Core Viewpoint - The article critiques the recent trend in ancient costume dramas, particularly highlighting "Into the Cloud," which has been labeled as "baby xianxia" due to its simplistic and juvenile storytelling, diverging from the traditional depth of the genre [1][10][28] Group 1: Quality of Content - "Into the Cloud" has been criticized for lacking emotional depth and quality, with viewers describing it as feeling empty despite good visuals and attractive leads [1][3][6] - The narrative structure of "Into the Cloud" is overly simplistic, with character abilities being ignored and plot developments lacking tension [6][10][21] - The trend of "low-age" content is not isolated to one show but reflects a broader issue in the ancient costume drama market, where many productions have simplified their storytelling to appeal to younger audiences [2][10][16] Group 2: Audience Expectations - There is a growing disconnect between the content being produced and the expectations of the audience, who are seeking more substantial narratives rather than superficial romantic plots [19][22][27] - Data indicates that while the number of ancient costume dramas has increased, only a few have achieved significant popularity, suggesting that the issue lies in content quality rather than audience preferences [19][22] Group 3: Industry Trends - The industry is criticized for its reliance on safe formulas, leading to a proliferation of similar, low-quality productions that prioritize romance over complex storytelling [21][22] - There is a call for creators to move beyond the "sweet romance" formula and to explore deeper themes such as power dynamics, personal growth, and societal issues, which could revitalize the genre [21][27][28] - Successful examples like "Folded Waist" demonstrate that mature storytelling can still attract audiences, indicating a potential market for high-quality ancient costume dramas [23][26][27]

Core Insights - The current state of Chinese drama creation is caught between the "loving female" and "abusive female" narratives, leading to a lack of engaging content [1][3] - The success of the drama "灼灼韶华" highlights a return to melodramatic storytelling, contrasting with the more nuanced narratives that audiences desire [3][4] - The rise of "loving female" narratives in internet literature reflects a shift in creative standards, but often results in superficial storytelling that fails to resonate deeply with viewers [4][8] Group 1: Trends in Chinese Drama - The "loving female" narrative has become a standard in recent productions, but often lacks the complexity and conflict that audiences seek [4][5] - The success of "灼灼韶华" indicates a nostalgic return to traditional melodrama, which may not be a sustainable model for future productions [3][4] - The dichotomy between "loving female" and "abusive female" narratives has led to confusion and inconsistency in audience expectations and content creation [5][6] Group 2: Internet Literature Influence - Internet literature has given rise to a new standard of "loving female" narratives, with notable works that explore female empowerment and complex character development [8][10] - Short-form literature platforms have become effective venues for expressing "loving female" themes, often prioritizing emotional impact over narrative depth [10][13] - The popularity of "loving female" narratives in internet literature contrasts with the challenges faced in adapting these themes into television dramas, leading to a disconnect between audience expectations and actual content [13][14] Group 3: Historical Context and Evolution - Historical figures like 琼瑶 have set precedents for "loving female" narratives that respect and portray female complexity, contrasting with contemporary trends that often simplify characters [15][16] - The evolution of "loving female" narratives reflects broader societal changes and the increasing visibility of female voices in storytelling [19] - The call for more nuanced and respectful portrayals of female characters indicates a growing audience demand for depth and authenticity in storytelling [19]

Core Viewpoint - The controversy surrounding the drama "赴山海" (Journey to the Sea) is primarily due to the incorporation of "light comedy" elements, which are seen as incompatible with the original narrative style, leading to a negative overall viewing experience [2][3][5]. Group 1: Impact of Light Comedy - The introduction of light comedy in "赴山海" has been criticized for disrupting the original narrative rhythm and style, which is rooted in themes of chivalry and national duty during the Southern Song Dynasty [3][4]. - The light comedic elements have not enhanced the drama but rather diluted its martial arts essence, resulting in viewer backlash against the creative team's approach [5][6]. - The trend of light comedy in historical dramas has been prevalent since the success of "庆余年" (Joy of Life), which effectively blended modern humor with a historical setting [7][8]. Group 2: Market Trends and Audience Demand - The success of "庆余年" sparked a wave of light comedy adaptations in the drama market, with subsequent series like "赘婿" (The Son-in-Law) continuing this trend [9][10]. - Light comedy has become a ubiquitous element in various genres, appealing to a broad audience due to its accessibility and ability to provide entertainment amidst real-life pressures [12]. - However, the indiscriminate application of light comedy across all genres has raised concerns about its suitability and effectiveness, as not all narratives can accommodate such elements without losing their core essence [14][20]. Group 3: Creative Challenges - Successful integration of light comedy requires careful consideration of narrative pacing, thematic consistency, and character logic, which is often overlooked in recent adaptations [18][20]. - The failure to appropriately blend light comedic elements with the original story can lead to a loss of emotional depth and viewer engagement, as seen in "赴山海" and "折腰" (Bending Waist) [15][17]. - Even previously successful light comedies like "庆余年" faced criticism in their sequels for excessive comedic content that did not align with the overall narrative tone [19].

Core Viewpoint - The recent policy from the National Radio and Television Administration aims to enhance the supply of quality television content, particularly benefiting the drama industry by encouraging creativity and market-driven production [1][6]. Group 1: Impact on the Industry - The new measures are seen as a significant boost for the drama industry, with expectations that long-pending dramas may finally get aired [1][3]. - Companies like Baida Qiancheng, Huace Film & TV, Mango Excellent Media, and others experienced stock price surges due to the news, as they hold a substantial number of backlog dramas [1][3]. - In 2025, 71 backlog dramas are scheduled to be released, a decrease of 36 from the previous year, indicating a trend towards addressing the backlog despite overall declining numbers [3]. Group 2: Financial Implications - There are 111 dramas from 2015 to 2022 that remain unaired, with 36 of them having a combined production cost of approximately 9.071 billion, indicating significant sunk costs in the industry [3][6]. - The total estimated sunk cost for backlog dramas could reach between 16.571 billion to 20.321 billion, highlighting the financial stakes involved [3][6]. Group 3: Challenges and Opportunities - A significant portion of backlog dramas (24%) is delayed due to controversies surrounding key actors, which has led to financial losses for production companies [7][8]. - The industry is exploring various methods to revitalize backlog dramas, including the use of AI technology for actor replacement and selling to secondary platforms [25][31]. - The trend of backlog dramas being sold at low prices (2-5 million per episode) reflects the financial strain on production companies, with many opting for revenue-sharing models to recoup costs [6][29]. Group 4: Market Dynamics - The market has seen a structural transformation, with a previous surge in production leading to an oversupply of content that is now being addressed through policy changes [15][18]. - The shift towards direct collaboration between platforms and production companies is reducing the role of intermediaries, which may impact the profitability of backlog dramas [32].

Core Viewpoint - The recent policy from the National Radio and Television Administration aims to enhance the supply of quality television content, particularly benefiting the drama industry by encouraging creativity and market-driven production [1][6]. Group 1: Impact on the Industry - The new measures are seen as a significant boost for the drama industry, with expectations that long-pending dramas may finally get aired, leading to increased market activity [1][6]. - Companies such as Baida Qiancheng, Huace Film & TV, Mango Excellent Media, and others have seen their stock prices surge following the announcement, indicating positive market sentiment [1][6]. - Data shows that 111 dramas completed between 2015 and 2022 remain unaired, with an estimated sunk cost of approximately 90.71 billion yuan for 36 of these dramas [3][6]. Group 2: Financial Implications - The total estimated sunk cost for the backlog of dramas could range from 165.71 billion to 203.21 billion yuan, representing a significant financial burden on the industry [3][6]. - The industry has experienced a decline in the number of backlog dramas, with 71 dramas scheduled for release in the first half of 2025, down by 36 from the previous year [3][6]. - The financial strain is exacerbated by the fact that many dramas are now being sold at a fraction of their production costs, with some being forced into revenue-sharing models due to low acquisition prices [6][29]. Group 3: Challenges and Opportunities - A significant portion of the backlog is attributed to controversies surrounding lead actors, with 28 dramas affected by public relations issues, highlighting the industry's vulnerability to external factors [7][8]. - The industry is exploring various methods to revitalize these backlog dramas, including the use of AI technology for character replacement and selling to secondary platforms [24][31]. - The policy changes may provide a pathway for airing quality backlog dramas, potentially transforming sunk costs into active market capital [6][34].

Core Viewpoint - The discussion highlights the distinction between Chinese and Western narratives in film and television, emphasizing the emergence of "larger-than-life" characters in Chinese media that embody collective struggle and grassroots qualities, contrasting with the individualistic heroes often found in Western narratives [1][4][5]. Group 1: Chinese Film and Television Characteristics - Chinese quality films have consistently produced works that combine artistic and ideological depth, such as "Soldier Assault" and "Mountain Sea Love," which reflect a unique Chinese narrative style characterized by grassroots themes and collective struggle [2][3]. - The portrayal of "larger-than-life" characters in Chinese media often involves self-overcoming individuals who prioritize grand ideals over personal desires, making them resonate deeply with audiences amid a sea of individualism [5][6]. Group 2: Cultural and Strategic Insights - The interview discusses the strategic value of film and television in shaping national identity and cultural narratives, drawing parallels with the success of Korean dramas in promoting cultural elements and language abroad [13][14]. - The need for a "negotiated decoding" relationship between creators and audiences is emphasized, suggesting that a collaborative approach could enhance the quality and reception of Chinese media [16][21]. Group 3: Market Dynamics and Capital Influence - The role of capital in the film industry is complex, as it can both support and hinder the production of quality content, with a call for a more nuanced understanding of capital's influence on cultural production [20][21]. - The emergence of non-professional directors and creators in the film industry reflects a shift towards a more democratized and diverse creative landscape, challenging traditional notions of professionalism [18][19]. Group 4: Traditional Culture and Modern Narratives - The integration of traditional cultural elements in contemporary media is critiqued, with concerns that many productions merely use these elements for commercial purposes rather than genuine cultural revival [22][24]. - The importance of rebuilding a cultural community that fosters shared values and responsibilities is highlighted, suggesting that a collective approach could enhance the impact of traditional narratives in modern storytelling [25].

Group 1 - Tencent Holdings reported strong revenue and net profit growth in the first half of 2025, exceeding market expectations [1] - Tencent's domestic and international gaming businesses showed impressive performance [1] - Tencent Video maintained its leading position in the domestic long video market with 114 million paid members [1] Group 2 - The paid membership of Tencent Video has remained stable above 110 million for an extended period [1] - By the end of 2023, Tencent Video's paid members reached 117 million, with a projected 113 million by the end of 2024 [1] - The content market is becoming more complex, with the rapid growth of the short drama industry posing challenges to long video platforms [1] Group 3 - Despite the rise of short drama applications, long video platforms like Youku and Bilibili also saw growth in active user numbers, with Youku increasing by 8.7% [2] - Tencent Video and iQIYI have managed to stabilize their active user and paid membership numbers through a "long + short" content strategy [2] - Tencent Video led the industry with 363 million monthly active users, while iQIYI followed closely with 356 million [2] Group 4 - Long video platforms are accelerating their short drama strategies, leveraging their unique strengths for differentiated operations [3] - Tencent Video reported a diverse content ecosystem, showcasing resilience amid industry pressures and competition [3] - Tencent Video highlighted successful series and content types, including popular dramas and animations, while also focusing on short dramas [3]

Core Viewpoint - The rampant issue of piracy in the film and television industry has not been fundamentally resolved, leading to over 20 billion yuan in annual losses, severely impacting the industry's business model [1][2][4]. Group 1: Impact of Piracy - The phenomenon of "broadcasting equals piracy" and "no one is spared" highlights the severity of the piracy issue, affecting both popular and niche productions [2][4]. - The annual loss to the industry due to piracy exceeds 20 billion yuan, which damages the interests of producers and copyright holders, and undermines the creative enthusiasm and investment in the industry [2][4][8]. - The production cycle for film and television projects can take 5 to 8 years, with significant investments, making it untenable for creators to have their works distributed without authorization [1][4]. Group 2: Challenges in Copyright Protection - The current legal framework is inadequate for addressing copyright infringement on internet platforms, necessitating further improvement to meet the needs of copyright protection in the digital age [7][12]. - Platforms like cloud storage, search engines, and short video sites are identified as major areas for piracy, with ineffective controls allowing for rapid dissemination of pirated content [4][7]. - The low cost and high returns of piracy, coupled with minimal punitive consequences, create a significant imbalance favoring infringers over legitimate content creators [5][8]. Group 3: Industry Response and Solutions - The industry is calling for collaborative efforts to strengthen copyright governance and build a healthy ecosystem for the film and television industry [2][12]. - Initiatives like the "Sword Network 2025" aim to enhance copyright protection for audiovisual works and combat illegal distribution and sales [13]. - Successful cases of copyright enforcement, such as significant penalties awarded in international courts, serve as a deterrent and highlight the commercial value of domestic film and television works [12][11]. Group 4: Long-term Strategies - Raising public awareness about copyright protection is essential to reduce the consumption of pirated content and foster a culture of respect for intellectual property [18][19]. - The industry must continue to engage in a sustained battle against piracy, requiring collective efforts from all stakeholders to establish a healthier and more orderly film and television ecosystem [18][19].

Group 1 - The incident involving derogatory comments on a talent's video highlights the operational challenges within the production team of the show "New Rap 2025," where most of the team members are interns [1][2] - The reliance on interns in the film and television industry is increasing, raising concerns about the quality of content and the pressure on these young professionals [4][5] - Interns often face low compensation and lack of formal recognition for their contributions, which can lead to dissatisfaction and uncertainty about their future in the industry [6][14] Group 2 - The trend of hiring interns for critical roles in production is prevalent, with many interns taking on significant responsibilities despite their inexperience [4][20] - The competitive nature of the industry is evident as many professionals, including actors and writers, are transitioning to directing roles, often through formal training programs that come with high costs [9][11] - The influx of "star kids" into the industry is creating additional pressure on emerging talent, making it harder for them to secure opportunities [11][13] Group 3 - Interns report a lack of meaningful learning experiences, with many feeling that their roles are limited to menial tasks rather than contributing to creative processes [22][23] - The short-form content market is seen as a challenging environment for those with traditional long-form experience, leading to a perceived hierarchy within the industry [25][27] - The overall sentiment among interns is one of confusion and anxiety about their career paths, as they navigate a highly competitive and often unwelcoming industry landscape [24][26]

Group 1 - The media conference held by the China Television Production Industry Association, along with major video platforms like Youku, Tencent Video, and iQIYI, focused on the issue of copyright infringement in the film and television industry, coinciding with the "Sword Net 2025" initiative aimed at combating online infringement of audiovisual works [1] - A landmark case was highlighted where Youku and iQIYI jointly sued for short video infringement, resulting in a court ruling for compensation of 800,000 yuan, marking the first instance of these two platforms collaborating as plaintiffs [1] - In another significant case, a short video platform was ordered to pay 30 million yuan for infringing on the rights of iQIYI regarding the series "Kuang Biao," which is one of the highest compensation amounts awarded in similar domestic cases [1] - A man was criminally detained for setting up over a hundred illegal piracy websites, illegally collecting unauthorized film and television works, with illegal earnings amounting to several hundred thousand yuan [1] - A second-instance court ruling found a short video platform liable for severe infringement of the series "Qing Yu Nian," imposing punitive damages of 9.64 million yuan, which is a rare application of punitive compensation in such cases [1] Group 2 - In a notable case involving Tencent, a federal court in Texas ruled in favor of Tencent against an infringement case involving an Android TV box, awarding a total of 84.75 million USD (approximately 616 million yuan), with "Chang Xiang Si" alone receiving 11.7 million USD (approximately 85.27 million yuan), marking the highest compensation awarded to a domestic company in overseas video rights protection [2]