WHO Saved Zhang Linghe? The "Misguided Actor" Makes a Comeback in Just 20 Days.

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[People News] Just two days ago, on April 24, the highest official platform in mainland China, "CCTV Video", unexpectedly released an exclusive interview. The individual featured in the footage is Zhang Linghe, the male lead of the recently popular costume drama "Zhu Yu"—a rising star. He appeared vibrant on camera, speaking softly about the affection that "Taiwan compatriots" have for his work, and how a so-called "emotional resonance" is created between the two sides of the Taiwan Strait. Witnessing this scene, one might feel a disorienting sense of time.

Just less than twenty days ago, however, the same face and the same drama had Zhang Linghe branded as a "sinner who desecrated the blood of soldiers" by state media! At that time, the "Jun Zhengping" column under the PLA Daily harshly labelled him a "foundation liquid general", and the National Radio and Television Administration even convened an emergency meeting to address the "deformed aesthetics" represented by individuals like him. Public opinion was in an uproar, escalating to accusations of "actors misguiding the country". Zhang Linghe became the target of widespread criticism.

So, why has the "misguided actor" who faced such severe backlash suddenly transformed into a "bridge for unification" in just twenty days? Did Zhang Linghe manage to wash off the foundation on his face in that brief period? Who exactly saved Zhang Linghe? It is not that he possesses exceptional makeup skills to transition from black to red, but rather the political makeup remover behind him that can change its appearance at any moment.

Has the narrative shifted? From "serious criticism" to an "exclusive interview with CCTV".

CCTV Video is a short video and live streaming platform operated by China Central Television. In an interview on April 24, Zhang Linghe addressed the phenomenon of 'Zhu Yu' becoming a hit in Taiwan.

During the interview, the CCTV reporter skillfully sidestepped the earlier controversy surrounding 'foundation liquid' and instead asked Zhang about his thoughts on the show's success in 'overseas and Taiwan regions'. Zhang Linghe displayed a notable level of political awareness, explicitly referring to 'Taiwan compatriots' and stressing that the show's popularity serves to 'promote Chinese culture'. He remarked that Taiwanese viewers resonate with the show due to its 'emotional depth', a statement that aligns closely with the current official narrative. Could this be a meticulously prepared 'standard answer'?

Regardless of the context, this CCTV interview effectively serves as an official attempt to 'rehabilitate' Zhang Linghe. Once disparaged by military media as a worthless 'target of criticism', he has now emerged as an emotional link between the two sides of the Taiwan Strait.

So, how did this situation arise?

As spring 2026 unfolds, China's various economic indicators are alarmingly bleak. The real estate market has collapsed, unemployment rates are soaring, and many young people are adopting a laid-back lifestyle. At this juncture, what does the government need most? Is there a need for a 'release valve', a 'target'?

Zhang Linghe's portrayal in 'Zhu Yu' inadvertently became a focal point. His heavy makeup and elaborate eye shadow struck a nerve with state media, making him a convenient 'moral target'. Consequently, military media launched an attack, labelling this as a 'sissy image' that could undermine national spirit. The National Radio and Television Administration also weighed in, sharply criticising it as 'worship of appearance', which could corrupt the values of young people.

Is the rise and fall of a country really just about an actor's heavy makeup? Certainly not! When housing prices fall below psychological thresholds, it is because the exploitative model of land finance has reached its end; when young people struggle to find jobs, it is due to the collapse of confidence in private enterprises. However, the authorities are reluctant to address these issues and instead choose to blame the artists.

They want the frustrated public to believe that your current hardships and anxieties are not the result of policy failures, but rather due to cultural decline, and that these 'actors' have misled you. They use the concept of so-called aesthetic justice to mask their governance failures.

Amidst this turmoil, who came to the rescue of Zhang Linghe? It was his fans in Taiwan who came to his aid.

On April 24, the political winds shifted as the logic of governance changed. The authorities realised that young people in Taiwan are enamoured with 'Zhu Yu' and have developed a fondness for this foundation general who has been belittled, even suggesting that Zhang Linghe's visit to Taiwan could help ease cross-strait relations.

'Will Zhang Linghe come to Taiwan?': A direct confrontation across the strait

In mid-April, Zheng Liwen, chairperson of the Kuomintang, who had just returned from a visit to Beijing, unexpectedly mentioned in an interview that young people in Taiwan are going wild over 'Zhu Yu', with some jokingly stating, 'If Zhang Linghe comes to Taiwan, reconciliation between the two sides will follow.'

This statement ignited a heated debate. In response to growing public interest in 'whether Zhang Linghe will come to Taiwan', Zhang Han, spokesperson for the Taiwan Affairs Office of the State Council, addressed this on April 22 during a regular press conference, stating that Beijing has consistently supported mutual exchanges in the cross-strait film and television culture and welcomes mainland artists to visit Taiwan and engage with the Taiwanese public. The official response from the Chinese Communist Party has further intensified discussions surrounding 'Zhang Linghe's potential visit to Taiwan.'

In response to the calls from Zheng Liwen and others in the Legislative Yuan to 'let Zhang Linghe come,' along with the mainland authorities' efforts to foster a sense of 'desire for exchange,' the Taiwanese government has provided a clear and rational response.

Taiwanese legislator Chen Peiyu asserts that cross-strait exchanges can indeed be promoted through normal and open discussions, but they must be conducted with 'equal dignity.' If the opportunity arises, Taiwanese artists should also be able to engage in equal and dignified exchanges in China. In other words, if the mainland wishes to send Zhang Linghe to Taiwan, can Taiwanese artists, films, and cultural products also receive the same broadcasting rights in the mainland?

Taiwan's Minister of Culture, Lee Yuan, stated, 'He (Zhang Linghe) will experience that the Taiwanese government does not impose restrictions on freedom of speech, does not limit creative freedom, and is indifferent to how an artist chooses to present themselves. He will undoubtedly fall in love with the freedom of Taiwan.'

Regarding Zhang Linghe's potential visit to Taiwan, the Taiwanese government's stance is clear: they welcome exchanges but reject any 'united front tactics' beforehand.

However, as of now, neither Zhang Linghe nor his management company has announced any plans for a visit to Taiwan. Media analyses suggest that whether an artist can participate in activities in Taiwan involves several procedures, including performance applications, reviews, and considerations of cross-strait policies, making it uncertain whether this will materialise in the short term.

Seeing through the embellishments, we must uphold integrity.

Zhang Linghe's remarks during his CCTV interview sharply contrast with his earlier silence after being criticised as the 'foundation liquid general' this month. He has now become a crucial pawn for the authorities, used to create the illusion of 'cross-strait people-to-people connections.' In mainland China, anyone labelled as having achieved 'united front success' is effectively shielded from criticism. Zhang Linghe's popularity in Taiwan has saved him, and he has unwittingly been shaped into an appealing pawn by the authorities.

However, it is essential to acknowledge the profound helplessness that lies behind Zhang Linghe.

As someone within the system, Zhang Linghe lacks the right to 'choose not to choose.' When the authorities criticise him for the 'foundation liquid,' he must silently endure the humiliation; when they instruct him to 'unite Taiwan,' he must greet others with a smile. Every statement he made during the CCTV interview on April 24 was likely subject to rigorous scrutiny, recited as a script for his survival.

The Chinese Communist Party's political makeup remover, which can change its face at any moment, has thoroughly muddied the waters of cross-strait exchanges. When 'exchange' becomes 'transaction,' and 'resonance' turns into 'arrangement,' the waters become completely tainted. In this context, artists are no longer seen as artists but rather as political instruments.

We do not aim to criticise Zhang Linghe. Within the CCP system, if you comply, you become the 'united front pawn' captured by the CCTV cameras on April 24; if you resist, you are labelled a 'traitorous actor' by military media in early April. This political manoeuvring, akin to 'turning clouds into rain,' taints all genuine emotions with calculation. Although Zhang Linghe has received official 'rehabilitation,' he remains ensnared in that bottle of makeup remover, perpetually awaiting the next political shift to cleanse him.

The Chinese Communist Party's ability to label Zhang Linghe as a 'poisonous weed harming the country' in early April for the sake of domestic stability, and then to rebrand him as 'cultural nectar' on April 24 for the purpose of unifying Taiwan, highlights its flexibility in narrative. Today, they can use this metaphorical bottle of water to cleanse Zhang Linghe's image, and tomorrow, they can just as easily use it to tarnish any artist from the mainland or Taiwan.

Zhang Linghe's so-called 'rehabilitation' has not instilled a sense of security in the entertainment industry; instead, it has led to even greater uncertainty. Currently, artists and production companies in the mainland find themselves in a state of 'wild speculation': if their makeup is too light, they fear the audience will think they lack appeal; if it's too heavy, they worry military media will label them as 'foundation generals.'

This situation has made it clear that 'professionalism' is no longer a safeguard; what truly matters is 'official approval.' When all actors are preoccupied with becoming 'good pawns' rather than focusing on how to portray their roles effectively, the cultural landscape loses its genuine vitality.

The absurdity of the Chinese Communist Party's 'face-changing drama' surrounding Zhang Linghe will be etched into history. We do not oppose Zhang Linghe coming to Taiwan; rather, we oppose the political machinations lurking behind artists, always ready to manipulate circumstances at a moment's notice.
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