Unlike the 1980s, when Japanese corporations were common antagonists in films like Die Hard, modern Hollywood avoids portraying China negatively. This is attributed to a desire to maintain access to China's lucrative box office, resulting in a pop culture landscape that doesn't reflect geopolitical tensions.
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China's promotion of open-weight models is a strategic maneuver to exert global influence. By controlling the underlying models that answer questions about history, borders, and values, a nation can shape global narratives and project soft power, much like Hollywood did for the U.S.
Hollywood's current crisis is self-inflicted, stemming from a decades-long failure to adapt its business models and economics. Instead of innovating to compete with tech-driven services like Netflix, the industry persisted with inefficient structures and is now blaming disruptors for inevitable consumer-driven changes.
In a world of aging, export-dependent economies like China and Korea, the U.S. is the only large, first-world nation that is a net consumer. This makes access to its market an incredibly powerful negotiating tactic, allowing the U.S. to leverage its consumer base as a tool of foreign policy.
The US won World War II largely due to its unparalleled manufacturing capacity. Today, that strategic advantage has been ceded to China. In a potential conflict, the US would face an adversary that mirrors its own historical strength, creating a critical national security vulnerability.
Current anxiety surrounding China is largely confined to policy and financial circles, lacking the broad public and pop culture resonance that characterized the fear of Japan's economic rise in the 1980s, which permeated movies, media, and consumer attitudes.
From a Chinese perspective, its vast manufacturing capacity, supported by world-class infrastructure, is a global utility. The concept of "Made in China" is reframed as "Made for the World." This view suggests the U.S. should focus on its own strengths like innovation ("zero to one") instead of viewing China's manufacturing prowess ("one to 100") as a national security threat.
Contrary to common perception, China holds the stronger hand in its relationship with the U.S. As the world's creditor and primary producer, China can sell its goods to billions of other global consumers. The U.S., as a debtor and consumer nation, is far more dependent on China than the other way around.
The latest U.S. National Security Strategy drops confrontational rhetoric about China as an ideological threat, instead framing the relationship around economic rivalry and rebalancing. This shift prioritizes tangible deals over promoting American values globally, marking a departure from Reagan-era foreign policy.
The "Japan panic" was rooted in fears of economic subordination—like having a Japanese boss or seeing landmarks bought by Japanese firms. In contrast, anxiety about China is dominated by concerns over direct military conflict and a technological arms race, a much starker form of geopolitical rivalry.
The high-stakes bidding war for Warner Bros. is seen as driven by media executives' desire to reclaim the news cycle, which has been dominated by politics and AI. The acquisitions are a strategy for regaining cultural relevance as much as they are about business consolidation.
