不知道为什么，我也不是他的粉，就是很悲伤，于是，就想给他写篇文章。在深夜里重温《太子妃升职 记》或《三生三世十里桃花》时，内心总会涌起一种难以言喻的复杂情感。于朦胧所塑造的"九 王"与"白真"，以一种近乎不真实的古典之美，为我们那段"内心还挺困顿"的青春，提供了一个短暂 的、如梦似幻的"情感庇护所"。 记得当年追《三生三世十里桃花》时，我是在医院陪护时凌晨刷的剧，整个人状态很差，所以想起来， 印象深刻。 另外，我想，那可能是一种深层的共情，作为85后同龄人，我们看到的是一个与我们共同奋斗了整个青 春的"同路人"，一个以"美"为武器、温柔地抵抗着世界粗粝的符号，过早地退场了。 这份痛，让我们有必要重新去审视，于朦胧的人生形态，究竟是什么样的？ 一、美的"庇护所"：为何我们需要一个"白真上神"？ 悲悯的、 不具攻击性的、 古典之美。 这恰恰是理解他为何能击中我们这代人的第一把钥匙。我们，作为在剧烈社会转型和互联网浪潮中成长 起来的80、90后，内心充满了不确定性的"困顿"。 我们见证了太多"狼性文化"的崛起，习惯了用坚硬的外壳去武装自己。而在此时，于朦胧所代表的审 美，提供了一个宝贵的"情感庇护所"。他的角色，从 ...

Core Viewpoint - The article discusses the trend in recent Chinese dramas where female protagonists are depicted moving from larger homes to smaller living spaces, reflecting a shift in narrative that emphasizes autonomy and choice over traditional notions of status and wealth [5][9]. Summary by Sections Changing Narratives in Dramas - Recent Chinese dramas showcase female leads moving from spacious homes to smaller ones, indicating a narrative shift that challenges traditional views on marriage and living conditions [5][6]. - The phenomenon has sparked discussions on social media about the implications of "downward marriage" and the associated living conditions for women [6]. Autonomy and Choice - The article argues that the size of the home should not be viewed as a regression but rather as a reflection of the characters' agency and decision-making power [6][9]. - For instance, in "生万物," the character 宁绣绣 gains decision-making authority and autonomy despite moving to a smaller home, showcasing her ability to influence her circumstances [6][9]. Relationship Dynamics - The dynamics of relationships are explored, with female characters choosing partners based on compatibility and support rather than wealth, as seen in "子夜归" where the protagonist 武祯 exercises her choice in selecting a partner [7][15]. - The article highlights that the size of the home can symbolize the nature of the relationship, with smaller spaces fostering deeper connections and mutual support among characters [8][20]. Historical Context of Housing in Dramas - The article contrasts the current trend of smaller homes with earlier dramas that featured opulent living spaces, such as "我的前半生" and "亲爱的，热爱的," where wealth was prominently displayed [11][12]. - It notes that the portrayal of large homes in earlier dramas often served as a backdrop for romantic and social narratives, while the current trend reflects a more grounded and relatable approach to storytelling [11][14]. Modernity and Mobility - The shift from large homes to smaller living spaces is also seen as a response to modernity, where characters are depicted as more mobile and less tied to traditional notions of stability and ownership [17][19]. - The article suggests that this reflects a broader societal change where the significance of physical space is diminished in favor of personal agency and relationships [18][20]. Conclusion - Ultimately, the article posits that the trend towards smaller homes in Chinese dramas signifies a deeper understanding of female empowerment and the evolving nature of relationships in contemporary society [20].

9月11日18时44分，于朦胧工作室官方微博发布讣告，证实于朦胧于今日坠楼身故，年仅37 岁，并透露目前警方调查已排除刑事嫌疑。 2015年，于朦胧在古装网络剧《太子妃升职记》中饰演男二号——九王齐翰，该剧播出后成为 当年度爆款，于朦胧也因此在影视行业崭露头角。 于朦胧最后一次公开亮相是在今年中央广播电视总台端午特别节目《奋楫家国——沈水欢歌颂 端阳》上，和另外三位青年男演员牛骏峰、王佑硕、卫然一起演唱歌曲《沃土织梦》。 9月11日，@名侦探小宴 发文称于朦胧在北京坠楼身亡，消息引发多方关注。11日下午@围脖 侠 发文：演员于朦胧被传坠楼一事引发关注，广大网友通过微博平台关注相关进展，祈愿平 安。但平台巡查发现，用户@5518642301_663 （原昵称：@echo23754）在该热点事件讨论 中，多次发布无事实根据的阴谋论内容，靠吃"人血馒头"博取眼球，形成较大传播。后又自行 删除相关评论并改名。此行为不仅严重格侵犯他人权益，更扰乱了正常传播秩序。 此外，11日下午4时左右，首发"于朦胧坠楼身亡"消息的自媒体账号"名侦探小宴"也被网友发 现已悄悄删除原贴。 据悉，于朦胧1988年6月15日出生于新疆维吾尔 ...

我们怀着无比沉痛的心情告知大家，我们深爱的朦胧，于2025年9月11日坠楼身故。经警方工作，已排除刑事嫌疑。愿逝者安息，愿生者坚强。 每经编辑｜何小桃 9月11日，演员于朦胧的名字突然冲上热搜。有自媒体发布消息称，于朦胧于9月11日凌晨在北京坠亡。该消息迅速引发全网关注。 11日晚些时候，@于朦胧工作室 发文证实了此消息： 三湘都市报记者查询于朦胧社交平台看到，于朦胧上次更新动态是在8日前，记者注意到，于朦胧9月10日21:31还上线了微博。 于朦胧最新一部热播剧是《临江仙》，其在剧中饰演玄天使者。其还有一部待播剧《风起大漠》，公开消息称，于朦胧在《风起大漠》里饰演李敢，飞将 军李广之第三子。 圈内有好友发文哀悼后删除动态 9月11日，多位圈内人士通过社交媒体发声表达震惊与悲痛。 演员文苡帆发悼念长文，以"今夜，星星回去睡觉了"开篇，提及"听到跳楼消息时呆立原地"、"愿你回到星星上，那里没有痛苦"等语句，并呼吁关注心理 健康，该动态随后被删除。 演员邢菲，曾与于朦胧合作《明月曾照江东寒》，发文称："希望是假的！一定是假的！"此后也删除了该动态。 高泰宇，曾与于朦胧合作电影《为爱放手》，发文："你的笑容，永远定 ...

今日（9月11日），男演员于朦胧被传坠楼，消息引发多方关注，多个词条冲上热搜榜第一。 演员于朦胧被传坠楼一事引发关注，广大网友通过微博平台关注相关进展，祈愿平安。 但平台巡查发现，用户@5518642301_663（原昵称：@echo23754）在该热点事件讨论中，多次发布无事实根据的阴谋论内容，靠吃"人血馒头"博取眼 球，形成较大传播。后又自行删除相关评论并改名。此行为不仅严重侵犯他人权益，更扰乱了正常传播秩序。 网络空间并非法外之地，对于热点事件下恶意编造谣言博眼球、蹭流量的行为，站方将予以严厉打击并进行上报。 也请广大用户擦亮双眼，以官方通报为准，切勿轻信所谓的"阴谋论"以及站外的不实截图。 于朦胧工作室9月11日晚间发文： 稍早前，微博社区观察员官方账号"围脖侠"发文： 公开资料显示，于朦胧，1988年出生于新疆乌鲁木齐市，毕业于北京演艺专修学院，中国内地男演员、歌手。 2013年，参加选秀娱乐节目《快乐男声》，获得全国总决赛第十名。参演过《三生三世十里桃花》《太子妃升职记》等影视作品。2025年，其参演的电视剧 《侠客行不通》《临江仙》播出。 天眼查显示，于朦胧名下共关联两家公司，分别为上海起萌影视 ...

2025.09. 11 本文字数：1408，阅读时长大约2分钟 今天（9月11日）， 知名男演员于朦胧被传坠楼，消息 引发多方关注。 据南方都市报，今天下午， 微博社区观察员官方账号 @围脖侠 发文： 演员于朦胧被传坠楼一事引发关注，广大网友通过微博平台关注相关进展，祈愿平安。 但平台巡查发现， 用户 @5518642301_663 （原昵称： @echo2375 4 ） 在该热点事件讨论 中， 多次发布无事实根据的阴谋论内容，靠吃"人血馒头"博取眼球，形成较大传播。后又自行删 除相关评论并改名。 此行为不仅严重格侵犯他人权益，更扰乱了正常传播秩序。 网络空间并非法外之地， 对于热点事件下恶意编造谣言博眼球、蹭流量的行为，站方将予以严厉 打击并进行上报 。 也请广大用户擦亮双眼， 以官方通报为准，切勿轻信所谓的"阴谋论"以及站外的不实截图 。 于朦胧微博超话显示，9月10日21时31分，于朦胧上线微博，其最近一次更新动态是在9月3日。 今天， 有网友称 演员于朦胧 今日在北京坠楼，随后，多个词条 冲上热搜榜第一。 演员文苡帆发悼念长文，以"今夜，星星回去睡觉了"开篇，提及"听到跳楼消息时呆立原地"、"愿你 回 ...

2025.09. 11 本文字数：753，阅读时长大约2分钟 9月11日，网上有爆料称演员于朦胧在凌晨坠楼身亡。 截至发稿时，尚未有警方通报。 网友还在网 上喊话希望他出来辟谣。据澎湃新闻， 曾与于朦胧有过合作的影视公司相关人士对此表示，具体情 况等官方消息。 9月11日上午，@名侦探小宴 发文称，"《三生三世十里桃花》《太子妃升职记》主演于朦胧今天在 北京坠楼身亡。知情人对小宴透露，于朦胧9月10日和五六个好友在朋友家吃饭，9月11日凌晨2点 多于朦胧回卧室睡觉并把门反锁了，凌晨6点左右朋友散场没看到他，走到楼下发现了尸体，有个遛 狗的邻居看到并报警，据悉他兜里还装着朋友的两个劳力士手表，纱窗被于朦胧扣开了，目前警方已 排除刑事案件，具体原因还在调查中。" 据三湘都市报， 北京市朝阳区常营派出所 民警称，没有收到相关消息。 据悉，9月10日晚，于朦胧曾在微博超话上线过。 全球最大互联网券商突然收紧中国内地开户，APP在境内全下架 于朦胧，1988年6月15日出生于新疆乌鲁木齐市，毕业于北京演艺专修学院。 2007年，于朦胧参加选秀娱乐节目《我型我秀》，获得西安站16强。2010年，他参加选秀节目 《快乐男声 ...

Core Viewpoint - The recent implementation of the "21 Regulations" by the National Radio and Television Administration (NRTA) is expected to significantly benefit the Chinese film and television industry, particularly in the production of historical dramas, which have been a major source of revenue and popularity [2][10][12]. Group 1: Impact of "21 Regulations" - The NRTA has relaxed restrictions on the number of historical dramas, signaling support for market-oriented creation in the industry [2][10]. - The regulations allow for an increase in the maximum number of episodes for dramas, which could lead to the production of higher-quality long dramas [11]. - The introduction of policies such as "border examination and broadcasting" for series and seasonal dramas is expected to shorten content production cycles and align broadcasts with current social sentiments, enhancing capital efficiency for companies like iQIYI [11][12]. Group 2: Industry Response - Following the announcement of the "21 Regulations," many film and television stocks experienced significant gains, indicating a positive market reaction [3]. - Major companies in the industry, such as the Yuewen Group, anticipate launching more film and television projects due to the new regulations [12]. - The regulations are seen as a potential attractor for more investment in the film and television sector, which is currently facing financial challenges [13][14]. Group 3: Current Challenges - The film and television industry is experiencing financial difficulties, with iQIYI reporting an 11% year-on-year revenue decline to 6.628 billion yuan and a net loss of 133.7 million yuan [14]. - Tencent Video also reported a decrease in paid subscribers, losing 3 million to a total of 114 million [15]. - The reduction in content budgets due to financial constraints may lead to fewer high-quality productions, creating a vicious cycle that could further diminish audience engagement [16][17]. Group 4: Future Outlook - While the "21 Regulations" may increase the likelihood of producing popular dramas like "Empresses in the Palace," the actual success will depend on the ability to create high-quality content that meets evolving audience tastes [19]. - The rise of short videos poses additional risks to traditional film and television investments, making the landscape more competitive and uncertain [19].

Core Viewpoint - The recent implementation of the "21 Regulations" by the National Radio and Television Administration (NRTA) is expected to significantly benefit the Chinese film and television industry by relaxing restrictions on historical dramas, potentially leading to an increase in high-quality productions like "Empresses in the Palace" [2][3][10]. Group 1: Impact of "21 Regulations" - The NRTA's new regulations indicate a flexible approach to the control of historical dramas, which is a clear signal of support for the Chinese film and television industry [10]. - The regulations allow for the lifting of the 40-episode limit on dramas, creating opportunities for longer, high-quality series [11]. - The introduction of policies such as "border examination and broadcasting" for series and seasonal dramas is expected to shorten content production cycles and align broadcasts with current social sentiments, enhancing capital efficiency for companies like iQIYI [11][14]. Group 2: Market Reactions and Financial Implications - Following the announcement of the "21 Regulations," many film and television stocks experienced significant gains, indicating a positive market reaction [3]. - iQIYI reported a year-on-year revenue decline of 11% to 6.628 billion yuan, with a net loss of 133.7 million yuan, highlighting the financial struggles within the industry [15]. - Tencent Video also saw a decrease in paid subscribers, losing 3 million to a total of 114 million, reflecting the financial challenges faced by major players [16]. Group 3: Future Prospects - The potential for more popular dramas akin to "Empresses in the Palace" is anticipated, as the relaxed regulations may lead to the creation of more engaging content [12][23]. - Companies like Yuewen Group, which owns popular IPs, expect to see an increase in film and television projects following the new regulations [13]. - Despite the positive outlook, the ability to produce high-quality works remains crucial, as audience preferences continue to evolve [21].

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]