今日，某博主在社交媒体及公共平台上散布涉及我司艺人情感生活的不实言论，相关内容均属凭空捏 造，已严重侵害艺人名誉权，造成极大困扰及社会误导。 为维护艺人合法权益，以正视听，我司现郑重声明如下： 一、 该博主"爆料"涉及我司艺人的言论均属谣言。我们呼吁广大公众、媒体及相关平台切勿轻信、传 播不实内容，共同抵制谣言扩散。二、我方已委托律师对相关侵权信息进行证据固定，并将采取法律手 段严肃追责。特别提示，任何通过主观臆断等方式参与捏造、传播及扩散谣言的行为，均需承担相应的 法律责任。 转自：扬子晚报 1月3日早晨，男星王安宇工作室发文否认与关晓彤恋情，全文如下： 2日深夜，司晓迪爆料疑似与众多男艺人恋爱，包括鹿晗、林更新、檀健次、黄明昊、周奇等人，引发 巨大热议。她还在粉丝群爆料王安宇与关晓彤正在恋爱中。 公开资料显示，关晓彤出生于1997年9月17日，毕业于北京电影学院，是中国内地女演员、歌手。鹿晗 与关晓彤于2017年10月8日公开恋情，至今已近八年。此前，关晓彤多次在鹿晗生日当天送上祝福文。 2025年9月17日，鹿晗没有在0点祝关晓彤生日快乐。鹿晗35岁生日当天，关晓彤也首次未公开祝福，打 破连续7年卡点庆 ...

此外，五洲传播中心与马来西亚芒果传媒、杰骅影业等机构分别签署《中马主题微短剧共创计划》《中 马影视文化交流合作协议》，发布中马主题轻综艺节目《声声乐尔》。 本次活动由中国国务院新闻办公室、中国国家广播电视总局和马来西亚通讯部共同指导，五洲传播中 心、马来西亚Astro媒体集团和马来西亚芒果传媒联合主办。 据介绍，在国务院新闻办公室和国家广播电视总局支持指导下，《熊猫剧场》（《熊猫时间》）于2021 年正式播出，与俄罗斯、法国、南非、印度以及中亚等全球20多个国家和地区的本土主流媒体合作，累 计覆盖超过1.3亿海外受众。 《熊猫剧场》马来西亚开播暨中国主题节目展播季启动仪式12月6日在马来西亚举行，来自中马两国政 府部门、文化机构与影视艺术产业等百余名代表出席。 马来西亚通讯部副部长张念群在致辞时表示，《熊猫剧场》为马来西亚观众观看中国节目、了解中华文 化提供更多选择。希望今后有更多精品节目，进一步拓宽合作领域，以光影视听传递文化温度，携手书 写新的友谊篇章。 中国驻马来西亚公使郑学方表示，作为中方精心打造的品牌影视合作项目，《熊猫剧场》紧随大熊 猫"辰星""晓月"在马来西亚落地，这既是一份奇妙巧合，更是一个以 ...

人民网曼谷12月6日电 （记者章念生、张矜若）吉隆坡消息：12月6日，《熊猫剧场》马来西亚开播暨中国主题节目展播季启动 仪式在吉隆坡举行，马来西亚本土主流媒体、影视产业、文化艺术等各界人士及青少年代表100余人参加。 追光者（马来语）。主办方供图 活动现场，与会嘉宾共同启动中国主题节目展播季。本次展播季是首次以马来语译配节目为主的中国内容展播活动，将通过 Astro集团旗下马来语电视频道持续播出至2026年中国春节期间，计划展播电视剧《国色芳华》《小巷人家》、纪录片《与古为友》 《记住乡愁》、动画片《萌宝战警》等超过100小时的中国主题影视节目，为本地受众带来文化视听盛宴。 《山海情》海报（马来语）。主办方供图 同时，五洲传播中心与马来西亚芒果传媒、杰骅影业等机构分别签署了《中马主题微短剧共创计划》《中马影视文化交流合作 协议》，推动中马主题微短剧创作、影视基地合作等产业交流；发布中马主题轻综艺节目《声声乐尔》。 本次活动是由中国国务院新闻办公室、中国国家广播电视总局和马来西亚通讯部共同指导，五洲传播中心、马来西亚Astro媒体 集团和马来西亚芒果传媒联合主办。 马来西亚通讯部副部长张念群在致辞时表示，马来西 ...

新华社吉隆坡12月6日电 《熊猫剧场》马来西亚开播暨中国主题节目展播季启动仪式6日在马来西亚举 行，来自中马两国政府部门、文化机构与影视艺术产业等百余名代表出席。 马来西亚通讯部副部长张念群在致辞时表示，《熊猫剧场》为马来西亚观众观看中国节目、了解中华文 化提供更多选择。希望今后有更多精品节目，进一步拓宽合作领域，以光影视听传递文化温度，携手书 写新的友谊篇章。 本次活动由中国国务院新闻办公室、中国国家广播电视总局和马来西亚通讯部共同指导，五洲传播中 心、马来西亚Astro媒体集团和马来西亚芒果传媒联合主办。 据介绍，在国务院新闻办公室和国家广播电视总局支持指导下，《熊猫剧场》（《熊猫时间》）于2021 年正式播出，与俄罗斯、法国、南非、印度以及中亚等全球20多个国家和地区的本土主流媒体合作，累 计覆盖超过1.3亿海外受众。（记者王嘉伟 程一恒） 中国驻马来西亚公使郑学方表示，作为中方精心打造的品牌影视合作项目，《熊猫剧场》紧随大熊 猫"辰星""晓月"在马来西亚落地，这既是一份奇妙巧合，更是一个以影视作品促进两国人民相知相亲的 良好契机。 活动现场，与会嘉宾共同启动中国主题节目展播季。本次展播季是首次以马来语 ...

Core Viewpoint - The articles emphasize the importance of consolidating a unified ideological foundation for the Chinese nation, driven by Xi Jinping's cultural thought, to support national rejuvenation and development [1][11]. Group 1: Ideological Foundation - The "Regulations on Ideological and Political Work of the Communist Party of China" was issued, marking a significant step in establishing a comprehensive framework for ideological work [2]. - The guiding ideology for ideological work emphasizes the need to uphold Marxism's leading position in the ideological domain and to strengthen the common ideological foundation for unity among the people [2][3]. Group 2: Marxism and Ideological Leadership - Marxism is identified as the fundamental guiding ideology for the Party and the nation, serving as the banner and soul of socialist ideology [3]. - The central leadership under Xi Jinping has established a system to maintain Marxism's guiding position in the ideological field, ensuring the Party's leadership over ideological work [3][5]. Group 3: Core Socialist Values - The core socialist values are recognized as the most enduring and profound force within the ideological framework, requiring collective recognition across society [6][7]. - Recent initiatives have been launched to promote and practice these core values, emphasizing their integration into daily life and cultural products [7][8]. Group 4: Cultural Development and Digital Integration - The rapid development of digitalization and intelligence necessitates enhancing governance capabilities in the cultural sector [9][10]. - The integration of culture and technology is highlighted as a strategic priority, with efforts to promote high-quality cultural development through digital means [10]. Group 5: Youth Engagement and Network Culture - Youth representatives have called for a collective effort to build a positive online cultural environment, reflecting the growing significance of the internet in cultural construction [10]. - The government has initiated various campaigns to foster a healthy online culture and address issues within the digital space [10].

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].

Group 1 - The article discusses the concept of "economic upward beauty," reflecting on nostalgia for early 2000s aesthetics and cultural elements, such as fashion and music, which symbolize a confident and optimistic economic period [1][2][3] - The rise of rapper Lan Lao, who surpassed Jay Chou in monthly listeners on Spotify, is seen as a representation of "economic downward beauty," contrasting the past's confidence with a current aesthetic that reflects economic challenges [1][8] - The discussion includes how economic cycles influence perceptions of beauty and aesthetics, questioning whether nostalgia for the past is genuine or merely a filtered memory [1][12] Group 2 - The conversation highlights the duality of beauty in economic contexts, with "economic upward beauty" associated with modernity and optimism, while "economic downward beauty" reflects a return to local roots and cultural identity [12][13] - The participants express that nostalgia is not just about longing for the past but also about reconnecting with one's identity and cultural heritage in the face of economic uncertainty [12][13] - The article suggests that the current cultural landscape is marked by a blend of nostalgia and innovation, where past aesthetics are reinterpreted to address contemporary emotional needs [17][18]

Group 1 - The core viewpoint of the articles highlights the significance of authenticity and emotional resonance in television dramas, as evidenced by the success of the award-winning series at the Shanghai Television Festival [1][2][3] - The 30th Shanghai Television Festival awarded notable works such as "My Alatai" and "Mountain Flowers Blooming" for their realistic portrayal of contemporary issues and historical narratives, reflecting a shift towards more meaningful storytelling [2][3] - The evaluation of the award-winning works emphasizes the importance of connecting with audience needs and societal realities, showcasing a trend towards realism in contemporary television [3][4] Group 2 - The competition for awards was intense, with several series receiving multiple nominations, indicating a vibrant and evolving television industry [2][4] - The judges and industry experts stress that regardless of the format, whether long or short dramas, the essence of good storytelling and meaningful themes remains paramount [4][5] - The ongoing evolution of television formats, including the rise of short dramas, is seen as complementary rather than a replacement for traditional long-form storytelling, with both having distinct roles in the industry [4][5]

Group 1 - The 30th Shanghai Television Festival awarded "My Altay" as the Best Chinese TV Drama, highlighting its rich regional flavor and realistic portrayal of humanity and nature [1] - The jury praised "My Altay" for its innovative short series format, indicating a positive reception towards long video content innovation [1] - Director Teng Congcong expressed her excitement, noting that this is her second work in 20 years, emphasizing the importance of life experiences in creative processes [1] Group 2 - Song Jia won the Best Actress award for her role in "Mountain Flowers Blooming," which is based on the life of Zhang Guimei, a notable figure in education for impoverished girls [3][5] - The jury recognized Song Jia's performance as vivid and nuanced, effectively portraying the character's love and strength [3] - In her acceptance speech, Song Jia emphasized the significance of faith and the power of artistic expression in connecting with audiences [5] Group 3 - Jin Dong received the Best Actor award for "Northwest Years," with the jury commending his authentic portrayal of revolutionary figures [7] - The series depicts the vast revolutionary history of the Northwest region, successfully humanizing prominent revolutionary leaders [7] - Jin Dong reflected on his 30-year career in the industry, expressing gratitude for the recognition and encouragement to continue his work [7] Group 4 - Other notable awards included Best Supporting Actress for Jiang Xin in "Little Alley Family" and Best Supporting Actor for Jiang Qiming in "Edge Water Stories" [7] - The Best Director award went to Fei Zhenxiang for "Mountain Flowers Blooming," showcasing the talent within the industry [7] - The festival also recognized various categories, including Best Original Screenplay and Best Adapted Screenplay, highlighting the diversity of storytelling in Chinese television [8] Group 5 - The festival featured a special segment celebrating the 30-year journey of the White Magnolia Award, with notable figures reflecting on their experiences [9] - The event underscored the importance of the White Magnolia Award in promoting professional recognition within the television industry [9] - The festival has evolved into a significant platform for dialogue between the Chinese television industry and global counterparts [8][9]

Core Viewpoint - The 30th Shanghai Television Festival "White Magnolia Awards" took place on June 27, recognizing outstanding achievements in television with various awards presented to notable works and individuals in the industry [1]. Group 1: Award Winners - Best Chinese TV Drama: "My Alashan" [9] - Best Actor: Jing Dong for "Northwest Years" [9] - Best Actress: Song Jia for "Blooming Mountain Flowers" [9] - Best Director: Fei Zhenxiang for "Blooming Mountain Flowers" [9] - Best Supporting Actor: Jiang Qiming for "Edge Water Stories" [9] - Best Supporting Actress: Jiang Xin for "Little Alley Family" [9] - Best Original Screenplay: Xu Meng for "I Am a Criminal" [9] - Best Adapted Screenplay: Li Xiao and Wang Si for "The Story of Roses" [9] - Best Cinematography: Liu Yizeng for "My Alashan" [9] - Best Art Direction: Shao Changyong, Zhu Hanbing, Zhang Chen for "The Color of the Nation" [10] - Best Overseas Drama (Long): "Operation Blade" [10] - Best Overseas Drama (Short): "Enjoy to the Full" [10] - Special Committee Award: "City in the City" and "Macau's Future Celebration - 25th Anniversary of Macau's Return to the Motherland" [10] - Best TV Variety Program: "Exploring Chinese Classics" and "Wonderful Night" [10] - Best Documentary: "Adversity Forward" (Belgium) [10] - Best Series Documentary: "It's Bad Emotion, It's Okay" (China) [10] - Best Animated Series: "League of Legends: Arcane Season 2" [10] - Best Animated Script: "Summer of Freedom" [10] - Overseas Promotion Ambassadors: Yang Zi and Zhang Ruoyun [10] - International Communication Award: "Zhao Lin's Adventure Diary," "Forever Walking: Meeting China," "My Alashan," "Singer 2024" [10]