Core Points - The long letter "The Last Love Letter" by Taiwanese romance novelist Xi Juan has circulated online, with phrases indicating a farewell, leading many to interpret it as her retirement announcement [1][8] - The publishing company Wan Da Sheng, where Xi Juan is affiliated, announced on November 17 that it will cease all book purchasing activities and related services by November 30 [3][12] - Wan Da Sheng, formerly known as Wan Sheng Publishing Co., was a major player in Taiwanese romance literature, publishing many classic works, including those by Xi Juan and Yu Qing, and has been influential in the genre's popularity [6][8] Company and Industry Summary - Wan Da Sheng's announcement marks the end of an era for Taiwanese romance novels, which once thrived alongside other publishers during the "golden age" of the genre [18] - The changing publishing environment and evolving reading habits have contributed to the decline of traditional print literature, as noted in Xi Juan's farewell letter [8][18] - Readers expressed nostalgia and gratitude on social media, reflecting the significant impact of Xi Juan's works on their youth and the broader cultural landscape [14][18]

Group 1 - The article discusses the importance of etiquette in historical dramas, emphasizing that it significantly impacts the audience's perception and immersion in the story [3][10][65] - The author argues that many contemporary historical dramas lack a genuine representation of ancient customs and behaviors, leading to a loss of authenticity [9][62][98] - The piece highlights that proper etiquette reflects a character's social status and identity, which is crucial for audience engagement [14][15][66] Group 2 - The article provides examples of how historical figures were portrayed in earlier dramas, showcasing their unique walking styles and gestures that conveyed their status [18][22][24] - It contrasts past productions with modern ones, noting that many current dramas fail to capture the subtleties of character behavior, resulting in a less believable portrayal of historical figures [36][62][97] - The author emphasizes that attention to detail in character portrayal, including body language and small gestures, is essential for creating a believable historical narrative [50][55][90] Group 3 - The article concludes that the decline in the quality of historical dramas is due to a lack of commitment from both actors and directors to authentically represent the characters and their contexts [89][100][102] - It suggests that a return to rigorous training and a focus on character depth could enhance the quality of future productions [92][94][96] - The author expresses disappointment in the current state of historical dramas, indicating that the industry has shifted towards a "fast-food" model rather than producing quality content [98][101]

Group 1 - Two domestic dramas are set to compete this week, one being a "remastered version" of "If Life Were Only as It Was at First" after a year of anticipation [2] - The other drama, adapted from a popular IP, features a strong romantic theme but has received negative initial reviews, with viewers describing it as "ugly" before it even opened for ratings [4][6] Group 2 - The story of "折腰" (Bending the Waist) revolves around a political marriage between the main characters, who are caught in a web of family feuds and historical grievances [12][15] - The narrative explores themes of sacrifice and the role of women in political alliances, with the female lead taking on a significant burden to ensure peace between warring families [57][71] - The drama's portrayal of the female lead's struggles highlights the tragic nature of her situation, as she navigates familial expectations and societal pressures while seeking her own identity [78][100] Group 3 - The character dynamics in "折腰" reflect a broader commentary on the expectations placed on women in historical contexts, where their worth is often tied to their relationships with men [70][102] - The drama's title, "The Prisoner of Beauty," suggests a critique of the romanticized view of love and marriage, emphasizing the constraints faced by women in such narratives [108][110] - The reception of the drama indicates a disconnect between audience expectations and the actual portrayal of its themes, raising questions about the representation of women in contemporary adaptations of historical stories [111][112]