Group 1 - The article discusses the controversies surrounding the drama "Cang Hai Chuan" and its comparison to "Nirvana in Fire," highlighting a cultural disconnect in the current audience's preferences for ancient costume dramas [1] - The ancient costume drama market has shifted focus towards suspense and power struggles, while traditional martial arts dramas have become niche, indicating a significant change in content consumption [1] Group 2 - The history of martial arts dramas in China is traced back to the 1970s and 1980s, with significant contributions from Hong Kong production companies adapting works from famous authors like Jin Yong and Gu Long [2][4] - The 1983 version of "The Legend of the Condor Heroes" marked a turning point, achieving an average viewership rating of 60% and a peak rating of over 90%, indicating its immense popularity [4] - The 2000s were considered the "golden decade" for mainland martial arts dramas, with over a hundred productions, yet only 14 received ratings above 8 on Douban [11] Group 3 - The rise of fantasy dramas has overshadowed martial arts dramas, with "Xianjian Qixia Zhuan" being a notable example that achieved high ratings and shifted audience interest towards fantasy elements [12][14] - The decline of martial arts dramas is attributed to the oversaturation of adaptations and a lack of original content, leading to a dilution of the genre's appeal [18] - The emergence of female-centric narratives in fantasy dramas has further shifted audience preferences, leading to the development of ancient idol dramas [20] Group 4 - The production quality and audience expectations have evolved, with modern viewers demanding high visual effects and star power, which has made traditional martial arts dramas less viable [25][27] - The cultural significance of martial arts dramas is diminishing, as the ideals of chivalry and justice portrayed in these dramas do not resonate with contemporary societal values [30][31] - New interpretations of martial arts themes are emerging, blending elements of mystery and emotional growth, as seen in recent productions like "Xue Zhong Han Dao Xing" and "Lian Hua Lou" [28]

Core Viewpoint - TVB is facing significant challenges as it transitions from a period of prosperity to decline, with its traditional programming losing influence and viewership, leading to a search for new revenue streams such as group broadcasting [4][14]. Group 1: TVB's Current Situation - TVB has experienced a continuous decline in profitability since 2014, culminating in a loss of HKD 4.91 billion in 2024, marking seven consecutive years of losses [4][11]. - The company has attempted various self-rescue strategies, including partnerships with mainland Chinese platforms and the introduction of new programming formats [4][6]. - Despite some successes in collaboration with mainland platforms, the overall impact on TVB's core business remains limited, and the influence of Hong Kong dramas continues to wane [6][10]. Group 2: Group Broadcasting as a Strategy - Group broadcasting, a new form of live streaming featuring multiple hosts, is being explored by TVB as a potential revenue source, leveraging the popularity of its veteran actors [8][10]. - While group broadcasting has attracted attention and generated viewer engagement, it risks damaging the actors' reputations and does not address the fundamental issues facing TVB's traditional programming [10][12]. Group 3: Future Outlook - TVB is optimistic about the potential for recovery in 2025, projecting a significant increase in EBITDA compared to 2024, with hopes of returning to profitability [11][12]. - However, the company faces several challenges, including a weak advertising market, underperformance of its OTT streaming services, and uncertainty in the co-production market with mainland China [11][12][14]. - The success of TVB's recovery efforts will largely depend on the performance of its co-produced dramas and the ability to regain its competitive edge in content production [14].