In recent years, short dramas in China have become increasingly popular, leading to a rise in child actors. These young performers can be seen shuttling between major short drama sets in Hengdian, Zhengzhou, Xi’an, portraying roles like “boss”, “bride”, “detective” that require interpreting adult-themed scripts beyond their age understanding. Some scripts are filled with elements of sensationalism, violence, and soft pornography. Some child actors are blurring the lines between on-screen and off-screen personas. For instance, some children, after finishing a shoot, return to school and casually threaten their classmates by saying, “Beware, I’ll destroy your entire family.” Experts believe that these problems, which have persisted for years, are caused by the Chinese Communist government.
The mainland official media “China News Weekly” recently reported on cases within the Chinese short drama circle. In a studio in Zhengzhou, a 9-year-old child actor, Hanghang, is dressed up to look like a “little adult” with curled hair and a blue plaid shirt. As per the script requirements and director’s guidance, Hanghang, despite his young appearance, often needs to exhibit ambiguous and explicit expressions towards a group of adult women on camera.
Hanghang has already starred in several dozen short dramas, often playing the male lead, earning a daily fee ranging from 3000 to 4000 yuan.
Ruirui, a 10-year-old from Hunan, is also a child actor in short dramas. In a studio in Hengdian, he plays the role of an ancient detective, often acting alongside actors who are over 20 years older.
Ruirui has also been part of exaggerated short dramas: where a child supports the “mistress” instead of the offended mother, and is required to find a way to drive away his biological mother, hurling insults at her in the script.
Immersed in exaggerated adult narratives through their performances, some child actors are struggling to differentiate between reel and real.
Child actor Tongtong spends long nights on set shooting, with hardly any peers of the same age for company. In roles, he either plays a dominating male lead or a character being bullied. Tongtong is finding it difficult to separate himself from his character, becoming easily angered and often lashing out at the crew.
Another child actor portrays an “ancestor” in the drama (a young-looking character who has lived for centuries with great power). The parents of this child actor mentioned that after returning from shooting, the child’s behavior exudes authority, frequently making threats to classmates like “Beware, I’ll destroy your entire family.”
Insiders say that the threshold for short drama scriptwriters in China is nearly non-existent, with many lacking life experience. They rely on imitating popular shows and personal imagination to write scripts, resulting in exaggerated, fast-paced, and poorly crafted storylines. Many child-centric short dramas include adult themes and even abuse, such as scenarios where children orphaned by parents are abused by relatives, or a mother punishing her child by locking them in a refrigerator.
According to reports in mainland media, parents have two primary motivations for letting their children perform in short dramas: either hoping to fulfill the child’s star dreams and seeking early fame, or taking advantage of financial gains as a child’s fee for a short drama may exceed several months’ income of the parents, turning children into money-making tools.
Yang Lan, a mother of a child actor in Hangzhou, mentioned that one has to initially pay a fee to an child agent ranging from thousands to tens of thousands. The child is gradually introduced to the industry, and parents have to accompany them throughout, managing their schedules and tasks diligently.
She explained the cutthroat competition, where hundreds or even thousands of children apply after the agent releases a casting call, with only a few ultimately selected.
Professor Zhang Jing from the School of Drama, Film, and Television at the Communication University of China expressed concerns to the media saying that children below 6 years old cannot clearly distinguish between reality and fiction, getting exposed to acting prematurely may lead to cognitive confusion, impeding their normal psychological growth. However, Zhang Jing did not elaborate on the potential effects on children older than six.
One parent on social media defended enrolling their child in short dramas, asserting that acting roles are a requirement, not a reflection of reality. The parent argued that their child’s ability to play adult roles showcases professionalism, immersion in character, acting skills, rather than moral deficiencies.
When asked if she worries about children being exposed too early to adult themes, Yang Lan expressed mixed feelings. She stated that while acting can help develop courage, cooperation, and certain traits, children may imitate negativity prevailing in society, despite their innocence.
The rise of micro-short dramas in China began in 2020, gaining massive popularity by 2023 and continuing to thrive until around 2026.
However, controversies surrounding the ‘adult-like’ portrayal of child actors pushed the Chinese State Administration of Press and Publication to issue management tips for child-oriented micro-short dramas on January 8, 2026. The directive aimed to curtail the adultization trend in child-oriented dramas, prevent commercial exploitation, counter entertainment-focused content to safeguard minors’ mental and physical well-being. Consequently, several platforms tightened scrutiny on child-centric micro-short dramas.
The mainland official media “China News Weekly” emphasized that fundamentally, if driven solely by commercial logic, some will try to exploit loopholes and ethical boundaries.
Chinese affairs expert Wang He expressed concerns to the media, highlighting that the increasing number of child actors in adult-like short dramas could result in significant psychological harm to them. Wang pointed out that the issue extends beyond just the short drama scripts, permeating various aspects of current Chinese society, including educational institutions, families, and social norms.
Wang remarked that the Chinese authorities have largely turned a blind eye to these anomalies. While China enforces strict censorship over films and internet content, they have allowed a lenient approach towards child-centric content, necessitating the recent regulatory interventions. He also suggested that these discrepancies are linked to China’s internal propaganda and the external promotion needs.
Furthermore, Wang noted that the prevalent societal sentiment in China is bordering on chaos. He lamented the lack of traditional values and moral foundations due to the Communist regime’s dominance, leading to a society that overly prioritizes material gains, blurring the distinctions between good and evil.
Commentator Li Lin stated that ultimately, the Communist rule in mainland China destroyed traditional beliefs and moral principles, leaving various sectors, from schools to families, devoid of guiding values, fostering a culture that prioritizes profit and even glorifies corruption.