Recently, Chinese micro dramas have been sweeping the world at an unprecedented speed, with high emotional themes such as "domineering CEOs" and "aristocratic grudges" and a "vertical screen style", allowing overseas audiences to "get on top" and pay to unlock them, and even triggering a large-scale localized remake craze. However, behind the prosperity, hidden concerns have gradually emerged: serious content homogenization, creative thinking constrained by traditional film and television logic, and industry empowerment limited to shallow advertising implantation... Although the low-cost replication of "Chinese style cool text templates" can attract traffic in the short term, it is easy for overseas audiences to form a "vulgar and formulaic" stereotype of Chinese culture, which is not conducive to the sustainable development of the industry. On the occasion of the National People's Congress and the Chinese People's Political Consultative Conference, Wang Zhongyi, a member of the National Committee of the Chinese People's Political Consultative Conference and former editor in chief of the Asia Pacific Center of the China Foreign Languages Administration, based on more than 30 years of cross-cultural communication experience, put forward the suggestion of "promoting the quality and efficiency improvement of the micro drama industry and empowering thousands of industries". He advocates that micro dramas should not stop at the game of traffic when going global, but should become a new carrier for spreading Chinese stories and conveying cultural values. Wang Zhongyi pointed out that the essence of micro dramas going global through emotional resonance is the "going global" of models and business logic, rather than simply product output. The theme of 'Boss falls in love with me' may seem clich é, but it is actually a variation of the globally popular 'Cinderella' theme in contemporary contexts. This type of narrative has a long history in Western popular novels and soap operas, and is a globally shared emotional meme that can directly address people's underlying emotional needs for love, social advancement, and justice. Therefore, this high concentration of emotional compensation has also become a widely applicable "decompression valve" in cross-cultural contexts. The ship ran aground due to minor difficulties. ”Wang Zhongyi believes that driven by the wave of new technology, micro dramas, with their low threshold and fragmented characteristics, are like nimble boats that can flexibly move forward in complex international communication environments, successfully bypassing cultural barriers and accurately triggering resonance at the human level. However, in the long run, relying solely on emotional value is difficult to sustain the sustained prosperity of the industry. In response to the current industry pain points, he proposed a "three-layer progressive" development strategy: the first layer is commercial development. We do not deny the role of themes such as "Ba Zong" as a "door opener" for the market, and fully utilize their attractiveness to build mature business models and enhance the viewing stickiness of overseas users. The second layer is value implantation. Through themes such as workplace motivation and women's growth, showcase the professional spirit and independent style of contemporary Chinese people. For example, telling the story of Chinese female designers and lawyers struggling overseas, integrating traditional Chinese values such as diligence, wisdom, and family responsibility into the plot. The third layer is cultural enrichment. Transforming cultural elements such as traditional Chinese medicine, cuisine, and intangible cultural heritage techniques into "functional props" that drive the development of the plot, rather than rigid displays. For example, the design of acupuncture and moxibustion to save people, Dongpo Braised Pork to conquer diners and other plots, so that the culture imperceptibly affects the audience in the strong narrative promotion. From "individual narrative" to the restoration of "real China", Wang Zhongyi stated that the core path of micro dramas going global has always aimed at the same goal: to introduce China truthfully and three dimensionally, from the upgrading of themes to the reshaping of traditional culture into daily life. Looking back at his practical experience at People's China magazine, Wang Zhongyi emphasized that communication thinking must achieve "sinking", that is, shifting from grand narratives to individual narratives, and from abstract concepts to concrete details. He once planned the "My Day" program, which aimed the camera at groups such as security guards and doctors. By displaying their access cards, keys, antihypertensive drugs, and daily trivialities that they carried with them, he outlined the life scenes of ordinary individuals filled with smoke and fire. This not only precisely fits the curiosity of overseas audiences about the real China, but also silently dissolves the deliberate propaganda, thus establishing a more credible third-party perspective. Instead of sticking your neck out to tell, it's better to invite others to come and see, "he said. The more simple and unadorned a story is, the more it can touch people's hearts. Wang Zhongyi believes that this logic also applies during the window period of micro dramas going global. "When overseas users marvel at the wisdom of traditional Chinese medicine and admire the Chinese courtyard aesthetics in the story, the mini drama is no longer just an outlet for emotion, but a light carrier of China's modern achievements and traditional wisdom." In his view, the real breakthrough of the mini drama is that it resonates with the process of Chinese path to modernization. With AI empowering various industries, new business models and new types of workers continue to emerge, and their emotions, joys, sorrows, and struggles constitute the most vivid Chinese story. Future micro dramas should break away from simple traffic games and bring these real lives that accompany the country's development process to the screen. When the camera shifts from the illusory feuds of wealthy families to the struggles and warmth of ordinary Chinese people in reality, micro dramas are no longer just "fast food" for entertainment, but have become carriers of recording the times and conveying values, allowing overseas audiences to see a real, three-dimensional, and hopeful China in concrete individual narratives. In addition to short dramas, traditional Chinese culture and creative products are also increasingly favored by overseas markets for reshaping cultural experiences through "life aesthetics". For example, the cultural and creative products of the Forbidden City are highly sought after among young people in Japan, and the video related to "Hanfu Tea Ceremony" on TikTok has exceeded 100 million views. Wang Zhongyi believes that these innovative practices of traditional culture provide important references for the development of micro dramas. The secret to the success of traditional culture going global is that it no longer focuses on mysterious antiques or profound truths, but shifts towards emphasizing experience and showcasing aesthetics. This logic is similar to the cultural dissemination path of micro dramas. According to his analysis, the success of the Palace Museum's cultural and creative industry lies in the "deconstruction and reorganization" of cultural relics. For example, transforming the originally sacred glazed tiles into playable refrigerator stickers, allowing cultural elements to naturally integrate into daily life. Similarly, by extracting highly recognizable cultural symbols such as dragon patterns and mythical beasts, and incorporating them into everyday items such as lipstick and blind boxes, overseas consumers can subtly embrace Chinese culture. We can also transform ancient elements into fashionable expressions, making culture more 'cool'. ”Wang Zhongyi suggested that Japan's experience in fashioning traditional stories could be used for reference to promote the integration of China-Chic designs such as Han suits into international popular elements such as minimalism, so as to make them have the attribute of "social currency". When young designers skillfully integrate traditional craftsmanship with modern aesthetics, culture is no longer just a display in museums, but a tangible way of life. To make overseas audiences consume because they like, understand because they consume, and respect because they understand, "Wang Zhongyi concluded. (New Society)