Core Insights - The popularity of cinema during the Spring Festival has led to a surge in online viewership, with iQIYI's movie channel experiencing a 44% increase in average daily viewing time compared to the pre-holiday period [5] - Users are increasingly engaging with immersive content, such as AI interactions and themed parks, indicating a shift towards a more interactive entertainment experience [1][6] Group 1: Movie and Series Performance - The film "Flying Life 3" topped the box office, driving significant increases in viewership for its predecessors, with "Flying Life 2" seeing a 371% rise and "Flying Life 1" a 591% increase in daily viewing time [5] - The series "Years of Emotion" achieved a peak heat value exceeding 8000 after its release, entering the "Hall of Good Films" [4] - The series "What Kind of Body" became a standout during the festival, topping the drama channel with both daily viewing time and heat value [4] Group 2: User Engagement and Content Trends - The use of classic IPs remains strong, with shows like "Journey to the West" and "Romance of the Three Kingdoms" seeing viewing time increases of 36% and 12% respectively [2] - The interactive experience at iQIYI's theme park in Yangzhou has attracted over 3 million user interactions, with a notable increase in visitor numbers [1] - The comedy variety show "Tonight's Happy Friends Show" quickly rose to the second spot in the variety channel rankings during the festival [3] Group 3: Overall Viewing Trends - iQIYI's overall user viewing time continued to grow during the Spring Festival, with a 13% increase in daily viewing time on large screens [4] - The variety channel saw a dramatic 256% increase in daily viewing time, driven by popular shows and events [4] - The short drama channel also experienced an 18% year-on-year increase in user viewing time during the festival [5]

马年系列评论之四 m 01 W.E. TALK 何以成为车而壮认的"苦雄标丽" 颍淮面塑艺人高光彪创作的《三英战吕布》面塑作品。中新网记者韩辉摄 中新社北京2月16日电 题：马，何以成为东西共认的"英雄标配"？ 中新社记者 安英昭 说英雄，谁是英雄？放之四海，难觅标准答案。但无论东西方，在英雄人物身边，都似有一"标配"——马。 人类的英雄崇拜古已有之。中国传统多崇尚仁义忠勇，如关云长、岳武穆；西方文化更侧重天命征服，如阿喀琉斯、亚历山大。 但无论关公的赤兔、岳飞的千里驹，还是阿喀琉斯的克珊托斯、亚历山大的布西发拉斯，东西方名马在人们的传说与美化过程中，往往共性远大于个性， 也可谓"东海西海，心理攸同"。 在欧洲，马是中世纪骑士制度及其衍生文化的必要基础。莎士比亚名剧《理查三世》中，主角兵败时甚至高喊："一匹马！一匹马！我的王国换一匹 马！"(A horse! A horse！My kingdom for a horse！)足见英雄对宝马的渴望。 马是忠诚的，胜任英雄的"终极守卫"。 英雄，固然威武，但也有孤立无援时。每至此际，守护在英雄身边的，往往都是相伴经年的战马。中外文学名著中，坐骑救主的名场面不胜枚举。 ...

（来源：上观新闻） 记得大约是1976年夏，我毕业后工作第一年从广州回东北探亲，去姑父家拜访。那天，刚下过雨，他家 屋里屋外全是泥，几乎无处落脚。第二天我走时，姑父赶毛驴车把我送去20里外的公共汽车站。赶毛驴 车的他，跃马横刀的他——那是同一个姑父吗？到站后，我在小镇供销社给他买了两件针织半袖衫。他 当即把穿出窟窿的背心脱下换了，看得我有些心酸，不由得扭过头去……就是如此穷困潦倒的姑父，几 年后，断然把二儿子送上老山前线参加对越自卫反击战…… 说回马。我也和马打过交道。上小学三四年级的时候，我和弟弟从县城步行三四十里去一个村子看外 婆。要回家那天，外婆天没亮就把我和弟弟叫醒，让我们搭坐村里去县城拉货的马车。路上要过一条名 叫饮马河的河，桥被大水冲跑了，马拉着车直接下河蹚水（东北话叫"蹚哨"）。河水很深，车到河中间 的时候，水没过车板、没过膝头，眼看就要淹到我和弟弟的胸口了，吓得我俩紧紧抱在一起。就在这当 口，拉车的四匹马忽然齐声长嘶，伸长脖子一跃而上，把车拉上河岸。马浑身是水——不知是汗水还是 河水——全无惊慌的样子，仍显得那么乖顺。我和弟弟不知多么感谢马，是马把我们救出水来！ 最后讲一个蒙古族画家、作家席慕 ...

2026年新春佳节将至，为营造喜庆祥和、文化馥郁的节日氛围，北京市精心组织全市各实体书店推出一 系列精彩纷呈、形式多样的阅读文化活动，以书为媒、以文会友，为首都市民奉上一场兼具传统底蕴与 时代活力的"文化年货"盛宴。从隆福寺重张的翰墨新颜，到高铁站流动的阅读驿站；从古籍修复师的指 尖春秋，到屋脊神兽化作文创的灵动身影——2026年的北京春节，因书香而更具厚度，因传承而更显温 度。这个丙午新春，不妨推门走进街角的那家书店，在一册册新旧典籍、一场场文化雅集中，遇见京城 最动人的文脉年味。 地坛庙会上，中国书店搭建"沉浸式淘书空间"，五百余种中外文学旧书、两百余册七八十年代电影连环 画集中展销，《三国演义》《铁面人》等老版小人书唤醒几代人的童年记忆。新华书店旗下花市店、劲 松东口店、和平里店同步入驻龙潭、地坛庙会，展销传统文化典籍与生肖文创，让"逛庙会、淘旧书"成 为北京春节新民俗。 ●科技赋能 AI与传统碰撞智慧火花 中关村图书大厦大年初一特邀北大书画协会研究员现场挥毫，为读者赠送名家手书"福"字，墨香氤氲间 传递最地道的京味儿年俗；同日，大厦还将在三层少儿活动区举办"马年冰箱贴DIY体验"，让亲子家庭 在拼贴彩 ...

2026年的高源，你好！ 我是2025年的自己，哈哈，好有趣哦，我要给我未来的自己写信了。 明年我就9岁了，想起7岁的时候，爸爸妈妈带我来到实验小学亚欧校区，我有点胆小，因为不知道小学 生活是怎么样的，现在的我能高高举起手，大声的回答老师的问题，还交到了好多好朋友。 （来源：南湖晚报） 转自：南湖晚报 N嘉兴市实验小学亚欧校区202班 高源 2026年，我想让自己变得更棒，我特别喜欢读历史故事，可能和小时候爸爸老是给我讲古代故事的缘 故，以前很小的时候爸爸给我讲，我听不懂，现在我二年级了，有点理解能力了，我就特别喜欢读三 国。三国让我知道了诸葛亮的聪明，他上知天文，下知地理；吕布的勇猛，还有他的坐骑赤兔马，日行 千里；曹操除了是个军事家，还是个诗人。明年我就长大一岁了，爸爸和我说，我们有四大名著，有 《三国演义》《水浒传》《西游记》《红楼梦》，明年我争取要全部看一遍。这样我就可以和爸爸比赛 历史知识了。 ...

Group 1 - The author reflects on the initial motivation for writing, which was to alleviate inner turmoil and express emotions through poetry [3] - Writing is described as a means to document life's experiences, both painful and joyful, allowing for a form of commemoration [3][7] - The influence of reading on the author's writing style is emphasized, with a focus on classical Chinese literature and modern authors [4][6] Group 2 - The author acknowledges a gap in contemporary literary knowledge after graduating, leading to a renewed emphasis on reading to improve novel writing skills [5] - A diverse range of literary influences is noted, including both domestic and international authors, which has shaped the author's understanding of human experiences [6] - The importance of storytelling about one's homeland and its transformations is highlighted as a significant theme in the author's work [6][7]

Core Insights - The resurgence of interest in "Dream of the Red Chamber" is attributed to the dual influence of the "hidden meaning" school and short videos, transforming it from a family saga into a work of mourning for the Ming dynasty [1] - The difficulty of adapting "Dream of the Red Chamber" into film or television is linked to its high literary and interpretative value, making it less suitable for adaptation compared to other classic novels [7][9] - The audience's increasing scrutiny of adaptations of the Four Great Classical Novels reflects a desire for fidelity to the original narratives, leading to a "respect for the original" standard that creators must navigate [30][32] Adaptation Challenges - "Dream of the Red Chamber" is considered to have a "hell-level" difficulty in adaptation due to its complex literary nature, which often leads to disappointment among original readers when visualized [9][11] - The narrative's focus on domestic life and family ethics limits the scope for adaptation, as the story is fundamentally a tragedy that lacks the "satisfying points" modern audiences seek [13][15] - The capital market's focus on IP certainty makes "Dream of the Red Chamber" a risky investment, as its historical discussion levels do not guarantee immediate audience engagement [15][17] Comparative Analysis of the Four Classics - "Journey to the West" is recognized as the easiest to adapt due to its fantastical elements and straightforward narrative structure, allowing for creative reinterpretation [18][19] - "Water Margin" and "Romance of the Three Kingdoms" share similar adaptation challenges, with the former being more relatable to contemporary audiences due to its grounded characters [24][27] - The perception of "Romance of the Three Kingdoms" as a historical narrative limits its adaptability, as audiences have established expectations for character portrayals that are hard to deviate from [26][24] Audience Expectations and Market Dynamics - The audience's resistance to adaptations that deviate from the original narratives often stems from a lack of engagement with the story rather than a mere desire for fidelity [30][32] - The success of adaptations like "Nezha" demonstrates that audiences are open to reinterpretations if they resonate with contemporary themes, indicating a potential path for future adaptations [32] - The current landscape of adaptations reflects a tension between preserving the essence of classic literature and meeting modern audience expectations, posing a significant challenge for creators [36]

Core Viewpoint - The article reflects on the life and legacy of actress He Qing, highlighting her contributions to Chinese cinema and the impact of her passing on the entertainment industry and her fans [3][15]. Group 1: Life and Career - He Qing was diagnosed with a brain tumor in 2015, which led to her gradual withdrawal from public life until her passing in December 2025 [4][12]. - She is renowned for her roles in classic Chinese literature adaptations, including "Dream of the Red Chamber," "Journey to the West," "Romance of the Three Kingdoms," and "Water Margin," earning her the title of "the first beauty of classical Chinese" [6][9]. - He Qing's artistic journey began at the Zhejiang Kunqu Opera Troupe, where she honed her skills before transitioning to film [6][10]. Group 2: Personal Attributes and Relationships - He Qing was known for her vibrant personality, often described as a "tomboy" during her youth, which contrasted with her on-screen image [11][12]. - Despite her fame, she maintained close ties with her peers from the Kunqu Opera Troupe, often gathering with them during her career [12][14]. - Her marriage to actor Xu Yajun produced a son, Xu He, but they divorced after eight years, maintaining a cordial relationship post-separation [14]. Group 3: Health Struggles and Legacy - He Qing faced significant health challenges, including multiple surgeries and cancer recurrence, yet she remained resilient and composed throughout her illness [13][15]. - Her passing elicited widespread mourning in the entertainment community, with many colleagues and fans expressing their sorrow and admiration for her character and contributions [15].

Core Viewpoint - The news highlights the passing of actress He Qing at the age of 61, emphasizing her significant contributions to Chinese television and film, particularly her iconic roles in classic adaptations of literary works [1][3]. Group 1: Career Highlights - He Qing gained fame for her performances in adaptations of the Four Great Classical Novels of Chinese literature, including her roles as Lianlian in "Journey to the West" (1984), Qin Keqing in "Dream of the Red Chamber" (1988), Xiao Qiao in "Romance of the Three Kingdoms" (1993), and Li Shishi in "Water Margin" (1996) [5][11]. - Her portrayal of these characters has left a lasting impression on audiences, establishing her as a representative of "ancient beauty" in Chinese cinema [3][5]. Group 2: Personal Struggles - He Qing was diagnosed with cancer ten years prior to her passing, leading to a long period of treatment during which she rarely appeared in public [7]. - Despite her health challenges, she maintained a positive demeanor, often smiling and speaking gently, which masked her internal struggles [9][10]. Group 3: Resilience and Character - He Qing faced significant personal tragedies, including the sudden death of her father when she was 19, which she coped with by vowing to remain strong and unbreakable [11][12]. - Her character was marked by a blend of beauty and strength, as she navigated both her professional and personal life with resilience, often expressing her opinions candidly [15][16].

Core Viewpoint - The article reports the passing of renowned actress He Qing at the age of 61, highlighting her contributions to the Chinese entertainment industry and the impact of her work on audiences and peers alike [1][2][4]. Group 1: Biography and Career Highlights - He Qing was born on January 13, 1964, in Jiangshan, Zhejiang Province, and began her artistic journey at the age of 13 by studying Kunqu opera [4]. - She gained recognition in 1983 for her role as a clever and brave girl in the film "Shaolin Sucai Dizi," marking the start of her acting career [4]. - In 1984, at the age of 20, she was cast by director Yang Jie in the TV series "Journey to the West," where she portrayed the character Lingji Bodhisattva, leaving a lasting impression despite her brief screen time [4]. - He Qing's notable roles include playing Qin Keqing in the 1988 film "Dream of the Red Chamber," Xiao Qiao in the 1993 TV series "Romance of the Three Kingdoms," and Li Shishi in the 1996 series "Water Margin" [4]. - She is recognized for her classical beauty and gentle demeanor, successfully embodying various iconic female characters in Chinese literature, making her the only actress to have portrayed all four classic novels [4]. Group 2: Industry Impact and Legacy - Fellow actor Liu Xiaoling Tong expressed that He Qing was a classmate during their training at the Zhejiang Kunqu Opera Troupe and praised her extensive knowledge of Kunqu and her significant achievements in film and television [4]. - He Qing was affectionately referred to as "Sister Lianlian" by audiences, a nod to her memorable role in the CCTV version of "Journey to the West" [4]. - The article emphasizes the collective mourning from fans and industry peers, reflecting on her legacy and the impact she had on the Chinese entertainment landscape [2][4].