When Nezha’s image lit up the giant screen in Times Square, it seemed like a triumphant moment for Chinese culture going global. But let’s be honest: does this really signal that Western audiences are embracing Chinese culture, or is it just another successful marketing stunt?

In the past, Chinese films failed internationally because they relied too heavily on cultural clichés, trying to attract attention with “exotic Oriental spectacles.” The result? Western audiences grew tired, even resentful, of the endless parade of kung fu, cheongsams, and lanterns. This shallow approach to cultural export revealed not only a lack of confidence in our own culture but also a misjudgment of Western audiences’ tastes. More importantly, it’s worth reflecting on how the dissemination of Eastern culture has long been politicized and treated as a propaganda tool, stripped of its vitality and emotional resonance.

The success of *Nezha 2* appears to lie in its “universal” storytelling, but the deeper truth is that it cleverly sidestepped the trap of “cultural differences” by relying on modern narratives and visual effects to captivate audiences. But does this mean China has finally found the “right” way to export its culture? Or is this just a more polished form of cultural packaging?

True cultural export shouldn’t be about pandering to Western values or over-polishing our own culture. It requires the confidence to showcase cultural complexity, even contradictions. The future of Chinese cultural export doesn’t need more “Nezhas”—it needs works that dare to confront cultural conflicts and reveal the real China. Otherwise, this so-called “victory” will remain nothing more than a dazzling illusion.