TikTok Refugees Find an Alternative

They call themselves TikTok refugees—and the app they are fleeing to is a lot more Chinese than the video-sharing app whose U.S. fate now hangs in the balance.

After Supreme Court justices Friday seemed inclined to let stand a law that would shut down TikTok in the U.S., the Chinese social-media platform Xiaohongshu , translated in English as Little Red Book, has received a flood of American TikTok users. They are looking for a sanctuary or a way to protest the potentially imminent TikTok ban—never mind that they don’t speak Chinese.

Charlotte Silverstein, a 32-year-old publicist in Los Angeles, downloaded Xiaohongshu on Sunday night after seeing videos on TikTok about migrating to the app, which Americans dubbed “RedNote.” She described the move as a “last act of defiance” in her frustration about the potential TikTok ban.

“Everyone has been super welcoming and sweet,” said Silverstein, who has made three posts so far. “I love the sense of community that I’m seeing already.”

By Monday, TikTok refugees had pushed Xiaohongshu to the top of the free-app chart on Apple ’s App Store.

“I’m really nervous to be on this app, but I also find it to be really exciting and thrilling that we’re all doing this,” one new Xiaohongshu user said in a video clip on Sunday. “I’m sad that TikTok might actually go, but if this is where we’re gonna be hanging out, welcome to my page!” Within a day, the video had more than 3,000 comments and 6,000 likes. And the user had amassed 24,000 followers.

Neither Xiaohongshu nor TikTok responded to requests for comment.

The flow of refugees, while serving as a symbolic dissent against TikTok’s possible shutdown, doesn’t mean Xiaohongshu can easily serve as a replacement for Americans. TikTok says it has 170 million users in the U.S., and it has drawn many creators who take advantage of the app’s features to advertise and sell their products.

Most of the content on Xiaohongshu is in Chinese and the app doesn’t have a simple way to auto-translate the posts into English.

At a time of a strained U.S.-China relationship, some new Chinese-American friendships are budding on an app that until now has had few international users.

“I like that two countries are coming together,” said Sarah Grathwohl, a 32-year-old marketing manager in Seattle, who made a Xiaohongshu account on Sunday night. “We’re bonding over this experience.”

Granthwohl doesn’t speak Chinese, so she has been using Google Translate for help. She said she isn’t concerned about data privacy and would rather try a new Chinese app than shift her screentime to Instagram Reels.

Another opportunity for bonding was a photo of English practice questions from a Chinese textbook, with the caption, “American please.” American Xiaohongshu users helped answer the questions in the comments, receiving a “thank u Honey,” from the person who posted the questions.

By Monday evening, there have been more than 72,000 posts with the hashtag #tiktokrefugee on Xiaohongshu, racking up some 34 million views.

In an English-language post titled “Welcome TikTok refugees,” posted by a Shanghai-based Xiaohongshu user, an American user responded in Chinese with a cat photo and the words, “Thank you for your warm welcome. Everyone is so cute. My cat says thanks, too.” The user added, “I hope this is the correct translation.”

Some Chinese users are also using the livestreaming function to invite TikTok migrants to chat. One chat room hosted by a Chinese English tutor had more than 179,900 visits with several Americans exchanging cultural views with Chinese users.

ByteDance-owned TikTok isn’t available in China but has a Chinese sister app, Douyin. American users can’t download Douyin, though; unlike Xiaohongshu, it is only accessible from Chinese app stores.

On Xiaohongshu, Chinese users have been sharing tutorials and tips in English for American users on how to use the app. Meanwhile, on TikTok, video clips have also multiplied over the past two days teaching users the correct pronunciation of Xiaohongshu—shau-hong-SHOO—and its culture.

Xiaohongshu may be new to most Americans, but in China, it is one of the most-used social-media apps. Backed by investors like Chinese tech giants Tencent Holdings and Alibaba Group , Xiaohongshu is perhaps best described as a Chinese mix of Instagram and Reddit and its users increasingly treat it as a search engine for practical information.

Despite its Little Red Book name, Xiaohongshu has little in common with the compilation of Mao Zedong ’s political writings and speeches. In fact, the app aspires to be a guidebook about anything but politics.

Conceived as a shopping guide for affluent urbanites in 2013, Xiaohongshu has morphed into a one-stop shop for lifestyle and shopping recommendations. Every day, its more than 300 million users, who skew toward educated young women, create, share and search for posts about anything from makeup tutorials to career-development lessons, game strategies or camping skills.

Over the years, Xiaohongshu users have developed a punchy writing style, with posts accompanied by images and videos for an Instagram feel.

Chinese social-media platforms are required to watch political content closely. Xiaohongshu’s focus on lifestyle content, eschewing anything that might seem political, makes it less of a regulatory target than a site like Weibo , which in 2021 was fined at least $2.2 million by China’s cyberspace watchdog for disseminating “illegal information.”

“I don’t expect to read news or discussion of serious issues on Xiaohongshu,” said Lin Ying, a 26-year-old game designer in Beijing.

The American frenzy over a Chinese app is the reverse of a migration in recent years by Chinese social-media users seeking refuge from censorship on Western platforms , such as X, formerly known as Twitter, or, more recently, BlueSky.

Just like TikTok users who turn to the app for fun, Xiaohongshu users also seek entertainment through livestreams and short video clips as well as photos and text-posts on the platform.

Xiaohongshu had roughly 1.3 million U.S. mobile users in December, according to market-intelligence firm Sensor Tower, which estimates that U.S. downloads of the app in the week ending Sunday almost tripled compared with the week before.

Sensor Tower data indicates that Xiaohongshu became the top-ranked social-networking and overall free app on Apple’s App Store and the 8th top-ranked social app on the Google Play Store on Monday, “a feat it has never achieved before,” said Abe Yousef, senior insights analyst at Sensor Tower.

Run by Shanghai-based Xingin Information Technology, Xiaohongshu makes money primarily from advertising, according to a Xiaohongshu spokeswoman. The company was valued at $17 billion after its latest round of private-equity investment in the summer, according to research firm PitchBook Data.

Not everyone is singing kumbaya. Some Chinese Xiaohongshu users are worried about the language barrier. And some American TikTok users are concerned about data safety on the Chinese app.

But many are hoping to build bridges between the two countries.

“Y’all might think Americans are hateful because of how our politicians are, but I promise you not all of us are like that,” one American woman said on a Sunday video she posted on Xiaohongshu with Chinese subtitles.

She went on to show how to make cheese quesadillas using a waffle maker.

The video collected more than 11,000 likes and 3,000 comments within 24 hours. “It’s so kind of you to use Chinese subtitles,” read one popular comment posted by a user from Sichuan province.

Another Guangdong-based user commented with a bilingual “friendly reminder”: “On Chinese social-media platforms please do not mention sensitive topics such as politics, religion and drugs!!!”

Administrative cowardice. Rampant cheating. The soaking and scamming of undergrads and grad students. Performative wokeism. Intensifying competition for international tuition dollars from an expansive China.

These are either the latest dire headlines about American higher ed or the myriad subplots of “Lords of Serendipity,” an ambitious new novel by Randy Boyagoda. Unlike most campus fiction, its scope extends well beyond the cloister of the liberal arts classroom to whammy the entire university system, from its financial model to its function within a globalized economy. Along the way, it skewers its lightning-rod targets with a precision too sharp to be considered entirely fictional.

That its author is not only well-versed in satire, having written four other novels in the genre, but is also a professor of English at the University of Toronto and an experienced college administrator, further blurs the lines between comic fiction and brutal fact. It’s the kind of no-holds-barred book only a consummate insider would know to write—but only one who is also conveniently outside the American university system could get away with writing.

“This is someone who’s got the inside dope on what can go on at universities, especially with international students, and what kind of con games are going on,” said Margaret Atwood, a friend and fellow Torontonian.

The novel, like Boyagoda himself, is often very funny—even as the dilemmas its characters face read as tragedy. Its cast includes the bickering members of a Sri Lankan hotel cleaner’s family, insecure American freshmen, dead-end third-tier college professors and their highflying Ivy League counterparts and dispirited university functionaries. An old-fashioned Dickensian tale, it sweeps across continents and campuses, from a classic liberal-arts college to a stand-in for Harvard University to an urban technical school to the dilapidated buildings of a state-run university in Sri Lanka.

“I’m a joyful person,” Boyagoda said in an interview, though he prefers to see his outlook on academia as “hopeful” rather than optimistic. He smiles and laughs frequently. He bikes everywhere. He derives energy from his students and from his four daughters, ages 14 to 20. They help him and his American wife, Anna, also an educator, care for Boyagoda’s father, an immigrant from Sri Lanka who has dementia and lives with the family.

Randy Boyagoda speaks at a panel discussion. — Randy Boyagoda taking part in a panel discussion at the University of Toronto in 2024. Polina Teif/University of Toronto

The germ of the novel came to Boyagoda during the pandemic, when he was serving as a vice-dean. An urban legend was circulating about a statistics grad student selling passing grades to international students. The cheating scheme itself may well have been apocryphal, but it felt tantalizingly plausible.

“As a novelist, it stayed with me,” Boyagoda said. “Who would sell grades for a stats course? Why would someone buy grades? What’s motivating them? Why wouldn’t the university be doing something about it?” What he didn’t want to do, he explained, was write “another novel about a creative writing professor and his drama with students.”

In addition to writing novels—the first of which was a finalist for Canada’s prestigious Giller Prize; he’s written eight books in total—Boyagoda teaches literature full-time. For his students next semester, kids raised in a purportedly “post-literature era,” he’s assigning three 700-page novels, he noted mischievously, books by George Eliot, Ralph Ellison and Kiran Desai.

On RateMyProfessors, students remark on Boyagoda’s heavy assignments, tough grading and distaste for cellphones, but also hail his “comedy.” When alerted to these reviews, Boyagoda laughed. “Guilty as charged,” he said.

“Randy’s one of those people in academia who is very well educated but doesn’t have an ounce of superiority about him,” said John Irving, who frequently guest lectures in Boyagoda’s classroom. “It’s amazing to see how willing students are to talk in his classrooms, how little afraid they feel of being mocked or put down—he gets complete candor out of them.”

Negotiating competing interests seems to come naturally to him. Like many college campuses, after the Oct. 7 Hamas attack on Israel, the University of Toronto was embroiled in protests, encampments and discord; part of the school’s response was to convene a working group on civil discourse. Boyagoda was put in charge, serving for two years. It’s the kind of thankless task many professors would flee from, but Boyagoda relished the prospect and thinks the group, which is ongoing, made progress.

He has since pivoted to another formidable academic concern: the waning prestige of the humanities. In July, Boyagoda became the director of the Jackman Humanities Institute and special advisor on the humanities to the dean of arts and science. This fall, he is starting a series of gatherings he calls the Dead Book Club. (Dead writers feature heavily among his favorites: St. Augustine, Dante, William Faulkner, Evelyn Waugh, Saul Bellow.)

“The goal is to encourage students to read for its own sake and have conversation for its own sake,” Boyagoda said. “The importance of the humanities will be revealed to those who participate.”

Illustration of the book cover for "Lords of Serendipity" by Randy Boyagoda, depicting a woman wearing a hat with various buildings on top, against a blue background with a white airplane.

“Lords of Serendipity,” which publishes next week, reflects Boyagoda’s commitment to the pursuit of knowledge: “I’m supposed to say I learn more from my students than they do from me, but no,” Boyagoda said. “I enjoy sharing my excitement and joy about literature and ideas. There are these moments when you are teaching and you can see someone’s face change because they didn’t know something and then they did. That moment when you’re actually watch someone enlarge themselves is deeply satisfying.”

In literary circles, Boyagoda is often referred to as a Catholic novelist, a description he embraces. “A novelist willing to give shape and voice to contemporary religious experience is needed,” Boyagoda said. “I understand myself as a Catholic novelist, provided that I’m not only a Catholic novelist, I’m also a South Asian novelist and I’m a Canadian novelist. I don’t want to be captive to one label.”

His characters, he said, are subjected to what he calls “Graham Greene character situations.”

“They are trying to do good in a fallen world and realize the most they can do is less harm than someone else would do in that same role,” he explained. “They have to accept they are complicit in something that provides some good thing to others. It’s a very Graham Greene way of thinking about sacrifice.”

The campus green they inhabit is a febrile zone in which lofty ideals and cynicism regularly collide. It’s a place where a traditional holiday college celebration is now an occasion for political protest. Kids freely police one another inside and out of the classroom with social media their constant, ready weapon of choice. International students, knowing their family’s financial futures hinge on their degrees, operate in terror of failure and deportation.

Early readers of the book include Gary Shteyngart and Junot Diaz, both of whom have taught at universities and written comic novels. They each contacted Boyagoda midway through to say, in essence, “You nailed it.”

As biting as “Lords of Serendipity” can be, Boyagoda’s faith in higher education remains undaunted.

“It’s absurd that we live in societies that make the decision to take people between the ages of 18 and 22, when they are most physically capable of contributing to our nations and communities, and tell them, ‘Go away for four years, and read and learn and have conversations,’” he said. “I want students to be aware of what an incredible privilege that is.”

Corrections & Amplifications
Randy Boyagoda is a special advisor on the humanities to the dean of arts and science at the University of Toronto. An earlier version of this article incorrectly said he is a special adviser to the dean of humanities. (Corrected on Sept. 2)

TikTok Refugees Find an Alternative—in China

Chinese users of Xiaohongshu, or Little Red Book, welcome Americans fleeing a feared TikTok ban

Randy Boyagoda’s new novel, “Lords of Serendipity,” delivers a biting satire of cheating, politics and dysfunction across modern universities.