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| The Fight Starring Shu Tong Sets a New Bar for Realistic Action in Short Dramas (Photo: WeTV) |
After years of being remembered for quiet loyalty and restrained emotion, Shu Tong is suddenly back in the spotlight for doing the exact opposite. His latest short drama, The Fight (打), has sparked strong buzz since release, not just for its popularity numbers, but for proving that short, vertical dramas can deliver grounded action and emotional weight without leaning on glossy tricks.
For many mainstream viewers, Shu Tong is still closely associated with his role in Glory, where he played Cheng Guan Yu, the dependable household manager of the Rong family. His unspoken affection for Rong Shanbao left a lingering impression, especially as it subtly placed him at odds with the male lead, Lu Jiang Lai.
Even without centre-stage romance, the role gave Shu Tong a lasting presence that audiences remembered long after the drama ended.
Within the short drama and vertical video space, however, Shu Tong had already built a solid reputation.
Long before The Fight arrived, he was a familiar face on platforms like Douyin, fronting several high-performing projects.
What makes The Fight different is how successfully it has crossed over from niche short-form popularity into broader mainstream attention.
In The Fight, Shu Tong takes on the role of Han Chuan, a former professional fighter whose life has unravelled following a devastating personal failure and the loss of his child.
Shi Ruiyi plays Chen Nan, a single mother whose quiet strength, alongside her daughter Miao Miao, gradually pulls Han Chuan back from emotional isolation.
Their connection is not rushed or idealised, giving the story a steady emotional anchor.
One of the drama’s most talked-about aspects is its approach to action.
Unlike many urban short dramas that present near-invincible leads, Han Chuan is visibly human.
He gets hurt, he tires, and when facing trained opponents, he can be overwhelmed. This vulnerability adds real stakes to every confrontation and keeps the tension grounded.
That realism has paid off commercially.
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The Fight debuted at number one on the DataEye Red List Popularity Chart and held the position for four straight days. It also topped the WETRUE Blue List Popularity Chart for three consecutive days.
On Tencent Video, the series reached first place on the most popular vertical short drama rankings and second on the most searched list, marking it as one of the platform’s strongest short-form performers this period.
Rather than relying on flashy visual effects, the drama focuses on close-quarters combat shaped by Han Chuan’s background as a fighter.
Every fight scene is tied to his emotional state, particularly the unresolved grief that influences his decisions.
A standout sequence in a convenience store, where Han Chuan restrains a thief, is interwoven with brief flashes of his past career, offering context without over-explaining his abilities.
The use of space also sets The Fight apart. In a billiards hall confrontation, tables define the physical limits of the fight, creating a tight, pressure-filled environment.
At key moments, Han Chuan pauses to allow his opponent to stand, quietly signalling the discipline he still carries from his professional days, even when his life is in ruins.
On the narrative side, the drama balances clashes with criminal groups against Han Chuan’s slow emotional recovery as a father figure.
His bond with Chen Nan and Miao Miao is non-biological, but it becomes the emotional core of the story, showing healing through connection rather than redemption speeches.
The drama widens its scope by highlighting everyday people. When Miao Miao is kidnapped, Han Chuan is not portrayed as a lone saviour.
Taxi drivers, delivery couriers, and security guards step in, using the access and knowledge tied to their jobs to help.
This collective effort reinforces a strong theme of social solidarity that resonated with viewers.
Visually, The Fight makes smart use of the vertical screen format.
Tight close-ups and dense framing heighten intensity, while subtle shifts in composition guide the viewer through the direction of each conflict without relying on dialogue to spell things out.
Online reactions have been varied but lively.
Many fans praised Shu Tong’s physical performance and the drama’s refusal to glorify effortless strength, calling it a refreshing break from typical urban short dramas.
Some netizens highlighted Shi Ruiyi’s grounded portrayal, saying her character brought emotional balance rather than acting as a simple plot device.
Others debated the pacing, with a few wishing certain emotional beats were given more time, while still acknowledging the series’ ambition within a short-form format.
The success of The Fight adds another win to Tencent Video’s growing slate of standout short dramas and further cements Shu Tong and Shi Ruiyi as a compelling pairing in the vertical-screen action space.
What did you think of The Fight’s take on action and emotion? Did it change how you see short dramas, or are there scenes you’re still thinking about?