Author: Baishi Weng

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Week2

Netflix in China: Barriers and a Wish to Pay

As huge Stranger Things fan, one of the things I was most excited about when coming to the UK was subscribing to Netflix and support it by re-watching it.

Photo by me when I started to re watch Stranger Things in UK

It’s well known that Netflix hasn’t expanded its services to Mainland China. However, Chinese audiences are not entirely unfamiliar with Netflix. Many entertainment bloggers on platforms regularly “relocate” Netflix trailers and news to Chinese social media.

Netflix’s trailers and relevant news posted by entertainment bloggers on BiliBili, Weibo and Xiaohongshu

How Do We Watch Netflix in China?

Despite the absence of Netflix in China, viewers have found ways to access its content. Here are three of the most common methods, ranked by cost and complexity:

1. Streaming Apps

Apps like Duoduo Video or Hanxiaoquan (typically for K-dramas) allow users to watch Netflix content for free, but they often come with ads ranging from 5 to 30 seconds. The videos are typically translated and subtitled by dedicated fan teams who do it purely out of interest. This practice aligns with the concept of labor sharing in Production Studies. However, the content is often edited to comply with local censorship. For instance, explicit scenes from The White Lotus, such as sexual content or graphic depictions, are usually removed.

Duoduo Video (left) and Hanxiaoquan (right)

2. File Transfers via Cloud Services

Some bloggers or fan-subtitling teams distribute uncut versions of Netflix content or materials too explicit for even the lenient streaming apps. These files are often shared through platforms like WeChat public account or Weibo, where viewers can transfer the links to their own cloud storage for viewing. However, compared to directly streaming via apps, this method requires more time and effort to locate the desired content.

3. Using VPNs to Subscribe

The most expensive option, but also the only legal way, is to use a VPN to access Netflix. Viewers need a reliable (often paid) VPN service to bypass regional restrictions and connect to a server outside China. They then need to purchase a Netflix account and use a foreign currency-supported credit card to pay for the subscription.

VPN that I use cost at least 1.99USD for one week

Why is Netflix Absent in Mainland China?

Netflix’s difficulty in entering the Chinese market boils down to two main reasons:

Content Censorship

The lack of a film rating system in China means all imported films and shows must undergo strict censorship. From the perspective of Critical Political Economy, the government’s control over media content reflects the extension of its power structure into cultural domains. This restricts many foreign productions from being approved for distribution.

Market Saturation

From a Media Economics standpoint, China’s entertainment market is already highly saturated. Major platforms like iQIYI, Tencent Video, Youku, and Mango TV dominate the space, producing and importing diverse shows and reality programs that meet the entertainment needs of most Chinese audiences. These platforms are also more closely aligned with domestic regulations and policies, making them more competitive than Netflix, whose entry would come with high costs and uncertain returns.

Apps that I usually use for Films and Dramas

Netflix and China: A Bridge for Cultural Exchange

Despite the challenges, Netflix and China are not entirely disconnected. Some Netflix originals have been officially licensed and streamed on domestic platforms, while a few high-quality Chinese shows have made their way to Netflix, such as The Long Season. I find this exchange of content inspiring for cultural interaction and mutual appreciation.

Killing Eve is on BiliBili
The Long Season is on Netflix Taiwan

I Wish to Pay for What I Love

While the current censorship system remains strict, the government seems to have shown some leniency toward more diverse content. For example, this summer, the release of uncut film like Alien in Chinese cinemas offered a glimpse of this shift in audience preferences.

The promotion of the movie Alian in Douyin, highlighting it’s an uncut version

Rather than going through multiple hoops to access free content, I’d much prefer to legally pay for what I love. Supporting creators and their works feels more meaningful and will definitely foster a more open and transparent media environment.

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Week5

The Gift of Going Home: NetEase Cloud Music and CCTV’s Spring Festival Campaign

Setting the Tone for Spring Festival

During the 2024 Chinese Spring Festival, NetEase Cloud Music seized the opportunity of the Spring Festival travel rush to participate in CCTV News’s special Spring Festival program, The Gift of Going Home.

As part of this collaboration, NetEase Cloud Music launched a new song, I’m Fine, performed by renowned Chinese pop singer Mao Buyi, as the theme song for this special program. Across more than ten CCTV News Spring Festival trains, user-generated music reviews were displayed on train windows, accompanying travelers on their journey home.

Video source:http://t.cn/A6jDVopD

These reviews were curated from the comment sections of songs related to “family,” “love,” and “kinship” on the NetEase Cloud Music app. The ads were shown over ten trains traversing China, carrying tens of thousands of people with dreams of home.

“The older we grow, the more we long to go home. Spring Festival is a grown-up’s Children’s Day.”
“Spring Festival gives us a chance to be a child again, even just for a moment.”
“As we journey on, we realize every road leads to that door where the scent of home-cooked meals awaits.”
Pictures above all from:https://mp.weixin.qq.com/s/pAwpkSMfW7XVC-ORngFjtA

Trains, Music, and Marketing

Although this video was featured in a CCTV News program, it does not strictly qualify as native advertising. Instead, it aligns more closely with the definition of collaborative content marketing. Its complexity lies in the fact that while Mao Buyi’s exclusive song for NetEase Cloud Music is presented in the CCTV program, the brand itself is not explicitly mentioned, and its logo is absent. However, on NetEase Cloud Music’s own social media accounts, the content prominently displays both its own logo and the CCTV News logo.

Photo posted by NetEase Cloud Music:https://mp.weixin.qq.com/s/pAwpkSMfW7XVC-ORngFjtA
Photo posted by CCTV:https://weibo.com/2656274875/4996946267739208

This campaign showcases a new approach to multi-platform, integrated advertising. NetEase Cloud Music utilized its social media channels to amplify the campaign, while strengthening brand association through offline elements like user reviews displayed on train windows, Mao Buyi’s song played on trains, and the sentimental backdrop of Spring Festival travel.

By weaving these elements together, the campaign deepened the emotional bond between the brand and its audience. Centered on the cultural importance of family reunions during the Spring Festival, it prioritized heartfelt storytelling over direct promotion, embodying the warm and relatable nature of NetEase Cloud Music’s brand identity.

“User-generated content (UGC) and social media usage contributed to the declining audiences for and effectiveness of traditional advertising.”

(Hardy.J, 2019)

A noteworthy aspect of this branded content video is its emphasis on UGC—specifically, the music reviews are a hallmark of NetEase Cloud Music’s community. Over the past decade, since the platform’s inception, billions of user-generated reviews beneath songs have become a cultural symbol of the NetEase Cloud Music brand. This unique advantage in branded content, combined with the theme of “returning home” for the Spring Festival, evoked strong emotional resonance among users.

Future Trend of Branding

Just as Hardy argues,“Within the overall convergence of media and communications industries and cultures, the convergence of media and marketing is gathering pace across the various dimensions.”By leveraging CCTV News’s credibility, this campaign blurred the boundaries between news and advertising by embedding its branded message within a Spring Festival special.

Branded entertainment aims to capture the consumer’s attention and elevate a brand’s image by associating it with popular personalities, media brands, organizations or events, All branded entertainment is aimed at consumers, not business-to-business end users.

(Hardy.J, 2019)

I believe future branding is shifting towards emotional storytelling, focusing on connection and resonance over hard selling. This campaign is a successful example that captures the power of heartfelt branded content in building lasting bonds with audiences.

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Week7

When AI Writes: What Stereotypes Say About Us

AI is becoming a part of every aspect of our lives. With just one prompt, it can generate what we need—images, videos, and even entire stories. But have you ever stopped to ask: is this really what you want? While we marvel at the convenience of AI, we may unknowingly find ourselves caught in the traps of algorithmic bias.

A group of AI pictures I generated on Midjourney

On the website AI Story Generator, I entered a simple instruction: Write a story about a Chinese woman pursuing her dream in modern society. Below is the story it produced.

In this AI-generated story, Ling’s journey from a waitress in a Shanghai restaurant to a leader in a tech company seems to be inspiring. However, it reveals several gender and cultural biases inherent in AI-generated narratives.

1. Reinforcing Gender Stereotypes

External Conflict Overshadowing Internal Growth

Ling’s story focuses heavily on external pressures—her parents’ disapproval, society’s emphasis on tradition, and the tension between culture and individual dreams. This mirrors the common portrayal of female characters, whose struggles often stem from societal rules rather than internal self-exploration.

Furthermore, Ling’s success depends heavily on the guidance of Sophia, her mentor. This reinforces the stereotype that women’s achievements are tied to external help rather than their own abilities.

2. Simplistic Depictions of Chinese Culture

Family Responsibility as the Core Conflict

The story highlights Ling’s parents’ expectation for her to inherit the family business, reflecting the cultural value of filial piety and collective responsibility. However, this portrayal is overly simplistic, failing to capture the nuanced ways modern Chinese people balance tradition and individuality. Filial piety doesn’t necessarily equate to inheriting a family business—it can take many forms.

A Binary View of Modernization

The narrative sets up a stark contrast: Ling moves from a “comfortable but mundane” life to Shanghai, where she fulfills her dream in the tech industry. This framing reflects a default algorithmic preference for modernity and capitalism, equating success with urbanization and involvement in high-tech fields.Algorithms are closely linked to business models, which often define success through a capitalist lens.

The “Relationship Culture” Stereotype

Ling’s success is partially attributed to Sophia’s mentorship, which implies that personal achievement often hinges on external support from those in positions of power.

This echoes the Western perception of Chinese “relationship culture,” suggesting that breakthroughs rely heavily on connections or networks. While relationships are indeed important in Chinese culture, many young professionals in modern China achieve success through their hard work and dedication.

How to define a successful woman?

Though AI cannot craft a “perfect” story from a limited prompt, the results here clearly show how algorithms are far from neutral. Instead, they reflect and amplify mainstream narratives and stereotypes.

This makes me think about what I imagine a successful woman to be and I realize I also picture the “urban professional woman” trope. Through naming and visual strategies, certain aspects of identity can be foregrounded, often in quite subtle ways.  But modern Chinese women are taking on more diverse roles. Success doesn’t have to be tied to a “white-collar” career. Focusing on family, starting a business, pursuing art, or dedicating oneself to public service are all valid paths.

If it were up to you, how would you tell the story?

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Week9

Bilibili and the Creator Economy: A Shifting Balance

Bilibili, or “B-Station,” is a popular Chinese video-sharing platform established in 2009. With its signature real-time “bullet comments” (弹幕) and strong community atmosphere, Bilibili primarily attracts Gen Z and millennial users. These users freely upload videos and interact with their favorite creators, known as UP主 (UPs).

As a former active Bilibili creator specializing in editing and remixing film and TV content, I witnessed the platform’s transition from actively fostering new creators to a significant outflow of content producers.

What changes have occurred in its incentive systems? How does the shift from Web2.0 to a hybrid of Web2.0 and Web3.0 models affect creators of different scales?

Web2.0 and “one click, three strikes”
——The Lifeline for Creators’ Traffic

“For ideas, fame is fortune”, “And nothing makes you famous faster than an audience willing to distribute your work for free.” That logic — that ever-larger quantities of followers, likes, and clicks could eventually be cashed in — held at first for the “participatory web.”

(Austin. D, 2021) 

Bilibili provides several monetization options for creators, including its Creative Incentive Program, “charging” (充电), live-stream tipping, and task-based collaborations like the “Bounty Plan” (悬赏计划):

1.Charging:
Users purchase virtual currency (“B-coins”) to support their favorite creators. These contributions are partially converted into cash for the creators

2.Live-stream tipping: Viewers purchase virtual gifts to reward streamers. These gifts have monetary value, with creators receiving a percentage.

3.Bounty Plan: Brands or users post tasks that creators complete in exchange for payment, directly linking content creation to commercial needs.

For smaller creators with limited audiences, however, the Creative Incentive Program remains their primary source of income. This revenue largely depends on the “one click, three strikes” (一键三连), a term refers to a long click of the “Like” button on the Chinese streaming site Bilibili, which serves the triple function of “Like, marking as Donating Coins and Favorite”.

Like,Donating Coins and Favorite
ps. Using virtual coins to support creators, which boosts video visibility but doesn’t directly generate income.

The combination of these actions improves a video’s chances of being recommended while signaling content quality to the platform.The higher the traffic, the greater the likelihood of a high income.

My two videos with different view counts: the one with higher views earned a total of 1,033 RMB, while the other earned 391 RMB.

Creators can even embed pop-ups within videos to encourage engagement, including “one click, three strikes”.

rate the characters in the video with interactive bullet comments
encourage viewers to give a “One-Click Three-Connections” at the end of the video .

At the same time, users are becoming more aware that time and attention spent on-platform translates to economic benefit in ways designed by the platform, but that can be potentially exploited or redirected through deliberate community practices. For instance, when users encounter well-crafted, high-effort videos, they often leave comments saying they’ve already given a “one click, three strikes”to support the UP.

Web3.0 Mode and Its Impact on Smaller Creators

As Will Oremus argues, Web3.0 signals “a departure from social media’s established model of holding users’ attention with algorithmically sorted feeds: ‘Users will deliberately choose to forge ongoing connections with their favorite creators rather than simply trusting an algorithm to surface engaging free content from a vast, impersonal reservoir.’”

the creators who already amassed large followings during the “free” era of social media are best positioned to benefit from subscription platforms, paywalls, and collectible content.

Web3.0 offers creators more opportunities for direct monetization and independence from platform constraints. However, to truly benefit, creators must overcome technological and operational challenges, with a key focus on building highly engaged fan communities.

For larger creators, Web3.0 offers a way to break free from platform constraints, allowing them to establish independent brand ecosystems. Bilibili naturally invests more resources into retaining these top-tier creators. However, this resource allocation has made it increasingly difficult for smaller creators to gain visibility and survive.

This disparity is particularly pronounced for creators like me, who produce film and TV remix content. Such work lacks the audience stickiness of personal vlogs or unique original content. As platform support shifts towards retaining large creators with established fanbases, smaller creators face diminishing visibility and opportunities. With a saturated market and declining incentives, this shifting balance increasingly marginalizes creators who once thrived under Bilibili’s earlier, more inclusive ecosystem.

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Week4

A “Period Leave” for Your Period: DingTalk’s ads on Women’s Day

Have you ever noticed a female colleague who, for a few days each month, looks pale and slumped at her desk? Her bag may be full of painkillers, and she might take frequent trips to the restroom during those days…

On March 8, 2024, International Women’s Day, DingTalk, one of China’s leading office software platforms, released an advertisement titled “Period Leave Should Be a Real Leave”. The ad directly addresses the issue of menstrual leave in the workplace.

Video Content and Cultural Context

Resource:https://weibo.com/5482144242/O41yo6mCu

The video depicts the struggles women face during their menstrual cycles, such as enduring pain while working and the difficulty of requesting leave. It also features women from various professions across the country reading excerpts from China’s Labor Protection Law for Female Workers. The ad calls on employers to add a “period leave” option in DingTalk’s OA system, making it easier for female employees to request leave during their periods.

In China, due to the stigma surrounding menstruation, the term “period” was long avoided in direct conversations. Instead, euphemisms like “大姨妈”or “例假” were used. Interestingly, the Chinese term “例假” originally meant “regular leave,” but this ad cleverly transforms its connotation, advocating for periods to indeed become a “real leave.”

Striking a Chord—Women Are Used to “Enduring” Their Periods

“I don’t know why, but I teared up watching this. It feels like the pain we women endure every month is finally being understood.”

This was one of the top comments on DingTalk’s video platform, garnering over 5,000 likes and agreements.

As a woman who frequently suffers from severe menstrual cramps—sometimes needing painkillers and even struggling to stand—I felt deeply understood by the ad. The video starts by highlighting a common response among working women to period pain: endurance. It effectively resonates with women by portraying relatable scenarios:

enduring menstrual irregularities caused by high-intensity work
Resource: ScreenShot from the video(https://www.tvcbook.com/video/1217370.html)
Sneaking away to a quiet place to endure the pain, ashamed to let male colleagues know.

Balancing DingTalk’s Corporate Responsibility and Commercial Interests

According to the 2021 White Paper on Women’s Health in China, nearly 55% of Chinese women suffer from dysmenorrhea (menstrual cramps). Yet menstrual leave requests account for only 0.27% of all leave applications. Recognizing this “shame of requesting menstrual leave,” DingTalk launched the ad across platforms like TikTok, Bilibili, and WeChat, leveraging the attention spike of International Women’s Day. This strategy reflects the dynamics of the attention economy,

“An economic perspective in which things such as media content are assigned a value according to their capacity to attract the interest and engagement of people in a distracting media-saturated and information-rich environment.”

(Marwick, 2015)
One of the female workers reads out the law on protection during menstruation.
The relevant legal provisions were displayed on public screens in metro stations.

The video not only raised awareness of labor laws but also positioned DingTalk as a socially responsible brand. By linking its system features with relevant laws, DingTalk embedded its commercial objectives into a broader social discussion. As of now, the video has received 86,000 likes on WeChat alone.

Within the framework of neoliberalism, today’s “popular feminism” often emphasizes self-empowerment. In DingTalk’s ad, this empowerment is achieved through media affordances, which is “what material artifacts such as media technologies allow people to do.” Specifically, the addition of the “menstrual leave” feature in DingTalk’s system empowers women to confidently and conveniently request leave. This innovation reflects DingTalk’s commitment to workplace inclusivity while assigning new social responsibilities to businesses.

Video showing how female employees can use the “period leave” function

Can Chinese Women Break Free from the Shame of Menstrual Leave?

While DingTalk’s ad successfully brings attention to menstrual health, it may primarily serve to enhance the company’s image rather than fundamentally addressing workplace gender inequality. Though the ad acknowledges the marginalization of women in workplace power dynamics, “this critique is expressed in a friendly, safe way.” As Banet-Weiser explains, popular feminism often avoids challenging deeper inequities.

The feature provides businesses with the option to include “period leave” in their systems, but as long as the company is unaware or pretends to be unaware, employers could simply ignore it. “This kind of feminism does not challenge deep structures of inequities.” Structural issues such as workplace bias and institutionalized support, such as universally applicable menstrual leave policies, remain unaddressed.

A Flap of the Wings

DingTalk’s logo and slogan:
Let progress happen

DingTalk’s ad exemplifies the success of popular feminism in media campaigns, but its real impact will depend on deeper cultural and policy reforms in the workplace. That said, DingTalk has taken a significant first step by “flapping its wings,” initiating corporate engagement with social care. The question remains: how can we balance commercialized feminism with genuine progress toward gender equality?