The question is front of mind for U.S. influencers and many small businesses as lawmakers threaten to ban the Chinese-owned social media app that’s become a cornerstone of internet culture and e-commerce.
For an answer, they might turn to India, which has been surviving without TikTok since June 2020.
That month, after 20 of its soldiers were killed in a border clash with China, the Indian government gave TikTok users a day to post tearful goodbyes and steer followers to other social media accounts. Then the app went dark.
People light candles in Hyderabad on June 17, 2020, in tribute to the 20 soldiers killed during a border clash between Indian and Chinese forces in the Ladakh region.
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(Mahesh Kumar A / Associated Press)
“When it got banned, I had nothing,” recalled Gaurav Jain, who was one of the country’s more than 200 million TikTok users.
He was 25 and had just notched his millionth follower making self-help videos about mental health, men’s style and relationships.
Four years later, Jain runs his own social media marketing agency in Delhi, managing Indian content creators who pivoted to other platforms or joined the influencer world more recently. He had tried to make the transition himself but found starting from scratch demoralizing.
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“The counter became zero for everyone,” he said. “That gave rise to a lot of new creators.”
The results for former TikTok stars have been mixed.
Gautan Madhavan, founder of Mad Influence, a marketing agency that managed more than 300 content creators before the TikTok ban, said that about a third of them were able to recapture their reach on Instagram Reels or YouTube Shorts within three months and that many are still playing catch-up.
Those short-video platforms launched shortly after the TikTok ban. Users who found success got in early and posted as often as 10 times a day, according to Saptarshi Ray, a consultant for influencers trying to grow their followings.
“Most of them were just trying everything,” Ray said. “Those were the creators that really flourished.”
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Activists shout slogans against Chinese President Xi Jinping next to a banner showing the logos of TikTok and other Chinese apps banned in India during a protest in Jammu, India, on July 1, 2020.
(Channi Anand / Associated Press)
India was TikTok’s fastest growing user base before the ban, which cut off a vital source of income for creators there.
The stakes are even higher in the United States, where the app has more than 170 million users, including 7 million businesses that TikTok says generated $14.7 billion in revenue last year from marketing on the platform. The Pew Research Center found that a third of Americans used TikTok last year, up from a fifth in 2021.
In April, President Biden signed a bill to ban the app by January 2025, unless Chinese parent company ByteDance Ltd. agrees to sells the app to somebody from a country that is not considered a foreign adversary.
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The threat comes as suspicion between the U.S. and China has escalated, reviving concerns that TikTok could share sensitive data with the Chinese government.
The proposed ban still faces high hurdles. Both TikTok and a group of U.S. content creators separately filed lawsuits, arguing that blocking the app would be an unconstitutional assault on free speech. The Trump administration had also tried to ban TikTok but gave up after being challenged by federal courts.
TikTok has sought to assure the U.S. government that user data is protected on U.S. servers. And though its parent company is based in Beijing, TikTok moved operations to Singapore under a Singaporean chief executive.
The U.S. — along with Britain and Australia — has already prohibited the use of TikTok on government devices. But digital marketing experts said many U.S. users are still not seriously considering the possibility of a ban.
A man demonstrates outside the courthouse in New York where the hush money trial of Donald Trump got underway on April 15, 2024.
(Ted Shaffrey / Associated Press)
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“I don’t think the average TikTok user has synthesized in their brain that this is going away,” said Lawrence Vincent, associate professor of the practice of marketing at USC’s Marshall School of Business. “They’ve heard about it, but it isn’t real until it’s real.”
There has been little anticipatory migration to other platforms. But former TikTokers in India advised their American counterparts to prepare for the worst.
“We used to hear rumors about this happening, but we never really believed it,” said Ashi Khanna, a 26-year-old influencer from Delhi.
She launched her TikTok career by posting lip-synching videos in 2017 — when the app was known as Music.ly — and eventually built a following of 1.7 million. She managed to post a farewell directing them to Instagram and YouTube, where she already had smaller followings. But fewer than 20,000 did so.
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Since then, Khanna has concentrated on Instagram and managed to match her old following.
In contrast to TikTok, which never placed a premium on production quality, Instragram required a more polished aesthetic that could mean spending hours on a single reel.
“There’s a huge difference,” Khanna said. “You need to understand what your audience likes, and your audience is not the same on every platform.”
Ankita Chhetri, 22, who lives in Mumbai, said experimentation was the key to life beyond TikTok.
She became TikTok famous in 2019 after posting a video of herself lip-synching to a popular Bollywood song. With 8.2 million followers, she earned promotional deals with music labels and scrapped her plans to be a nurse in hopes of making it as an influencer and actor.
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After the ban, she started a YouTube channel and branched out from lip-synching into carefully planned reels of beauty, travel, fashion and inspirational quotes. As she gradually increased her following to 1.6 million, she used her improved engagement statistics to pitch brands on potential partnerships.
Still, Chhetri said there are times she misses the old days.
“TikTok just had some crazy amount of loyalty among audiences,” she said. “On Instagram, even if people are watching and liking your content, they’re still hesitant to press that follow button.”
Indian entrepreneurs created their own versions of TikTok, but failed to get much of an audience.
“It still felt like I was invisible, nobody was really there,” said Shreyas Mendiratta, a 23-year-old hospital worker who posted his comedy videos on Indian startup apps for a few months before giving up. “On TikTok, I felt seen, I felt heard.”
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Geet Jain records herself for social media.
(Courtesy of Geet Jain)
His videos don’t do as well on Instagram and YouTube either, which he suggested lack TikTok’s broad international appeal.
“It reduces the chances of them going global,” he said. “This is what I face on Instagram daily. I am very restricted to the region that I am geographically located in.”
Geet Jain, an inspirational speaker and English teacher, was visiting the U.S. when India banned TikTok. She could still use the app, but none of her 7 million followers in India could see her posts offering relationship advice, comedy bits and English lessons.
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“It was like this whirlwind of confusion of what do I do next,” said Jain, who declined to provide her age.
She turned to Instagram, growing 68,000 followers into 1.3 million. But she never achieved the same kind of exponential growth. Some of her TikTok fans had a difficult time finding her.
Back in the U.S. this year for an extended stay with her sister in Seattle, she has started posting on TikTok once more.
Geet Jain, an inspirational speaker and English teacher in India, was in the U.S. when India banned TikTok in June 2020. Back in the U.S. this year for an extended stay in Seattle, she has started posting on TikTok once more.
(Courtesy of Geet Jain)
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But she no longer knows what viewers want. Clips have gotten longer, with more casually narrated stories and less dancing and lip-synching than she remembers. There is more competition when it comes to her style of educational content.
While some of her English-language videos have gotten traction, she’s reluctant to invest too heavily in TikTok again.
“If it gets banned in America, it will be even more devastating for me,” she said. “Then my accounts are actually gone.”
Forget the “video game movie” curse;The Mortuary Assistantis a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.
What Makes It Work
The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.
Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.
The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.
Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.
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Nailed It
This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.
The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!
The Verdict
This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.
A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.
Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.
In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.
As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.
“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.
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He is seeking $35 million in damages.
Representatives for Live Nation were not immediately available for comment.
The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.
Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”
Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.
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Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.
Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”
In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.
Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”
At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.
When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.