How US-China standoff is creating opportunity

China’s National Film Administration recently announced a moderate cut in US theatrical imports, a move shaped by the current geopolitical climate.

While this doesn’t yet apply to other content categories, some platforms have nonetheless become more cautious about submitting US-origin content for regulatory review.

At the same time, this shift has quietly opened a wider lane for high-quality programming from other regions.

Platform priorities & genre demand

That said, most Western dramas currently available in China remain limited to classic IPs, long-established franchises, and titles that have already circulated through major global markets.

Truly new entries, particularly from lesser-known catalogues, face significant hurdles. However, certain types of content continue to break through, especially when they align closely with local viewing preferences and platform priorities.

Genres that resonates includes suspense and crime thrillers with layered storytelling and high production values. Science fiction and fantasy series, particularly those featuring immersive world-building, are gaining traction among younger viewers.

“Successful transactions in China frequently require early alignment with government policy”

Meanwhile, female-led narratives and coming-of-age stories exploring identity, resilience, and emotional nuance have also seen growing demand.

Platform preferences vary. Streaming services often favour fast-paced, high-stakes dramas anchored by recognisable talent. Traditional broadcasters, while also seeking proven titles, often lean toward content with broader family appeal or educational value.

 

Art of the deal

While genre trends help define the opportunity, understanding how deals are structured is equally critical to successful market entry.

Exclusivity is no longer essential. It is typically only pursued when a title demonstrates strong commercial potential, particularly in terms of brand sponsorship or advertising appeal.

Otherwise, non-exclusive or bundled licensing models remain the norm, allowing platforms to reduce risk while expanding their content libraries.

Beyond content attributes, the pathway to entry often hinges on how a show is introduced and supported at the governmental level. In my experience, successful transactions in China frequently require early alignment with government policy.

I stay in regular contact with key departments responsible for imported programming, and when I believe a title has real potential, I formally present it with rationale tailored to current guidelines and cultural sensitivities.

Government endorsement isn’t mandatory, but when it’s secured, the entire process becomes smoother and faster.

While working to secure governmental recognition, I simultaneously pitch the same title to both streaming platforms and traditional broadcasters, often recommending parallel launches.

This dual-channel strategy has been effective in recent cases, including the licensing of Voltaire in Love, which was acquired by multiple linear and digital outlets.

In such launches, streaming services typically rely on subtitled versions, while traditional broadcasters often require fully dubbed editions to accommodate viewing preferences of older demographics or audiences less comfortable with subtitles.

Operating within the rules

Regulation remains a defining factor in China. Western drama that is overtly political, sexually explicit, or graphically violent is unlikely to pass. But that doesn’t mean the door is closed.

The Chinese market isn’t as inaccessible as it’s often perceived - it’s about clarity, context and connection. Success depends on who you speak to, how you frame the content, and whether it addresses a relevant cultural or strategic need.

As one official once told me: “We’re not rejecting the outside world, we are choosing how to engage with it.”

In today’s landscape, great content opens doors. But great context gets you in.

Bo Zhang is founder of Bolytics, a Paris-based media consultancy specialising in international content strategy and market entry.