At the first edition of the Paris Asian Series Festival, we met with Bo Zhang, Founder and CEO of Bolytics.
Bolytics is a Paris-based media development company specializing in creating commercial opportunities and bridgehead markets between Asia and the rest of the world. With nearly two decades of experience in media, market research, and international business development, Bo Zhang has collaborated with leading broadcasters, streaming platforms, and production companies on market entries, cross-border partnerships, and global growth strategies. Combining deep market intelligence with a high-level network across China, Japan, and South Korea, her recent achievements include partnering with Shanghai Media Group to spearhead the European launch of C-Drama NOW—the first French-dubbed European FAST channel dedicated to Asian series, currently available on Rakuten TV and major francophone platforms. A regular speaker and moderator at international media forums, Bo Zhang previously held senior Asia-focused roles at Havas and Glance (Médiamétrie).
In this exclusive interview, she shares her insights on cross-border co-productions, the evolving role of FAST platforms, narrative strategies for international audiences, and the emerging trends shaping the bridge between European and Asian audiovisual markets.
What are currently the main challenges and opportunities when bringing the European and Asian drama markets together to foster mutual content exchange?
The primary challenge stems from fundamental differences in language and culture. These barriers naturally make cross-border exchanges more complex than traditional co-productions or distribution deals within Europe. However, these distinct cultural identities also represent the biggest opportunity: there is a growing appetite among international audiences to explore unique storytelling traditions and fresh narrative worlds.
How are co-production strategies evolving, and what role do FAST (Free Ad-supported Streaming TV) channels and hybrid streaming platforms play in series distribution?
Digital ecosystems and FAST channels significantly lower the barrier to entry for niche or specialized foreign content in markets like Europe and France. They provide direct, accessible distribution windows that allow viewers to discover international series effortlessly, creating new monetization and visibility pathways for rights holders.
Which narrative elements make a television series truly “exportable” across vastly different cultural markets?
Two key factors allow a series to travel successfully:
- Universal Themes: Core storylines focusing on relatable human experiences—such as family dynamics, workplace pressures, and social expectations—allow international viewers to identify with the characters regardless of their cultural background.
- Distinctive Originality: Genres with a strong, distinct identity that offer a unique visual or world-building experience stand out precisely because they cannot be replicated elsewhere.
Given the growing global fanbase for K-dramas, C-dramas, and Thai dramas among non-native speakers, what enables these shows to overcome language barriers?
Audiences today actively seek novelty and variety beyond standard Western programming. Asian productions excel at delivering compelling visual aesthetics, high production values, and intense emotional engagement.
While K-dramas have established a strong global presence through strong emotional resonance and high aesthetic standards, C-dramas—particularly period, historical, and fantasy epics—transport viewers into immersive, distinct universes. For dedicated fans, language ceases to be a barrier and instead becomes an gateway to learning and discovering a new culture.
How critical are high-quality subtitling, dubbing, and local marketing in transforming regional hits into global phenomena?
Localization is crucial because poor translation or flat dubbing disrupts emotional nuance and alienates viewers. While AI dubbing tools perform adequately for non-fiction formats like documentaries, they currently struggle to capture the subtle emotional layers required for dramatic fiction.
For the launch of C-Drama NOW with Shanghai Media Group and Rakuten TV, the decision to dub series into French was strategic: French television audiences traditionally prefer dubbed content when discovering unfamiliar foreign genres. However, as audiences become more familiar with these shows, offering original language versions with subtitles remains essential for core fans.
As a female founder and senior executive, how do you perceive the representation of women in leadership roles within the global media sector?
Representation varies significantly by region. In certain Asian markets, executive leadership in major media corporations remains predominantly male. However, the global industry is steadily evolving with heightened awareness and an increasing number of women founding ventures, driving high-profile international projects, and stepping into strategic leadership positions.
What genres, formats, or narrative trends do you expect to cross the border between Asia and Europe over the next two years?
Rather than a single dominant genre, the future lies in niche diversification and strong original identities. While K-dramas continue to lead international streaming charts, modern C-dramas and historical fantasy genres (such as Xianxia) are rapidly building dedicated global fanbases. As streaming platforms diversify their catalogs, distinct niche genres will continue to find dedicated communities and expand their reach across Europe.
Elisa Cutullè