Maybe Yu Zheng wants him to do an in-house drama before he lets him go. Shangshi with Wu Jinyan was the last huanyu…
Maybe it’s just coincidence, but interestingly, XK, BL, WJY, and WXY have each appeared in exactly five Yu Zheng productions. In his latest project Glory, Yu Zheng brought in two Hesong artists, but he was only able to do that by offering his own two—XK and WXY—with Xu Kai being the key piece that made the exchange possible, in my opinion.
- Every choice in the drama is like a mirror, reflecting our deepest thoughts. "Carefree" is not just…
Her “unclouded” nature doesn’t come from lacking desire, but from never letting desire rule or corrupt her. That clarity is what makes the ending possible — it allows her to reverse time, return to their first meeting, and free both of them from the weight of their tragic past. Their reunion becomes a clean, hopeful beginning rather than a repetition of loss. It’s a poignant conclusion that reinforces the drama’s central idea: real strength lies in a heart that remains pure even in the face of desire.
the ending is spot on
"When hatred is met with hatred, the darkness only deepens. But when hatred is met with a clear, unclouded heart, the cycle breaks — wounds soften, and both sides begin to heal. This is the essence of the story: a heart untouched by corruption can transform even the harshest fate."
It’s better to take a rest than film a shitty script so let’s wait and see what he does
You got me interested in Song Weilong's past with Yu Zheng. I always wondered what happened to him. I wonder if Yu Zheng showed displeasure with him after The Untouchable Lover (2018) was not the success he hoped for, and that led to their falling out because you don't find him in Yu Zheng productions after that. I think Yu Zheng used SWL as the scapegoat.
During the period around 2015/2016, Yu Zheng was in decline after his Palace successes, and his few top actors like Chen Xiao, who rose to fame in Yu Zheng palace dramas, left before his contract was up, and Zhang Zhehan, who didn’t want to be typecast in palace dramas, also left before his contract was up; and those who worked with Yu Zheng like Zhao Liying and Yang Mi, after they became famous in his Palace dramas, also left him, with Yang Mi establishing her own studio. This was the period when YZ was losing his established stars and desperately needed new talent. Yu Zheng then was trying to re‑establish himself.
The Untouchable Lover was a critical project for him at the time. The female lead apparently was very famous at the time, and it was supposed to be a step from famous child actor to adult actor, so it seemed there was a lot on the line for Yu Zheng. Because UL was supposed to revive YZ’s reputation, its failure hit him hard. When it didn’t get the success he needed, I guess he blamed SWL and must have sidelined him later, although I’m sure he would not want the role of Fuca Fuheng since it was not a male lead role and he was already established as a male lead — as you can see from his profile, he only took male lead roles.
He signed SWL in 2015, then Wu Jinyan, Bai Lu, Xu Kai, and others followed in 2016. Maybe SWL was so young, just 16, and didn’t quite get along with the strict Yu Zheng slave‑driving dictator style, or maybe SWL didn’t like doing palace historicals. His breakouts came in 2020 in two modern dramas. Despite his falling out with Yu Zheng, he managed to get roles with other studios, and of course, Yu Zheng, rather he’s working than not, approved them. But he also had two years, 2021–2022, with no dramas airing. Finally, in 2025, SWL got the biggest breakout of his career, Shine on Me, which is also a modern drama.
Now, Yu Zheng excels at (and pushes) palace/historical with strong visuals/intrigue. SWL's breakout hits are modern, suggesting he may have resisted or not fit the “palace actor” mold Yu Zheng favors for his roster. This could have caused friction early, especially if UL's mixed results led to reduced faith in him for those genres. Perhaps those who left Yu Zheng have shown that they really know what’s best for their own career.
YZ chases trends rather than setting them. He borrows heavily from existing formulas. In recent years, YZ has been leaning heavily into short‑form dramas, following whatever trend is hot at the moment. His works often feel like a blend of borrowed ideas rather than original concepts. Perhaps actors don’t want to be trapped in someone else’s trend‑chasing cycle.
I think in Untouchable Lovers, Bai Lu’s badass female general character dominated the second half, even though she was not the female lead. The female lead was already very famous in China, but she also wanted the role because Yu Zheng was a big‑name producer, and she needed to break into adult roles, so it was mutual benefit — they got her name, and she got the role. But they essentially gave Bai Lu the most prominent and impactful role in the second half of Untouchable Lovers as a supporting actress, a newcomer. She was essentially the female lead in the second half. She even sang for the Untouchable Lovers OST, which amplified her visibility. For a newcomer, this level of spotlight was unusual.
Bai Lu is the only one who was given a female lead in her first role in a Yu Zheng production, King Is Not Easy. Even SWL’s first role was a supporting role, same with Xu Kai, Wu Jin Yan, Wang Xing Yue, and all the others. This shows favoritism/promotion for her early on above anyone else. But for Yu Zheng, who was in decline, it was not King Is Not Easy or Untouchable Lovers that reignited his fame — it was Story of Yanxi Palace.
It’s interesting to note that Yu Zheng also had a child actor, Zhang Yijie, who worked on his projects before signing with Huanyu later on. His first main role — and first male lead role — was opposite Bai Lu in King Is Not Easy. The drama didn’t become a breakout for either of them, nor did it really elevate their careers. His latest drama was short‑form, just like a few of YZ’s other artists lately.
It says a lot about Xu Kai’s perseverance — he kept rising no matter how tough, strict, or unforgiving Yu Zheng’s environment became. Even if his breakout role was only a main supporting one (Fuca Fuheng), when he breaks out, he does it explosively. Whether it was female‑centric projects (ex: The Legends, Arsenal Military Academy, and many more) or roles with limited screentime (ex: Court Lady, Moonlit Reunion, and so on — maybe not WOL, which was more balanced), Xu Kai rose steadily through grit, good choices, and versatility, proving his resilience in a tough environment. I will not give up on Xu Kai.
The synopsis doesn’t sound like a romance at all 😂 It actually sounds pretty brutal.
The synopsis reads like those romance novels from the 1970's at the bookstore under romance paperbacks, the cover shows a rogue and the captive lady who eventually falls in love.
Is SWL more of an introvert or an extrovert? From some behind-the-scenes clips of a few dramas, he often comes…
grokipedia: At the age of nine, Song developed a profound interest in martial arts, sparked by watching Jet Li's 1994 film The New Legend of Shaolin. Despite his parents' initial reluctance due to the rigors involved, he insisted on pursuing this passion, leading to a one-year training stint at the Shaolin Temple where he focused on foundational kung fu techniques. This experience, marked by intense daily routines including early morning runs and extended practice sessions, honed his physical discipline and resilience, traits that became defining aspects of his personality. During his childhood, Song's hobbies revolved around physical activities and self-improvement, with the martial arts exposure fostering a disciplined yet determined character. He briefly returned home after the Shaolin training to compete in local martial arts events in Dalian, achieving notable success that reinforced his commitment, before later transitioning to formal training at the Tagou Martial Arts School. Training and schooling During his junior high school years, Song Weilong pursued his passion for martial arts by training in wushu and enrolling at the Shaolin Tagou Martial Arts School in Henan Province, where he honed his skills in kung fu. This early dedication to physical discipline laid a strong foundation for his physicality in performance roles. Following his martial arts training, Song attended Liaoning Art School, a technical secondary institution, to receive foundational education in dance and performance arts. There, he developed essential skills in artistic expression that would support his transition into the entertainment industry. In 2015, at the age of 16, he was discovered through a Weibo video showcasing his martial arts skills, leading to his signing with Huanyu Film, also known as Yu Zheng Studio, marking the beginning of his professional preparation in acting. This opportunity allowed him to access advanced training in performance techniques tailored to the demands of film and television.
Song Weilong's youth shows a talented and determined young man who first cultivated strong discipline (inward focus through rigorous martial arts training) and then channeled that foundation into expressive pursuits (outward through performance arts, acting, and modeling).
Have you seen the issue with his former agency? I read it up yesterday, I think that's where it all started,They…
SWL was still under Huanyu (Yu Zheng) prior to 2023, so his projects prior to 2023, like Go Ahead and Find Yourself and other projects, would still need to get approval from Yu Zheng, or are you saying he went to another company while he's still under contract? I would think any other company, producer, or director, or anyone would have to go through Yu Zheng first before approaching the actor, so they don't get into trouble. He sued Huanyu in 2022 and left in 2023 and went independent is what someone said. He signed a contract in 2015 for ten years, which means he had to go through legal maneuvers to get out of it early, since he had disputes. But yeah, Yu Zheng reputation is bad. I wouldn't be surprised if he was behind the rumors on SWL. Yu Zheng treats actors like commodities he can rearrange, replace, or experiment with, rather than as people with careers and agency. He can make your career miserable. He will try to kill your career because you are competition if you leave him. The disputes seem to have stalled his career. Luckily, he was young and had time to get back on track.
It’s better to take a rest than film a shitty script so let’s wait and see what he does
Those rumors started in 2023 and were debunked.
Gosh, Song Weilong was so young, he signed with Huanyu in Oct 2015, only 16 yrs old, just a kid. He signed a year earlier than WJY, BL, and XK. He signed a ten-year contract, so I have to think that the others did too, which means their contracts are up this year, unless they're already renewed.
I wonder why YZ didn't cast SWL as Fuca Fuheng in the Story of Yanxi Palace? He has the height 6'1" and Young Master look. Perhaps he didn't want to shave his head? I think it's because he was already established as a male lead in a drama by 2017. He's only done male lead roles in dramas; other than the first drama he debuts in 2016. Of course, he wouldn't take anything but male lead. No one expected the role of Fuca Fuheng to be a breakthrough role. It was such a limited role in a 70-ep series. But Song Wei Long also got his got breakthroughs in 2020. But in 2025, with Shine on me, he has secured a defining career turning point at the mainstream broad household recognition.
It’s better to take a rest than film a shitty script so let’s wait and see what he does
Oh, okay — that lines up. He filed his lawsuit in 2022, and by 2023 he was out of Huanyu and working independently (or possibly with a new agency). He filmed four dramas in 2023–2024, all of which ended up airing in 2025. The two dramas that aired in 2023 must have been filmed earlier, while he was still under Huanyu. It’s interesting that from 2021 to 2024 he only had two dramas air, but now everything is rolling out at once — and with popular FLs too.
It’s better to take a rest than film a shitty script so let’s wait and see what he does
He didn't film it "as soon as he's out of Huanyu." There was never an offiical announcement of his departure, but his name was no longer listed in Huanyu's roster by 2020-2021. You can see the gap years 2021 and 2022, he had no dramas airing.
2 
1 
XK – UL, SOYP, AMA, CT, RF (2018–2022)
BL – KINE, UL, AMA, SOY, Feud (2017–2025)
WJY – UL, SOYP, TLOHL, RF, TD (2018–2024)
WXY – SOY, DD, SOT, TD, PM (2021–2025)
the ending is spot on
"When hatred is met with hatred, the darkness only deepens. But when hatred is met with a clear, unclouded heart, the cycle breaks — wounds soften, and both sides begin to heal. This is the essence of the story: a heart untouched by corruption can transform even the harshest fate."
During the period around 2015/2016, Yu Zheng was in decline after his Palace successes, and his few top actors like Chen Xiao, who rose to fame in Yu Zheng palace dramas, left before his contract was up, and Zhang Zhehan, who didn’t want to be typecast in palace dramas, also left before his contract was up; and those who worked with Yu Zheng like Zhao Liying and Yang Mi, after they became famous in his Palace dramas, also left him, with Yang Mi establishing her own studio. This was the period when YZ was losing his established stars and desperately needed new talent. Yu Zheng then was trying to re‑establish himself.
The Untouchable Lover was a critical project for him at the time. The female lead apparently was very famous at the time, and it was supposed to be a step from famous child actor to adult actor, so it seemed there was a lot on the line for Yu Zheng. Because UL was supposed to revive YZ’s reputation, its failure hit him hard. When it didn’t get the success he needed, I guess he blamed SWL and must have sidelined him later, although I’m sure he would not want the role of Fuca Fuheng since it was not a male lead role and he was already established as a male lead — as you can see from his profile, he only took male lead roles.
He signed SWL in 2015, then Wu Jinyan, Bai Lu, Xu Kai, and others followed in 2016. Maybe SWL was so young, just 16, and didn’t quite get along with the strict Yu Zheng slave‑driving dictator style, or maybe SWL didn’t like doing palace historicals. His breakouts came in 2020 in two modern dramas. Despite his falling out with Yu Zheng, he managed to get roles with other studios, and of course, Yu Zheng, rather he’s working than not, approved them. But he also had two years, 2021–2022, with no dramas airing. Finally, in 2025, SWL got the biggest breakout of his career, Shine on Me, which is also a modern drama.
Now, Yu Zheng excels at (and pushes) palace/historical with strong visuals/intrigue. SWL's breakout hits are modern, suggesting he may have resisted or not fit the “palace actor” mold Yu Zheng favors for his roster. This could have caused friction early, especially if UL's mixed results led to reduced faith in him for those genres. Perhaps those who left Yu Zheng have shown that they really know what’s best for their own career.
YZ chases trends rather than setting them. He borrows heavily from existing formulas. In recent years, YZ has been leaning heavily into short‑form dramas, following whatever trend is hot at the moment. His works often feel like a blend of borrowed ideas rather than original concepts. Perhaps actors don’t want to be trapped in someone else’s trend‑chasing cycle.
I think in Untouchable Lovers, Bai Lu’s badass female general character dominated the second half, even though she was not the female lead. The female lead was already very famous in China, but she also wanted the role because Yu Zheng was a big‑name producer, and she needed to break into adult roles, so it was mutual benefit — they got her name, and she got the role. But they essentially gave Bai Lu the most prominent and impactful role in the second half of Untouchable Lovers as a supporting actress, a newcomer. She was essentially the female lead in the second half. She even sang for the Untouchable Lovers OST, which amplified her visibility. For a newcomer, this level of spotlight was unusual.
Bai Lu is the only one who was given a female lead in her first role in a Yu Zheng production, King Is Not Easy. Even SWL’s first role was a supporting role, same with Xu Kai, Wu Jin Yan, Wang Xing Yue, and all the others. This shows favoritism/promotion for her early on above anyone else. But for Yu Zheng, who was in decline, it was not King Is Not Easy or Untouchable Lovers that reignited his fame — it was Story of Yanxi Palace.
It’s interesting to note that Yu Zheng also had a child actor, Zhang Yijie, who worked on his projects before signing with Huanyu later on. His first main role — and first male lead role — was opposite Bai Lu in King Is Not Easy. The drama didn’t become a breakout for either of them, nor did it really elevate their careers. His latest drama was short‑form, just like a few of YZ’s other artists lately.
It says a lot about Xu Kai’s perseverance — he kept rising no matter how tough, strict, or unforgiving Yu Zheng’s environment became. Even if his breakout role was only a main supporting one (Fuca Fuheng), when he breaks out, he does it explosively. Whether it was female‑centric projects (ex: The Legends, Arsenal Military Academy, and many more) or roles with limited screentime (ex: Court Lady, Moonlit Reunion, and so on — maybe not WOL, which was more balanced), Xu Kai rose steadily through grit, good choices, and versatility, proving his resilience in a tough environment. I will not give up on Xu Kai.
During his childhood, Song's hobbies revolved around physical activities and self-improvement, with the martial arts exposure fostering a disciplined yet determined character. He briefly returned home after the Shaolin training to compete in local martial arts events in Dalian, achieving notable success that reinforced his commitment, before later transitioning to formal training at the Tagou Martial Arts School.
Training and schooling
During his junior high school years, Song Weilong pursued his passion for martial arts by training in wushu and enrolling at the Shaolin Tagou Martial Arts School in Henan Province, where he honed his skills in kung fu. This early dedication to physical discipline laid a strong foundation for his physicality in performance roles.
Following his martial arts training, Song attended Liaoning Art School, a technical secondary institution, to receive foundational education in dance and performance arts. There, he developed essential skills in artistic expression that would support his transition into the entertainment industry.
In 2015, at the age of 16, he was discovered through a Weibo video showcasing his martial arts skills, leading to his signing with Huanyu Film, also known as Yu Zheng Studio, marking the beginning of his professional preparation in acting. This opportunity allowed him to access advanced training in performance techniques tailored to the demands of film and television.
Song Weilong's youth shows a talented and determined young man who first cultivated strong discipline (inward focus through rigorous martial arts training) and then channeled that foundation into expressive pursuits (outward through performance arts, acting, and modeling).
Gosh, Song Weilong was so young, he signed with Huanyu in Oct 2015, only 16 yrs old, just a kid. He signed a year earlier than WJY, BL, and XK. He signed a ten-year contract, so I have to think that the others did too, which means their contracts are up this year, unless they're already renewed.
I wonder why YZ didn't cast SWL as Fuca Fuheng in the Story of Yanxi Palace? He has the height 6'1" and Young Master look. Perhaps he didn't want to shave his head? I think it's because he was already established as a male lead in a drama by 2017. He's only done male lead roles in dramas; other than the first drama he debuts in 2016. Of course, he wouldn't take anything but male lead. No one expected the role of Fuca Fuheng to be a breakthrough role. It was such a limited role in a 70-ep series. But Song Wei Long also got his got breakthroughs in 2020. But in 2025, with Shine on me, he has secured a defining career turning point at the mainstream broad household recognition.