As one of China's most dynamic "post-95" actresses, Zhao Lusi has redefined the landscape of historical and fantasy dramas with her magnetic performances. Her works are not just entertainment—they are gateways to understanding Chinese culture, blending traditional aesthetics, mythological lore, and progressive themes. This guide recommend her top Period Dramas:
Love Like the Galaxy·星汉灿烂·月升沧海 [Aired]
- Aired: July 2022
- Genres: Family Saga, Political Intrigue, Romance
- Period Background: Loosely inspired by the Han Dynasty (206 BCE–220 CE), with fictional kingdoms and war-torn landscapes.
- Adapted From: Xing Han Can Lan by Guan Xin Ze Luan.
Cheng Shaoshang (Zhao Lusi), a neglected noble daughter, grows up in a family overshadowed by political ambitions. Abandoned by her parents during wartime and raised by a manipulative aunt, she survives by feigning ignorance while secretly honing her intellect and resourcefulness. Her life intertwines with Ling Buyi (Wu Lei), a general haunted by his mysterious past and driven by a quest for justice. Their relationship evolves from mutual distrust to a partnership that navigates familial betrayals, wartime chaos, and court conspiracies.
The series delves into Confucian family dynamics, where filial piety clashes with personal ambition. Shaoshang's journey—from a marginalized "left-behind child" to a strategist who saves her nation—mirrors the Han Dynasty's emphasis on resilience and intellect2. Key arcs include her reconciliation with estranged parents, her defiance of arranged marriages, and her role in thwarting a rebellion that threatens the empire.
The drama recreates Han-era architecture, such as palatial courtyards and fortified cities, using historical records for accuracy. Silk robes with intricate embroidery reflect the social status of characters, while battle armor draws from archaeological finds.
The story critiques rigid hierarchies and explores the tension between duty (e.g., Ling Buyi's loyalty to the throne) and personal freedom (Shaoshang's desire for autonomy).
Praised for its Douban score of 7.7, the series is lauded for balancing epic scale with intimate character growth2. Its portrayal of a heroine navigating patriarchal structures resonates with global discussions on gender equality, particularly Shaoshang's refusal to conform to traditional female roles.
The Romance of Tiger and Rose·传闻中的陈芊芊 [Aired]
- Aired: May 2020
- Genres: Time-Travel, Comedy, Romance
- Period Background: A fictional matriarchal kingdom, Hua Yuan City, where women hold political and economic power.
- Adapted From: Original script.
The series opens with Chen Xiaoxian (Zhao Lusi), a frustrated modern-day screenwriter, trapped in her own poorly received script. Transmigrated into the body of Chen Qianqian—a villainous third princess destined to die within three episodes—she must rewrite her fate by overturning the story's rigid gender norms and predictable plot devices. This premise cleverly layers meta-humor, as Qianqian frequently breaks the fourth wall to critique narrative clichés. For instance, she scoffs at the overused "poisoned wine" trope, quipping, "Why does every romance need a poisoning subplot?" . Such self-aware humor not only entertains but also invites viewers to question the tired conventions of historical dramas.
Qianqian's survival tactics involve upending the fictional kingdom's patriarchal inversion. In Hua Yuan City, women govern as rulers, generals, and scholars, while men are barred from education and expected to prioritize "virtue" over ambition. By appointing male concubines, abolishing dueling rituals, and promoting meritocracy, Qianqian disrupts the gendered power dynamics—a narrative device that mirrors real-world feminist critiques of systemic inequality .
The matriarchal setting subverts historical norms, showcasing women as rulers, generals, and scholars. This creative liberty critiques real-world gender imbalances.
Qianqian frequently breaks the fourth wall, lamenting plot holes and tropes ("Why does every romance need a poisoning subplot?"), appealing to viewers familiar with drama conventions.
This breakout role cemented Zhao Lusi's reputation for comedic brilliance. Her portrayal of Qianqian—a blend of scheming wit and vulnerability—earned praise for balancing slapstick humor with emotional depth.
The Last Immortal·神隐 [Aired]
- Aired: Late 2024
- Genres: Fantasy, Xianxia (Immortal Heroes), Reincarnation
- Period Background: A celestial realm inspired by Chinese mythology, featuring gods, phoenixes, and mythical beasts.
- Adapted From: The novel Shen Yin by Xing Ling.
In a realm where immortals rule and fate is inscribed in celestial scrolls, A'Yin—a mischievous yet noble phoenix spirit—finds herself cast out from the heavens. Stripped of her divine powers, she must navigate mortal life while uncovering a celestial conspiracy that threatens the balance of the Three Realms. Her journey takes her from enchanted forests to ethereal palaces, where she rediscovers her identity as Feng Yin, the Phoenix Queen.
The narrative explores Taoist concepts like yin-yang balance and karmic retribution, as A'Yin's innocence clashes with her regal destiny. As she ascends once more, A'Yin is torn between duty and personal freedom. Will she conform to the rigid celestial hierarchy, or will she forge a new path, defying fate itself?
Zhao Lusi's dual portrayal of A'Yin (quirky, naive) and Feng Yin (authoritative, tormented) highlights her versatility, earning comparisons to roles in Who Rules the World.
Drawing heavily from Shan Hai Jing (山海经), the series incorporates mythical creatures such as:
Qilin: A benevolent beast symbolizing divine judgment.
Bai Ze: A wise celestial creature believed to possess knowledge of all supernatural beings.
The Phoenix (Fenghuang): Representing renewal and virtue, Yin's transformation from a playful spirit to a sovereign mirrors the Daoist principle of yin-yang balance—chaos leading to harmony.
Inspired by traditional Chinese ink paintings, the heavenly courts feature floating palaces and shimmering lotus ponds. A'Yin's battles blend bagua (eight trigrams) formations with breathtaking fire and illusion magic.
Who Rules the World·且试天下 [Aired]
- Aired: April 2022
- Genres: Wuxia (Martictional warring-states era with rival kingdoms and martial arts sects.
- al Arts), Political Strategy, Romance
- Period Background: A fiAdapted From: The novel Qie Shi Tian Xia by Qing Ling Yue.
Set in a fictional warring-states era, Who Rules the World follows Bai Fengxi (Zhao Lusi), a carefree martial artist with a secret: she's the disguised princess of Qingzhou, a kingdom teetering on the brink of chaos. Her path collides with Hei Fengxi (Yang Yang), a cunning prince exiled from his own realm, whose ambitions are as sharp as his sword. Together, they navigate a world where alliances shift like desert sands and betrayal lurks in every shadow.
The series masterfully intertwines wuxia action with Game of Thrones-level strategy. Think poisoned water supplies destabilizing cities, midnight assassinations disguised as diplomatic gestures, and battlefield tactics that hinge on chess-like precision. The stakes? Nothing less than the fate of six kingdoms.
Forget damsels in distress—Bai Fengxi is a storm in human form. Zhao Lusi delivers a career-defining performance, balancing the character's playful irreverence with steely resolve. Whether she's disarming foes with her "Flying Snow" technique (a mesmerizing blend of martial arts and magic) or outmaneuvering scheming lords, Bai Fengxi embodies modern feminism in a historical guise.
Her wardrobe—a mix of androgynous robes and battle-ready attire—mirrors her rejection of traditional femininity, while her dry wit cuts through patriarchal nonsense like a blade.
Yet she's no invincible icon. The series delves into her struggles: Can she protect her people without losing herself? Is love a weakness or a strength? Her chemistry with Hei Fengxi isn't just romantic—it's a duel of ideals, ethics, and growth.
Fans of Jin Yong’s classics will adore the fight sequences. The choreography prioritizes elegance over brutality, turning combat into poetry. Bai Fengxi’s graceful yet deadly movements contrast with Hei Fengxi’s calculated strikes, reflecting their personalities. The show also innovates: one duel unfolds atop floating lanterns, while another uses a sandstorm as both weapon and shield.
Beyond the swordplay, Who Rules the World excels as a political thriller. Kingdoms vie for dominance using espionage, economic warfare, and propaganda. The series doesn’t shy from moral gray zones: Is it justified to sacrifice a village to save a nation? Can a lie secure lasting peace? Hei Fengxi’s ruthless pragism clashes with Bai Fengxi’s idealism, forcing both to confront the cost of power.
The Story of Pearl Girl·珠帘玉幕 [Aired]
- Aired: November 2024
- Genres: Historical, Business Drama, Romance
- Period Background: Set during the Tang Dynasty (618–907 CE), a golden age of cosmopolitanism and trade, the series immerses viewers in the bustling port city of Yangzhou, a hub along the Silk Road. This era marked China's peak as a global trade nexus, where Persian merchants, Indian spices, and Byzantine glasswares converged.
- Adapted From: Kun Shan Yu Qian Zhuan by Tan Tianyin.
Zhao Lusi stars as Duanwu, a prodigious jeweler who escapes poverty by disguising herself as the male merchant "Su Muzhe." Her journey from a marginalized artisan to a mercantile legend in Chang'an (the Tang capital) is fraught with challenges: evading patriarchal constraints, decoding her enigmatic lineage tied to jade craftsmanship, and navigating a tender romance with a Silk Road trader (Liu Yuning). The narrative intricately weaves her personal growth with broader themes of identity and ambition, set against a backdrop of political intrigue and artistic innovation.
Rarely explored in historical dramas, Duanwu's ascent highlights the covert roles women played in Tang commerce, often operating through male proxies or family networks. The series references real-life figures like the textile magnate Lady Wang, who managed vast trade enterprises.
The show painstakingly recreates Tang-era jade carving, goldsmithing, and poetry. Episodes feature authentic techniques, such as tian-qi (a jade-inlaying method), while original poems composed in classical shi style echo the works of Li Bai.
Scenes of multilingual marketplaces and camel caravans underscore Yangzhou's role in cultural exchange, with subplots involving Sogdian merchants and Buddhist art influences.
Praised for its "aesthetic splendor," the drama employs Tang-inspired qixiong ruqun costumes with intricate silk brocades, while sets replicate the era's timber-framed architecture and lotus-pond gardens. Cinematography captures the opulence of lantern-lit banquets and the stark beauty of desert trade routes.
Oh! My Emperor·哦！我的皇帝陛下 [Aired]
- Aired: April 2018
- Genres: Time-Travel, Comedy, Reverse Harem
- Period Background: A fictional Huangdao Nation governed by zodiac signs, blending ancient aesthetics with fantasy. Each province corresponds to an animal sign, and rulers wield symbolic powers (e.g., the Rabbit Prince's agility).
- Adapted From: Original script.
Modern-day cardiologist Luo Feifei (Zhao Lusi) accidentally time-travels to Huangdao, charming its twelve zodiac princes with her medical savvy and slapstick humor. Xiao Zhan appears in a cameo as the enigmatic Bei Tang Mojun, a fan favorite. The narrative parodies harem tropes—instead of scheming concubines, princes bicker over Luo's affections in sitcom-style mishaps, like a literal "rat race" during the Year of the Rat.
Despite its low-budget CGI, the drama remains a cult classic for its whimsical blend of romance and fantasy, proving that creativity often outweighs production costs.
Each episode incorporates folklore, such as the legend of the Jade Emperor's race, reimagined as a royal competition. The Tiger Prince's ferocity contrasts with the Sheep Prince's pacifism, reflecting traditional zodiac traits.
This early role for Zhao Lusi showcases her comedic timing, while Xiao Zhan's magnetic presence foreshadows his later fame in The Untamed (2019). Fans often revisit the series for its nostalgic "proto-Xianxia" charm.
The series winks at modern audiences with anachronisms like Luo teaching the princes TikTok-style dances and diagnosing their "anxiety" with psychological terms.
A Female Student Arrives at the Imperial College·国子监来了个女弟子 [Aired]
- Aired: September 2021
- Genres: Campus Romance, Gender Equality, Comedy
- Period Background: Set in the Song Dynasty (960–1279 CE), renowned for its scholarly culture. The Imperial Academy (Guozijian) was the apex of Confucian education, typically restricted to male elites.
- Adapted From: The novel by Hua Qian Ci.
Sang Qi (Zhao Lusi), a headstrong noblewoman, infiltrates the Academy to investigate her brother's mysterious death. Disguised as a student, she challenges gender norms—excelling in archery and debate—while unraveling a conspiracy involving corrupted officials. Her chemistry with strict teacher Yan Yunzhi (Xu Kaicheng) evolves from rivalry to romance, balancing tender moments with comedic clashes.
Sang Qi's struggle mirrors historical exceptions like Ban Zhao, a Han Dynasty scholar who taught male elites. The series critiques namu youbie (gender segregation) norms, using humor to highlight absurdities (e.g., Sang being barred from library sections on military strategy).
Song Intellectual Culture: Episodes delve into the Eight Great Prose Masters, civil exams, and the Four Arts (qin, chess, calligraphy, painting). A subplot involves printing press disputes, reflecting the Song's technological advancements.
The murder investigation incorporates Song forensic techniques, such as autopsy reports (xiyuan lu), adding procedural depth.
While criticized for uneven pacing, Zhao's spirited performance and the lush recreation of Song academies (with authentic hanfu scholar robes) earned praise for blending "youthful energy with historical gravitas."
Love of Thousand Years·三千鸦杀 [Aired]
- Aired: 2020
- Genres: Fantasy, Romance, Tragedy
- Period Background: A mythic realm inspired by Shan Hai Jing (Classic of Mountains and Seas), where immortals, demons, and humans coexist.
- Adapted From: The novel by Shi Si Lang.
Princess Tian Chuan (Zhao Lusi) witnesses her kingdom's annihilation by a demonic ruler, swearing vengeance with the aid of Fu Jiuyun (Zheng Ye Cheng), a celestial being trapped in a divine lamp. Their love becomes a tragic cycle of sacrifice—Fu's immortality binds him to eternal reincarnation, while Tian Chuan's mortal life forces heart-wrenching choices.
The lamp mythos draws from Journey to the West, where objects gain sentience. Fu's curse reflects Buddhist themes of samsara (cyclical rebirth), requiring Tian Chuan to master Taoist rituals to free him.
Ethereal sets—floating islands, cherry blossom rain—contrast with battle scenes rendered in haunting watercolor palettes.
Zhao's transition from naive princess to grief-hardened avenger showcases her range, particularly in a climactic scene where she burns her cherished paintings to symbolize relinquishing her past.
Dubbed a "tearjerker for the ages," the series resonates with themes of love transcending time, earning accolades for its lyrical dialogue and haunting OST.
