According to Sina, the production team of Zhu Yu recently held a success celebration in Beijing, attended by lead actors Zhang Linghe and Tian Xiwei, along with director Zeng Qingjie and executives from Tencent Video. While the drama achieved impressive viewership metrics, it has remained a polarizing project due to criticism over its content and production choices.
One of the most widely discussed aspects of the series is Zhang Linghe’s on-screen image, which earned the mocking nickname “foundation general” due to his visibly heavy makeup in a historical setting. The styling drew ridicule not only in China but also internationally, with many viewers questioning the aesthetic direction of the production.
Despite these criticisms, the celebratory tone of the event did not sit well with some audiences, who compared it to “covering one’s ears while stealing a bell”—a Chinese idiom implying self-deception. The backlash intensified after Zhang Linghe stated that Zhu Yu had “revived the Chinese television industry after two difficult years,” a comment many considered exaggerated.
Netizens were quick to push back, arguing that while the drama performed well in terms of data, it did not have a meaningful impact on the broader industry. Some even accused the production of inflating its popularity through manipulated metrics, further fueling skepticism toward his statement.
Meanwhile, Tian Xiwei also drew criticism for her remarks, in which she claimed that the drama contributed to exporting Chinese culture globally. She expressed a newfound sense of responsibility to promote Chinese cultural content worldwide, but audiences questioned whether Zhu Yu—often described as a formulaic romance—truly fulfilled that role.
Critics pointed out that the drama’s narrative and visual style failed to offer meaningful cultural depth, instead prioritizing appearance over performance. The “foundation general” controversy, in particular, has been cited as an example of distorted aesthetic values in recent productions—so much so that reports suggest industry regulators have begun paying closer attention to such trends.
Both Zhang Linghe and Tian Xiwei have since faced calls from viewers to reflect more critically on their work rather than overstating its impact. As debates continue, Zhu Yu remains a case study in the growing tension between commercial success, artistic quality, and audience expectations in the Chinese drama industry.
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