Grey Chinese Trend on Thai TikTok: From Criminal Networks to Digital Aesthetic

In Thailand, criminal networks run by Chinese nationals are a subject of concern. Their portrayal on social media is not only framed as a societal problem but also reimagined as a cultural reference. Instead of simply reporting on criminal activities, social media users reinterpret them in digital spaces, turning crime into a stylised narrative where aesthetics, humour, and performativity intertwine.

While similar content appears across platforms, TikTok’s affordances — algorithmic amplification and highly personalised content feeds — position it at the epicentre of this trend. An analysis of the #จีนเทา (Jin Thao, Grey Chinese) hashtag using the TikTok application programme interface (API) reveals how users can transform social problems into cultural artefacts, shaping how young Thais perceive and relate to criminal networks.

The term Grey Chinese refers to Chinese nationals involved in illicit business activities, such as running casinos, money laundering, human trafficking, and scam call centres. The criminal operations are particularly concentrated in Thailand’s border zones with Myanmar, Cambodia, and Laos, where they exploit forced labourers for large-scale scams. Workers are often trapped in conditions of modern slavery, enduring debt bondage, physical abuse, and constant surveillance. Thailand functions as a transit hub, complicating legal action due to loopholes and the ease with which Chinese criminals can enter, particularly following the introduction of the visa-free policy.

While not a new issue, the abduction of Chinese actor Wang Xing (Xingxing) pushed the Thai government to act. On 3 January 2025, he was lured to Thailand by a fake casting offer, kidnapped by a scam network, and taken to Myanmar. An online campaign led by his partner and international pressure secured his release at the Thailand-Myanmar border on 7 January. Since then, Thailand has intensified its crackdown on these networks, particularly under pressure from Beijing.

Traditional news outlets report on the issue through a journalistic lens, but on social media, a different narrative emerges as creators engage in Grey Chinese appropriation. Facebook, Instagram, and X show similar content, but this trend is especially visible on TikTok, with its 44 million Thai users. The hashtag has accumulated over 6,000 videos, reflecting its growing traction on the platform.

The Grey Chinese aesthetic plays a central role, blending seriousness and satire. At its core, it revolves around ostentatious materialism, featuring stacks of cash, luxury cars, and an international lifestyle embodied by mysterious figures in designer suits. Beauty is associated with Grey Chinese, emphasising an attractive and desirable aesthetic often linked to tattoo arts.

TikTok users have embraced this persona and playfully adopted the role. For instance, some have introduced themselves as family members of “Grey Chinese gangsters“, while others have taken on roles such as girlfriends of these figures. This phenomenon is particularly visible among young Thai women, who frequently post videos dressed in Chinese-inspired clothing, expressing their desire to be associated with this identity or to find a Grey Chinese husband.

Although largely performative, the online appropriation of Grey Chinese figures may still affect societal attitudes.

Humour is a key element of the trend. Many users parody it, especially on TikTok. This is common on social media, which is a platform famous for its playful content. Numerous videos showcase skits, dances, or tutorials on “how to dress like a Grey Chinese gangster,” as well as tips on how to spot a potential Grey Chinese boyfriend. While some content condemning these figures exists, the trend predominantly focuses on light-hearted portrayals rather than showcasing the harsh truths of criminal involvement. These kinds of videos exist, depicting the arrest of individuals associated with the Grey Chinese and presenting a far less glamorous reality.

The stylised representations on TikTok mirror the enduring appeal of mafia or gangster aesthetics in popular culture. Such imagery does not necessarily endorse criminal behaviour but rather highlights the performative nature of TikTok and its role in reshaping perceptions of controversial figures. A similar process can be observed in Indonesia, where satirical content creators parody the ultra-rich, highlighting the contrast between opulence and economic hardship. This phenomenon of media influence on behaviour is not unique to social media; similar patterns emerge across various media formats. For instance, in Thailand, the release of the successful movie “4 Kings” in 2021, which depicted student gang conflicts in the 1990s, led to the emulation of violence among youth. The broader pattern of emulating popular culture extends well beyond Southeast Asia. Similar dynamics can be observed elsewhere, such as in South Africa, where TikTok serves as a stage for the performance of gang culture. The Grey Chinese phenomenon is part of this wider trend.

However, the extent to which the Grey Chinese portrayal influences real-world behaviours remains unclear. While no direct evidence links engagement with this aesthetic to criminal activity, the blurred boundaries between digital mythmaking and real-world recruitment emerge as criminal networks incite youth to join call centre gangs. Although largely performative, the online appropriation of Grey Chinese figures may still affect societal attitudes.

Meanwhile, criminal groups leveraging digital spaces for recruitment raise concerns about unintended consequences. The growing presence of these portrayals on TikTok suggests a broader shift in how crime is aestheticised, performed, and potentially normalised in digital culture. Whether this trend fades as a passing aesthetic or becomes a lasting socio-cultural reference in Thailand remains to be seen. Future research, combining user perceptions with platform logic, could offer deeper insights into how these representations shape attitudes toward crime and challenge traditional views on criminal imagery.

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