Recently, the cast of a popular drama has sparked a heated discussion among netizens. Among them, the various names of leading actors, special stars, invited stars, and co stars are dazzling, as if most of the slightly popular actors in this drama group have become the main actors. In fact, this is not an isolated phenomenon. In the past two years, there have often been many starring situations in the dramas that have been launched, with the most one even having nearly 60 stars. "All starring" has become a common operating mode for the signature of domestic film and television dramas. Netizens jokingly claim that nowadays, the cast of film and television dramas is not for the audience, but for the stars, their fans, and the investors behind them. The strange phenomenon of 'all starring' is related to the excessive influence of entertainment stars, fans, and investors on film and television production. In a sense, 'all starring' is a temporary measure taken by the production team to avoid the risk of malicious hype. From the surface to the essence, the deeper reason for the phenomenon of "all starring" lies in the current "celebrity" culture in the film and television industry: in the minds of some film and television practitioners, popularity is the main criterion for measuring whether an actor can take on the lead, while acting skills, character, cultural cultivation, artistic pursuit of performance career, and adaptability to roles often fall behind. So, when they create works or choose to pursue their career path, idols and celebrities replace actors and artists, and business logic replaces artistic cultivation. It seems that only by being labeled as the lead actor and becoming the protagonist is the symbol of success in an acting career. Obviously, this industry trend deviates from the basic laws of literary and artistic creation, fosters a restless and utilitarian mentality, is not conducive to the improvement of actors' professional and moral cultivation, and is even less conducive to cultivating high-quality works that can withstand the test of history and the people required for cultural construction in the new era. In stark contrast to the misconception of prioritizing "character" over the work itself, there is still a fine tradition in the current film and television industry, which has been continuously inherited and promoted by generations of literary and artistic experts. The core idea is that any character or actor exists to create excellent masterpieces. Old artist Niu Ben has been in the industry for decades and rarely takes on the lead role. He has played the roles of village children, farmers, soldiers, herders, workers, etc., and some even have only one or two shots. But he always adheres to the concept of "no small roles, only small actors", and does his best regardless of the number of scenes. He is conscientious and responsible, showcasing his superb acting skills in classic film and television works such as "Red Women's Army", "Horse Shepherd", "Spring Dingdong", and "Old Tavern", leaving a deep impression on generations of Chinese audiences. Lan Tianye, an old artist who died last year, once said, "An actor does not enter the role from the moment he gets the script, but the moment he decides to become an actor". That's what he said, and that's what he did. Among the characters he played, there are not only the well-known main role of Jiang Ziya in The Gods' List, but also the supporting role of Wang Husheng's father in Longing. But no matter what role he played, he always overcame the limitations of his body with his dedicated and diligent spirit, and integrated the serious creative attitude of "performing for the people" into every role and play. In the history of Chinese film and television, supporting role like Niu Ben and Lan Tianye can become highlights of their works