Core Viewpoint - The rise of short video platforms has enabled various fields, including meteorology, literature, and classical music, to cultivate internet influencers and generate significant traffic, with Shanghai emerging as a hub for quality content creation following the implementation of supportive policies [1][3]. Group 1: Event Overview - The "Reading New Shanghai" salon, held on August 15, was organized by the Shanghai Municipal Cyberspace Administration and featured discussions among internet influencers from cultural and artistic backgrounds [1][3]. - The event highlighted the importance of transforming professional cultural content into engaging formats that resonate with the audience, emphasizing the need for authenticity and relatability in content creation [3][8]. Group 2: Influencer Insights - Influencers like Song Yingjie and Zhu Tingting have successfully combined expertise with engaging presentation styles, attracting diverse audiences by making complex topics accessible and enjoyable [5][7]. - The concept of "living feeling" is crucial for internet influencers, as it reflects their genuine personalities and everyday experiences, which helps in building a connection with the audience [8][10]. Group 3: Cultural Impact - The salon served as a platform for sharing insights on the significance of literature and art in contemporary society, with discussions on how personal experiences and emotions can enhance storytelling and content creation [11][13]. - The event underscored the potential of internet influencers to foster a sense of community and support among their followers, emphasizing the intrinsic value of reading and cultural engagement beyond mere commercial success [7][23]. Group 4: Industry Trends - The rise of quality content in internet literature has been notable, with a shift towards realistic themes and relatable characters, reflecting broader societal changes and audience preferences [25]. - The collaboration between traditional media and internet platforms is seen as a way to reach younger audiences, with initiatives like "Youth Shanghai" successfully engaging millions through innovative content strategies [19][21].

Core Viewpoint - The article critiques the portrayal of female characters in the drama "The Age of Tempering," highlighting the tension between the concept of independence and the reality of emotional dependence within a patriarchal narrative structure [2][3][6]. Group 1: Female Characterization - The drama features female characters who are economically independent but emotionally dependent, leading to a critique of their supposed independence [3][5][6]. - The character 崔冰冰 exemplifies the struggle between career ambitions and emotional sacrifices, often compromising her own needs for the male protagonist [4][5][9]. - The portrayal of women as "tools" in the narrative serves to reinforce traditional gender roles, where their independence is superficial and ultimately serves male character development [7][8][10]. Group 2: Narrative Structure - The narrative structure of "The Age of Tempering" centers around male characters, with female roles primarily serving to support the male protagonist's journey [7][8][10]. - The article compares this with "female-centric" narratives, suggesting that while female characters in such stories may appear empowered, they often replicate male power dynamics [10][11]. - The lack of depth in female character arcs leads to a failure in portraying genuine independence, as their stories are often overshadowed by male narratives [15][16]. Group 3: Societal Reflection - The article reflects on societal expectations of women, where balancing career and family is seen as a measure of independence, yet this often masks deeper emotional struggles [5][14][16]. - The portrayal of women in the drama is criticized for being unrealistic and catering to male fantasies, rather than presenting authentic female experiences [14][16]. - The article calls for a shift in storytelling that allows for more nuanced and complete representations of female characters, emphasizing their individuality and emotional complexity [15][16].

Core Viewpoint - The gaming industry is experiencing a surge in new game releases during the summer of 2025, driven by the availability of university students and major events like ChinaJoy, which encourages companies to showcase their new titles [3][5]. Game Releases - In June, 20 new games were launched in China, with July seeing over 20 additional titles set to release, including Tencent's "Star Resonance" and NetEase's "Unowned Star Abyss" [4][6]. - Notable games include "Limitless Machine" by Xishanju and "Carbon Island" by Tencent, both released on July 2, marking the start of the summer gaming season [4]. Market Dynamics - The gaming stock market has shown volatility, with significant gains on July 8, as companies like Iceberg Network and Giant Network saw increases of over 10% and 5% respectively [3][8]. - The approval of 757 game licenses in the first half of the year, including a record 158 in June, indicates a stable trend in the gaming industry [8]. Nostalgia and Updates - Established games are also seeing updates and new versions, such as the nostalgic version of "Fantasy Westward Journey," which has attracted significant player interest, leading to server congestion [6][7]. - The strategy of updating older games helps maintain player engagement and ensures stable revenue for gaming companies [7]. Policy Support - Various local governments have introduced supportive policies for the gaming industry, focusing on promoting game exports and integrating AI technology [8]. - The trend of regular game license approvals is expected to continue, fostering a more robust gaming environment [8]. Industry Trends - The gaming industry is witnessing a diversification of genres, with companies exploring new gameplay mechanics and AI integration [9]. - The emergence of party games like "Goose Duck" is expected to intensify competition among major players like NetEase and Tencent [9].

Core Viewpoint - The article discusses the varying success rates of authors in adapting their works into films and series, highlighting the concept of "adaptation luck" in the Chinese entertainment industry, particularly in the context of web literature and its transition to screen adaptations [1][4][5]. Group 1: Adaptation Success Stories - The article emphasizes the rise of author Qianshan Chake, whose works have gained significant popularity through successful adaptations, particularly with the web series "Mo Yu Yun Jian" and "Yan Hui Shi," which have achieved high viewership and engagement [6][14][16]. - Qianshan Chake's notable works, such as "Rebirth of the Noble Girl" and "Rebirth of the General's Poisonous Wife," have accumulated millions of views, showcasing her strong presence in the web literature scene [9][10]. - The success of her adaptations is attributed to the compelling female characters and engaging narratives that resonate with contemporary audiences, aligning with current trends in the entertainment industry [18][19][20]. Group 2: Challenges in Adaptation - The article contrasts the success of Qianshan Chake with other authors like Wei Yu, whose adaptations have faced criticism and poor reception, indicating that not all popular web literature translates well to screen [27][30]. - The difficulties faced by authors like Wei Yu stem from the complexity of their narratives, which often do not adapt easily to the visual medium, leading to challenges in maintaining the original story's essence [28][29]. - The article suggests that adaptation success is not solely dependent on the original work's popularity but also on the adaptability of its content and the execution of the adaptation process [30][39]. Group 3: Future of Adaptation - The article posits that authors can enhance their "adaptation luck" by considering the potential for screen adaptation during the writing process, as seen with the author of "Da Feng Da Geng Ren," who tailored his narrative for better compatibility with film and television [31][34]. - It highlights the importance of collaboration between authors and web literature platforms to create works that are more likely to succeed in adaptations, indicating a shift in the industry's approach to content creation [36][37]. - The article concludes with a hopeful outlook for both successful and struggling authors, suggesting that the evolving landscape of the entertainment industry may provide new opportunities for adaptation success in the future [44].

Core Insights - The overall performance of the drama market in the first half of 2025 shows a decline compared to the previous year, with a notable drop in the number of high-performing series and overall viewership [1][3][5] - Despite the challenges, platforms and creators are actively seeking ways to adapt and innovate in content delivery and scheduling strategies [1][18][20] Market Performance - In the first half of 2025, 137 new domestic dramas were launched, an increase of 7 compared to the previous year, while the inventory of dramas decreased by 36 to 71 [3][18] - The effective viewership of top dramas has significantly decreased, with the leading series in 2025 achieving 18 billion fewer views than the top series in 2024 [3][5] - The only series to exceed an average of 50 million views per episode in the first half of 2025 was "漂白" with 54.9 million views, compared to three series achieving this in the same period last year [5][14] Audience Reception - Four domestic dramas scored above 8 points on Douban in the first half of 2025, with the highest being 8.3 for "无尽的尽头" and "异人之下之决战！碧游村" [6][8] - The number of high-scoring dramas has not significantly changed, but the highest ratings and number of ratings have decreased compared to the previous year [8][6] Platform Dynamics - The competitive landscape among major platforms has shifted, with Tencent Video's "大奉打更人" leading in total effective views, while iQIYI's "漂白" excelled in average views per episode [10][13][15] - The proportion of exclusive dramas has increased to 87% in the first half of 2025, up 11 percentage points from the previous year [18][20] Content Trends - Historical dramas continue to dominate the market, accounting for 70% of the top 10 dramas by viewership [22][24] - There is a notable trend towards shorter series, with an increase in the number of episodes ranging from 13 to 23, particularly in the suspense genre [27][24]

Group 1 - The core viewpoint emphasizes the importance of constructing a unique symbol system for Chinese civilization, which reflects the spiritual pursuit, values, and cultural characteristics of the Chinese nation, and suggests leveraging modern forms of literature and art, such as online literature and games, to inject new vitality into this system [1] - Online literature is identified as a vibrant and influential cultural form that reshapes the production and dissemination of literature, providing new possibilities for constructing the Chinese civilization symbol system [1][2] - The article highlights the significant role of fantasy and historical themes in online literature, which not only presents traditional cultural elements in innovative ways but also promotes traditional values of the Chinese nation [2][4] Group 2 - The participation in online literature creation involves millions, with tens of millions of works available, showcasing a wide range of themes including Chinese mythology, folklore, and historical events, thus enriching the narrative landscape [3] - Online literature effectively conveys traditional values through various genres, such as fantasy and historical novels, which resonate with readers and enhance their understanding and appreciation of Chinese history [4][5] - The interactive nature of online literature platforms allows readers to engage in cultural creation, transforming the construction of the Chinese civilization symbol system into an open and dynamic process [5][6] Group 3 - The international reach of online literature is expanding, with approximately 200 million active overseas users, predominantly from the "Z generation," indicating a growing global interest in Chinese culture [7][8] - Online literature serves as a cultural bridge, facilitating cross-cultural understanding and exchange, while also incorporating elements from other cultures, thus promoting global cultural diversity [8][9] - The popularity of Chinese online literature has led to increased interest in Chinese traditional culture among foreign readers, resulting in a significant number of foreign participants in online literature creation [9]

Core Viewpoint - The article discusses the evolving landscape of the ancient costume drama (古偶) industry, highlighting the rise of new directors and the challenges faced by established ones, particularly focusing on the works of director Deng Ke and the reception of his recent projects [1][4][17]. Group 1: Director Performance and Reception - Director Deng Ke, despite having popular dramas like "折腰" and "大奉打更人," has faced criticism for his approach, particularly for turning "折腰" into a "male-oriented comedy," leading to negative feedback from fans [1][4][17]. - Other established directors such as Zhu Ruibin, Guo Hu, and Xie Ze also struggle with their reputations, often receiving backlash from audiences for their work [4][19]. - New directors like Zhao Yilong, Zeng Qingjie, and Yang Long have revitalized the ancient costume genre, receiving positive reviews for their innovative storytelling and visual aesthetics [4][7][14]. Group 2: Upcoming Works and Ratings - A list of upcoming works by various directors includes titles like "无忧渡" by Lin Yufen, which has a rating of 7.4, and "九重紫" by Zeng Qingjie, rated at 7.8 [5][6]. - Deng Ke's "折腰" currently has no rating available, while "大奉打更人" received a lower rating of 5.6, indicating a decline in audience reception [6][17]. - The article notes that the new generation of directors is successfully capturing audience interest, with shows like "雁回时" and "九重紫" standing out for their unique narratives and visual storytelling [7][10][12]. Group 3: Industry Trends and Audience Engagement - The ancient costume drama industry is experiencing a shift, with platforms investing in both established and new directors, reflecting a growing interest in quality storytelling over mere star power [20][30]. - Platforms like Tencent Video and Mango TV are strategically backing directors who have proven their capabilities, indicating a trend towards nurturing talent within the industry [21][23]. - The article emphasizes that the success of ancient costume dramas relies on a collective effort from all production aspects, suggesting that merely changing directors will not suffice to elevate the genre's overall quality [31].

Group 1 - The drama "折腰" (Bend the Waist) achieved significant popularity upon its release, with a heat value exceeding 26,000 within the first night and over 10 million interactions on various platforms within a day [1][3][4] - The production cost of "折腰" was 260 million, and it was initially shelved due to tax issues involving lead actress Song Zuer [3][4] - The success of "折腰" is attributed to its engaging storyline and the current market's struggles with long dramas, which have seen a decline in viewership and quality [4][5][6] Group 2 - The drama incorporates popular elements such as family feuds and romantic entanglements, appealing to the audience's preferences for complex narratives [6][7] - The show has received mixed reviews, with some praising its entertainment value while others criticize its handling of serious themes [8] - Advertisers have shown confidence in the series, with multiple brands investing in ad placements during the first few episodes [8][10] Group 3 - The rise of short dramas has created additional challenges for long dramas, leading to a more competitive and uncertain market environment [5][15] - The market has seen a trend of "积压剧" (shelved dramas) gaining unexpected popularity, indicating a shift in audience preferences towards quality content over quantity [12][13][20] - The overall landscape of the drama market is evolving, with a focus on high-quality, concept-driven productions that resonate with viewers [20]

Core Viewpoint - The article discusses the disconnect between promotional activities for films and their actual content, highlighting the ineffectiveness of current marketing strategies that prioritize entertainment over meaningful engagement with the audience [6][20][39]. Group 1: Promotional Activities - The promotional event for the new drama "In the Name of Beauty" featured actors Yao Chen and Jia Jingwen performing a dance unrelated to the show's theme, raising questions about the effectiveness of such marketing strategies [1][6]. - The awkwardness of the performance contrasted sharply with the characters they portray, leading to mixed reactions from the audience, with some finding it amusing while others felt it was forced [2][6]. - This incident is not isolated, as actors have previously expressed discomfort with being required to engage in similar promotional antics that detract from genuine audience interaction [3][4]. Group 2: Marketing Trends - The article identifies a trend where promotional events have devolved into superficial entertainment rather than substantive discussions about the film's content, resulting in a lack of meaningful audience engagement [9][20]. - Various types of promotional chaos are categorized, including forced performances, influencer interactions, and fan meet-and-greets, which often bear little relevance to the films being promoted [10][15][18]. - The commercialization of promotional events has led to a focus on generating viral content for social media rather than fostering authentic conversations about the films [32][33]. Group 3: Audience Engagement - The decline in valuable exchanges during promotional events has been noted, with audiences increasingly disengaged from the content and more focused on entertainment gimmicks [8][21]. - The article emphasizes the importance of returning to meaningful discussions about film content to rekindle audience interest and drive ticket sales [39][40]. - Successful films in recent years have managed to connect their content with broader social issues, demonstrating that engaging narratives can still attract audiences despite the current marketing chaos [34][38].