LayarHijau.com – Popularity does not guarantee opportunity. This is the reality faced by many Chinese drama stars attempting to break into the film industry. Despite having large fan bases and strong television acting portfolios, many are only offered minor roles—or mere cameos—in major film projects. This phenomenon raises an important question: do the film and television industries in China operate on different “class” levels?
Recently, top actress Yang Mi was announced to appear in veteran director Zhang Yimou’s new film, Silent Awakening. However, what surprised the public was not just her involvement, but the fact that she would only be playing a supporting role. This, despite Yang Mi being regarded as a ratings queen in Chinese television with immense commercial appeal. It is not the first time she has played supporting roles in films, indicating the existence of an unspoken hierarchy in China’s entertainment industry.
Drama Stars Don’t Always Shine on the Big Screen
Yang Mi is not the only one facing this situation. Actresses like Zhao Liying, who gained massive success through dramas like Princess Agents and Legend of Shenli, also struggled when transitioning into film. Her recent movie We Girls briefly topped the box office during its premiere but only grossed around 6.33 million yuan—far short of the 1.8 billion yuan target. Critics argued her character was flat and lacked emotional depth.
A similar case occurred with Xiao Zhan, a breakout drama star from The Untamed. Despite The Legend of the Condor Heroes: The Gallants recording 100 million yuan in pre-sales within 24 hours, its final box office result was 667 million yuan. The film was criticized for underdeveloped characters, and Xiao Zhan’s idol image was seen as a distraction by some viewers.
Between Traffic Stars and Film Actors
Popular drama actors like Yang Mi, Zhao Liying, and Xiao Zhan are often labeled as “traffic stars”—celebrities known for their social media influence and online popularity, rather than purely their acting skills. Although many possess strong acting abilities, they are often viewed by conservative film circles as mere box office magnets.
On the other hand, actors like Zhang Jiayi, Yu Hewei, and Wang Qianyuan are respected within the film industry for their roles in socially realistic or festival-oriented films. Yet, when they transition into mainstream dramas or online series, they are often criticized for being “too theatrical” or ill-suited for lighter drama formats.
For instance, Wang Qianyuan—winner of a Golden Horse Award—was criticized for his performance in The Knockout, with viewers claiming his film-style acting was too heavy-handed for television.
A More Complex Divide: Short Drama Stars
In recent years, short dramas—vertical-format series with brief episodes—have gained massive traction on platforms like Kuaishou, Douyin, and WeTV. While these series often go viral and attract younger viewers, their actors rarely gain recognition within the mainstream film or television industries.
Many short drama stars are viewed more as content creators than professional actors. Despite amassing millions of views and followers, they struggle to transition into long-form dramas or films, often due to perceived lack of “stage experience.” Additionally, short drama productions are frequently overlooked by mainstream media and award bodies, as if they were simply light entertainment.
This has created a new layer of disparity in the industry: between television drama actors, film actors, and short drama actors. Even though all perform in front of a camera and build characters, the recognition they receive varies greatly.
Market Forces and Viewing Habits
According to Statista (2023), despite the rapid growth of streaming platforms like iQIYI and Tencent Video, most Chinese viewers still watch dramas through traditional TV channels. This means an actor’s success on online platforms does not always translate into nationwide recognition. Traditional audiences are more familiar with actors appearing during prime time on national television.
In contrast, international viewers who access Chinese dramas via Netflix, Viki, or YouTube tend to recognize actors from fantasy, xianxia, and idol dramas. This creates a gap between domestic and international recognition, which in turn affects their opportunities in the film industry.
Will This Divide Ever Change?
The disparity is slowly shifting, but much depends on the industry’s willingness to open doors. Streaming platforms are beginning to produce exclusive films that bring drama stars and film directors together. Younger audiences also increasingly value diverse acting styles and are more open to seeing drama stars on the big screen—as long as the story is strong and the production is well-made.
Independent filmmakers are also starting to explore talent from the short drama world using digital platforms. If supported by agencies, producers, and the media, actors from short dramas could eventually earn their place in the film and television industries.
However, it will take time to erase the stigma. As long as these unspoken “social classes” between film, television, and short dramas remain a yardstick, actors will have to work twice as hard to prove themselves—not just to the industry, but also to the public.
Is This Disparity Exclusive to China?
This “class divide” in entertainment is not exclusive to China. In countries like South Korea, India, and even in Hollywood, tensions between television and film actors have existed for decades. American TV actors often struggle to land leading roles in major films despite strong success in series. In South Korea, although the line between drama and film actors is beginning to blur, there is still a tendency to see film roles as the pinnacle of an acting career.
However, the divide in China is more pronounced due to the highly stratified media environment and the vast local market, which leads to rigid subdivisions. The dominance of traffic stars, the influence of social media, and the polarization between short and long dramas make the industry’s class structure even more visible.
Conclusion: Acting Is Acting, Regardless of the Medium
Talent and acting ability should not be confined to the platform an actor performs on. TV dramas, films, and short series are merely formats—and those formats should not define an actor’s “class.” It is time for the Chinese entertainment industry (and the world at large) to recognize quality without the labels of platform or medium. Otherwise, great talents will continue to be held back by invisible walls created by outdated expectations and stereotypes.