Streaming surge sparks TV drama revival, not decline, festival forum decides

As streaming platforms surge and short-form videos reshape audience habits, one question dominates the Chinese entertainment landscape: where do traditional long-form dramas stand?

At the ongoing Shanghai TV Festival's ‘China TV Drama High-Quality Creation Conference,’ industry leaders gathered in Shanghai on June 24 with a bold response: TV dramas are not just surviving the digital era; they are being reborn with greater purpose, artistry, and ambition.

With powerful calls for innovation, authenticity, and cross-sector synergy, speakers from government, production, and tech emphasized that high-quality storytelling remains central to China’s cultural identity—and its creative future.

Policy and Creativity Should Evolve Together

In his keynote speech, Gao Changli, director-general of the TV drama department at the National Radio and Television Administration, emphasized the enduring value of television dramas despite growing pressure from short-form content.

“Excellent dramas are an essential part of people’s lives,” he noted, highlighting the importance of aligning artistic ideals with public sentiment.

Gao outlined five critical relationships shaping the industry’s future: top-down vs. grassroots creation; social vs. economic benefits; quality vs. diversity; content vs. technology; and genuine criticism vs. toxic online discourse.

He advocated embracing AI and 4K technologies while upholding the emotional core of storytelling.

Long-Form Dramas Must Adapt

Director Wang Jun, known for hit series like “A Little Reunion” and “The Tale of Rose,” stressed the need for long-form dramas to adapt to modern viewing habits.

He described how his latest work, “A Better Life,” balanced fast-paced storytelling with complex character development. “It’s not short videos stealing our audience—it’s our own complacency,” he said.

Youku Vice President Liu Yanhong offered a platform perspective, reaffirming long-form drama as an essential pillar of Youku’s content strategy.

“Short videos satisfy curiosity, but long dramas satisfy the soul,” she said. Liu highlighted how series like “Legend of Zang Hai” and “A Better Life” delivered not only entertainment, but also a full emotional and aesthetic experience.

“These are not just stories—they are lived worlds. Our viewers now pause scenes, rewatch lines, and analyze props.”

Kang Jie, President of Xinguang Pictures, brought a producer’s perspective grounded in realism and care.

He recounted the four-year journey behind “She and Her Girls,” inspired by real-life teacher Zhang Guimei who changed the lives of hundreds of girls in rural China.

“We were chasing truth—the truth of sacrifice, of growth, of human connection,” Kang said.

Creative Integrity and audience maturity

Screenwriter Li Xiao, whose credits include “The Tale of Rose,” encouraged writers to resist creative conformity and speak with personal conviction.

She described how, against prevailing advice to focus on career-driven plotlines, she centred her story around a woman’s emotional journey.

“We were told viewers only wanted empowerment, not vulnerability,” she recalled. “But the truth is our audience is more mature and open than we give them credit for.”

When Drama Becomes a Destination

Sun Changbo, general manager of Shaanxi Culture Industry Investment Group, demonstrated how TV drama and cultural tourism can form a powerful symbiosis.

He shared the success of the recreation of the street from “The Longest Day in Chang’an,” modelled after the hit drama and offered as an immersive experience in Xi’an.

“Visitors step into the world of the show—wearing Tang costumes, meeting performers, eating the food. It’s television brought to life,” he said.