There was a time when Zhao Liying was synonymous with success on Chinese television.
From The journey of the flower (2015) e Princess agents (2017) a The Story of Ming Lan (2018) e The Story of Xing Fu (2022), his name guaranteed record ratings. The actress, born from humble beginnings without powerful support, was celebrated as “the queen of bass” a symbol of grit, talent and perseverance in the Chinese star system.
But in 2025, that once-steadfast image began to crumble.
A Tribeca “premiere” that never happened
Earlier this year, Zhao’s new psychological miniseries What a wonderful world was billed as China’s first web drama “premiere at the Tribeca Film Festival” in New York.
The Chinese media hailed it as Zhao’s “enter the global scene”, and iQIYI marketed the show as a milestone in international recognition for Chinese streaming content.
But reality soon exposed the illusion.
On Tribeca’s official website, the project only appeared under an “Absolute first” label, not among the “Official selections” meaning it had no public screening, no ticket sales and no competition status. Its English title was changed to What a wonderful worldwithout any mention of it being a Chinese drama.
Photos from the so-called promotional event went viral not for their glamour, but for their awkwardness. The small New York venue featured a budget backdrop dominated by the iQIYI and “Straw Bear” logos, with the Tribeca name barely visible. Chinese netizens mocked him “the poorest wall of the international press ever seen”.
Even luxury brand Armani, which sponsored Zhao’s wardrobe, quietly cut out the background of the event in its official post, an almost unheard of move for a brand known for strict image control. Netizens interpreted this as Armani’s attempt to protect Zhao’s reputation by distancing himself from what many call a “false international debut”.
A public relations disaster that became a symbol of stagnation
The incident has become a textbook example China’s over-the-top hype has gone awry. Critics have described What a wonderful world AS “heavy, inaccessible and emotionally flat,” with Zhao’s performances failing to connect despite high expectations.
What should have elevated Chinese drama series to global prestige has instead highlighted the industry’s growing gap between ambition and execution.
Five months without work: the consequences
According to Sina Entertainment, Zhao Liying has not joined any new film or drama project in over five months. His studio has also stopped publishing public programs, fueling speculation of a quiet career freeze.
Additionally, Zhao recently missed a nomination for the Golden Rooster Awards. Critics have argued that his recent works have failed to have an artistic impact, saying:
“Zhao Liying’s films arrive quietly and leave without waves.”
While younger colleagues like Yang Zi, Bai Lu and Dilraba Dilmurat continue to dominate screens, Zhao’s silence seems even more surprising. Her rare public appearances have been on commercial live streams, where she promoted luxury products, a move that has left fans wondering whether the once-revered actress is now moving into influencer territory.
From the national icon to the industrial paradox
Zhao Liying’s current struggle reflects a broader dilemma among top Chinese stars: immense fame, but artistic limitations. Her career, once built on emotional, relatable heroines, now risks becoming trapped in repetition and stereotyping.
What a wonderful world it was intended as her transformation into a serious, arthouse actress. Instead, it became a cautionary tale about misplaced ambition and mismanaged branding.
For a woman once acclaimed as “The Queen of Chinese Audiences” be laughed at as “the actress who faked a premiere at Tribeca” it is perhaps the most painful blow not only to his reputation, but to his identity as an artist.
If Zhao Liying fails to reinvent herself soon, she could see her legacy overshadowed by younger stars as her own story becomes another example of how quickly C-ent’s crown can slip.
Sources: kenh14
