LayarHijau – The controversy over excessive drama promotions resurfaced after Wang Ziqi appeared on an entertainment talk show hosted by Wang Yunlin and Chen Ming. During the discussion, the hosts touched on the trend of promotional activities requiring lead actors to engage in overly physical interactions, including reenacting kiss scenes live in front of audiences.
Wang Yunlin noted that some promotions even went as far as having actors repeat kiss scenes on stage. Chen Ming then asked Wang Ziqi directly, “Have you ever been asked to perform such scenes live in front of the audience?” Viewers watching from home admitted feeling tense at the question.
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Calmly, Wang Ziqi explained that since reviewing the promotional scripts, he has consistently communicated his refusal to participate in scenes he finds embarrassing or inappropriate. This approach ensures that any forced physical interaction can be stopped from the start. The public largely supported his stance, with many commenting, “I support Wang Ziqi—bring back normal drama promotions for viewers!”
This trend of excessive promotion has also been seen in other dramas. For example, Deep Affection Eyes (深情眼) starring Zhang Yuxi and Bi Wenjun reportedly required actors to engage in close physical interactions, such as feeding each other snacks, while When Destiny Brings The Demon (献鱼) featured Chen Feiyu and Wang Yinglu in newlywed-like scenarios in front of fans. Many viewers felt such gimmicks emphasized sensation over the story itself.
These incidents highlight the challenge for the entertainment industry in balancing creative promotion with audience comfort. Interactive promotions can attract attention, but when physical interactions are forced for virality, public focus often shifts from the quality of the drama to sheer spectacle.
“This trend started last year, and it’s even more pronounced this year,” said Xuanxuan, who has long been involved in offline drama promotions. According to Xuanxuan, “mass wedding-style” promotions are common in idol dramas due to a relatively sluggish market. Production teams hope offline events can boost lead character chemistry (CP, short for character pairing) and then spread it online to attract viewers.
Xuanxuan added that most young actors are cooperative and do not mind close interactions, but hype generated by bloggers or influencers often exceeds the original plan. In such situations, actors may find it hard to refuse outright, and they adapt to the requested interactions.
After the “mass wedding-style” promotions received negative feedback, these activities have gradually been scaled back. Xuanxuan suggested that offline promotions should focus more on creativity and avoid cheap gimmicks.
Research by Red Star News shows that dramas relying on CP strategies rarely achieve strong success, either in viewership or reputation. Douban ratings for such dramas generally hover near passing marks: When Destiny Brings The Demon 5.5; Youthful Glory (韶华若锦) 5.6; Deep Affection Eyes 5.7; and Feud (临江仙) 6.
Lin, a professional who has worked in drama promotion, noted that boosting CP is a cost-efficient strategy. In addition to offline events, production teams also include sweet clips, live streams, and other activities. Both production staff and actors understand these “rules,” creating a complete workflow.
From a production perspective, creating CP is easier than producing quality content. Kiss scenes or interactions only need to provide “highlight points,” while fans build the buzz. “The problem arises when it becomes routine; audiences start to feel bored,” Lin explained.
Xuanxuan added that initially, CP brought fresh excitement, but it has now become repetitive. “When trends are copied immediately, viewers eventually lose interest.”
In the offline event Moonlit Reunion (Ziye Gui / 子夜归), lead characters did have interactions, but drama planner Tan Fei emphasized, “CP only matters if the drama is good. What’s the point of having CP in events if the drama is poor? Audiences won’t make the connection.” According to Tan, the quality of the drama remains the key factor; promotional strategies cannot compensate for weak content.
