Core Viewpoint - The article discusses the significant decline in cinema attendance among young people in China, attributing it to poor viewing experiences and high costs associated with going to the movies [3][5]. Group 1: Cinema Expansion vs. Audience Decline - Despite the expansion of cinemas, with 13,000 theaters and 81,000 screens by 2024, total box office revenue has dropped to 42.5 billion yuan, a one-third decrease from the 64.15 billion yuan peak in 2019 [7][8]. - The annual attendance rate for cinemas reached a historical low of 5.7% in 2024, indicating that in a 100-seat theater, only about 5 to 6 people are watching a film [10]. - Major holiday periods, such as the Spring Festival, have seen attendance rates decline, with the 2024 Spring Festival showing only 4.2% attendance despite the release of well-received films [10][14]. Group 2: Dependence on Blockbusters and Holiday Releases - The cinema industry increasingly relies on a few blockbuster films and key holiday periods for revenue, with holiday box office accounting for over 70% of total revenue since 2022 [15]. - The Spring Festival has become the dominant box office period, with the 2018 Spring Festival generating 5.771 billion yuan in just seven days, making it the first month in Chinese film history to surpass 10 billion yuan [19]. - However, the competition for audience attention during these periods is fierce, with many films failing to attract viewers, leading to a high rate of film withdrawals from the schedule [19][24]. Group 3: Changing Audience Preferences - The average age of cinema-goers has increased from 27.7 years in 2021 to 32.5 years in 2025, indicating a shift in the demographic of movie audiences [35]. - Young people no longer view cinema attendance as a necessary social activity, opting instead for other forms of entertainment that are perceived as more convenient and cost-effective [35][36]. - The rising average ticket prices, which have increased by 16% in first-tier cities since 2014, further discourage attendance, with prices in lower-tier cities also rising significantly [33]. Group 4: Quality of Movie Experience - Many viewers report negative experiences in cinemas, including uncomfortable seating, poor cleanliness, and disruptive audience behavior, leading to a reluctance to return [28][32]. - The quality of films has also been criticized, with many viewers feeling that the actual content does not match the promotional material, resulting in disappointment [32][36]. - The perception that watching movies in theaters is no longer a worthwhile investment of time and money has contributed to the decline in attendance [28][36].

Group 1 - The cinema industry is expanding, but audience attendance is sharply declining, with a significant drop in box office revenue compared to pre-pandemic levels [5][9][10] - In 2024, the total box office revenue was only 425 billion yuan, a decrease of one-third from 2019, despite having 1.3 million cinemas and 81,000 screens [9][10] - The annual attendance rate for cinemas fell to a historical low of 5.7% in 2024, indicating that a typical screening may have only five to six viewers in a hundred-seat theater [12] Group 2 - The film industry has relied heavily on major holiday periods and blockbuster films for revenue, with holiday box office accounting for over 70% of total revenue since 2022 [20][21] - The Spring Festival box office has become the dominant force, with the 2018 Spring Festival achieving a record of 5.771 billion yuan in just seven days [22] - However, the success of blockbuster films is not guaranteed, as evidenced by recent films that failed to perform despite strong marketing and star power [37] Group 3 - The average ticket price in first-tier cities reached 49.6 yuan by August 2025, a 16% increase since 2014, while prices in lower-tier cities have also risen significantly [47] - The average age of moviegoers has increased from 27.7 years in 2021 to 32.5 years in 2025, indicating a shift in the demographic of cinema audiences [50] - For many young people, going to the cinema is no longer a social necessity or a standard date option, but rather one of many entertainment choices [51]

Core Viewpoint - The traditional film and television market is facing significant challenges due to the rise of short dramas, which are gaining popularity and financial success, while the film industry struggles with declining box office revenues and increasing unemployment among actors [2][12][25]. Group 1: Short Drama Market Growth - The short drama market is thriving, with several productions achieving both critical acclaim and financial success, such as "Zhuque Hall," which had a production cost of 40 million and generated 20 million in revenue on iQIYI alone within 10 days [2][5]. - The short drama "Zhuque Hall" has maintained a leading position in the online short drama viewership rankings for 33 consecutive days, achieving a market share of 49% [5]. - The short drama market is projected to grow significantly, with estimates suggesting it will reach 634.3 billion by 2025 and exceed 1 trillion by 2027 [18]. Group 2: Traditional Film Industry Challenges - The film industry is experiencing a downturn, with the summer box office in 2023 only reaching 8.7 billion, significantly lower than previous years [2][12]. - The majority of box office revenue is concentrated in a few films, with "Nezha 2" contributing 15.4 billion, accounting for 52% of the total box office for the first half of 2025 [12][18]. - The number of unemployed actors is rising, with estimates suggesting that nearly 300,000 actors in Beijing are currently out of work due to a lack of productions [14]. Group 3: Industry Trends and Shifts - Major platforms are shifting focus to short dramas, with companies like Tencent and iQIYI launching initiatives to promote short content [24]. - The success of short drama platforms like Douyin's Hongguo Short Drama, which reached 210 million monthly active users in just over a year, indicates a significant shift in viewer preferences [20][21]. - The trend of established actors participating in short dramas is becoming more common, as seen with figures like Wan Qian and Liu Xiaoqing, reflecting a broader acceptance of the format within the industry [3][9][26].