TO Weibo Night 2026an event bringing together some of the biggest names in Chinese entertainment, the most talked about moment had nothing to do with awards or red carpet fashion. Instead, it was a subtle change in seating arrangements inside the auditorium that sparked widespread controversy and placed Yang Mi at the center of one of her most intense public debates in years.
According to the images circulating on social media, the coveted “golden triangle” Second row seats were initially assigned to Venice Best Actress winner Tan Zhuo in the center, flanked by Yang Mi and Xiao Zhan. The deal was widely seen as balanced, combining artistic credibility and high-level popularity. However, shortly before the event began, Xiao Zhan’s name plate was reportedly removed and relocated to a nearby section, transforming the three-seat focal point into a two-seat arrangement. The small tweak quickly became a viral topic.
Although the organizers issued a formal apology, attributing the incident to aa “technical error” from the personnel responsible for the nameplates, many netizens found the explanation unconvincing. At high-profile awards ceremonies, seating positions symbolize industry status and recognition. A “technical error” in such an important area it seemed implausible to observers. As the celebrity remaining in the highlighted position, Yang Mi became the main target of criticism, despite her team denying any involvement in the change.
The controversy didn’t stop at just one chair. Within hours, old criticisms resurfaced: past accusations of “Grasp the center position” on red carpets and even a live streaming incident years ago backstage involving a staff member’s dropped phone have been called into question. Notably, its 2018 charity controversy, linked to a delayed donation pledge for visually impaired students following a film project, has once again come under scrutiny online. Although Yang Mi’s side explained the delay as a problem with an intermediary and later kept the commitment, the perception of inconsistency remained in public memory.
Amid the heated debate, a clip of a past interview of Liu Yifei resurfaced and quickly went viral. In the interview, he stated, “Some actors stop honing their craft after becoming famous, choosing instead to chase glory and titles.” The quote, when juxtaposed with Yang Mi’s current controversy, sparked intense confrontations on social media.
There is no denying Yang Mi’s status as one of the most influential stars of the post-80s generation in China. From Palace (Gong Suo Xin Yu) TO Eternal Love (Ten Miles of Peach Blossoms)has built a formidable fan base and business empire. However, in an era where audiences are increasingly critical and awarding bodies emphasize depth of performance, traffic and popularity alone are no longer enough.
In contrast, actresses such as Liu Yifei and Zhao Liying have recently received praise for carefully selecting scripts and moving towards more artistically ambitious projects. This change highlights a growing gap in Chinese entertainment between “traffic-driven celebrity” AND “performance-based credibility”.
The situation further escalated when several unofficial media outlets prematurely “Congratulations” Yang Mi received an award nomination before the official shortlist was released, only to see her name absent from the final shortlist. While there is no evidence directly linking it to premature publicity, the backlash has inevitably added to its public relations challenges.
Ultimately, the debate goes beyond who was right or wrong in a sitting incident. It reflects a broader shift in the industry. In an environment where actors are increasingly judged on artistic merit, any controversy is linked to symbolic status, especially if it involves the “central location”– can quickly rekindle past narratives.
Chinese cinema and television are entering a transition phase, which requires tangible results, significant roles and sustained professionalism. Popularity can instantly create spotlight, but it is the body of work that defines longevity.
Yang Mi still has opportunities ahead of her. The entertainment industry has seen notable comebacks from artists who have chosen to respond with stronger projects rather than public statements. If anything, the renewed airing of Liu Yifei’s remarks serves less as a personal attack and more as a reminder: in the long term, audiences remember shows, not seat numbers.
Sources: Weibo, Sina, Saostar
