At first glance, the videos seem harmless enough.

Clean subways gliding into spotless stations. Neon skylines glowing at night. Clips of high-speed trains, cashless stores, orderly crowds. Overlaid text reads something like, “Meanwhile in China…” or “They figured it out.”

This is “Chinamaxxing,” a loosely defined but increasingly visible social media trend where mostly young users frame China as a model of efficiency, stability, and modernity—often in contrast to life in the West.

What makes the trend notable isn’t just its subject, but its tone. Chinamaxxing is rarely explicit political advocacy. It’s not a manifesto. It’s a mood. Aesthetic admiration blended with subtle critique, delivered through short, visually compelling clips that invite comparison without context.

And that’s precisely why it has sparked debate.

What Is “Chinamaxxing,” Really?

Despite the provocative name, Chinamaxxing isn’t a coordinated movement or ideology. It’s better understood as an algorithm-driven pattern—a recurring style of content that rewards certain visuals and emotional cues.

Most Chinamaxxing content emphasizes:

• Infrastructure and urban design
• Technology embedded in daily life
• Perceived order and efficiency
• Implicit contrast with Western dysfunction

What it typically omits:

• Political repression and censorship
• State surveillance
• Limits on speech and dissent
• The lived diversity of Chinese experiences

The result is a highly curated portrayal—less about China as a nation, and more about what viewers want to believe is possible somewhere else.

Why It’s Gaining Traction Now

The rise of Chinamaxxing says as much about the West as it does about China.

For many young users, particularly Gen Z, the backdrop is familiar: rising housing costs, student debt, healthcare anxiety, political polarization, and a growing sense that institutions no longer function as promised.

In that environment, visually persuasive content showing order and functionality carries emotional weight. It offers relief from chaos—real or perceived.

Social platforms amplify this effect. Short-form video rewards clarity, contrast, and immediacy. A clean subway platform communicates more in five seconds than a policy analysis ever could. Nuance does not trend well. Aesthetics do.

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The Social and Political Criticism

Critics argue Chinamaxxing crosses a line from curiosity into distortion.

By focusing exclusively on infrastructure and surface-level efficiency, the trend risks:

• Normalizing authoritarian governance through lifestyle framing
• Reducing political systems to consumer experiences
• Ignoring the tradeoffs that make such systems possible

Supporters counter that Western media has long flattened China into a single negative narrative, and that admiration for specific aspects of another society is not the same as endorsing its government.

Both perspectives, however, miss something important.

What the Trend Actually Reveals

Chinamaxxing isn’t primarily about China. It’s about disillusionment.

It reflects a generation that:

• Feels let down by existing systems
• Engages politics emotionally rather than institutionally
• Uses visual culture to express dissatisfaction indirectly

In this context, China becomes a projection surface—not because it is perfect, but because it appears functional.

That distinction matters.

Why This Matters

Chinamaxxing highlights how political understanding is evolving in the digital age. Governance is increasingly consumed not through debate or civic participation, but through comparison clips, memes, and aesthetics.

The risk isn’t admiration. It’s oversimplification.

When complex societies are reduced to visuals alone, public discourse loses depth. But when those visuals resonate, they also signal real unmet needs: stability, competence, and trust in institutions.

Ignoring that signal would be a mistake.

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The STM Daily News Perspective

Chinamaxxing is not an endorsement, a conspiracy, or a joke. It is a cultural artifact—one that reflects generational anxiety, algorithmic storytelling, and the widening gap between expectations and reality.

The question it raises isn’t whether China is better.

It’s why so many people feel their own systems are no longer working.

Related Reading

• BBC News: China Coverage and Global Context
• The Atlantic: Technology, Media, and Internet Culture Analysis
• Pew Research Center: Global Attitudes and Political Perception
• The New York Times: China and International Affairs
• Brookings Institution: China Policy and Global Governance

More on This Topic from STM Daily News

Stay tuned to STM Daily News for more stories exploring internet culture, social media trends, and how digital platforms shape public perception. We’ll be publishing in-depth pieces that break down the societal impact of viral phenomena like Chinamaxxing, the psychology behind online political trends, and the evolving language of Gen Z culture.

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Ben McCann, Adelaide University

Funny, tender, goofy – Catherine O’Hara lit up the screen every time she showed up

Catherine O’Hara, the beloved actor and comedian who has died aged 71, occupied that rare position in contemporary screen culture: a comic actor, a cult figure and a mainstream star.

Her work spanned more than 50 years, from improv sketch comedy to Hollywood features and off-beat TV classics.

She was celebrated for her unmatched comic timing and chameleon-like character work. Her roles were often absurdist and quirky, but they hid a razor-sharp humour.

Born and raised in Toronto in a close-knit Irish Catholic family, O’Hara was one of seven siblings. She once remarked humour was part of her everyday life; storytelling, impressions and lively conversation helped hone her comedic instincts.

After high school, she worked at Toronto’s Second City Theatre, a famed breeding ground for comedy talent, and sharpened her deadpan improvisational skills.

Big break

O’Hara’s break came with Second City Television (SCTV), a sketch comedy series that rivalled Saturday Night Live in creativity and influence. Alongside contemporaries Eugene Levy, John Candy, Rick Moranis and Martin Short, she defined her distinctly smart, absurdist comedic voice.

O’Hara was not merely a performer on SCTV; she was also a writer, winning an Emmy Award for her contributions. This dual role shaped her career-long sensitivity to rhythm, language and character construction.

Unlike sketch performers who rely on repetition or catchphrases, O’Hara’s humour emerged with a different comedic logic. Audiences laughed not because the character was “funny”, but because the character took herself so seriously.

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Though briefly cast on Saturday Night Live in the early 1980s, O’Hara chose to stay with SCTV when it was renewed, a decision she later described as key in letting her creative career flourish where it belonged.

The transition to film

By the mid-1980s, O’Hara was establishing herself as a screen presence. She appeared in Martin Scorsese’s offbeat black comedy After Hours (1985), and showcased her comic range in Heartburn (1986).

In 1988, she landed what would become one of her most beloved film roles: Delia Deetz in Tim Burton’s left-field Beetlejuice (1988).

Delia – a pretentious, New York art-scene social climber – allowed O’Hara to combine physical comedy and imbecilic dialogue (“A little gasoline … blowtorch … no problem”).

Burton once noted

Catherine’s so good, maybe too good. She works on levels that people don’t even know. I think she scares people because she operates at such high levels.

She went on to play Kate McCallister, the beleaguered mother in the holiday blockbusters Home Alone (1990) and Home Alone 2: Lost in New York (1992). Audiences loved the fact that this rather thinly written role became the films’ beating heart.

Working with Christopher Guest

Another distinctive phase of O’Hara’s career was her work with writer-director Christopher Guest on a series of largely improvised mockumentaries that have become cult classics.

Three standouts were Waiting for Guffman (1996), where she plays a desperate local performer in a small-town theatre troupe, and A Mighty Wind (2003), where she teamed up with old pal Levy as an ageing folk duo.

Her best turn came in Best in Show (2000), in which she and Levy played a couple competing in a national dog show. Her character Cookie Fleck remains one of the finest examples of improvised comedy on film. https://www.youtube.com/embed/Ay1cJ1QMOms?wmode=transparent&start=0

Her relentless monologues about former lovers are objectively inappropriate, yet O’Hara delivers them with such earnest enthusiasm that they become strangely compelling.

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Her gift for improvisation glittered in these films: these eccentric characters were often laugh-out-loud funny – but O’Hara never mocked them.

Late success

She returned to TV in Six Feet Under (2001–05) and guest appearances on The Larry Sanders Show (1992–98) and Curb Your Enthusiasm (1999–2024). More recently, she appeared in prestige shows such as The Last of Us (2023–) and The Studio (2025–).

But it was the role of Moira Rose, the eccentric, ex-soap opera star in the Canadian sitcom Schitt’s Creek (2015–20), created by Eugene Levy and his son Dan, that would become O’Hara’s most significant late career move. And what a role it was!

Written for O’Hara’s unique talents, Moira was a larger-than-life character with a bizarre, unforgettable vocabulary, dramatic mood swings and a wardrobe that became nearly as famous as the character herself.

Feminist media scholars have noted the rarity of such complex roles for older women, particularly in comedy, making O’Hara’s performance culturally significant.

The show became a global streaming blockbuster during COVID lockdowns and O’Hara’s multi-award-winning performance became a social media phenomenon, spawning memes and viral clips.

There are so many standout moments – her drunken meltdown after losing her wigs, her audition for The Crows Have Eyes 3 and the show’s moving finale where she performs Danny Boy at Alexis’s graduation.

An enduring legacy

O’Hara had a remarkable ability to play flamboyant, self-absorbed characters who were often uproariously funny.

Many comedians and actors have cited O’Hara as an influence for her fearlessness, her ability to blend absurdity with emotional truth, and her steadfast commitment to character integrity. She influenced performers like Tina Fey, Maya Rudolph, Kate McKinnon and Phoebe Waller-Bridge.

O’Hara also refused to chase conventional stardom. Rather than choosing projects designed to flatten her eccentricities, O’Hara favoured collaborative environments that valued creativity over control.

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For her, comedy was always an art of intelligence, empathy and generosity.

Ben McCann, Associate Professor of French Studies, Adelaide University

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Last Updated on January 28, 2026 by Daily News Staff

How the polar vortex and warm ocean intensified a major US winter storm

Mathew Barlow, UMass Lowell and Judah Cohen, Massachusetts Institute of Technology (MIT)

A severe winter storm that brought crippling freezing rain, sleet and snow to a large part of the U.S. in late January 2026 left a mess in states from New Mexico to New England. Hundreds of thousands of people lost power across the South as ice pulled down tree branches and power lines, more than a foot of snow fell in parts of the Midwest and Northeast, and many states faced bitter cold that was expected to linger for days.

The sudden blast may have come as a shock to many Americans after a mostly mild start to winter, but that warmth may have partly contributed to the ferocity of the storm.

As atmospheric and climate scientists, we conduct research that aims to improve understanding of extreme weather, including what makes it more or less likely to occur and how climate change might or might not play a role.

To understand what Americans are experiencing with this winter blast, we need to look more than 20 miles above the surface of Earth, to the stratospheric polar vortex.

What creates a severe winter storm like this?

Multiple weather factors have to come together to produce such a large and severe storm.

Winter storms typically develop where there are sharp temperature contrasts near the surface and a southward dip in the jet stream, the narrow band of fast-moving air that steers weather systems. If there is a substantial source of moisture, the storms can produce heavy rain or snow.

In late January, a strong Arctic air mass from the north was creating the temperature contrast with warmer air from the south. Multiple disturbances within the jet stream were acting together to create favorable conditions for precipitation, and the storm system was able to pull moisture from the very warm Gulf of Mexico.

Where does the polar vortex come in?

The fastest winds of the jet stream occur just below the top of the troposphere, which is the lowest level of the atmosphere and ends about seven miles above Earth’s surface. Weather systems are capped at the top of the troposphere, because the atmosphere above it becomes very stable.

The stratosphere is the next layer up, from about seven miles to about 30 miles. While the stratosphere extends high above weather systems, it can still interact with them through atmospheric waves that move up and down in the atmosphere. These waves are similar to the waves in the jet stream that cause it to dip southward, but they move vertically instead of horizontally.

You’ve probably heard the term “polar vortex” used when an area of cold Arctic air moves far enough southward to influence the United States. That term describes air circulating around the pole, but it can refer to two different circulations, one in the troposphere and one in the stratosphere.

The Northern Hemisphere stratospheric polar vortex is a belt of fast-moving air circulating around the North Pole. It is like a second jet stream, high above the one you may be familiar with from weather graphics, and usually less wavy and closer to the pole.

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Sometimes the stratospheric polar vortex can stretch southward over the United States. When that happens, it creates ideal conditions for the up-and-down movement of waves that connect the stratosphere with severe winter weather at the surface.

The forecast for the January storm showed a close overlap between the southward stretch of the stratospheric polar vortex and the jet stream over the U.S., indicating perfect conditions for cold and snow.

The biggest swings in the jet stream are associated with the most energy. Under the right conditions, that energy can bounce off the polar vortex back down into the troposphere, exaggerating the north-south swings of the jet stream across North America and making severe winter weather more likely.

This is what was happening in late January 2026 in the central and eastern U.S.

If the climate is warming, why are we still getting severe winter storms?

Earth is unequivocally warming as human activities release greenhouse gas emissions that trap heat in the atmosphere, and snow amounts are decreasing overall. But that does not mean severe winter weather will never happen again.

Some research suggests that even in a warming environment, cold events, while occurring less frequently, may still remain relatively severe in some locations.

One factor may be increasing disruptions to the stratospheric polar vortex, which appear to be linked to the rapid warming of the Arctic with climate change.

Additionally, a warmer ocean leads to more evaporation, and because a warmer atmosphere can hold more moisture, that means more moisture is available for storms. The process of moisture condensing into rain or snow produces energy for storms as well. However, warming can also reduce the strength of storms by reducing temperature contrasts.

The opposing effects make it complicated to assess the potential change to average storm strength. However, intense events do not necessarily change in the same way as average events. On balance, it appears that the most intense winter storms may be becoming more intense.

A warmer environment also increases the likelihood that precipitation that would have fallen as snow in previous winters may now be more likely to fall as sleet and freezing rain.

There are still many questions

Scientists are constantly improving the ability to predict and respond to these severe weather events, but there are many questions still to answer.

Much of the data and research in the field relies on a foundation of work by federal employees, including government labs like the National Center for Atmospheric Research, known as NCAR, which has been targeted by the Trump administration for funding cuts. These scientists help develop the crucial models, measuring instruments and data that scientists and forecasters everywhere depend on.

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This article, originally published Jan. 24, 2026, has been updated with details from the weekend storm.

Mathew Barlow, Professor of Climate Science, UMass Lowell and Judah Cohen, Climate scientist, Massachusetts Institute of Technology (MIT)

This article is republished from The Conversation under a Creative Commons license. Read the original article.

The science section of our news blog STM Daily News provides readers with captivating and up-to-date information on the latest scientific discoveries, breakthroughs, and innovations across various fields. We offer engaging and accessible content, ensuring that readers with different levels of scientific knowledge can stay informed. Whether it’s exploring advancements in medicine, astronomy, technology, or environmental sciences, our science section strives to shed light on the intriguing world of scientific exploration and its profound impact on our daily lives. From thought-provoking articles to informative interviews with experts in the field, STM Daily News Science offers a harmonious blend of factual reporting, analysis, and exploration, making it a go-to source for science enthusiasts and curious minds alike. https://stmdailynews.com/category/science/