转自：扬子晚报 在女性题材扎堆的影视市场里，李匆匆这个角色算不上"惊艳"，却足够真实。在董璇眼中，李匆匆是个 能力出众的女性，更是无数在家庭与职场间奔波的普通人的缩影。工作上，她雷厉风行、胆大心细，从 不把麻烦留到第二天；生活里，她是丈夫的"最佳搭档"，也是孩子的"全能妈妈"，把柴米油盐的琐碎打 理得井井有条。她不是不食人间烟火的"女强人"，而是会被生活难题绊住脚，却始终咬着牙往前冲的坚 韧女性，这份接地气的特质，正是她最打动人的地方。 比起董璇以往塑造的都市角色，比如《奋斗》里带着青涩冲劲的夏琳，李匆匆多了一份历经生活沉淀的 从容。董璇坦言，李匆匆身上最难得的，是"允许一切发生"的心态。不管是生活里的突发变故，还是职 场上的明争暗斗，她都不会乱了阵脚，而是稳稳扛起自己的责任，活成了自己的靠山。这种成熟与笃 定，让李匆匆这个角色跳出了刻板印象，变得有血有肉。 谈及《不期而遇的生活》的看点，董璇直言这部剧胜在"够真实"。当下的都市题材剧不少，但这部作品 没有狗血的桥段，只聚焦中年人最真切的压力：孩子的教育、房子的贷款、职场的竞争，每一个话题都 能戳中观众的痛点。正是这种扎根现实的创作，让故事有了直抵人心的力量。 ...

Core Viewpoint - The article discusses the evolution of the "evil woman" trope in Korean dramas, highlighting how these characters have become central to narratives, reflecting societal issues and audience desires for complex female protagonists [4][8][49]. Group 1: Evolution of "Evil Women" in Korean Dramas - The character Bai Yazhen from the drama "Dear X" represents a new generation of "evil women," using manipulation and revenge against those who wronged her [3][11]. - Recent Korean dramas like "The Penthouse," "Eve," and "Dark Glory" have established the "evil woman" as a crucial character type, often divided into two categories: pure evil women from affluent backgrounds and those who seek revenge after being bullied [4][6]. - The portrayal of "evil women" in Korean dramas often transcends gender stereotypes, allowing for a more neutral representation of their actions and motivations [7][8]. Group 2: Comparison with Chinese Dramas - In contrast, Chinese dramas tend to depict "evil women" in a more stereotypical and gentle manner, often focusing on romantic entanglements rather than complex revenge plots [6][34]. - The "evil women" in Chinese dramas are often secondary characters, lacking the depth and agency seen in their Korean counterparts, who are frequently the main protagonists [43][57]. - Recent Chinese characters, like Xu Yan in "Let Me Shine," are portrayed as ambitious but ultimately revert to traditional narratives of love and redemption, lacking the proactive nature of Korean "evil women" [35][37]. Group 3: Audience Reception and Societal Reflection - The rise of "evil women" reflects a broader audience desire for narratives that challenge traditional female roles, allowing women to be ambitious and morally complex [44][49]. - The "evil women" trope serves as a vehicle for viewers to explore themes of power, revenge, and societal injustice, resonating with audiences who may feel powerless in their own lives [56][57]. - The article suggests that the acceptance of "evil women" in narratives indicates a shift in societal views on female ambition and morality, pushing against the constraints of traditional gender roles [48][50].

Core Viewpoint - The recent batch of male protagonists in female-oriented dramas is considered a "failed experiment" as they have not gained significant market share, with the leading show "Tian Di Jian Xin" only achieving a market share of 11.4% [1][29]. Group 1: Market Performance - The three male protagonist dramas, "Tian Di Jian Xin," "An He Chuan," and "Shui Long Yin," have market shares of 11.4%, 11%, and 8.3% respectively, indicating a lack of growth in audience engagement [1][29]. - The genre of female-oriented male protagonists has not penetrated the larger historical romance audience, leading to their classification as ineffective innovations [4]. Group 2: Character and Narrative Structure - The male protagonists are designed to appeal to female audiences, featuring traits such as "beauty, strength, and tragedy," which align with female preferences [5][14]. - The narrative structure borrows from male-oriented storytelling, focusing on adventure and career rather than romance, creating a hybrid genre that straddles both male and female narratives [3][14]. Group 3: Production and Aesthetic Choices - The current batch of male protagonists exhibits an overemphasis on visual aesthetics, with elaborate makeup and costumes that detract from the narrative [5][8]. - The character relationships often follow a template where emotional tension is primarily assigned to supporting characters, resulting in a diluted romantic subplot [10][19]. Group 4: Industry Trends and Economic Viability - The rise of female-oriented male protagonists is seen as a market-driven choice due to the high costs and risks associated with producing dual-strong narratives [20][23]. - The success of "Lian Hua Lou" in 2023 has prompted a surge in similar productions, although the market has not yet fully capitalized on this trend [22][29]. Group 5: Audience Reception and Future Outlook - The current male protagonist dramas have primarily resonated with their fan bases, but broader audience engagement remains limited, as evidenced by their modest market shares [28][29]. - The gendered categorization of dramas continues to shape production and marketing strategies, but the recent attempts at female-oriented male protagonists may be facing challenges in gaining wider acceptance [29].

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].

Core Insights - The Chinese online literature market is experiencing accelerated growth, with a projected revenue of 49.55 billion yuan in 2024, marking a year-on-year increase of 29.37% and achieving accelerated growth for three consecutive years [1] - The number of adaptations of online literature IP reached 83,250 last year, reflecting a year-on-year growth of 14.55% [1] - The online literature IP adaptation market is transitioning from explosive growth to a more rational development phase [1][4] Group 1: Market Dynamics - The online literature IP adaptation market is expected to reach 298.56 billion yuan by the end of 2024, representing a year-on-year growth of 14.61%, which is six times the size of the online literature market itself [7] - The rise of micro-dramas has significantly increased the demand for adaptations, with over 1,600 new micro-drama adaptation licenses granted last year, a year-on-year increase of 81% [15] - The number of online literature authors has surpassed 30 million, with a total of 4,165.1 million works, indicating a rich and diverse content ecosystem [15] Group 2: IP Development Strategies - The trend of "one fish, multiple eats" is prevalent, with IP being developed across literature, film, comics, and games, leading to greater commercial potential [7] - Major platforms are increasingly focusing on high-quality IP acquisition and storage, with platforms like Youku, iQIYI, and Tencent Video prioritizing top-tier adaptations [9] - The adaptation landscape is diversifying, with platforms exploring less conventional genres such as sci-fi and non-romantic narratives, indicating a shift in content preferences [9] Group 3: Platform Strategies - The online literature platforms are evolving into differentiated entities, with over 200 platforms in total, where the top 20 account for 90% of the market share [16] - Platforms like Tomato Novel and Seven Cats are focusing on short drama adaptations, with Tomato Novel's adaptation "I Help the Mute CEO with Therapy" achieving over 3 billion views [16] - The integration of various content forms, including short dramas and interactive media, is becoming a standard practice among platforms [12][18] Group 4: International Expansion - The overseas online literature market reached 5.07 billion yuan last year, with 460,000 overseas authors and over 352 million users globally [23] - Platforms are not only cultivating overseas user habits but also selling domestic IP rights to foreign platforms, indicating a growing trend of international collaboration [23] - The emergence of new platforms and authors is reshaping the competitive landscape, with platforms like Xiaohongshu and LOFTER gaining traction [27]

Core Insights - The article highlights the growing international appeal of Chinese cultural products, with significant successes in various media formats and a supportive policy environment for cultural exports [1][3]. Group 1: Cultural Export Trends - The recent release of the "2025-2026 National Cultural Export Key Enterprises Directory" includes over 400 companies and more than 120 projects, indicating a structured approach to promoting cultural exports [1]. - The types of cultural products being exported have diversified, moving from traditional forms to digital formats such as web novels, web series, and online games [1][2]. Group 2: Digital Cultural Trade Advantages - Digital cultural products have low marginal costs, strong replicability, and sustainable content updates, making them well-suited for cross-border dissemination [2]. - The collaboration between domestic and international digital platforms is evolving, exemplified by the successful overseas release of Chinese web series like "White Night Chase" on Netflix [2]. Group 3: Investment Opportunities - The cultural export sector is still in its early stages, with strong policy support and less susceptibility to external disruptions, making it an attractive area for investment, particularly in the gaming and media sectors [3]. - The increasing user base and higher average income in overseas markets suggest that cultural exports could achieve higher valuation levels [3]. Group 4: Localization and Global Narrative - The localization of cultural products involves three stages: translation, building localized narratives, and creating IP derivatives and local communities [3]. - Successful examples like LABUBU demonstrate the potential for cultural products to resonate emotionally with global audiences, enhancing their marketability [3]. Group 5: Technological Integration and Marketing - Companies like BlueFocus have leveraged AI technology to enhance their overseas marketing efforts, with revenue from international operations projected to exceed 48 billion by 2024 [4]. - The establishment of a standardized terminology database for game localization has improved translation quality and consistency, facilitating the entry of Chinese games into international markets [4]. Group 6: Government Support and Industry Development - Local governments are increasingly recognizing the importance of cultural industries, with initiatives to support game exports and enhance international communication [5]. - The development of public service platforms and policies to support small and medium-sized enterprises in their international endeavors is still needed to strengthen the cultural export ecosystem [5][6].

Group 1 - The article discusses the evolution of Yu Zheng's creative style in the Chinese entertainment industry, highlighting three distinct creative phases since 2010 [1][2][3] - The first phase, characterized by the "A Bao Color Stage," produced hits like "Palace Lock Heart Jade" and "The Legend of Lu Zhen," but faced criticism for repetitive storytelling and declining reputation [1][2] - The second phase, known as the "Morandi Period," saw a resurgence with "Story of Yanxi Palace," but subsequent works like "The Legend of Haolan" and "The Story of Minglan" failed to maintain the same level of acclaim [1][2] Group 2 - The current phase, referred to as "Long Drama Short Drama Transformation," is marked by a shift in narrative style, with a focus on emotional engagement and suspense [2][3] - The article critiques the narrative structure of the latest series "Linjiang Xian," describing it as convoluted and overly reliant on plot twists, which detracts from viewer immersion [11][12] - The series attempts to blend various genres and themes, resulting in a chaotic storytelling approach that lacks a central focus, making it difficult for audiences to connect with the characters and plot [7][10][14]

Core Viewpoint - Youku has launched a new brand "Youku Original" focusing on strong narratives, serialization, and an international perspective to pursue "good stories" [1][2][4] Group 1: Brand Strategy - The launch of "Youku Original" represents a deeper commitment to content quality and is part of Youku's exploration of premium content creation [1][2] - Youku aims to meet audience aesthetic demands by producing high-quality works such as "Mo Yu Yun Jian," "Bian Shui Wang Shi," and "Nan Hong" [2][4] Group 2: Creative Logic - The underlying creative logic for "good stories" includes strong narratives, serialization, and an international perspective [4] - Strong narratives reflect high aesthetic standards and a pressing demand from audiences for compelling storytelling [4] - Serialization is based on audience feedback, aiming to create an efficient standardized production system for series [4] Group 3: International Perspective - The international perspective emphasizes creating stories that can attract global audiences and meet international content quality standards [4] - Good content transcends borders, and "good stories" can resonate across languages and cultures [4] Group 4: Content Production and Technology - Solid content production capabilities and technological advancements are core to supporting "Youku Original" [4] - The company has attracted top creative talents and established initiatives to nurture directors, screenwriters, and actors [4] - Youku utilizes advanced technologies like virtual filming and specialized production vehicles to enhance creative boundaries [4] Group 5: Audience Engagement - Respecting the audience is a perpetual pursuit, and understanding content creation rules is essential for exploring more possibilities in domestic dramas [5] - Youku has upgraded its user experience with features like thematic recommendations, focused content display, and enhanced visual quality [6]

Group 1 - The core viewpoint of the report indicates that the market size of China's online literature IP adaptation is expected to reach 298.56 billion yuan in 2024, representing a year-on-year growth of 14.61% [1][3] - The reading market size for online literature in China is projected to reach 43.06 billion yuan by the end of 2024, with a year-on-year increase of 6.8% [3] - The number of online literature authors has surpassed 30 million for the first time, reaching 31.198 million, while the total number of online literary works has reached 41.651 million [3] Group 2 - The report highlights that the adaptation of online literature IP has led to significant viewership, with titles like "Qing Yu Nian Season 2" and "Yu Feng Xing" ranking among the top three in annual viewership [5] - The "Guzi economy" is identified as a key driver for the rapid development of online literature and its downstream industries, including animation and gaming [5] - AI translation technology is facilitating the overseas expansion of online literature, with over 3,200 new AI-translated works added in 2024, accounting for nearly half of the total Chinese translated works [5] Group 3 - The overseas market for online literature is projected to exceed 5 billion yuan in 2024, with 460,000 overseas online writers and over 350 million overseas users [7] - Japan has shown a remarkable growth rate of 180%, becoming the fastest-growing emerging market for online literature users [7] - The report notes that the translation of Chinese online literature into Spanish has increased by 227%, with significant breakthroughs in German, French, and Portuguese translations as well [5][7]

Group 1 - The article discusses the trend of "multiple adaptations" in short dramas, highlighting how the same IP can have several live-action versions in a short period, indicating the popularity of certain themes and character archetypes [1][2][3] - A notable evolution in male lead characters is observed, shifting from traditional domineering roles to more submissive and supportive ones, reflecting changing audience preferences [2][5][7] - The article identifies specific dramas that exemplify this trend, such as "Overly Wild" and "Drunken Kiss Night," which feature male leads who are more proactive and emotionally complex [3][4][5] Group 2 - The concept of "male leads being submissive for love" is explored, with examples of characters who are willing to lower their status and cater to female leads, indicating a shift in narrative dynamics [8][9][10] - The rise of "uncle literature" is noted, where younger male characters are portrayed as more stable and capable, providing a contrast to traditional older male leads [12][13][22] - The article emphasizes the appeal of "uncle literature" in creating a sense of safety and relatability for female audiences, as these characters often possess power and resources while being more approachable [24][25][26] Group 3 - The article highlights the increasing complexity of female characters in short dramas, with a focus on their ambitions and desires, moving beyond traditional romantic narratives [32][34][36] - The emergence of successful non-CP female lead dramas, such as "Cloud Miao," showcases a shift towards narratives that empower women without relying on male characters [43][44] - Overall, the article suggests that the short drama industry is evolving to cater to female audiences by blending traditional and progressive themes, creating a diverse range of narratives [46]