In the entertainment industry, divorce is often accompanied by public disputes and intense speculation. Since announcing their separation in 2021, Zhao Liying and Feng Shaofeng have largely maintained a restrained and low-profile approach, prompting ongoing discussion.

Diverging Career Paths
Following the divorce, Feng Shaofeng’s career pace appeared to slow before gradually regaining momentum. His participation in projects such as Pegasus 3 marked a renewed presence in major productions. His recent work reflects a steady, understated approach rather than a high-profile comeback narrative.

Zhao Liying, meanwhile, continued an active schedule across television and film. She starred in dramas including Wild Bloom and Happiness to Ten Thousand Homes, later expanding into cinema through collaboration with director Zhang Yimou. In recent years, she has also explored production roles, signaling a broadening of her professional scope.
Though their trajectories differ, both have remained active within their respective fields.

A Different Post-Divorce Dynamic
Public attention has extended beyond their careers to how they have handled life after separation. Neither party has spoken negatively about the other in public. Reports suggest that they maintain communication regarding their child’s schedule and important milestones, reflecting a cooperative parenting arrangement.
Director Chen Sicheng once commented in an interview that emotional maturity is essential when relationships change. In retrospect, some observers feel that this perspective aligns with how Zhao and Feng have managed their transition.

A Broader Perspective
Within a highly visible industry, personal relationships are often amplified by public scrutiny. The continued discussion surrounding Zhao Liying and Feng Shaofeng may stem from the perception that their separation avoided open conflict.
Five years can reshape careers and redefine identities. Beyond headlines, the way individuals navigate change—with discretion and responsibility—often speaks louder than public narratives.