Labubu sailing down New York’s 57th Street is a reminder that cultural influence isn’t something the U.S. can monopolise anymore

Thanksgiving is the most American of holidays tied to Pilgrim history and national identity. And it has long used the Macy’s Thanksgiving Day Parade as its ultimate showcase of American soft power—from Snoopy to SpongeBob to Spider-Man. While the parade has gradually welcomed non-U.S. characters—including Japan’s iconic Super Mario and Pokémon figures, and even recent K-Pop-themed floats—this year saw a new kind of cultural claimant. The most visible, and perhaps most disruptive, debut was that of The Monsters’ Labubu and Mokoko. These figures from the Chinese collectible giant POP MART, joined by Skullpanda, Dimoo, and Molly, appeared not as traditional floating balloons but as a towering, 16-foot population on their own branded ‘Friendsgiving in POP CITY’ float. Labubu sailing down 57th Street confirms that the U.S. is now visibly—and undeniably—forced to admit that cultural influence is no longer a monopoly, but a crowded, globally contested parade route.

Labubu’s debut at the Macy’s Thanksgiving Day Parade marked the first time a Chinese toy brand was given such visibility in America’s most-watched holiday spectacle. It signaled a striking new phase in Chinese soft power. Instead of exporting state-led cultural diplomacy, China is now exporting privately-developed viral mascots that infiltrate global pop culture on its own terms. Traditional Chinese soft power tools—heritage campaigns or state media—often felt scripted and, therefore, failed to resonate globally. Labubu, as well as Nezha (哪吒) of the film franchise, represent a pivot to youth-driven, pop-cultural exports that bypass, even ignore, politics. This success is also built on a distinct aesthetic identity. The ugly-cute aesthetic is uniquely Chinese, as opposed to the kawaii looks of Japanese exports. Forget the Great Firewall; Pop Mart is successfully slipping Chinese culture past the border patrol of the boredom of Disney delights, one blind box at a time.

The ugly-cute aesthetic is uniquely Chinese, as opposed to the kawaii looks of Japanese exports

Interestingly, this came amid Donald Trump’s anti-immigrant policies. This turned the parade into a site of contradiction. The Macy’s Thanksgiving Day Parade has, through the years, morphed into a celebration of diversity—balloons from Japan, floats from Korea, now mascots from China. It’s a ritual of cultural hospitality. At the same time, the Trumpian stance emphasises the restriction of movement, the exclusion of ‘outsiders’, and, most significantly, a deep suspicion of foreign cultural influence—a view that sees global engagement as a threat, not a celebration. Global influence is a dish best served American; all other national flavors are considered suspicious. The implicit message from the Trump White House has always been: Do as I say, not as you might dare to do. A Chinese monster balloon moving across Manhattan becomes a soft power rebuttal: while politics closes borders, culture opens skies.

Would ICE (Immigration and Customs Enforcemen) officers raid the Pop Mart float? Unlikely, since characters are obviously mascots, not migrants. To be more specific, Labubu, Skullpanda, Molly, and friends are intellectual property, not people crossing borders. ICE has no legal or practical reason to prevent their performance. Every float and balloon, however, rely on people in suits, wrangling ropes, dancing, and animating the characters. It’s a team of performers underneath, often temporary workers, stagehands, or gig‑economy hires. If immigration enforcement targets workers in factories (like Hyundai), then by extension, ICE could go after the very people inside the costumes, the hidden labor that makes the spectacle possible. The Pop Mart float cruising past Manhattan skyscrapers is more than kitsch; it’s a geopolitical allegory, lovely in latex.

Screen shot: CNBC–TV18/YouTube