Theories and studies of media and cultural imperialism have tended to focus on Indo-European imperial languages and Global North infrastructure as key aspects. This is changing somewhat with the successful export of Asian media genres and technologies, notably from India, China, Japan, Taiwan, Hong Kong, and South Korea. That success is widely noted by scholars in the Global North who celebrate Asia’s renewed global centrality. Less attention has been paid to semi-peripheral nations that predominantly use European languages but are not stereotypical settler colonies, per Canada or Israel, and export much more widely than does Asia. What of that other periphery, away from Asian populations, militaries, and money? Mexico is a notable case. It has the resources that come with a large population, a sizeable middle class, a massively varied culture that incarnates the complexities of mestizaje, and the use of a dominant international language in addition to dozens of indigenous ones. The country has been an export as well as an import media center for over a century in terms of music, film, and television, notably to Latin America, the US, and Spain, but other territories as well. This generates its fair share of criticism from predominantly Spanish-speaking smaller countries, like Ecuador and the Dominican Republic, as well as major direct rivals, such as Argentina and Colombia. This chapter will outline the nature and function of Mexico’s cultural exports, drawing on that complex instance to complexify debates between critics and true believers in media and cultural imperialism. It will conclude that Mexico has hegemonic status for many of the world’s 500 million Spanish speakers, even as it is also an import culture subject to the continued influence of the US in particular. The chapter suggests that sovereign states of the Global South may be significant cultural exporters while remaining part of the politico-economic periphery.