CCTV’s Triple Endorsement Elevates Chinese Dramas, Sets New Cultural Benchmark
China’s state broadcaster, China Central Television (CCTV), has recently lifted a rare and emphatic seal of approval for three domestic television dramas, a move that is already rippling through the entertainment sector, public discourse and even the corridors of power. The series – “All Things Grow” (生万物), “Zang Hai Chuan” (藏海传) and “Blossoms Shanghai” (繁花) – have been publicly lauded by CCTV under its official “real‑name” endorsement scheme, a practice reserved for productions that the network deems not only artistically sound but also aligned with broader cultural and social goals.
20 August 2025
“All Things Grow,” a period piece anchored by popular stars Yang Mi and Ou Hao, has been praised for its “sincerity” and the “delicate depiction of an era’s vast tapestry.” “Zang Hai Chuan,” headlined by Xiao Zhan and Zhang Jingyi, has drawn attention for its “tight plot rhythm” and “layered suspense,” while “Blossoms Shanghai,” featuring Hu Ge and Tiffany Tang, has been commended for its “visual texture that is an absolute marvel” and its evocative recreation of old‑Shanghai’s glamour. Viewers on Weibo, China’s leading microblogging platform, have echoed these accolades, flooding the feeds with praise for the productions’ storytelling, aesthetic quality and the chemistry of their leading actors.
The endorsement carries weight beyond a simple recommendation. Within the Chinese television market, a CCTV stamp of approval is often interpreted as a seal of quality that can translate directly into higher viewership numbers, stronger advertising revenue and greater leverage for international distribution. Industry insiders say the “CCTV effect” can propel a drama from modest ratings to a national phenomenon, and the three series in question are already seeing a surge in online searches, streaming figures and fan‑generated content. For producers and directors, the praise also serves as a benchmark, signalling which narrative themes and production values are likely to receive official favor. In practice, this means that stories steeped in historical accuracy, social harmony and cultural pride – qualities frequently highlighted in the three endorsed dramas – may become the new gold standard for future projects.
The impact on individual careers is similarly pronounced. Actors such as Yang Mi, Xiao Zhan, Hu Ge and Tiffany Tang, already household names, are likely to see their marketability climb further, opening doors to higher‑budget productions and cross‑border collaborations. Behind the camera, screenwriters and directors who helped shape the acclaimed scripts can anticipate heightened demand for their services, as networks and streaming platforms scramble to replicate the formula that earned CCTV’s praise.
CCTV’s public commendation also functions as a subtle instrument of cultural guidance. By elevating dramas that foreground national heritage, social cohesion and positive moral narratives, the broadcaster reinforces the messaging that the state wishes to embed in popular media. “Blossoms Shanghai,” for instance, does more than portray a romanticized metropolis; it showcases a slice of Chinese history that aligns with official narratives of resilience and cultural vibrancy. Similarly, “All Things Grow” and “Zang Hai Chuan” weave personal stories into broader social contexts, offering viewers a lens through which to view contemporary values against a historical backdrop. The effect is a reinforcement of collective identity and an expansion of what many Chinese citizens consider “acceptable” or “desirable” content.
Public reaction to the endorsement, however, is not uniformly enthusiastic. While a sizable portion of netizens celebrate the series for their production values, others view the state‑led promotion with suspicion. Some commenters have dismissed the praise as a “binding method” – a tactic that artificially inflates a show’s profile, accusing the network of creating hype for dramas they deem “weak” in plot. The sentiment reflects an ongoing tension between audience autonomy and perceived top‑down marketing, underscoring the complex relationship Chinese viewers maintain with state media. Yet even the skeptics cannot deny the tangible buzz surrounding the three shows, a testament to how powerful a single official endorsement can be.
From a political standpoint, the move illustrates how cultural policy and entertainment are increasingly intertwined. By publicly naming and extolling these dramas, CCTV signals a clear preference for content that is both commercially viable and ideologically safe, effectively guiding the industry away from more controversial or experimental narratives. The endorsement also bolsters the broadcaster’s own legitimacy; when a state outlet champions productions that resonate with the public, it projects an image of being in touch with popular tastes, thereby strengthening trust in official narratives. Furthermore, the global reach of Chinese streaming services means that hit dramas, especially those backed by the state, become soft‑power assets, shaping international perceptions of contemporary China.
In short, CCTV’s decision to officially “praise to the max” three television series is more than a simple accolade. It is a declaration of what the Chinese cultural establishment deems exemplary, a catalyst for market dynamics, a conduit for reinforcing state‑approved values, and a reminder of the delicate balance between artistic expression and political agenda in one of the world’s largest media ecosystems. As the dramas continue to capture audiences at home and abroad, their success will likely serve as both a model and a benchmark for the next wave of Chinese storytelling.
