Star Power Clash: Dilraba vs. Zhao Liying in Upcoming iQiyi Mini‑Series “Although I Can’t Have Everything at Once”

At the centre of the buzz is a casting tug‑of‑war between two of China’s most bankable television stars: Dilraba Dilmurat and Zhao Liying. Early rumors that the Xinjiang‑born actress Dilraba—known for her striking screen presence and a massive social‑media following—was in talks for the lead role ignited a wave of speculation on Weibo. A user posted a screenshot with the caption “🍉 iQiyi mini‑series ‘Although I Can’t Have Everything at Once’ Dilraba Dilmurat,” prompting fans to flood the platform with hashtags such as #DilrabaOrActingInAlthoughICan’tHaveEverythingAtOnce#. The same thread saw comparisons to other recent mini‑series featuring high‑profile actresses, with one comment noting, “the ‘double Li’s’ are truly going to meet now,” a nod to the later suggestion that Zhao Liying (赵丽颖) might take the part.

The narrative itself—a fantastical glimpse into a world where a protagonist meets an alternate version of herself—has struck a chord with a generation that constantly juggles career ambitions, personal relationships, and the pressure to “have it all.” The title alone resonates with the modern dilemma of balancing competing goals, a theme that could easily spark broader conversation among viewers beyond the usual fan circles.

As the rumor mill turned, a second wave of reports emerged, indicating that Zhao Liying is now the frontrunner for the female lead. Zhao, a veteran of both period epics and contemporary dramas, is rumored to be paired with actor Wang Tianchen, whose rising profile has made him a go‑to choice for iQiyi’s modern productions. Both iQiyi (爱奇艺) and the Weichen Theater are listed as the series’ primary producers, positioning the project at the nexus of two major streaming giants vying for dominance in China’s increasingly fragmented digital market.

The shifting casting speculation has illuminated several underlying currents in China’s entertainment industry. First, the rise of the mini‑series format—episodes typically ranging from 15 to 30 minutes—has altered traditional production schedules and audience expectations. A star of Dilraba’s stature could dramatically boost a short‑form series’ visibility, drawing not only her legion of fans but also advertisers looking to capitalize on her marketability. Likewise, Zhao’s involvement would underscore the format’s growing legitimacy, proving that top‑tier talent is willing to experiment outside the comfort zone of long‑form, 40‑episode dramas.

Second, the competition between streaming platforms is reaching a fever pitch. iQinya’s emphasis on exclusive content is mirrored by rivals such as Tencent Video, which fans colloquially refer to as the “peach factory.” By courting Dilraba—who previously appeared in iQiyi’s Prosecution Elite—the platform hopes to reinforce its reputation as the home of high‑profile, high‑production values. If Zhao Liying ultimately secures the role, iQiyi would still benefit from the endorsement of a star whose name alone commands a sizeable subscriber base.

Fan reactions to the rumors have been mixed. While many users celebrate the prospect of seeing Dilraba in a fresh narrative, others voice scepticism rooted in recent frustrations with her project choices. A handful of comments point to perceived contractual constraints with her former agency, Jaywalk Newjoy, that may limit her access to scripts of the calibre that fans crave. Some critics have described her recent performances as “boring” despite acknowledging her striking looks, a sentiment that could temper enthusiasm for any new role, especially one that leans heavily on emotional nuance. Conversely, Zhao’s loyal following seems more uniformly supportive, perhaps reflecting her track record of delivering compelling portrayals across genres.

Beyond the industry mechanics, Although I Can’t Have Everything at Once touches on themes that resonate with contemporary Chinese society. The story’s focus on personal compromise and the impossibility of simultaneous achievement mirrors the pressures faced by millennials and Gen Zers who grapple with soaring housing costs, intense career competition, and the social expectation to marry and start families at a young age. A drama that navigates these issues through a speculative lens could spark important conversations about work‑life balance, mental health, and the evolving definition of success in a rapidly modernising China.

The series also aligns with the Chinese government’s ongoing push for “positive energy” content—programs that promote optimism, resilience, and socially constructive values. Should the script emphasize constructive problem‑solving and personal growth, it would comfortably sit within the regulatory framework that favours uplifting narratives over escapist or nihilistic storytelling. In that sense, the project has the potential to serve as both an entertainment vehicle and a soft‑power export, showcasing Chinese production quality to international audiences increasingly hungry for non‑Hollywood scripted content.

In sum, the swirling rumors around Dilraba Dilmurat and Zhao Liying’s involvement in Although I Can’t Have Everything at Once illuminate a transformative moment for Chinese television. The mini‑series format is gaining legitimacy, streaming platforms are intensifying their talent wars, and audience expectations are shifting toward more concise, thematically resonant storytelling. Whether Dilraba ultimately dons the protagonist’s mantle or Zhao steps into the role, the series is poised to become a bellwether for how China’s entertainment industry balances star power, narrative ambition, and the ever‑present desire to “have everything”—even if, by definition, it can’t happen all at once.