This year, the film industry has witnessed a perplexing move with the movie “Nothing Can't Be Undone by a Hotpot” being pulled from theaters and switched to streaming online. Just five days after its release, the film was withdrawn from cinemas, citing “various environmental factors” leading to low scheduling rates, with plans to re-release it at a later date. However, just six days after its withdrawal, this movie, originally intended for theatrical release, suddenly appeared online where it became accessible to subscribers without even a separate fee, leaving those who had paid for tickets feeling betrayed.
This shift has significantly impacted Yang Mi, the lead actress, beyond just the director. This year has been pivotal for her, with not only “Nothing Can't Be Undone by a Hotpot” but also the spy drama “In the Name of the Brother,” marking a substantial shift in her career towards both film and television. These roles signal a clear intention to transform, aligning with the broader trend among her peers from the post-85 actors, striving to redefine their artistic directions.
Post-85 Full-scale Transformation in Film and Drama
With “In the Name of the Brother” setting the stage and “Nothing Can't Be Undone by a Hotpot” following, Yang Mi has generated considerable buzz with this dual approach. She had previously hinted at her 2024 projects on social media, and now she's delivering on that promise.
The transformation seems to be a mix of gains and losses. In “In the Name of the Brother,” Yang Mi stars opposite Qin Hao as Guan Xue, a villainous female spy. Her performance here shows marked improvement, portraying a character with a tragic past, utilitarian motivations, and a quick temper—a stark contrast to her previous glamorous roles.
The director Zhang Li also revolutionized Yang Mi's acting process. Used to having a script and a god-like perspective, suddenly having to perform with limited information was a major challenge and a departure from her previous acting style. Although she still has room for improvement compared to Qin Hao's ease, her effort is evident. In “Nothing Can't Be Undone by a Hotpot,” Yang Mi's character “Yao Ji” is a stark contrast to her previous roles, with fiery red hair and a cunning disguise that surely catches the eye.
“Yao Ji” is clever and cunning in the film, but the story relies heavily on dialogue and identity reversals, typical of a “Werewolf game” style movie. This structure may feel top-heavy and not very pleasing to the audience. While Yang Mi has shown clear progress, audiences lack the patience to wait for an actor's evolution, contributing to the lukewarm reception of both works. Audiences' preference for novelty and the actor's duty to innovate is evident. After years in the industry, Yang Mi has developed a distinct acting style, and although the call for transformation is recurrent, the sense of urgency isn't particularly strong. However, it's not her first attempt at branching into both film and drama simultaneously.
Back in 2018, Yang Mi appeared in the urban drama “Negotiator” and later in the film “Baby,” with promotions hinting at a transformation toward more serious acting roles. However, these attempts at dual transformation were unsuccessful, with the former scoring only 3.5 and the latter 5.3 on Douban—a transformation that wasn't quite complete. Yang Mi, who started as a child actress, has witnessed the surge of capital in the entertainment industry. From the “Tiny Times” series to “Eternal Love” and even the low-quality comedy “The Breakup Guru,” she has undoubtedly capitalized on the boom era.
As the market evolves, Yang Mi's hit productions have dwindled. Recent works like “Thank You, Doctor” and “She and Her Perfect Husband” have performed poorly, increasing the urgency for transformation. Whether it's hiring acting coaches or taking on roles as a bejeweled side character, her determination is evident. Yang Mi's recent in-depth interviews, filled with self-interrogation, reflection, and anxiety, echo the challenging path of today's 85th Generation actors, no longer as carefree as before.
Costume dramas = Comfort Zone?
In recent years, the direction of the film and television industry has been shifting. On one hand, there's a focus on cost reduction and efficiency, affecting all levels of the industry; on the other hand, audience tastes have matured, becoming increasingly discerning. With less speculative investment and more intense competition, even actors' skills are scrutinized more closely, propelling the post-85 actresses into transformation. No genre better showcases an actor's talent than serious themes, which are now considered the most popular in terms of realism. Among they, Zhao Liying is a representative of those embracing this change, a trend that became more apparent after “Legend of Fei.”
Zhao has ventured into the suspense genre with “Who is the Murderer,” playing a female psychologist, although her character lacked conviction. She also tried her hand at rural themes with Zheng Xiaolong's “The Story of Xing Fu,” portraying a modern rural woman named He Xingfu. This character, bold and decisive, somewhat mirrors Minglan from “The Story of Minglan,” presenting a more nuanced image.
Her role in “Wild Bloom,” which helped her secure a nomination for the Magnolia Award, is a classic piece of realism. In this series, Zhao plays an ambitious female entrepreneur from the early days of China's economic reform, filled with the zeal of that era. In the movie “Article 20,” she takes on a supporting role as Hao Xiuping, a mute character, demonstrating her ability to convey depth through expressions and body language alone, which was well-received by the audience and highlighted her preference for meaningful roles over leading status.
In contrast, Yang Mi has faced a rockier path in her attempts at transformation. She explored serious themes in “Baby,” not shying away from unflattering roles, yet the feedback was disappointing. In the ongoing TV series “This Thriving Land,” she breaks new ground by playing a rural woman, and notably, she also appears in Chen Kaige's film “She's Got No Name,” portraying Wang Xumei, a former influential figure in Shanghai who falls into disarray due to legal troubles, a role that tests her acting chops significantly.
Interestingly, Zhao Liying also stars in the same film as a writer, West Forest, adapting the role from the original novel's writer Su Qing, sparking interest among fans about her ability to embody the literary charm of her character. With both post-85 actresses appearing in the same film in roles they haven't previously tackled, the release is expected to stir considerable discussion. This highlights that the actresses have a relative advantage and higher success rate in genres like rural, period, and historical dramas, which are often their first choices for transformation.
This year, Tiffany Tang also delivered a hit period drama “Blossoms Shanghai,” considering her last work “The Legend of Xiao Chuo” scored only 4.4 on Douban, “Blossoms” seems like a career revival. Plus, with the upcoming film adaptation of “Blossoms,” Miss Wang's character stands established, allowing Tang to break free from her past role as Zi Xuan in “The Legend of Sword and Fairy” and proving her versatility.
Compared to these three, Liu Shishi seems to have fallen slightly behind post-maternity. Her first choice upon returning was the period romance drama “A Journey to Love,” banking on the recognition and commercial value of post-85 actresses in historical romance to regain lost ground.
This scenario reflects the current state of the 85 Flowers as a whole. This year, Zhao Liying also released “The Legend of Shen Li,” and there are upcoming dramas like Yang Mi's “Fox Spirit Matchmaker: Red-Moon Pact” and Tiffany Tang's “A Moment but Forever,” indicating that the historical romance genre remains their stronghold.
While transformation allows actors to access better resources and plan for long-term careers, historical dramas help solidify their status and commercial value, making it an essential part of their repertoire. In essence, walking on these two legs has become the status quo for the post-85 actresses. From this perspective, Zhao Liying is currently leading, Yang Mi is slightly behind, and Liu Shishi and Tiffany Tang need to put in more effort. Ultimately, the success of their transformational works will decide their rankings.
Anxiety Grips Post-85 Actresses
The underlying logic of the market is changing, and so is the trajectory of the post-85 actresses-a term symbolizing a generation of female actors born around 1985, including Yang Mi, Zhao Liying, Tiffany Tang, and Liu Shishi. With the range of genres produced narrowing and the distribution of opportunities for actresses becoming more rigid, these actors are compelled to undergo transformations. Previously, such transformations might have been a marketing strategy, but now they are crucial for securing future roles. The trend in idol dramas leans towards casting younger actresses from the post-90 and post-00, who not only bring the benefit of age but also generally command lower salaries, increasingly eating into the limited market share.
The post-85 actresses rose to fame during a boom in the film and TV industry, where projects were plentiful and there was less pressure to hone their acting skills. However, as speculative money dwindles and production companies become more budget-conscious, these actors can no longer rely solely on their previous market appeal. If they lack substantial acting skills, it could severely hinder their future prospects. Observing their recent endeavors, it's evident that there's a consistent and palpable sense of urgency among them.
This anxiety isn't limited to the most famous names; it extends to other actresses of similar age facing the same issues. For instance, Liu Yifei, once a significant player in the film industry and a Hollywood figure with projects like “Mulan,” has recently returned to television. By choosing scripts wisely, from “A Dream of Splendor” to “Meet Yourself,” which maintain high ratings on Douban – she has reaffirmed her market position. This year, she is expected to make new breakthroughs with “The Tale of Rose,” a city drama based on a novel by Yi Shu.
Similarly, Tong Yao carved a niche in urban dramas with “Nothing but Thirty” and expanded into espionage and family themes with “The Rebel” and “Life Is a Long Quiet River.” This year, through Youku's “White Night Theater” project “Tender Light ,” she is moving closer to the mystery genre.
Ni Ni, who started in films, gained popularity through historical fantasy dramas like “The Rise of Phoenixes” and “Love and Destiny.” Recently, she has ventured into younger, urban, and mystery themes with “My Best Friend's Story” and “Parallel World.” Additionally, she hasn't left her film career behind, with her latest movie “Lost in the Stars” achieving significant box office success.
Ying Er, known for her role in “Sealed with a Kiss,” has also sought to change her typical roles. Last year in “Imperfect Victim,” she played a domestic abuse survivor, a role with significant social relevance that received positive feedback.
The market logic now favors actors with successful track records in similar roles. These actresses' efforts to transform are essentially laying the groundwork for future opportunities. Hence, their widespread activities to solidify their positions in genre dramas are not surprising. The flurry of works from the post-85 actresses in 2024 is no coincidence. At forty, these actresses face inevitable challenges. While there's talk of moving towards roles for middle-aged women, the reality is that such roles are scarce, and the industry is less forgiving towards aging actresses compared to their male counterparts.
Often stuck in their comfort zones, they risk becoming typecast in middle-aged historical roles. Faced with limited options, they must either make their characters widely recognized or excel exceptionally in acting. Without establishing a clear niche in the market, their acting paths may become even more constrained. Looking ahead, the fierce competition for transformation within the industry shows no signs of abating, but time for the post-85 actresses to make these changes is running out.