LayarHijau – Hengdian is usually at its busiest during the summer, when dozens of Chinese drama productions converge on the sprawling filming hub at the same time. This year, however, the familiar summer rush has largely disappeared, with significantly fewer dramas in production across Hengdian.
According to a report by Sohu Entertainment, only 16 long-form dramas were being filmed in Hengdian as of mid-August 2026. That is roughly one-third of the number typically seen during the summer peak in previous years.
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In past years, summer was the busiest season in Hengdian, with 30 to 40 production crews shooting simultaneously. Popular locations such as the Qinwang Palace and the Along the River During the Qingming Festival scenic area often had to be booked months in advance.
Soundstages would operate around the clock, while schedules for background actors could run well into the night. This year, however, much of that activity has vanished. The studio vacancy rate was reportedly approaching 78 percent.
Mid-Budget Dramas Make Up Most of Hengdian’s Current Productions
The slowdown is also evident in the types of dramas currently being filmed. Most of the projects in production are mid-budget costume dramas, Republican-era detective stories and light mystery series.
Among the dramas currently shooting are Mr. Zhenhe (Zhen He Xian Sheng) (《镇河先生》), Strange Tales of Shendu (Shen Du Guai Tan Lu) (《神都怪谈录》) and The Laughing Detective in Taiping Town (《笑探太平镇》). Most are relatively compact productions with no more than 24 episodes.
Several newly launched projects have also entered production. The Young Lady Zhu (《祝姑娘》), starring Chen Lijun and Wei Zheming, is one of them. Love in the Shell (《念相思》), starring Hou Minghao and Esther Yu, has also begun filming.
Other projects include Bai Yao Pu (《百妖谱》), starring Deng Wei and Ai Mi; Record of the Wrong World (《错世录》), starring Ao Ruipeng and Zhang Miaoyi; and Qia Feng Chun (《恰逢春》), starring Deng Enxi and Dong Sicheng.
The Spoiled World (《被剧透的世界》), starring Ren Hao and Chen Yao, is also in production, along with The Last Princess (《公·主》), starring Yao Chi and Liu Xiening).
Fewer Big Productions Are Coming to Hengdian
What stands out about the current lineup is the lack of major projects built around blockbuster IPs and top-tier stars. The situation is a stark contrast to previous years, when large-scale productions and high-profile casts regularly crowded Hengdian’s filming locations.
There was a time when more than a dozen production crews could compete for the same street or scenic location in a single day. Now, the remaining crews are spread across the vast filming areas, leaving many parts of Hengdian noticeably quieter than usual.
The decline is not simply a seasonal fluctuation. It reflects broader changes taking place across China’s drama industry. After years of rapid expansion and high production volumes, significantly fewer projects are now moving into production.
Shrinking Budgets Put Pressure on China’s Drama Industry
One of the most immediate reasons for the slowdown is shrinking investment. Chinese streaming platforms have tightened their content budgets and cut back on a number of small and mid-sized projects that were previously considered viable.
At the same time, the rapid development of AI-generated short dramas is creating another challenge for the traditional production market. As AI tools become increasingly sophisticated, they are pushing down production costs and competing for audiences’ attention, further intensifying pressure on conventional short-form productions.
The result can be seen clearly in Hengdian. One of China’s biggest filming hubs is no longer filled with the sheer number of crews that once defined its summer peak.
Still, the slowdown does not necessarily signal a negative development for the industry. It may instead represent a period of consolidation, as excessive production capacity and low-quality projects are gradually squeezed out of the market.
For years, Hengdian’s prosperity was driven in part by a production model that prioritized volume, with large numbers of projects being made to keep the industry moving. As that model loses momentum, resources could increasingly shift toward dramas with stronger scripts, higher production values and greater long-term appeal.
In that sense, Hengdian’s unusually quiet summer may be less a sign of an industry in collapse than a reflection of China’s drama market entering a more selective phase.
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