Core Viewpoint - The recent batch of male protagonists in female-oriented dramas is considered a "failed experiment" as they have not gained significant market share, with the leading show "Tian Di Jian Xin" only achieving a market share of 11.4% [1][29]. Group 1: Market Performance - The three male protagonist dramas, "Tian Di Jian Xin," "An He Chuan," and "Shui Long Yin," have market shares of 11.4%, 11%, and 8.3% respectively, indicating a lack of growth in audience engagement [1][29]. - The genre of female-oriented male protagonists has not penetrated the larger historical romance audience, leading to their classification as ineffective innovations [4]. Group 2: Character and Narrative Structure - The male protagonists are designed to appeal to female audiences, featuring traits such as "beauty, strength, and tragedy," which align with female preferences [5][14]. - The narrative structure borrows from male-oriented storytelling, focusing on adventure and career rather than romance, creating a hybrid genre that straddles both male and female narratives [3][14]. Group 3: Production and Aesthetic Choices - The current batch of male protagonists exhibits an overemphasis on visual aesthetics, with elaborate makeup and costumes that detract from the narrative [5][8]. - The character relationships often follow a template where emotional tension is primarily assigned to supporting characters, resulting in a diluted romantic subplot [10][19]. Group 4: Industry Trends and Economic Viability - The rise of female-oriented male protagonists is seen as a market-driven choice due to the high costs and risks associated with producing dual-strong narratives [20][23]. - The success of "Lian Hua Lou" in 2023 has prompted a surge in similar productions, although the market has not yet fully capitalized on this trend [22][29]. Group 5: Audience Reception and Future Outlook - The current male protagonist dramas have primarily resonated with their fan bases, but broader audience engagement remains limited, as evidenced by their modest market shares [28][29]. - The gendered categorization of dramas continues to shape production and marketing strategies, but the recent attempts at female-oriented male protagonists may be facing challenges in gaining wider acceptance [29].