CP营业

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线下追剧团,怎么就成了“婚闹现场”?
3 6 Ke· 2025-08-04 23:34
Core Viewpoint - The article discusses the evolving nature of offline drama promotion events, highlighting a shift from genuine engagement between creators and audiences to a focus on "CP" (couple pairing) marketing, which may detract from the original intent of promoting the drama itself [5][14][27]. Group 1: Evolution of Offline Promotion - Offline drama promotion events, originally intended to foster direct communication between creators and fans, have increasingly become dominated by CP marketing, where the focus is on romantic interactions rather than the drama's content [5][14]. - The rise of offline drama promotion has been driven by the saturation of online channels, leading to a new promotional model that emphasizes live interaction and emotional engagement [7][9]. - The effectiveness of this offline marketing strategy is evident, as it has transformed from an optional addition to a necessary component of drama promotion, with significant investment from production companies [7][9][10]. Group 2: Impact on Audience Perception - The shift towards CP marketing has led to a change in audience expectations, where viewers are more interested in the romantic dynamics between actors than the actual storyline or character development [21][24]. - This trend has resulted in a disconnect between the promotional activities and the actual content of the dramas, often leading to viewer disappointment when the on-screen chemistry does not match the promotional hype [24][27]. - The increasing demand for "sugar" (romantic content) in promotions has created a cycle of escalating expectations, where audiences continuously seek more intense displays of affection from actors [24][27]. Group 3: Risks and Future Directions - The current trajectory of offline drama promotions raises concerns about the sustainability of this marketing approach, as it risks alienating viewers who seek substantive storytelling rather than superficial interactions [22][27]. - The industry faces a dilemma: whether to continue down the path of CP-centric promotions or to refocus on the core elements of storytelling and character development that truly resonate with audiences [19][27]. - Ultimately, the article suggests that while CP marketing can be a valuable tool, it should not overshadow the fundamental purpose of drama promotion, which is to engage audiences with compelling narratives and character arcs [27].