s Business and China’s Competitive Digital Landscape
 

“It really says a lot about Weibo that it has managed to remain significant in China’s digital landscape, even after the rise of other major platforms, including WeChat, and despite the strict regulations and major crackdowns on the platform.

For example, WeChat experienced a surge in active users after the 2012 crackdown, as many felt Weibo had become boring due to key opinion leaders being increasingly cautious of censorship.

 

“Platforms in China are competing to capture as much of Chinese netizens’ time and attention as possible.”

 

Nowadays, there is a growing number of newer and more exciting apps and platforms in China, all competing to capture as many hours, minutes, and seconds of Chinese netizens’ attention as possible. However, I believe Weibo’s unique usage and role in the digital ecosystem are hard to replicate.

To reiterate, the platform’s “national watercooler” aspect—where everyone can check in, get a sense of what the rest of the country is talking about, and join the conversation themselves—should not be underestimated.

That said, Weibo still needs to consistently provide a service and product that Chinese users feel offers them real value. If it can continue to do so, I don’t see Weibo becoming irrelevant anytime soon.”🔚

 
To read more about the evolution of Weibo, also read: “15 Years of Weibo: The Evolution of China’s Social Media Giant

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.

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

Follow What’s on Weibo on

Continue Reading

What’s on Weibo Chapters

Subscribe

What’s on Weibo is run by Manya Koetse (@manyapan), offering independent analysis of social trends in China for over a decade. Subscribe to gain access to all content and get the Weibo Watch newsletter.

Manya Koetse's Profile Picture

Get in touch

Would you like to become a contributor, or do you have any tips or suggestions? Get in touch here!

Popular Reads