China Media and Entertainment Weekly News Bulletin – ISSUE 106 Week of 22 June 2026
(1) Hollywood’s Recording Academy Honors Asian Pop Music, including Chinese popular music
The Recording Academy will add five new Grammy categories, including Best Asian Pop Music Performance, at the 2027 awards. The move gives C-pop, K-pop and J-pop artists a new platform, though some fans question whether it will broaden recognition or separate Asian acts from top general categories.
(2) Hong Kong Drama “The Season” Enters Global Streaming Market
Viu Original thriller The Season has become the first Hong Kong drama to land on major US streaming platforms. The six episode series pairs a sleek, cinematic style with a revenge story inside a powerful family, marking a breakthrough for Hong Kong content seeking wider Western audiences.
(3) Taiwan Kaohsiung Pushes for Sustainable Concert Economy to Combat against Ticket Scalpers
Kaohsiung mayoral hopeful Ko Chih-en has proposed a Concert Economy 2.0 plan that ties venue incentives to anti scalping measures and targets hotel price gouging during major events. The roadmap aims to strengthen the city’s entertainment economy, though reactions remain mixed over how far government should intervene in the market.
(4) China Drafts New Rules to Regulate Shifting Micro-Drama Industry
China’s media regulator has proposed new rules for the fast growing micro drama sector, requiring labels for AI generated content and tighter oversight of platform algorithms. The draft aims to curb addictive design and excessive spending, while pushing streaming services to promote higher quality and more culturally meaningful programming.
(5) Stephen Chow Returns with Kung Fu Soccer and Secures Global Rights
Stephen Chow is returning to sports comedy with Kung Fu Soccer, a new film that has secured international distribution outside mainland China. Led by a women’s football team and backed by a multilingual release plan, the project marks Chow’s first feature as director in years and targets audiences well beyond China.
(6) Hong Kong Cinema Showcases New Talent at Shanghai Film Festival Italian
The 28th Shanghai International Film Festival ended with a strong showing from Hong Kong, where a showcase of six films by emerging directors highlighted the city’s push to nurture new talent. Industry figures said government backing remains vital, as Hong Kong cinema works to expand in the mainland market while preserving its creative identity.
(7) leader of Hong Kong boy band MIRROR’s Lokman Makes International Awards Debut at Global OTT Awards
MIRROR’s Lokman made his international awards debut at the Global OTT Awards in Busan, South Korea, where he was nominated for Best Supporting Actor for The Way We Drink. Although he did not win, the Hong Kong singer actor said the experience was meaningful, as it gave him a chance to meet global industry figures and widen his perspective.
(8) ‘Handsome young actors have been in a dangerous place’: Scriptwriters lament sexual harassment practices in China showbiz
The death of actor Jin Ze has reignited allegations of sexual abuse and exploitation in China’s entertainment industry, after unverified messages and comments from industry figures triggered public outrage. The controversy has renewed calls for closer scrutiny of long alleged predatory practices and a culture of silence affecting young performers.
(9) Zhang Songwen Wins Best Actor as The Botanist Takes Top Prize at Shanghai Film Festival
At the Shanghai International Film Festival, Zhang Songwen won Best Actor for Paper Box Maze and Khadija Alami took Best Actress for Halima, while Chinese film The Botanist claimed the top prize. The awards highlighted a mix of Chinese and international talent, with jurors recognizing both performance depth and bold artistic vision.
(10) Stray Kids set for Hong Kong concert at Kai Tak Stadium on 5 December 2026
K-Pop group Stray Kids will return to Hong Kong on 5 December 2026 with a concert at Kai Tak Stadium as part of their RUN IT world tour. The tour begins in Seoul in July, with stops in Japan, Taipei, Bangkok, and Singapore. Ticketing details for the Hong Kong show are pending.
(11) Tai Kwun exhibition revisits Hong Kong films built on trust, action and teamwork
Tai Kwun spotlights Hong Kong cinema’s spirit of partnership with Better Together – Partnering Up for Hong Kong Movies. Running 23 June to 4 October 2026, the immersive exhibition re‑creates scenes from eight classics, exploring loyalty, trust, and alliances, with behind‑the‑scenes stories and interviews from stars and filmmakers.
(12) Wong Kar Wai Cinematographer Ho Po-wing Dies, Leaving a Quiet Legacy Behind a Classic Film Name
Ho Po wing, a cinematographer who worked closely with Wong Kar Wai for years and inspired a character name in Happy Together, has died. Though little known outside the industry, he played a quiet but lasting role in Hong Kong cinema, especially through his behind the scenes work on some of Wong’s most celebrated films.
(1) Hollywood’s Recording Academy Honors Asian Pop Music, including Chinese popular music
(Photo Credit: Deadline)
The Recording Academy has officially announced the addition of five new categories for the upcoming Grammy Awards, headlined by the introduction of the “Best Asian Pop Music Performance” award. This historic expansion aims to recognize the artistic excellence and global influence of musicians from across Asia.
According to the official Grammy website, the new category will honor outstanding tracks or performances originating from the Asian market. The criteria encompass various prominent genres, including Chinese pop (C-pop), Korean pop (K-pop), and Japanese pop (J-pop). To qualify for the award, submissions must feature performances tracking in one or more native Asian languages.
Notably, the new award only recognizes the performances of Asian Pop artists, and does not give nod to the songwriters or producers behind the songs. The new categories will officially debut during the 69th Annual Grammy Awards in February 2027.
This marks a major milestone for C-pop visibility. Industry observers note that while K-pop has dominated global headlines, Chinese language artists now have a dedicated mainstream Western platform. Online, many music fans celebrate the long-overdue recognition, but skeptics wonder if the category will genuinely uplift diverse regional talent or simply act as a separate box to keep Asian acts out of the major general categories.
News Source: https://www.hk01.com/%E7%92%B0%E7%90%83%E8%B6%A3%E8%81%9E/60361441/%E4%BA%9E%E6%B4%B2%E9%9F%B3%E6%A8%82%E5%BD%B1%E9%9F%BF%E5%8A%9B%E5%8D%87-%E6%A0%BC%E6%9E%97%E7%BE%8E%E5%A2%9E%E4%BA%9E%E6%B4%B2%E6%B5%81%E8%A1%8C%E9%A1%9E%E5%88%A5%E7%8D%8E%E9%A0%85-%E6%97%A5%E9%9F%93%E8%8F%AF%E8%AA%9E%E7%AD%89%E5%8F%AF%E5%85%A5%E5%88%97?utm_source=01articlecopy&utm_medium=referral
(2) Hong Kong Drama “The Season” Enters Global Streaming Market
(Photo Credit: HK01)
The new Viu Original thriller The Season has made television history as the first Hong Kong drama series to secure a release on mainstream United States streaming platforms. Moving away from traditional television styles, the six-episode production offers a cinematic look into the hidden vulnerabilities and power struggles of Hong Kong’s wealthiest elite.
Filmed entirely on location, the story follows a seemingly innocent intern named Cola, played by Jessie Mei Li, who infiltrates the prominent Hext family to execute a decades-old revenge plot. The drama contrasts glamorous backdrops like the Sha Tin Racecourse and luxury yachts in Sai Kung with gritty, authentic local markets. Golden Horse winner Karena Lam delivers a highly praised, commanding performance entirely in English as the family matriarch, starring alongside Toby Stephens, Chris Pang, and Japanese model Kōki,. International publications have widely praised the show as a refreshing, stylish summer hit that seamlessly blends English and Cantonese dialogue.
The international distribution of The Season signals a major breakthrough for regional content creators trying to penetrate Western markets. Many viewers praised the high-budget cinematic aesthetic and celebrated surprise cameos from regional pop idols such as Minnie from K-pop group (G)I-DLE. Local commentators expressed pride in seeing their city’s unique, East-meets-West contemporary identity framed on a global stage, hoping this success creates a sustainable roadmap for future Chinese-language co-productions to compete internationally.
(3) Taiwan Kaohsiung Pushes for Sustainable Concert Economy to Combat against Ticket Scalpers
(Illustration Credit: Yahoo News)
Kuomintang politician Ko Chih-en has unveiled her “Concert Economy 2.0” policy roadmap for Kaohsiung, aiming to reform the city’s entertainment ecosystem. While acknowledging recent successes in attracting major music events, Ko highlighted that hosting large scale performances has triggered hidden financial strains, including high public maintenance costs and localized hotel price gouging.
To address these municipal issues, Ko proposed transforming the city’s blanket venue rental waivers into a merit based incentive program. Under the new strategy, the local government will grant premium rental discounts exclusively to entertainment organizers who implement strict real name ticketing systems to eliminate ticket scalping. For the tourism sector, the city will blacklist hotels that double their room rates during major event weekends, while rewarding compliant venues with official certifications and tax incentives.
Looking toward long term growth, the policy advocates for elevating localized music brands like the Megaport Music Festival by emulating world famous events such as Coachella and Glastonbury. Ko stated that these upgrades would transform Kaohsiung into a primary hub for cultural exports and competitive international sports tourism.
The debate spotlights how municipal governments manage the economic inflation tied to massive pop cultural events. Yet, netizens shared divided reactions. Many concertgoers praised the real name ticketing policy as a necessary defense against predatory resellers. However, industry commentators expressed doubts about the hotel monitoring system, questioning whether the government can effectively regulate pricing without suppressing the free market.
News Source: https://today.line.me/tw/v3/article/3N5nWvZ
(4) China Drafts New Rules to Regulate Shifting Micro-Drama Industry
(Photo Credit: Singtao)
China’s National Radio and Television Administration released a draft of the Micro-Drama Development and Management Measures to gather public feedback. This regulatory push aims to guide the booming micro-drama sector toward healthier development following rapid market growth. The new rules introduce strict content and operational guidelines for online production studios and streaming platforms.
Under the proposed guidelines, official authorities are introducing strict operational requirements for production companies and streaming platforms. Any micro-drama created using artificial intelligence technology must feature a clear, prominent warning label on every single episode. Furthermore, broadcasting platforms are ordered to regularly audit and verify their recommendation systems. The government explicitly prohibits the use of algorithmic models designed to induce user addiction or encourage excessive digital spending. Instead, platforms must adjust their backend programming to prioritize high-quality, culturally enriching content.
Tthese rules signal a decisive shift toward systemic oversight of automated entertainment. Chinese industry critics argue that the regulations are necessary to stop studios from exploiting viewers with repetitive, low-brow thrillers. Meanwhile, netizens expressed support for the crackdown on predatory pricing. Many users complain that addictive user interfaces frequently trick older audiences into spending hundreds of yuan to unlock short clips, making tighter consumer algorithmic protections a welcome change.
(5) Stephen Chow Returns with Kung Fu Soccer and Secures Global Rights
(Photo Credit: Getty Images)
Renowned filmmaker Stephen Chow is officially returning to the sports comedy genre with his upcoming feature film, Kung Fu Soccer. Singapore-based distributor Encore Films recently secured the worldwide theatrical and distribution rights for all international territories outside of Mainland China. Meanwhile, Maoyan Entertainment will handle the domestic theatrical rollout within the Chinese mainland market.
The action-comedy follows the fictional Emei Women’s Football Team as they compete in a high-stakes tournament. The narrative heavily incorporates Chow’s signature style by blending gravity-defying martial arts with modern athletics. The star-studded ensemble cast features prominent mainland actors, including Zhang Xiaofei, Dilraba Dilmurat, and pop star Lay Zhang Yixing.
The project represents Chow’s first directorial feature since 2019’s The New King of Comedy and arrives right in time to capitalize on public excitement surrounding the 2026 FIFA World Cup. Conceived as a highly globalized multi-language release, the project includes dialogue tracked in Mandarin, Cantonese, English, Korean, Japanese, and Thai. Encore Films is currently finalizing negotiations with various regional theatrical partners ahead of the upcoming international premiere.
News Source: https://variety.com/2026/film/news/stephen-chow-kung-fu-soccer-international-rights-1236788065/
(6) Hong Kong Cinema Showcases New Talent at Shanghai Film Festival Italian
(Photo Credit: Shanghai International Film Festival)
The 28th Shanghai International Film Festival concluded with a strong showing from Hong Kong’s film delegation, organized by the Cultural and Creative Industries Development Agency and the Hong Kong Film Development Council. The special showcase, titled “Hong Kong Film New Action,” featured six curated films from emerging directors. The lineup included the festival’s opening film Afterpiece, alongside high-profile local titles like Papa and Dog Day Evening.
During the festival’s Golden Goblet Forum, veteran filmmaker Derek Yee emphasized the critical importance of government financing initiatives, such as Hong Kong’s Directors’ Succession Plan (薪火相傳計劃). Yee noted that these funding schemes lower entry barriers for newer talent who would otherwise struggle with basic livelihood issues before launching their careers. Director Philip Yung also credited government subsidies with boosting mainland investor confidence and reducing financial risks for novel cinematic themes.
This cross-border integration demonstrates Hong Kong’s ongoing efforts to expand its market reach within mainland China. Mainland critics of the festival praised the creative diversity of the selected films, noting that the unique blend of commercial and artistic elements keeps Hong Kong cinema relevant. While some film commentators expressed concern over whether localized Hong Kong narratives can easily resonate with broader audiences, filmgoers generally celebrated the high quality of the co-productions and welcomed the fresh perspectives brought by the younger generation of filmmakers.
(7) leader of Hong Kong boy band MIRROR’s Lokman Makes International Awards Debut at Global OTT Awards
(Photo Credit: Busan International Film Festival)
Lokman, leader of Hong Kong boy band MIRROR, made his first appearance on an international screen stage at the Global OTT Awards, the annual ceremony organised by the Busan International Film Festival. Nominated for Best Supporting Actor for his performance in the drama The Way We Drink, he arrived at the event in a deep V grey suit that highlighted both his confidence and his sense of style. He admitted that the nerves only truly hit him after the red carpet, as the reality of competing on an international stage began to sink in.
Although he did not take home the award, Lokman said the experience was still deeply meaningful. Meeting filmmakers and performers from around the world, and being able to exchange ideas with them, was a valuable opportunity that broadened his perspective. He recalled feeling especially emotional on the way to the airport the day before, describing it as a complicated feeling similar to an athlete heading to the Olympics or the World Cup.
After arriving in Busan, he made time to enjoy the local culture, including a meal of authentic Korean barbecue. The sea view from his hotel also reminded him of his time filming The Way We Drink in New Taipei. Back home and in Korea, support poured in from fellow artists and fans alike, for which Lokman expressed heartfelt gratitude.
News Source: https://www.wenweipo.com/a/202606/22/AP6a3842e4e4b0b49ad1c044f7.html
Following the death of Chinese actor Jin Ze, allegations of sexual abuse and exploitation in the entertainment industry have resurfaced, prompting widespread anger online. On June 13, Jin’s former girlfriend posted unverified screenshots of what she said were private chats, including one message suggesting the 33 year old actor had previously been sexually assaulted by senior entertainment figures. Jin died on June 4, though no cause of death was disclosed.
The claims gained further attention after veteran screenwriter Wang Hailin wrote on Weibo that young male actors had long faced predatory behaviour in the industry. Drawing on more than two decades of experience, he said such cases were far more common than the public realised and described show business as a dangerous environment for attractive young performers. His remarks triggered strong public reaction, with many users condemning the industry’s so called unwritten rules and urging authorities to investigate.
Taiwanese screenwriter Cherry Yoko later added to the debate by sharing her own disturbing experiences from meetings with senior entertainment figures in China. Writing on Threads, she described hearing prominent men speak casually about sexual encounters with female celebrities and said she had also received explicit material second hand. Referring to Jin Ze and the late actor Yu Menglong, she argued that the problem was not limited to isolated individuals, but reflected a wider culture of abuse and silence across the entertainment industry.
News Source: https://www.asiaone.com/entertainment/china-actors-scriptwriters-sexual-harassment-assault-showbiz-yu-menglong-jin-ze
(9) Zhang Songwen Wins Best Actor as The Botanist Takes Top Prize at Shanghai Film Festival
(Photo Credit: Wen Wei Po)
At the 28th Shanghai International Film Festival’s Golden Goblet Awards, Chinese actor Zhang Songwen won Best Actor for his performance in Paper Box Maze, while Moroccan actress Khadija Alami took Best Actress for Halima. The festival’s top honour for Best Film went to Chinese entry The Botanist, which stood out for its distinctive sound driven aesthetic and its story of a journey between reality and imagination.
Zhang’s award winning role spans more than two decades, a challenge he said required him to focus less on outward transformation and more on the character’s inner psychological changes over time. Speaking after the ceremony, he thanked the film’s cast and crew, his family and his supporters, saying the award had strengthened his long held belief in committing fully to one’s craft. He added that the recognition would serve as a reminder to stay true to his artistic values as he moves forward in his career.
Producer Philip Yung also noted Zhang’s strong ties to Hong Kong, saying the actor has a special affection for the city and gained a unique experience performing in Cantonese for the role. Zhang himself said supporting film development in the Greater Bay Area was part of his wider commitment to cultural exchange.
Moroccan feature Halima also won Best Director for Yassine Idrissi, whose debut drama draws on the lives of people often overlooked by society. Meanwhile, The Botanist impressed the jury with its experimental use of sound, with director Zhong Kaifeng describing the win as an answer to years of persistence, passion and belief.
News Source: https://www.wenweipo.com/epaper/view/newsDetail/2068380026247712768.html
(10) Stray Kids set for Hong Kong concert at Kai Tak Stadium on 5 December 2026
(Photo Credit: The Standard)
K‑pop powerhouse Stray Kids has announced Hong Kong as part of its upcoming RUN IT world tour, with a concert scheduled for December 5 at Kai Tak Stadium. The group unveiled the tour schedule on 22 June 2026, confirming Hong Kong as one of the key stops on the Asian leg.
The tour will open with five shows at Seoul’s KSPO DOME from 25 to 29 July 2026, before heading to Japan for performances in Tokyo, Nagoya, Osaka, and Fukuoka between August and October. Following the Hong Kong concert, Stray Kids will perform at Taipei Dome on 12 December 2026, marking their first show at the venue. The tour will then continue into 2027 with stops in Bangkok in January and Singapore in March.
Debuting in 2018, the eight‑member act has risen to become one of K‑pop’s most prominent names, building a global fanbase through chart‑topping releases and sold‑out tours. Their fourth full‑length album KARMA further cemented their success, topping charts and earning multiple awards at major music ceremonies.
The Hong Kong concert is expected to draw significant attention, given the group’s strong regional following and the scale of the Kai Tak Stadium venue. Ticketing details have not yet been announced, but anticipation is high as Stray Kids continues to expand its global footprint with a tour that underscores their dominance in the international K‑pop scene.
News Source: https://www.thestandard.com.hk/entertainment/article/335337/
(11) Tai Kwun exhibition revisits Hong Kong films built on trust, action and teamwork
(Photo Credit: TheStandard HK)
Tai Kwun’s summer exhibition Better Together – Partnering Up for Hong Kong Movies celebrates the collaborative spirit at the heart of Hong Kong cinema. Running from 23 June 2026 to 4 October 2026 at the Duplex Studio, the show explores the local idea of paak zyu soeng, “partnering up”, through decades of films built on loyalty, trust, and unlikely alliances.
Curated by filmmaker Sunny Chan Wing‑san in association with the Federation of Hong Kong Filmmakers, the exhibition immerses visitors in nine themed scenes drawn from eight classics: The Black Rose, Aces Go Places, Once a Thief, Police Story III – Super Cop, Gen‑X Cops, Rob‑B‑Hood, Blind Detective and Rob N Roll. Re‑creations include the upside‑down heist of Once a Thief, the tense lie‑detector sequence in Aces Go Places III, and the explosive cross‑boundary collaboration in Super Cop.
Beyond the screen, video interviews reveal how actors, directors, stunt teams and creative crews forged chemistry. Highlights include Sam Hui revisiting Aces Go Places with its iconic theme song, Aaron Kwok and Man Lim‑chung discussing stunt design, and Louis Koo and Sammi Cheng reflecting on long‑standing collaborations. Gordon Lam, Richie Jen and Albert Mak share stories from Rob N Roll, while professional action teams showcase Hong Kong‑style special effects.
Tai Kwun Arts director Timothy Calnin calls the exhibition a “love‑letter” to Hong Kong, continuing past tributes to neon signs, Cantopop and local cinema. Part of ticket sales will support the Federation of Hong Kong Filmmakers, underscoring the collective effort that has defined Hong Kong’s global cinematic impact.
News Source: https://www.thestandard.com.hk/arts-and-culture/article/335396/Tai-Kwun-exhibition-revisits-Hong-Kong-films-built-on-trust-action-and-teamwork
(12) Wong Kar Wai Cinematographer Ho Po-wing Dies, Leaving a Quiet Legacy Behind a Classic Film Name
(Photo Credit: Leung Bik Ling / HK01)
Ho Po-wing, a cinematographer and longtime member of Wong Kar Wai’s film team, died peacefully on June 21 with his wife and family by his side, according to a notice shared by friends on social media. Though not widely known to the public, Ho held a unique place in Hong Kong cinema history. His name was immortalised in Wong’s 1997 classic Happy Together, when the director borrowed the names of two camera assistants, Ho Po-wing and Lai Yiu-fai, for the characters played by Leslie Cheung and Tony Leung Chiu-wai.
Ho began working with Wong Kar Wai on Chungking Express in 1994 as a camera assistant and went on to work from Happy Together through to 2046. During the Argentina shoot for Happy Together, he served as focus puller under acclaimed cinematographer Christopher Doyle, handling the demanding task of keeping moving subjects sharply in frame. He later recalled the technical challenge of filming dance sequences handheld, saying the crew’s movements looked almost like a performance in themselves.
In a past interview, Ho said he only discovered his name had been used in the film when he heard Tony Leung calling out “Ho Po-wing” on set. Wong reportedly told him simply that his name “worked well”. Ho also remembered Leslie Cheung joking that the character was difficult to portray. His death marks the passing of a quietly important figure in Wong Kar Wai’s creative circle.
News Source: https://www.hk01.com/%E9%9B%BB%E5%BD%B1/60362474/%E4%BD%95%E5%AF%B6%E6%A6%AE%E9%80%9D%E4%B8%96-%E5%AE%B6%E4%BA%BA%E9%99%AA%E4%BC%B4%E4%B8%8B%E9%9B%A2%E4%B8%96-%E7%8E%8B%E5%AE%B6%E8%A1%9B%E4%BB%A5%E5%85%B6%E5%90%8D%E4%BD%9C-%E6%98%A5%E5%85%89%E4%B9%8D%E6%B4%A9-%E8%A7%92%E8%89%B2%E5%90%8D
