Group 1 - The core issue revolves around the public fallout between Zhao Lusi and her management company, Galaxy Cool Entertainment, which has led to significant media attention and potential financial repercussions for both parties [1][4][21] - Zhao Lusi's actions, including publicly criticizing her agency and revealing personal struggles, have raised concerns about her marketability and the company's stability, as she is a major revenue driver for Galaxy Cool [4][12][21] - The company has faced challenges in maintaining its talent and adapting to the evolving entertainment landscape, with previous capital withdrawals and management changes exacerbating its difficulties [10][22][25] Group 2 - Galaxy Cool Entertainment, founded in 2015, has a strong background in variety shows, achieving significant success with programs like "Mars Intelligence Agency," which garnered 3.4 billion views across its first three seasons [5][6] - The company has struggled financially in recent years, reporting losses in 2018 and 2019, and has shifted its focus to film and television production, which has not yielded the expected results [6][10] - The management structure and profit-sharing model within Galaxy Cool have been criticized, particularly regarding the high commission rates charged to artists like Zhao Lusi, which have led to disputes and dissatisfaction [8][9][22] Group 3 - The entertainment industry is witnessing a shift in audience preferences, with newer talent gaining popularity and creating a more competitive environment for established stars like Zhao Lusi [14][25] - The ongoing conflict highlights broader issues within the industry, such as the pressures faced by artists, the lack of sustainable management practices, and the potential for public disputes to damage reputations [22][25] - The situation underscores the need for better alignment between talent and management, emphasizing the importance of mutual benefit and long-term planning in artist-agency relationships [21][25]

Core Viewpoint - The conflict between Zhao Lusi and her management company, Galaxy Cool Entertainment, has escalated publicly, highlighting issues of contract disputes, economic disagreements, and power struggles within the entertainment industry [1][10][12]. Group 1: Background and Development - The conflict has roots dating back to early 2023, with Zhao Lusi's health issues and subsequent work disruptions leading to rising tensions [5][6]. - Zhao Lusi's public accusations against Galaxy Cool Entertainment include claims of contract entrapment, financial exploitation, and emotional manipulation [10][11]. - The situation intensified after Zhao Lusi's social media changes and her revealing mental health struggles, culminating in a public outcry against the company [9][10][17]. Group 2: Company and Artist Dynamics - Galaxy Cool Entertainment has heavily relied on Zhao Lusi, who has become a significant revenue source, leading to an imbalanced profit-sharing model [23][24]. - The company’s management practices have been criticized for being overly controlling, particularly after the departure of its former CEO, which exacerbated the issues [25][26]. - The lack of adequate support for Zhao Lusi's mental health and career development has been a significant factor in the ongoing conflict [26][27]. Group 3: Industry Implications - The situation reflects a broader trend in the entertainment industry where artists frequently clash with management companies over contract terms and profit distribution [29][31]. - The need for a restructured profit-sharing model that respects artists' rights and contributions is emphasized as a potential solution to prevent similar conflicts in the future [31][32]. - The case of Zhao Lusi serves as a cautionary tale for both artists and management companies about the importance of equitable partnerships and the risks of exploitative practices [30][34].

Core Viewpoint - The disbandment of X玖少年团 marks a significant turning point for 哇唧唧哇, as it loses its last idol boy group and top star,肖战, indicating a potential decline in its influence in the idol industry [1][8]. Group 1: History and Development of X玖少年团 - X玖少年团 was formed as a result of the transition from traditional television talent shows to internet-based idol selection, becoming 哇唧唧哇's first boy group [2]. - The group was created after the failure of the initial "X-FIRE" plan, with five trainees, including肖战, being brought together to form the group [2]. - 哇唧唧哇 was established by 龙丹妮 in 2017, marking a shift towards internet media and solidifying the group's status as the "first son" of 哇唧唧哇 [2][4]. Group 2: 哇唧唧哇's Business Model and Success - 哇唧唧哇's initial success was built on the idol economy, with the launch of the talent show "明日之子" in 2017, which became a major IP for the company [4][5]. - The company gained recognition for its ability to produce and operate idol groups through successful talent shows, establishing itself as a key player in the idol market [5]. Group 3: Challenges and Decline - The "倒奶事件" in 2021 led to a halt in idol selection shows, significantly impacting 哇唧唧哇's business model, which relied heavily on idol groups [7]. - Following the disbandment of X玖少年团 in 2025, 哇唧唧哇 no longer has any idol groups, indicating a decline in its market position [8]. - The company has been seeking transformation opportunities since the idol market cooled, attempting to expand its content production beyond idol-centric projects [9][10]. Group 4: Transition to Content Production - 哇唧唧哇 has started to focus on producing content that appeals to a broader audience, such as the successful reality show "毛雪汪" [10]. - The company has collaborated with platforms like 优酷 to create dramas that target general audiences, moving away from solely producing content for its own artists [12]. - Despite some successes, the quality of content produced has faced criticism, and the company needs more successful projects to strengthen its market position [14].

Core Viewpoint - The article emphasizes the importance of creating Chinese dramas as a "universal language of cross-cultural narratives," aiming to convey the intrinsic spirit and wisdom of the Chinese people to a global audience. Group 1: Growth of Chinese Dramas Overseas - The recently concluded drama "Cang Hai Chuan" has gained popularity both domestically and internationally, being broadcast in 190 countries and regions, showcasing traditional Chinese culture to diverse audiences [1] - Over the past decade, Chinese dramas have expanded from a focus on historical genres to include suspense, urban, and realistic themes, successfully penetrating markets beyond the Southeast Asian Chinese community to Europe and America [1] - The international recognition of Chinese aesthetics and "Xia Culture" reflects a growing interest among foreign viewers in Chinese traditional culture [1] Group 2: Success of Historical Dramas - Historical dramas have consistently performed well in overseas markets, with notable titles like "Bu Bu Jing Xin" and "Lang Ya Bang" paving the way for recent hits such as "Cang Lan Jue" and "Du Hua Nian" [2] - The second season of "Qing Yu Nian" in 2024 introduced a model of simultaneous streaming on overseas platforms, enhancing its global reach [2] - Short videos have become a significant channel for the dissemination of Chinese dramas abroad, with highlights from "Mo Yu Yun Jian" achieving over 1.1 billion views on TikTok [2] Group 3: Appeal of Romance Dramas - Chinese romance dramas maintain a strong viewer base in Southeast Asia, with the new version of "Meteor Garden" consistently ranking high in viewership [3] - The drama "Secretly Can't Hide" has surpassed 6 billion views on TikTok, while "Nan Hong" reached the sixth position on Netflix's global daily chart [3] - These dramas resonate with young audiences through their emotional narratives and rich visual aesthetics, contributing to their popularity [3] Group 4: Drivers of Success - The increasing global influence of Chinese culture has shifted foreign audiences' perceptions from cultural curiosity to active engagement with Chinese artistic works [4] - Innovative distribution channels and promotional strategies have created a multi-faceted coverage model, effectively reaching new markets in the Middle East and Latin America [4] - Adaptations to overseas market characteristics, such as the fast-paced storytelling in "Chang An Twelve Hours," have successfully bridged cultural gaps and enhanced international appeal [4] Group 5: Cultural Integration and Future Prospects - The "China Travel" trend has provided new opportunities for Chinese dramas, with "Cang Hai Chuan" encouraging tourism and cultural exploration [5] - Collaborations like the one between Singapore's tourism board and Yuewen Group highlight the potential of integrating drama content with tourism experiences [5] - The article calls for creators to maintain a focus on quality content and cultural confidence, aiming to transform stereotypes into a self-defined cultural identity [5]

Core Viewpoint - The ongoing dispute between the original author Zhu Yi, Jinjiang Literature City, and the production company Horgos Wajijiwa Entertainment regarding the adaptation rights for the web micro-drama "Secretly Hidden" highlights significant differences in the interpretation of contract terms related to copyright and adaptation rights [1][3][4]. Group 1: Contractual Dispute - Horgos Wajijiwa Entertainment claims that a contract signed in 2019 grants them exclusive rights to adapt "Secretly Hidden" into various formats, including web dramas, while Jinjiang Literature City asserts that the rights do not extend to micro-dramas [3][4]. - Jinjiang Literature City emphasizes that the term "web micro-drama" was not recognized at the time of the original contract and that a subsequent agreement in 2024 explicitly states that any discrepancies in project categories would be considered unauthorized use of rights [4][5]. - The production company has acknowledged the differences in understanding the contract terms and is seeking amicable negotiations to resolve the dispute [4][5]. Group 2: Legal and Industry Context - The emergence of "web micro-dramas" as a new genre since the original contract was signed in 2019 complicates the interpretation of the agreement, as this format was not prevalent at that time [5]. - Legal experts suggest that the resolution of this dispute should rely on the specific terms of the adaptation rights contract and any relevant evidence from past communications between the parties [5].

Core Viewpoint - The copyright dispute between Jinjiang Literature City and Wajijiwa over the micro-drama "Secretly Hidden" has intensified, focusing on the definition of "online drama" and the rights to adapt micro-dramas [1][2]. Group 1: Copyright Dispute - Jinjiang Literature City claims that the original author only granted Wajijiwa the rights to adapt the online drama, not the micro-drama [1]. - Wajijiwa argues that the original contract defines "online drama" to include works that are broadcast on video websites, thus justifying their adaptation of the work into a micro-drama [1][2]. - Jinjiang Literature City contends that the type and production of the drama exceed the rights granted in the original contract and supplementary agreements [1]. Group 2: Legal Perspectives - Legal expert Yi Xu states that the definition of micro-dramas has evolved, and they may not be equated with traditional online dramas as per the original contract [2]. - According to Chinese copyright law, adaptation rights require permission from the original copyright holder, and even if micro-dramas fall under the "online drama" category, secondary adaptations still need consent [2]. - The 2024 supplementary agreement explicitly prohibits adaptations into micro-dramas, making Wajijiwa's actions potentially a breach of contract [2]. Group 3: Industry Context - The National Radio and Television Administration officially recognized micro-dramas as a distinct category of online audiovisual works in December 2020, defining them as having a runtime of 10 minutes or less [3].