By the year 2024, the inaugural year of costume drama has long passed, yet the unexpected success of “The Legend of Shen Li” has truly surpassed all expectations. Whether it be the pairing of Zhao Liying and Lin Gengxin, reviving the regrets of the fans of “Princess Agents,” or the ethereal configuration of the female and male in the early stages of “The Legend of Shen Li,” every element has struck a chord with everyone's nostalgia. For a moment, it turned this pair of middle-aged ancient costume role, initially mocked by many before the premiere, into a phenomenon where they dominated various popularity charts.
Looking back over the past few years, many young actors and actresses have risen to fame through costume dramas. Ancient costume dramas have become a well-known place for grooming stars and have consequently transformed into an exclusive domain for the new generation of actors.
Hence, as soon as the trailer for “The Legend of Shen Li” was released, it became a focal point for public criticism: the combined age of the leads exceeds 70 years; post-85 actors spent half their lives elsewhere, only to return to the world of costume dramas; or the excessive soft lighting that dimmed the clarity upon the appearance of the protagonist, almost creating a mirage-like effect. In short, it seemed like everyone had something to criticize. After the premiere, opinions gradually shifted, and it seemed to outshine other dramas airing at the same time. Some say: after being watched mediocre works for so long, it's rare to see an ancient figurine drama with guaranteed plot quality and logical character development.
Leaving aside other aspects, in the past we only heard of the saying “immortals in love, disturbing the three realms,” but “The Legend of Shen Li” is the only drama to date that clearly explains why a god with magical powers must lock away their heart. The male lead Xingzhi (played by Lin Gengxin), is the last remaining god in the world. Despite being revered by the three realms for his divine power, he decides to go against the entire world after hearing of Shen Li's (played by Zhao Liying) death in the Eastern Sea, freezing the entire Eastern Sea and causing the death of millions of creatures.
Furthermore, when Shen Li returns to the mortal realm, she finds that Xingyun has already experienced life and death, without desperately seeking reincarnation or seeking death, but rather, in a moment of true closeness to his character, she casually says: Xingyun is just Xingyun. With numerous such high points in the plot, the list goes on.
The two actors, with their acting skills, have portrayed not only the tender love in the face of separation and death but also the profound love between realms and races. When these conflicts arise, they interpret different perspectives based on their characters' identities.
Although there are still voices of mockery, the capital ventures into it knowing the risks, not because they naturally love taking risks. The reasons behind their cautious choice of actors with strong acting abilities and good reputations are not hard to guess: they can no longer afford the fickleness of rising and falling popularity. Even though post-85 actors are no longer in the prime of their careers, they will not let the drama fade into obscurity without a trace.
Furthermore, the participation of top actors to some extent counterbalances the age disadvantage of the actors. Taking the influence of Zhao Liying and Yang Zi, for example, their massive popularity also brings along a few newcomers, creating a win-win situation for all. In this cycle, the favor of the capital is evident.
Since the end of last year, there has been a resurgence of middle-aged ancient costume dramas. From Liu Shishi's “A Journey to Love” to Yang Mi starring in “Fox Spirit Matchmaker: Red-Moon Pact,” and not to mention, Liu Yifei was also rumored to be joining the ancient costume drama “Chang Ling.”
Netizens couldn't help but wonder why young actors are striving to transition into ancient dramas, with post-85 actors making a comeback in this genre. It's not that post-85 actors can't do without ancient dramas, but rather that ancient dramas cannot do without them. Actors born in the 1985s have boarded the bandwagon of the television era and have caught the wave of the internet, making them widely known. Their popularity is something the new generation of actors does not possess.
Even before the official announcement of “Fox Spirit Matchmaker,” #YangMi, #Fox Spirit Matchmaker was already trending, and with rumors circulating online about Liu Shishi appearing in the “Fox Spirit Matchmaker: Love in Pavilion” and making a cameo in the “Red-Moon Pact,” it triggered a wave of nostalgia among fans of the “Chinese Paladin” series, skyrocketing the discussion.
Furthermore, compared to mainstream dramas or movies, ancient dramas come naturally to post-85 actors, given that their appearances in “Time to Love,” “Chinese Paladin,” and others are still considered classics by many born in the 1990s.
Currently, the entertainment market offers limited opportunities for the portrayal of female characters. Instead of forcing a transition and entering a narrower path, struggling in roles of pseudo-independent women, it's better to stay in a broader market. Moreover, ancient dramas serve as a key to popularity, a battlefield since ancient times.
Zhao Liying's involvement in “The Legend of Shen Li” as both the lead actress and producer has paved the way for other actors. This not only allows control over the script but also eliminates the fear of being altered and reluctantly participating in someone else's vision.
However, whether ancient dramas or modern dramas, the urgency of market issues has long been apparent. The once-popular short romantic dramas are now entering a twilight period; meanwhile, the stories of young love are still waiting to be passed on.
