China News Service, Beijing, November 5 (Reporter Gao Kai) The 2026 China Radio and Television Quality Creation Conference·TV Drama (Web Drama) Forum was recently held in Beijing. The forum, with the theme of "Ecological Development and Strengthening of National Dramas - The Road to Advancement of a Creation-Friendly Ecology", was hosted by the TV Drama Department of the State Administration of Radio and Television and the Beijing Municipal Bureau of Radio, Film and Television, and hosted by the China TV Drama Production Industry Association.
Liu Jianguo, member of the Party Leadership Group and Deputy Director of the State Administration of Radio and Television, attended and delivered a speech; Feng Shengyong, Director of the TV Drama Department of the State Administration of Radio and Television, made a concluding speech. Representatives from the entire TV drama industry chain including competent authorities, platforms, production agencies, and front-line creators gathered together to discuss the next step for the high-quality development of Chinese TV dramas around nine dimensions: industry ecology, business ecology, creative ecology, public opinion ecology, copyright ecology, technology ecology, IP ecology, overseas ecology, and diversified ecology.
Hou Hongliang, President of the China Production Association and Chairman of Noon Sunshine, gave a keynote speech titled "Crossing the Critical Point - The Next Step of the Development of the TV Drama Industry". He systematically elaborated on the key issues currently faced and the direction of breakthroughs from the overall perspective of the industry. He pointed out that technology must be innovated, expectations must be stable, rules must be clear, and works must be retained, so that the industry can have a next step.
Wang Xiaohui, chief content officer of iQiyi, said in the title "Believe in the Power of the Market" that the future of the industry is to resolutely move towards separate accounts and establish a healthy business ecosystem with transparent data, fair rules, production institutions willing to broadcast, and users with multiple choices.
Ren Shuangyou, president of 2016 Company and chief producer of "Protagonist", explained that "there are no shortcuts in the road to high-quality creation" based on the practice of "eight years of grinding for one play"; "The Great Long March" screenwriter Chen Jin focused on the creation of scripts with major revolutionary historical themes and discussed the realistic path for the implementation of "script-centered system"; director Li Xue took works such as "The Tree of Life" as examples and shared that "only by getting close to the people can we film people's stories well." Actor Tan Songyun talked about the training of actors' professional qualities and the growth of young actors based on works such as "Orchid Fragrance Remains Like Old" and "My Mountain and the Sea".
Liang Zhenhua, a professor and doctoral supervisor at the School of Liberal Arts at Beijing Normal University, titled "Dissemination Thoughts on TV Series Creation and the Governance of Public Opinion" and proposed to control malicious public opinion, combat public opinion blackmail, guide positive content dissemination, and create a clear communication atmosphere.
He Aizhen, general counsel of Youku of Orca Entertainment Group, advocates the establishment of a normalized, full-chain copyright protection system around the construction of a "copyright ecosystem" protection system for TV series. It is understood that since May this year, under the leadership of the TV Drama Department of the State Administration of Press, Publication, Radio, Film and Television, the industry has launched the most comprehensive and vigorous special campaign against piracy in recent years. The "Sword Network Operation" also ranks film and television piracy at the top of the list, building a solid barrier to protect the rights and interests of creators and protecting the industry's innovation momentum.
Li Dongshen, the chief director of "Journey to the West", took China's first AIGC long drama "Journey to the West" to be broadcast on stars as a case study to share the exploration of AI long dramas from technical experiments to mainstream broadcasting. At the subsequent roundtable forum on "Reconstruction of Mixed Production Methods of AI and Real Shots", many industry insiders held dialogues around cost optimization, process transformation, supply expansion and business model reconstruction, and discussed the reconstruction of Chinese drama production methods under technological changes.
Guo Jingyu, vice president of the China Production Association and founder of Changxin Media, shared the diversified innovations of the two classic IPs "Tang Dynasty Strange Stories" and "Soul Ferry" on the basis of seasonal dramas, and developed new tracks such as online feature films, Chinese dramas, AI dramas, offline entertainment, etc., and explored the organizational capabilities of the IP universe to "eat more from one fish" to keep classic IPs fresh for a long time.
Since the beginning of this year, "Jade" has become the first mainland Chinese drama to appear on Netflix's official weekly list of global non-English dramas. It has been on the list for four consecutive weeks, setting a new record for overseas Chinese dramas. Liu Tao, the president of Haohan Entertainment and the producer of "Chasing Jade", used the case of "Chasing Jade" to go overseas to share the upgrade of the path for Chinese dramas to go overseas.
In his concluding speech, Feng Shengyong made a systematic elaboration on "persisting in the integration of works and environment, and creating a 'creation-friendly' ecosystem for TV dramas", pointing out the direction and injecting confidence into the entire industry.
This "TV Drama Forum" conveyed a clear judgment: the next step for Chinese TV dramas is not a game of single-hit hits, but a long-lasting competition of ecological capabilities. A creation-friendly ecology does not occur naturally. It requires the joint construction of the entire industry chain including competent authorities, platforms, markets, production agencies, creatives, legal, communication, cultural tourism, and consumption.
