Core Insights - The third Beijing Network Audio-Visual Art Conference focused on the theme "Audio-Visual Tide, Artistic Brilliance," gathering industry elites, experts, and creators to discuss innovation and development in the network audio-visual arts [5][6] - The conference released key content including the "2025 Beijing Big Audio-Visual" project list and the "2024 Beijing Micro-Short Drama Research Report," highlighting the industry's growth and creative achievements [5][7] Industry Development - The conference showcased 80 high-quality works in the "2025 Beijing Big Audio-Visual" project list, covering various formats such as web dramas, web films, micro-short dramas, and web variety shows, reflecting the industry's innovative outcomes and artistic pursuits [7][10] - The micro-short drama market in China is projected to reach 50.44 billion yuan in 2024, with a year-on-year growth of 34.9%, and Beijing accounts for approximately 33.62 billion yuan, representing two-thirds of the national total [10][11] Creative Trends - The emergence of grassroots creators, such as "delivery poets" and "field writers," signifies a new era of public participation in the arts, blending traditional and modern elements to inject vitality into the network space [12][13] - The concept of "New Public Literature" emphasizes the democratization of art, reflecting social realities and enhancing cultural exchange, with a focus on quality over mere popularity [13][14] Future Directions - Industry professionals highlighted the need for micro-short dramas to evolve from short video logic to cinematic expression, emphasizing quality and innovation to avoid homogenization [10][11] - The integration of technology, such as generative AI, is seen as a driving force for the development of new public literature, enhancing user experience and creative potential [12][14]

提质减量道阻且长 随着6月古偶《书卷一梦》《桃花映江山》《锦绣芳华》同台"厮杀"和扫黑大剧《以法之名》"破万"KPI的达成，今年上半年剧集市场也算是没有草草收 场。 回顾过去半年长剧的整体表现，同以上几部暑期档种子选手的处境倒是颇为相似，虽也有精品爆款和逆袭"黑马"时不时制造惊喜，可终究是挡不住大盘的 回落之势。 不过这并不意味着平台和创作者就此躺平，从排播运营到内容形态、题材突破等方面都能看到行业各方仍在努力在不确定的周期波动中寻求最大限度的确 定性。 近几日，云合、猫眼、徳塔文、灯塔等第三方数据平台也陆续发布了2025上半年剧集报告或榜单，为行业的发展现状和最新趋势提供了不同维度的观察依 据。 从市场大盘的综合水准来看，2025上半年并未顺利延续去年同期"提质减量"的大方向。 首先在数量供给上，云合数据显示，2025H1长视频平台共上新国产新剧137部、同比增加7部，库存剧71部、同比减少36部，总体上新规模明显下降。 而对应的播放表现并没有出现不降反增的走势，对比2024H1和2025H1云合全网长剧累计有效播放霸屏榜就会发现，头部选手正片有效播放量的绝对值大 幅下滑，去年同期TOP1的《庆余年2》比今 ...

众所周知，于正是创作风格和创作周期一样明显的内娱"剧作者"。总在一部爆款之后，同样配方、过期 食材、加重佐料连端上三五部来，直到人人避之不及了，才肯收手回炉、闭关迭代。而当你觉得他快彻 底flop时，又突然支棱，拿出一部时髦新鲜又充满用户思维的佳作。 仅看2010年以后，于正就已经历三个创作周期。以《宫锁心玉》为代表的"阿宝色阶段"，色调饱和、剧 情狗血、收视优异、争议十足。该阶段诞生《美人心计》《陆贞传奇》《笑傲江湖》等众多爆款，但过 火风格和机械重复也令其口碑每况愈下。直到2014年《宫锁连城》侵权案成为最后一根稻草，于正剧被 电视台抛弃转入网播，进入长达三、四年的沉寂期。 2018年《延禧攻略》横空出世，为于正迎来第二个创作巅峰，也就是"莫兰迪时期"。但这次魔法失灵更 快，《皓镧传》《烈火军校》《鬓边不是海棠红》最多混个热播。在《尚食》《玉楼春》《当家主母》 中，曾经被认为充满高级感的莫兰迪色，还迅速变成了观众口中的"性冷淡""丧葬风"。 第三阶段自然是正在进行中的"长剧短剧化"，以《墨雨云间》为开篇绝响，《五福临门》尚有热播成 绩，到眼下《临江仙》高开平走，有人说于正黔驴技穷，也有人笑他短剧看太多。 ...

来源 | 美股研究社 作者 | 在辉 爱奇艺就是提前读懂市场变化的一大代表。去年9月入局以来，爱奇艺对行业统称的短剧进行更 精细地划分，打造竖屏"微剧"和横屏"短剧"，随后持续加码，充实内容。现在，"长+短"内容生态 的协同，已经初步取得成效。 爱奇艺刚刚发布的2025年第一季度财报显示，其总收入达71.9亿元，环比增长9%；运营利润3.4 亿元，环比增长20%；Non-GAAP运营利润4.6亿元，环比增长13%。而根据爱奇艺CEO龚宇在 财报电话会上的说法，" 对比2024年12月的数据，爱奇艺的微剧重度用户数（指花费80%以上 的时间看微剧）增长了3倍"。 观众注意力的变化正在对内容生态做出前所未有的改变。日前，QuestMobile的统计显示，已经 有短剧App的月活即将挤入原本属于长视频平台的梯队。 这反映了用户消费习惯的变化，但反过 来思考，也为内容平台的内容策略给出了指引。 图源：爱奇艺 一个信号已然显现：爱奇艺通过 "长+短"双轮驱动的内容策略，既稳固了长视频基本盘，又深入 挖掘微剧的可能性，展现了平台在内容创新与商业模式优化方面的前瞻性与执行力。而这一切， 都指向了未来的增量。 " 长 " " ...

在今日爱奇艺一季度财报后的电话会议上，"微剧"成为爱奇艺CEO龚宇口中频频提及的关键词。 龚宇称，用户在爱奇艺看微剧的习惯正在形成，对比4月和去年12月，爱奇艺的微剧重度用户增长了3 倍。 他还透露，目前在爱奇艺平台有约1.5万部微剧，收费、免费各一半。其中爆款剧《家里家外》和《请 君入我怀》的分账金额一周内快速破百万，超过了100万人民币。通常一部微剧的成本大多低于100万人 民币，投入较大的也在200万元以下。 当季，爱奇艺总成本为54.1亿元，同比下降4%。作为成本的主要组成部分，内容成本为37.9亿元，同比 下降7%。当季销售及管理费用为10.3亿元，同比增长11%； 研发费用和4.1亿元，同比下降4%。 爱奇艺CFO汪骏提到，爱奇艺的资产负债表持续改善。过去六个季度，净利息支出持续下降，反映了公 司在优化资本结构和增强财务灵活性方面的努力 。 冲击之下，长视频早已到了不得不转型的时候。不久前，爱奇艺宣布极速版将更名爱奇艺微短剧App， 内容以免费微短剧为主。爱奇艺首席内容官王晓晖也称，影视行业2025年唯一一个关键词就是短。今年 开始的变革期非常关键，两年内，长剧经历转型阵痛，微剧靠速度决胜，短剧将 ...

四、五月间，一批拍完后因种种原因多年未播出的剧被集体抬上桌，2025年是积压剧"大赦年"的说法在坊间流传开来，有传言这是在长剧市场面临"冰河世 纪"的情况下，上级部门在政策上进行了放宽，亦有媒体呼吁开放更多积压剧救市。 长剧是不是真的不行了？对品牌而言，长剧还能投吗？ 去库存是常态化，靠积压剧救市，很难 按照行业惯例，一部剧如果杀青后二到三年还没有成功播出就算是积压剧，通常而言积压时间越长，项目售价就会跌的越多，播出效果越差。为何会出现积 压剧救市的说法？ 如果搜索关键词就会发现，关于积压剧清库存的话题几乎每年都会出现，这也侧面说明了这一波库存释放或许属于周期性的松动。而之所以引起了比较大的 舆论声量，可能是因为这一波集中放出的剧中《无忧渡》《折腰》《人生若如初见》这几部恰好都比较优质且具有话题性，搅动了2025年平淡的长剧市场， 因而让大家产生了"积压剧救市"的感觉。 事实上，同期释放的积压剧也有像《千秋令》《落花时节又逢君》这样的"扑剧"，前者几乎毫无热度，后者只因为女主角换脸补拍被讨论，基本上约等于无 效播出。招商情况也与播出热度同样惨淡，这两部剧都只有一个品牌投放，40集中有35集都没有广告。这种情况 ...

一天官宣三部大剧，剧集市场真的要热闹起来了？ 作为暑期档的前哨，往年五月份已经开始有大量优质剧集涌入市场，今年当然也不例外，爱、优、腾非常默契地在同一天放出了当家大剧，剧集市场迎来 了一波流量暴涨。 这场暑期档前哨战，囊括了年代史诗、古装权谋、女频古偶多个类型题材，肖战、李现、宋祖儿等当红明星持续吸引着观众的注意，看似热闹非凡的市 场，爱优腾又会以何种方式分出胜负呢？ "外强中干"的剧集市场 而关于《人生若如初见》的撤档争议，一说是因演员言论不当，一说是因故事涉及真实历史背景下多方势力斗争，存在原型人物，撤档后剧方也确实对 男、女主角色名以及真实历史叙事进行了删改。也正是因为这些争议，目前该剧并没有进行大范围宣发，能够顺利上线已经算是幸运，低调的态度也让 《人生若如初见》提前退出了暑期档前哨战的争夺。 同样存在争议的还有腾讯视频出品的古偶剧《折腰》，因主演宋祖儿的不当行为，这部大制作古偶一度被担心无法问世，但好在宋祖儿主演的另一部剧 《无忧渡》试水成功，观众期待已久的《折腰》也顺理成章上线。 《折腰》其实是典型的"先婚后爱""娇妻文学"，在大女主横行的古偶市场，播出效果竟然意外不错，开播首日就打破了腾讯视频2 ...

Group 1 - The core viewpoint of the article highlights the release of the long-awaited drama "Zhe Yao" as a response to the current challenges in the drama market, including a lack of blockbuster content and the rise of short dramas [1][7][9] - The drama "Zhe Yao," produced by Tencent Video and adapted from a popular web novel, has generated significant anticipation, with over 250,000 reservations on Tencent's platform prior to its release [1][6][16] - The release of "Zhe Yao" and other backlog dramas is seen as a proactive measure to mitigate losses caused by regulatory scrutiny and the impact of negative publicity surrounding certain actors [2][18][21] Group 2 - The drama market is currently experiencing a "project drought," with a notable decrease in the number of new long dramas being produced, leading to a situation described as an "ice age" for the industry [8][9][10] - Data indicates that the number of dramas receiving distribution licenses has sharply declined from 429 in 2014 to only 156 in 2023, with projections suggesting further reductions in 2024 [8][9] - The audience's demand for quality content, particularly in the ancient romance genre, is evident, as "Zhe Yao" is viewed as a potential savior for the long video platforms [14][15][11] Group 3 - The article discusses the broader implications of the backlog of dramas, which have been delayed due to various factors, including sensitive topics and controversies surrounding actors, creating significant financial risks for production companies [2][20][22] - The industry is exploring various strategies to address these challenges, including the use of AI technology for character replacement in dramas featuring controversial actors [25][26] - There is a growing sentiment that the release of backlog dramas could signal a turning point for the long drama market, potentially leading to a recovery phase [30]

以下文章来源于娱乐硬糖 ，作者顾韩 娱乐硬糖 . 有温度的泛娱乐产业自媒体。娱乐人物的商业解读，资本客厅的莎士比亚。 从《苦尽柑来》到《混沌少年时》， 海外从业者如何捍卫长剧。 文 ｜ 顾韩 编辑 ｜ 李春晖 来源｜ 娱乐硬糖（ID：yuleyingtang） 封面来源 ｜ 《混沌少年时》剧照 进入Q2的长视频发布季，第一次，最受关注的不再是片单储备，而是各家对内容策略的重新梳理，对剧集长短的最新判断。 4月23日的2025爱奇艺世界大会上，高管一边肯定"长视频为战略核心、微剧为增量业务"，一边提出"短是内容领域2025唯一关键词"，承认长剧处在"转型阵 痛期"，集数与时长的缩短势在必行。 而优酷自去年的10集迷你剧《新生》起，就在为自家"限集令"做铺垫。随着全行业的缺金断粮，这种调整更是自发自觉。数据显示，2024年播出剧集与备案 剧集的平均集数双双下降到28集左右。 在这个长短之争白热化的特殊阶段，长剧变短已成定局，问题是怎么变？如果说横屏中短剧是长剧向短的权宜之计，迷你剧（只缩集数，单集可能还会加 长）就是大家从《纸牌屋》时期就提出要发展、如今全面提上日程的进化终局。 然而，在国剧最先"迷你化"的悬疑赛 ...

Group 1 - The core focus of the long video industry is shifting from content inventory to content strategy, with a significant emphasis on the trend of shortening series and episodes [1] - Data indicates that the average number of episodes for broadcast and planned series is expected to drop to around 28 episodes in 2024, reflecting a broader industry adjustment due to financial constraints [1] - The transition from long series to shorter formats is becoming a necessity, with mini-series being seen as an evolutionary endpoint in this trend [1] Group 2 - The mini-series format has faced challenges in the domestic market, with many high-profile projects failing to meet expectations, indicating that simply reducing episode count does not guarantee success [3] - International series, particularly from the UK and Japan, have successfully adapted to shorter formats, with typical episode counts dropping to around 10, showcasing a different approach to storytelling [3] - The immersive experience created by international series often stems from high information density, which keeps viewers engaged despite the presence of competing entertainment options [4] Group 3 - The narrative techniques employed in international series, such as continuous shots and non-linear storytelling, enhance viewer engagement and emotional connection with characters [5][8] - Recent successful series have utilized innovative storytelling methods to challenge viewers' attention and cognitive engagement, pushing them to invest more in the narrative [6] - Korean dramas have also evolved by incorporating contemporary themes into traditional storytelling formats, reflecting current societal issues while maintaining audience interest [10][13] Group 4 - Long series are increasingly viewed as a high-cost entertainment option, necessitating more substantial content to justify viewer investment in terms of time and attention [10] - Successful long series have focused on revealing insights into contemporary issues, such as workplace dynamics and societal challenges, thereby enhancing their relevance [11][19] - The ability of long series to foster discussion and create consensus on social issues distinguishes them from short series, which often cater to individual viewer preferences [17] Group 5 - The emotional depth and complexity of long series allow them to address universal themes of human experience, contrasting with the more immediate gratification offered by short series [21] - The narrative approach of long series, which emphasizes character development and relational dynamics, resonates with audiences across diverse cultural backgrounds [21] - The industry recognizes the need for long series to evolve in response to changing viewer expectations, focusing on deeper themes of pain and hope to enhance their artistic value [21]