China's 'Foundation Liquid General' Controversy Highlights State Control Over Culture

China's 'Foundation Liquid General' controversy, stemming from a historical drama where the male lead maintained a flawless makeup look even on the battlefield, has evolved from online banter into a subject of intense scrutiny by official and military media. The Mainland Affairs Council's 'Report on the Situation in Mainland China' noted that the National Radio and Television Administration convened a symposium in early April to address the controversy, issuing demands such as 'eradicating the worship of looks,' 'abandoning abnormal aesthetics,' and 'avoiding reliance on traffic.' The administration also emphasized 'acting should resemble the role,' indicating that aesthetic issues have entered the realm of political interpretation and reflecting anxiety and unease over the interpretation of military image.

The Chinese historical drama 'Zhu Yu' (逐玉) faced backlash because its male protagonist retained an exquisite makeup style during battlefield scenes, earning him the online moniker 'Foundation Liquid General.' At a regular press conference in late March, Zhu Fenglian, spokesperson for the Taiwan Affairs Office of the State Council, had intentionally praised the drama for topping the hot search list within a week of its release, and did not miss the opportunity to claim that 'compatriots on both sides of the strait are connected by blood and share cultural commonalities.' However, this was subsequently criticized by authoritative media such as the PLA News and Communication Center and People's Daily. These outlets stressed that artistic creation must adhere to authenticity, emphasizing that China has historically revered the image of a strong, valiant general embodying masculinity and a fighting spirit. They argued that excessive beautification misleads young people's correct understanding of soldiers and history.

The military-affiliated commentary account 'Jun Zheng Ping' (鈞正平) also accused film and television productions of 'values yielding to looks.' In response to the controversy, the National Radio and Television Administration held a symposium in early April, proposing requirements such as 'eradicating the worship of looks,' 'abandoning abnormal aesthetics,' and 'avoiding reliance on traffic.' It stressed 'acting should resemble the role,' signaling that aesthetic issues have entered the scope of political interpretation. In a rare move, it issued stern demands to shift from a 'star-centric system' back to a 'script-centric system,' encouraging the filming of works with 'earthy realism and vitality,' and reducing reliance on industrialized 'sweet romance and idol dramas.'

Related social media platforms also used this incident to mention the CCP's crackdown in recent years on 'danmei' (boys' love), effeminate, and decadent aesthetics. They framed this phenomenon as a clash between 'the hegemony of female viewers in drama consumption' and 'the hegemony of patriarchal values in reality.' Some scholars noted that these differing aesthetic preferences reflect a conflict within the CCP between 'cultural export' and 'internal rectification,' as well as anxiety and unease over the right to interpret military images.

Media reports indicated that the rare intervention by PLA-affiliated media signifies 'high-level directives.' While the Ministry of Education has previously promoted physical education in schools to cultivate 'masculine spirit' among students, its effectiveness has been limited. The current incident, using the 'Foundation Liquid General' as a case, once again demonstrates the totalitarian nature of cultural authoritarianism and the pursuit of a monolithic aesthetic. It frames 'masculinity' as a rigid, singular standard, viewing refined or delicate appearances—especially in depictions of military personnel—as a threat to the national image.

The Mainland Affairs Council report pointed out that the 'Foundation Liquid General' controversy reflects the CCP's desire to exert comprehensive control over the cultural sphere. When character portrayals, temperament, and even aesthetic standards must be uniformly regulated, and even the appearance of drama characters is subject to guidance, cultural development is reduced to mere obedience. This, the report stated, is the true face of the CCP's system of cultural control, where so-called creative and expressive freedom has been instrumentalized as a propaganda machine.