#玉茗茶骨剧宣都卷到机器人了#、#内娱剧宣卷到没开播先开展#、#短国连剧宣都真亲了#…… 同时值得关注的是，随着短剧市场规模的高速增长，长剧式的宣发体系也逐渐被应用在短剧行业中，宣发场域的长短融合趋势由此显现。 "豁出去"的艺人、不服输的粉丝 典型代表如均将类似"婚礼"的策划形式运用到了剧宣中的现偶《深情眼》和古偶《折腰》，前者的两位主演张予曦、毕雯珺大方在扫楼现场发放喜帖、互 系围裙做蛋糕，并还原了剧中吻戏和多个肢体接触的名场面，堪称年度最放得开的一对CP了。 眼看着2026的脚步越来越近，2025剧宣江湖的"纷争"却还未彻底结束。 尽管过去一年的剧集市场总是与全民爆款擦肩而过，但剧宣这一块儿却是从年头卷到年尾，在平台、剧方、艺人、粉丝等多方托举下，我们还是能够看到 不少引大热之作在社媒引爆话题。 回顾这一整年的剧宣生态不难发现，艺人们在线上线下活动中营业的频率和配合度都相当之高，可谓是"活人感"十足。 比如古偶、现偶中最常见的CP营销就卷出新高度。 一是营业"尺度"赛高，撒糖手段新颖。 《折腰》则以"补办婚礼"为主题，为弥补男女主在剧中留下的遗憾而在剧外打造了一场充满仪式感的"接亲"环节，宋祖儿与刘宇宁化 ...

云包场、收官礼，线上玩法多元 剧集云包场依然是今年平台拉新的重要手段，云包场模式最早兴起于电影营销，2023年长视频平台将其引进到剧集宣发领域，在今天云包场已经演变成诸 多大剧、爆剧吸引更多路人粉加入的重要手段。 因会员收入超越广告营收成为视频平台的第一大收入，会员增长一度被长视频平台押宝，如今，各平台也陷入了会员拉新越卷，增长越难的境遇。 根据最新数据显示，腾讯视频会员数出现小幅下降，爱奇艺自去年三季度开始宣布不再公布会员数，长视频会员增长由激进整体转入到瓶颈期。这是由多 重原因导致，免费短剧抢占了更多用户时长，剧集上新数量与爆款作品整体减少，以腾讯视频为例，2024年腾讯视频接连推出《与凤行》《繁花》《玫瑰 的故事》《庆余年2》等多部S+评级的大剧，来到2025年，腾讯视频虽然播出了《折腰》《六姊妹》《许我耀眼》等多部爆款作品，但是其在市场声量上 远低于去年的作品。 不过，在这样的环境中也有视频平台会员规模能够持平甚至攀升，根据芒果TV最新披露的数据显示，其有效会员数超过7300万，芒果TV在2024年末公布 的会员数为7331万，创下历史新高，芒果TV今年的会员数可以做到与去年持平甚至更高，另外，根据B ...

Core Insights - The long drama market is expected to face a "bleak" end in 2025, with significant changes in industry dynamics anticipated due to a challenging environment [1] Group 1: Industry Trends - The traditional "Big Six" production companies are experiencing a decline in both output and market share, with Huace Film and TV significantly reducing its new releases from seven to three this year [2] - New releases from New Classics Media have also decreased, with only one major drama expected in 2025 compared to multiple successful titles last year [3] - The overall production capacity of companies like Noon Sunshine and Ningmeng Media has remained stable, but their new releases have not matched the success of previous years [5] Group 2: Emerging Players - New players in the industry are fiercely competing, with companies like Changxin Media and Jiaxing Media gaining attention through successful new releases [14][16] - Quantum Pan Entertainment and Chunyu Media's collaboration on "Cang Hai Chuan" has emerged as a leading title in the male-oriented drama category, showcasing the potential of new entrants [21] - Other emerging companies like Xixi Film and Xinglian Film have also produced new works, indicating a slight recovery in their performance compared to last year [23] Group 3: Performance Metrics - The performance of dramas has varied significantly, with some productions achieving high ratings while others struggle to gain traction, reflecting the competitive nature of the market [9][11] - The drama "Xu Wo Yao Yan" from Jinhe Media has achieved notable success, marking a significant comeback for the company after a period of fewer hits [18] - The overall sentiment in the industry suggests that even successful productions are facing challenges in achieving blockbuster status, indicating a tough market environment [30]

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]