As China’s television and film industry faces one of its most challenging periods, with nearly 60% of projects reportedly unable to proceed due to funding shortages, Chinese media have identified just four actresses who continue to inspire confidence among investors. According to Sina, Yang Mi, Zhao Liying, Yang Zi, and Bai Lu are currently regarded as the rare female stars capable of truly “carrying” a drama project.
The Queens of Television Dramas
Sina reports that being labeled a “project-carrying actress” requires meeting strict criteria. Most works led by such stars must consistently perform well in ratings, viewership, and public discussion. In addition, these actresses must demonstrate strong commercial appeal, attracting advertisers and convincing platforms and investors to greenlight projects. Versatility is also essential, as actresses are expected to succeed across multiple genres rather than being limited to a single type of role.
Among them, Yang Zi and Bai Lu stand out for their exceptionally high work frequency. In 2025 alone, Bai Lu released three dramas—Lin Jiang Xian, White Moon Brahma Star, and Northward—spanning genres from xianxia romance to modern realism, all of which delivered solid results.
Industry insiders revealed that at one point, Bai Lu received up to 80 scripts to choose from. While she may not be universally regarded as a top-tier actress in terms of technique, her projects consistently generate strong discussion, viewership, and advertising returns. In 2025, Northward achieved a CVB rating of 3.615% and earned Bai Lu recognition from DataWin as “a post-90s drama-leading actress unafraid of challenging genres.”
Similarly, Yang Zi remains one of the most sought-after actresses among producers. Over the past five years, she has been the only actress with a drama averaging over 76 million views per episode, achieved by Flourishing Peony. Within a single year, Yang Zi completed three projects—Family Business (later retitled The Story of Zhen Niang), Tree of Life, and Magnolia Blossoms—all of which are scheduled to air on China Central Television (CCTV). Her consistent track record has made her a reliable choice for both investors and co-stars seeking broader exposure.
Veteran Stars With Lasting Influence
Actresses born after 1985, Yang Mi and Zhao Liying, continue to prove their enduring market value. Yang Mi rose to pan-Asian fame through multiple blockbuster idol dramas and regained her momentum in 2025 with All Living Things, which performed strongly in both ratings and viewership. The drama peaked at a 4.53% rating, marking the highest figure on CCTV-8 in the past three years. Notably, the project belongs to the serious realism genre, which places higher demands on acting and character depth.
Meanwhile, Zhao Liying is considered a rare success story—an idol-drama actress who transitioned into a critically acclaimed performer. She has won Best Actress three times at China’s most prestigious television awards, the Feitian Awards and Magnolia Awards. Her dramas frequently rank first or second in television ratings, with average viewership exceeding 50 million views per episode, solidifying her position as one of the most trusted names in the industry.
According to Sina, while many lesser-known stars now face prolonged unemployment due to delayed productions, only proven box-office and rating drivers like these four actresses continue to be fiercely competed over by producers.
Why Zhao Lusi and Liu Yifei Were Left Out
The list has sparked debate, with many questioning why popular stars Zhao Lusi and Liu Yifei were absent. In reality, Zhao Lusi was once highly favored by investors, particularly Tencent Video, earning her the nickname “Tencent’s Princess.” However, health issues and ongoing contract disputes with her former management company have kept her away from film sets for over a year.
Concerns over health stability and cooperation risks have since made Zhao Lusi a high-risk choice for investors. Her previous withdrawal from the drama The Lover reportedly caused losses for the production team, further affecting confidence.
As for Liu Yifei, she remains a powerful public draw and has consistently ranked among the top 10 most-discussed actresses over the past three years. However, her highly selective approach to scripts and low output—often taking one to two years off between projects—has limited her appeal in an industry currently desperate for efficiency and rapid returns.
Sina concludes that aside from these top-tier actresses, most younger stars still depend heavily on scripts rather than star power to ensure success. Actresses such as Yu Shuxin, Wang Churan, and Chen Duling only gain recognition when paired with suitable roles and strong writing. As short-form dramas continue to rise, China’s long-form television industry faces increasing pressure—making dependable, project-carrying actresses more valuable than ever.
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