Recently, a shocking scene unfolded in the mainland Chinese film and television industry: 41-year-old veteran actor Yu Qingbin was captured on video delivering food on the street, causing a stir on the internet. He transitioned from a glamorous screen star to a sweating delivery driver, a huge contrast that evokes sadness. Unfortunately, Yu Qingbin’s plight is not an isolated case. His situation not only reveals the unprecedented winter that the Chinese entertainment industry is undergoing, but also reflects the comprehensive decline of an industry that was once seen as a “dream factory,” from A-list stars to grassroots extras, from production companies to behind-the-scenes workers, all are facing life-and-death tests.
Last week, in the video released by Yu Qingbin, he was seen riding an electric scooter, dripping with sweat, carrying food containers, running hard. With filming opportunities dwindling in the entertainment industry winter, his savings depleted, life became difficult, and he turned into a delivery driver shuttling on his electric scooter. He self-deprecatingly remarked that he almost forgot what he used to do. The news instantly sparked discussions across the internet.
Following that, Yu Qingbin posted a 4-minute video responding to the situation. He expressed that he didn’t release the video to become an internet sensation, but rather to show that earning money with his own hands and maintaining dignity is not shameful. He emphasized that he is trying hard to survive and tearfully admitted in the video that he indeed needs attention, work, acting opportunities, and to be noticed by directors and producers.
In 2020, he bought an 80-square-meter house in Beijing’s South Sixth Ring Road, hoping for a better life. Unexpectedly, he encountered the “entertainment industry winter,” and without any work to do, he lost his income, struggling to pay a monthly mortgage of over ten thousand yuan. Despite diligently paying off the mortgage on time, his unemployment and dwindling savings led to the bank pressuring him to repay the debt. At his most desperate moment, unable to withdraw a thousand yuan, he shared a bank debt collection message, evoking empathy from many.
The hashtag #41YearOldMaleActorChokedResponseDeliveringFood quickly trended.
Yu Qingbin is known for his works such as “Family Banquet,” “New Border Town Prodigal,” “New Xiao Shi Lang,” “Love Three Lives,” “Dark Flower,” and “Kong Xiu,” displaying notable acting skills that have garnered appreciation and support from audiences.
Many netizens lamented that Yu Qingbin’s life is a textbook example of middle-aged crisis. Behind the glamorous entertainment industry facade lies a capital retreat, the cold winter of the film and television industry. How many actors are struggling amidst this?
An article by Sohu’s prominent account “FancyMusic” pointed out that Yu Qingbin’s predicament is a microcosm of numerous grassroots actors. An actor with over a decade of experience and recognition having to deliver food reflects the shared plight of lesser-known actors. What kind of survival difficulties might these lesser-known actors face? As more people enter the acting field, the treatment of actors steadily declines. Even with excellent skills and solid training, without resources or connections, actors are pushed to the back in front of capital.
Some netizens commented: there are now plenty of actors delivering food. Yu Qingbin is not the first, his choice reflects the current shared portrayal of many actors under the “entertainment industry winter.”
On January 2, 2024, shortly after New Year’s Day, a netizen in Beijing randomly encountered mainland actor Gao Hu and shared his recent situation through a video.
The video’s uploader happened to be a delivery rider. In his footage, Gao Hu was dressed in the attire of a particular group’s food delivery, wearing a yellow helmet, indistinguishable from other food delivery personnel.
The former actor opting to become a delivery worker surprised and saddened many netizens. Comments in the section inquired about whether Gao Hu had really taken up food delivery and received affirmative responses.
As per the video shooter, Gao Hu had completed the employment procedures for a specific food delivery group. Netizens expressed heartfelt sighs upon learning this news.
This entertainment industry “winter” has impacted beyond just the bottom of the pyramid. Numerous unknown grassroots actors are still struggling, while some relatively well-known artists with a fan base experience unprecedented survival pressures.
On May 15, mainland’s 30-year-old actress Wu XuanYi posted a job search on social media: “Online seeking employment, I am Wu XuanYi, known as Wu Meili in variety shows, a hardworking singer, dancer, and actress. Directors, please pay attention to my hard work! I have many potentials, so bring on the scripts quickly.” Immediately causing a sensation, “Wu XuanYi job search” rapidly climbed the hot search rankings.
As a former popular female group member, her public job-seeking act holds more symbolic significance compared to Yu Qingbin’s case, further confirming the industry’s hardships.
Hengdian is mainland China’s largest film and television base, where previously, tens of thousands of extras were vying for minor roles, even fighting to play corpses, with heaps of props used in filming.
In recent years, several reports indicated that Hengdian, adorned with numerous beauties, harbored individuals resorting to homelessness. These individuals were once part of the thousands of extras in Hengdian. Willing to stay in dilapidated houses slated for demolition to save a day’s wage of 70 yuan, such individuals sleeping on the streets are not uncommon. With piles of trash, broken windows, beds made of cardboard… in the early hours, queuing on the streets waiting for the crew to select actors, scrambling for roles. Nonetheless, despite these conditions, the number of temporary actors in Hengdian remains significant, with multiple minor roles abundant.
However, since the advent of the COVID-19 pandemic, the film and television market has descended into a winter, leading to a sharp reduction in Hengdian’s permanent population, with many leaving to seek alternative options.
In November 2024, the Actors’ Association of Hengdian issued a notice — the adjustment of extras’ compensation. Initially set at 120 yuan for 8 hours, the payment was raised to 135 yuan for 10 hours.
On November 15, the “Hengdian extras pay cut” headlined on various platforms.
Moreover, according to insiders, the extras’ meager wages coupled with the union’s 10% deduction is undeniably another blow on top of an already adverse situation.
One wave of the COVID-19 pandemic after another saw the closure of numerous cinemas in mainland China, proving that when theaters shutter, the ramifications extend beyond mere quality concerns to survival issues for the whole industry.
In 2020, a total of 5328 film and television companies in China were deregistered or revoked, nearly double the previous year’s figure, resulting in significant halts in production, delays in script creation, and some production teams folding under pressure.
Post-pandemic, the film and television industry remains sluggish, as consumer behavior shifts toward spending on consumables over movie tickets, leading to many actors becoming “discarded children,” left without roles to play. Production companies are more inclined to sign contracts with well-known A-list actors who inherently have a fan base, saving them the extra expenditure on publicity. While famous actors might still have roles, their remunerations are significantly slashed. Amid the deteriorating film and television industry environment, extras face even greater survival pressure.
Numerous renowned actors expressed their sentiments. According to Xie Tingfong, he observed a sudden job loss among many industry peers at one point, leaving him deeply dismayed. Even lighting and artistic design workers found it challenging to sustain their livelihood. Mainland actor Chen Sicheng also shared his views, criticizing China’s film industry for its poor risk resistance capabilities.
Last year, China’s film market suffered unprecedented heavy blows, most palpably evident in the plummeting box office numbers.
For instance, during the two-day Christmas season in the same year, the total box office was 77.24 million yuan, with only 38.46 million yuan earned on Christmas day. The comparison with data from over a decade ago can only be described as “shocking.”
According to Tupo data, China’s annual total box office in 2024 was 42.502 billion yuan, marking a 22.6% decrease from 2023 and a 12.77 billion yuan drop from the 2015 box office figure of 43.779 billion yuan.
In the backdrop of a declining overall economic environment, the once prosperous “entertainment industry” now appears increasingly gloomy, with many film companies witnessing a clear decline in performance, some even facing closure. On November 1, 2024, the film and television concept sector suffered a severe blow, plummeting by 4%. This data reflects not only market fluctuations but also the difficulties and challenges faced by the film and television industry in the post-pandemic era.