April 1st: A Turning Point for the Entertainment Industry? (Video)
[People News] Hello, dear viewers, and welcome to "Forbidden News Decoded." I am Sun Ning.
If you've been following short dramas lately or keeping up with the film and television trends in mainland China, you might have noticed a troubling phenomenon: the perfectly smiling supporting characters on screen, or the bustling crowds in the background, may not actually be human at all.
Just a few days ago, on March 18th, Shanghai's leading media company, Yao Ke Media, made a groundbreaking announcement—they officially revealed the signing of their first batch of AI digital artists. These two virtual figures, Qin Lingyue and Lin Xiyan, not only have their own social media accounts but also star in the AIGC series "Qinling Bronze Mystery Chronicles." This is not merely animation; these are hyper-realistic simulations with skin textures and hair strands that closely mimic real people.
According to the latest statistics from DataEye, the share of AI simulations in the top 100 comic dramas list for January 2026 has surged from 7% last year to an astonishing 38%. This indicates that in every three popular short dramas, one is produced using AI instead of real actors.
While we continue to debate the acting skills of stars, the fundamental logic of the film and television industry has already shifted. Today, we will explore the secrets behind the "new three types of web dramas" defined by the National Radio and Television Administration. Why has April 1st become a critical turning point for the film and television industry? More importantly, when all supporting characters are artificial, what remains genuine in the film and television world?
Insider Revelation: "No Real Actors Below the Second Male Lead"
Why are production companies eagerly embracing AI? Let's break it down: traditional short drama production, even at a low cost, typically requires hundreds of thousands of RMB. However, with the technological advancements expected by 2026, using AI tools can cut production costs by over 80%, and the production timeline has shrunk from 'months' to 'days'.
While this may seem beneficial, it comes at the expense of countless grassroots workers who have suffered. For instance, in the past, filming a palace drama required 200 extras for a single scene, and just the costs for meals, transportation, and salaries could reach tens of thousands in a day. Now, it only takes one technician to input commands, and AI can generate 200 completely different and obedient background characters.
Currently, an informal 'cost-reduction agreement' is circulating within the industry: aside from the male and female leads who will remain real actors, all supporting roles are to be prioritised for AI face-swapping. This poses a significant threat to young actors. Previously, talented actors like Zhao Liying and Zhang Songwen began their careers as extras; if AI takes over all supporting roles in the future, where will the next generation of skilled actors emerge from?
In the past, even small roles could earn a few thousand RMB; now, producers are telling agents directly: 'Sorry, we plan to use AI for this role, so we won't be needing a real person.'
It's not just appearances that are being taken; even voices are being stolen. Renowned dubbing teams like '729 Voice Workshop' and several other organisations have collectively complained that their voices have been cloned on a massive scale by AI, yet they receive no compensation in licensing fees.
Many people are asking: Are the actors not resisting? The resistance has already begun. On March 18, renowned mainland producer Yu Zheng acknowledged on Weibo that he is also developing AI dramas, but he remains cautious about the idea of AI replacing human actors. He believes that while AI 'may be a fleeting trend, the performances of real people, along with humanity's fantasies and needs for their own kind, are certainly not something that AI can fully replace.' He asserts that audiences will eventually return to the warmth of live performances.
Ji Guanlin, a talented voice actress known for voicing Zhen Huan in 'Zhen Huan Zhuan' and Bai Qian in 'Three Lives, Three Worlds, Ten Miles of Peach Blossoms,' officially issued a rights protection statement on March 20, directly addressing the growing issue of AI voice cloning. She has become a prominent voice in the realm of AI voice rights protection in mainland China.
During this year's Chinese New Year, an AI tool called SeeDance was forced to shut down its related functions due to allegations of large-scale infringement of celebrity portrait rights, crossing a significant line in Hollywood. Additionally, artists such as Yang Zi and Xiao Zhan have faced 'AI face theft' in subpar short dramas. This situation transcends mere technological advancement; it represents industrial-level piracy and exploitation.
Wang Ran, CEO of Yikai Capital, predicts that as AI becomes more widespread, one-third to one-half of jobs in the film and television industry will vanish. In the future, live performances will be regarded as a symbol of high-quality films, much like luxury brand labels.
The essence of forgery and the control of thought.
Why has the phenomenon of 'all supporting characters are fake' and 'no real people below the second male lead' become so extreme in the mainland film and television industry? I believe there is a fundamental reason behind this—it closely aligns with a certain 'climate' experienced in daily life in mainland China.
In a system that has become accustomed to substituting real social perceptions with data, indicators, and virtual achievements, the AI transformation in the film and television industry is merely a natural extension. To be more straightforward, it is because the ruling party itself is one that has built its foundation on deception and continues to sustain itself through falsehoods.
When we look back at history and various media reports, under the Chinese Communist Party (CCP) system, from the 'ten thousand jin per mu' claims of the 1950s to the consistently rising GDP figures today, which of these is not akin to an AI-generated illusion? For the rulers, reality is not necessarily something to be celebrated; stability is the ultimate directive.
The widespread use of AI-generated characters in the film and television industry is essentially an extension of this culture of fabrication into the arts. Live actors possess thoughts and histories; they may face scandals or make inappropriate comments; however, AI actors do not have these issues, as the thoughts, language, and even values of these 'fake individuals' can be pre-programmed and controlled remotely.
In traditional film crews, 200 extras each have their own thoughts: they may chat, observe, or express dissatisfaction with the script, but AI actors are different—AI is the most obedient model student.
If a character is required to show dissatisfaction with reality, this inclination will be automatically corrected at the moment of code generation. This represents a highly efficient and large-scale form of psychological shaping. Thus, AI is always 'obedient' and will never exhibit 'political incorrectness'.
This mirrors their strategy of using numerous robot accounts internationally to generate likes and create the illusion of a 'great power rising'. For decades, we have become accustomed to reports boasting 'ten thousand jin per mu' and have grown used to the synchronised applause; now, this uniformity has been transferred to the screen.
When an environment relies on the virtual to maintain a sense of stability over an extended period, it fosters a 'dependency on falsification'. Reality is often jagged and imperfect; for certain management logics, reality can be problematic, while the perfect illusion created by AI is the most comfortable.
The 'Heavy Hammer' and 'New Three Samples' from the National Radio and Television Administration
In today's environment, where a culture of falsification is rampant and AI's aggressive intrusion is on the verge of spiralling out of control, the authorities have swiftly imposed strict regulations.
On March 13, during the 'China TV Drama Production Industry Conference' held in Shenzhen, the 'New Three Samples for Online Dramas' were officially introduced. So, what exactly are the 'New Three Samples'?
First, medium-length dramas: each episode is required to be between 15 and 30 minutes long, aimed at a high-end market, and modelled after Netflix's premium offerings.
Second, short dramas: officially incorporating 1 to 2-minute vertical screen dramas, with the investment threshold raised to 3 million RMB.
Third, online feature films: this is simply a rebranding of the original 'online movies'.
This serves as a warning to industry practitioners: stop thinking you can easily generate a few special effects with AI to make money; online films must meet the quality standards of theatrical releases.
There is a stark timeline behind this policy—April 1 of this year.
Why is the government rushing? By 2026, the AI comic drama market is projected to reach a staggering 24 billion yuan. This is a significant opportunity, and the government needs to reclaim its defining authority.
In reality, the 'new three types of online dramas' are supported by 'three control strategies':
First, incorporation—integrating viable short dramas into the official system;
Second, standardisation—using AI to eliminate any potential individuality and rebellion;
Third, illusion—immersing society in a digital mirage created from 24 billion yuan, causing them to forget the unemployment, debt, and suffering present in real life.
This AI wave in the film and television industry represents not only a technological leap but also a gradual farewell to 'reality'.
Consider this: as we grow accustomed to the flawless AI faces on our screens, will our perception of real life also become dulled?
This is the most alarming aspect of the 'new three types of online dramas'—it fosters a societal tendency to accept falsehoods. If even the entertainment content we rely on most transforms into an industrialized illusion, then our ability to discern real information will inevitably diminish.
This outcome is undoubtedly ideal for those government forces that desire a uniform and tranquil society.
Therefore, I want to remind everyone: when you see those stunning, flawless AI side characters on the screen, keep in mind—this is not just a collapse of integrity in the film and television industry; it is a system of 'governing by falsehood' extending its reach to your perception.
A regime that cannot even provide you with the truth will only offer you entertainment that is ultimately a deception crafted by code.
As viewers, what we must steadfastly uphold is our commitment to reality.
I want to remind every viewer: technology can mimic life, but it cannot replicate the soul; when everything can be controlled, the one thing that should remain uncontrollable is your heart that seeks the truth.
Dai Jun's terrifying diving experience—The 'breathing crisis' of a true artist
Recently, something more terrifying than a horror film occurred in the mainland entertainment industry.
Veteran artist and host Dai Jun shared a chilling personal experience on social media. He revealed that while travelling and diving in a certain location, he intended to enjoy the underwater world, but unexpectedly found himself in a living nightmare.
Several meters underwater, his diving instructor suddenly made a reckless move—forcefully yanked the breathing apparatus from Dai Jun's mouth...
Picture that scene: surrounded by cold, high-pressure seawater, your only lifeline is violently severed; in that instant, the oxygen in your lungs is rapidly depleted, and the fear of suffocation can instantly shatter a person's resolve.
At that moment, the instructor, holding a camera, coldly gestured to ask if he wanted to take a photo.
Dear audience, can you imagine what you would do in this situation? If you would quickly pay to save your life, please type '1' in the comments; if you would firmly refuse to pay and stand your ground, type '2'.
Now, let's move on. Following Dai Jun's revelation, netizens quickly directed their attention to the well-known tourist destination of Sanya, Hainan, based on various clues.
Under normal circumstances, local authorities should be shocked and initiate a thorough investigation to combat the black market; however, the response from Sanya's officials was surprisingly swift. On March 20, the Sanya Tourism Quality Assurance Association released a rather 'artistic' statement. The statement claimed that after verification by Dai Jun himself, the incident did not take place in Sanya.
This brings us to the main point I want to discuss today - 'administrative-style fabrication'.
Is the diving chaos in Sanya a recent news story? In fact, several years ago, the Sanya police had already clearly stated in their announcements that criminal gangs were forcing tourists to take photos by removing their masks and pulling out their oxygen tubes. Complaints from netizens have accumulated across various platforms.
Now, let's examine the official 'debunking' technique. The phrase 'did not occur in Sanya' is a clever wordplay: it does not address the issue of 'pulling tubes', but merely resolves the issue of 'location'.
Is there any pressure behind this? Was there a private request for Dai Jun to 'give some face', and is this simply a reflection of the usual culture of silence?
This is a real-life example of 'AI review': as long as I do not acknowledge it, and as long as I use an official announcement to drown out dissenting voices, this issue logically 'does not exist'.
What distinguishes this precise customisation of truth from the AI-generated content we discussed earlier?
When we examine the AI transformation in the film and television industry alongside the 'pipe removal incident' in Sanya, an astonishing control loop becomes evident.
Why does the system prefer AI?
Firstly, AI does not require breathing. AI does not leak information, nor does it write small essays online to reveal the truth like real artists do. Real artists possess thoughts, memories, and emotions, which may render them 'unstable factors'; when they voice their truths, the official response is not to protect them but to silence them.
Secondly, the film and television industry employs AI for face-swapping to create an illusion of harmony and prosperity, while the tourism sector issues statements to dispel rumours, crafting an illusion of hospitality. This reflects a party system accustomed to 'governing through falsehoods': in their logic, as long as the reputation remains intact, the underlying corruption can be overlooked.
If you dare to expose this facade, they will cut off your oxygen supply.
Lastly, we encounter the most profound metaphor—the struggle for 'breathing rights'.
In this society, if you wish to survive, you must relinquish your reality: in the hands of a diving instructor, you must pay for oxygen; in the hands of the review department, you must surrender your thoughts for the sake of living space. As long as you possess this 'breathing' vulnerability, you will always be under threat.
Protecting the truth, rejecting suffocation.
Dai Jun's experience reminds us: at that moment, when the breathing apparatus is removed at the bottom of the sea, no grand narrative can save you; what can save you is your instinct for survival and your commitment to the truth afterwards.
In recent days, we have observed the National Radio and Television Administration busy defining the 'new three types of online dramas', while the Sanya Association has been occupied with issuing urgent statements. They are all focused on polishing the 'surface' of this world, yet no one seems to care that the 'substance' has already decayed.
While technology can simulate life, it cannot replicate the soul; an official statement may obscure place names, but it cannot conceal wrongdoing.
We must not only pay attention to the actors whose jobs have been taken by AI, but also to the genuine voices that are being 'threatened by tube pulling'. If we become accustomed to accepting the 'officially tailored reality', ultimately, each of us will lose our last breath of oxygen in that unfathomable abyss.
Thank you for tuning in to this episode of 'Forbidden News Decoded'. The truth is never found in the code on the screen, but in your own clear thinking.
For those who enjoy our program, please remember to like, subscribe, and share, and activate the notification bell to support us. I am Sun Ning, and we will meet again in the next episode.
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