Summary of Key Points
In the first half of 2026, the ancient romance drama genre as a whole faced a downturn: despite the success of individual hits like "Zhuyu," overall metrics (viewing numbers, chart rankings) and public perception (a high proportion of dramas with low ratings on platforms like Douban) declined. The once-effective formula of "big IPs + popular actors + top-notch production teams" no longer works. The problem has become more apparent, with form taking precedence over content and plot logic being overshadowed by the focus on celebrity couples (CPs), leading to decreased audience patience. Ancient romance dramas are trying to revive through recombining well-known couples, innovating storytelling, and expanding genre boundaries, but the effects are not yet visible, indicating a need for systematic adjustments in the industry.
1. The "false momentum" of the ancient romance genre fades: Decline in both data and ratings
In the first half of 2026, despite the presence of a hit like "Zhuyu," the overall performance of ancient romance dramas was poor.
- Data: In 2025, ancient romance dramas accounted for half of the top ten longest-running dramas on various platforms; in 2026, this number dropped to only two and a half (including "Zhuyu" and "Chenghe Titing"). In 2025, 12 ancient romance dramas each had over 20 million views, but in the first half of 2026, only three did. Even a drama with big-name stars like Dilraba and Chen Feiyu, as well as a popular IP ("Baili Tiding"), fell short of the 15-million-view mark.
- Ratings: Seven out of the ten dramas with ratings below 6 on Douban in the first half of the year were ancient romance dramas. "Binghu Chongsheng" (the sequel to "Chu Qiao Chuan") received a score of 2.9, and "Yunxiu Xing," featuring a cast of popular actors, scored only 3.8. Even "Zhuyu" faced criticism for its weak plot logic.
In short, a single hit is no longer enough to save the entire genre; the era of guaranteed success for ancient romance dramas is over.
2. The once-effective "hit formula" no longer works: Big IPs and popularity are no longer guarantees
The strategy of relying on "big IPs, popular actors, and high-quality production" no longer ensures success.
For example, "Baili Tiding," based on a novel with 300,000 followers on Jinjiang (a popular platform), starred Dilraba, and directed by Qin Zhen (who created the hit "Changxiansi"), failed to attract enough viewers. Similarly, "Yushi Xiaowu Zuo 2" relied on nostalgia from its predecessor, and "Liangchen Meijin" on the popularity of the star pair Ren Min and Shi Sasa, but neither was a success. Newer dramas like "Binghu Chongsheng" and "Jianghu Yeyu Shiniandeng," starring the duo Lü Haojiji, had viewership well below ten million.
The reason is simple: audiences are tired of this formula, as there is nothing truly innovative or appealing about it, and neither popularity nor the IP itself can sustain interest.
3. Creative flaws: Focus on celebrities and visuals at the expense of plot logic
Problems in ancient romance drama production have become more pronounced:
- Plot logic sacrificed for celebrities: The director of "Zhuyu" stated that the story focused solely on love, ignoring logical consistency. This, combined with other issues, led to audience backlash.
- Form over content: Dramas like "Yuelin Qiji" tried to mimic Guo Jingming's style, resulting in visually appealing but plotually weak stories. Even the actor Jin Jing struggled to understand her character's motivations. The portrayal of generals as refined individuals with makeup routines also failed to resonate with audiences.
These issues are not unique to individual dramas but reflect a broader trend in the industry: to produce quickly, creators sacrifice logical coherence and character authenticity in favor of superficial sweetness and beauty.
4. Ancient romance dramas' attempts at self-recovery: From recombining couples to exploring new genres
Dramas are trying new approaches:
- Adding certainty: The trend of pairing celebrities multiple times (such as Ren Min and Shi Sasa) has led platforms to prioritize these high-profile combinations, hoping to generate more interest.
- Innovative storytelling: Dramas like "Qiaochu" adopted the pace of short-form content to engage viewers, while "Moli" used multiple perspectives to create suspense. These efforts are worth noting, though they haven't been highly successful.
- Expanding genre boundaries: Titles like "Yongye Xinghe" combined elements from fantasy and gaming, while "Yuming Chaguo" and "Changhe Shuxing" experimented with new themes (such as ancient economic development), aiming to break away from the traditional sweet romance or tragic love formulas.
However, these efforts have limited success so far and will need more time to prove their effectiveness.
5. Changing audience preferences: Reduced patience means fewer opportunities for adjustment
The main challenge lies with the audience:
- High initial interest followed by rapid decline: Dramas like "Baili Tiding" were popular at launch but saw a sharp drop in viewership later on. Audiences are more discerning, and if the plot is unsatisfactory, they quickly lose interest.
- Rising aesthetic standards: They no longer accept simplistic or overly sweet stories; they prefer content with logical depth. If ancient romance dramas remain stuck in their old ways, their audience will continue to shrink.
In conclusion, the decline of ancient romance dramas is not accidental but a result of a disconnect between creative habits and audience expectations. While the industry is taking the right steps to improve, whether it can truly turn things around depends on whether new, compelling content is produced. Time is running out for these dramas to make a comeback.