Not just the ‘Love Between Lines’ CEO: 5 must-watch Chen Xingxu shows

Chen Xingxu has a career trajectory that feels less like a straight line and more like a series of sharp pivots. Each one reveals a different angle you didn’t quite see coming.

For a long time, he was practically synonymous with a very specific kind of role: the devastating romantic lead who makes objectively terrible decisions and somehow still takes you down with him. His breakout in Goodbye My Princess didn’t just put him on the map; it gave him a reputation. But what’s more interesting is how deliberately he’s been rewriting that image ever since. Recent Chen Xingxu shows suggest an actor actively testing his limits, toggling between tragedy, comedy and something more modern and self-aware.

If Lu Yuxiao’s rise feels like a recalibration, Chen Xingxu’s reads more like an expansion. The intensity is still there—it just shows up in different forms now.

In case you missed it: ‘Love Between Lines’ fans, 6 Lu Yuxiao shows and movies to watch

‘Love Between Lines’ (2026)

A guarded architect secretly controls a high-stakes VR murder mystery, where an unpredictable new player disrupts his carefully constructed world

The most popular of Chen Xingxu shows, Love Between Lines unfolds across two layered realities: a sleek, high-pressure corporate world and an intricately designed Republican-era virtual game where players must solve a murder while inhabiting assigned roles. Xiao Zhiyu exists at the centre of both. Publicly, he is the architect behind the platform. He is predictably strategic, distant and several steps ahead of everyone else in the room. Privately, he is embedded within the game itself, operating as a key figure whose decisions shape the narrative from the inside. As new players enter, alliances form and fracture, and the game begins to resist its own rules, forcing Zhiyu to confront variables he did not anticipate.

Chen Xingxu’s role:

What makes his performance fascinating is the split. As the CEO, he speaks in conclusions. Think short and decisive, often leaving others to catch up. Inside the game, as the “General”, he moves differently: more reactive, more visibly engaged, as if the environment allows for a version of him that isn’t entirely pre-scripted. The contrast isn’t exaggerated; it’s cumulative. Over time, you start to see how much of each version is performance—and how much isn’t.

‘My Page in the 90s’ (2026)

A ruthless 1999 CEO finds his carefully ordered world disrupted by a time-travelling livestreamer who refuses to follow the rules of his story

Set within the logic of a retro romance novel, the series follows Gao Haiming, a textbook “cold CEO” whose life runs on predictability—until a woman from 2025 quite literally drops into his narrative. Armed with modern sensibilities and zero interest in playing along, she begins to dismantle the tropes that define his world. What starts as comedic disruption evolves into something more layered, as both characters are forced to confront the limitations of the roles they’ve been assigned—by genre, by time, by expectation.

Chen Xingxu’s role:

Chen leans into the absurdity without losing the structure. His Gao Haiming begins as almost too perfect. His measured tone and precise movements describe a man who seems aware he is being watched. But as the story destabilises, so does he. The humour comes from the cracks: the moments where his control falters, where confusion registers before he can suppress it. It’s not a complete reinvention of his “cold lead” persona, but a version that’s aware of itself—and willing to be slightly ridiculous.

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‘Goodbye My Princess’ (2019)

A crown prince entangled in political ambition and personal betrayal destroys the very love story he helped create

Set against a backdrop of court politics and shifting alliances, Goodbye My Princess follows Li Chengyin as he navigates power through deception, calculated relationships and long-term strategy. His romance with Xiao Feng begins under false pretences. But it gradually deepens into something that might have been genuine—if not for the circumstances that made it impossible. The narrative doesn’t hinge on a single betrayal, but on a series of decisions that accumulate, each one narrowing the path forward until there are no good options left.

Chen Xingxu’s role:

This is where his screen persona takes shape. His Li Chengyin doesn’t ask to be liked; he proceeds as if likability is irrelevant. What makes the performance linger is how rarely he signals remorse in conventional ways. Instead, you get tiny hints, a slow glance, a nod, that suggest awareness without absolution. It’s a character built on contradiction, and he plays it straight.

‘The Starry Love’ (2023)

A heavenly immortal divided into multiple personalities navigates love and identity across a fragmented existence

In a xianxia world governed by celestial hierarchies and reincarnation cycles, Shaodian Youqin’s soul is split into distinct “shards”, each embodying a different aspect of his identity. These fragments exist independently, interacting with the world—and with the female lead—in ways that complicate both the plot and the emotions. The story moves between these versions, gradually assembling a fuller picture of who he is and what has been lost.

Chen Xingxu’s role:

This is where he gets to stretch. Each “shard” carries its own logic—one impulsive, another restrained, another almost childlike—and Chen differentiates them through rhythm, posture and speech patterns rather than obvious cues. The transitions are clean enough that you don’t lose track, but distinct enough that each version feels like a separate character. It’s a performance built on variation, not reinvention.

‘My Boss’ (2024)

A top-tier lawyer and his new subordinate are forced into close proximity, where professional hierarchy collides with personal boundaries

It may not be one of the top Chen Xingxu shows, but it is compelling. In a high-pressure legal firm, Qian Heng is a formidable figure in family law whose reputation is built on precision and an almost obsessive work ethic. When his new subordinate enters both his professional and personal space—thanks to an unexpected cohabitation set-up—the carefully maintained separation between work and life begins to erode. Cases unfold alongside their evolving dynamic, with each legal conflict mirroring, in some way, their shifting relationship.

Chen Xingxu’s role:

As Qian Heng, he sharpens his modern persona. The arrogance is still there, but it’s operational—part of how the character navigates his environment. What changes is how often he’s forced out of that mode. In domestic scenes, the rhythm shifts; conversations stretch, reactions linger. You start to see the gaps between who he is at work and who he is when that structure isn’t holding him in place.

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Not just the ‘Love Between Lines’ CEO: 5 must-watch Chen Xingxu shows