Core Viewpoint - The recent freezing of equity held by Ke Liming, a prominent figure in the film industry, has drawn attention to his role as the actual controller of Wanda Film, following a series of strategic acquisitions and investments aimed at alleviating Wanda's debt pressure [1][9]. Group 1: Ke Liming's Background and Career - Ke Liming was born in 1982 in Hubei Province and began his career as a financial analyst after studying management and banking [3]. - He transitioned into the film industry in 2009, initially investing in copyright acquisitions before moving into film production [4]. Group 2: Investment Strategies and Achievements - Ke Liming's early strategy involved acquiring popular book copyrights, leading to successful adaptations such as "Scarlet Heart" and "Nirvana in Fire" [4]. - His investment in the film "So Young" generated over 700 million yuan in box office revenue, significantly raising his profile in the industry [5]. - Under his leadership, China Ruyi has produced numerous successful films and series, contributing to its reputation as a major player in the entertainment sector [6]. Group 3: Recent Developments and Financial Performance - In 2024, Wanda Film announced a change in control to Ke Liming after a significant equity transfer, marking a pivotal moment in the company's ownership structure [9]. - Wanda Film reported a revenue of 6.689 billion yuan in the first half of 2024, reflecting a year-on-year growth of 7.57%, with a net profit increase of 372.55% [9]. - The company has maintained its position as the top box office performer in China for 16 consecutive years, with notable growth in its cinema presence [9]. Group 4: Diversification and Future Plans - Ke Liming has expanded China Ruyi's portfolio into the gaming sector, acquiring assets from ByteDance and investing in other tech-related ventures [10]. - The company is also venturing into financial services, having recently acquired a stake in KuaiQian Financial, which is expected to synergize with its existing entertainment businesses [13][12]. - Ke Liming's wealth is estimated at 10.39 billion yuan, placing him among the top wealth creators in the 2025 New Fortune Magazine rankings [14].

在她的文字中，更多女性的期待和匮乏得以被诉说。 《代笔作家》 网络文学长期被视为"难登大雅之堂"的消遣性娱乐，聚焦女性情爱的言情小说更是"小众之小众"。 清华大学人文学院讲师薛静却在这个小众的领域浸泡了14年之久。她撰写的《脂粉帝国：网络言情小说与女性话语政治》系统分析了网络言情小说的几次 转型，以及霸总文、穿越文、宫斗文等爆火的网文类型背后，分别藏着哪些未能言说的欲望。 "选择成为"女性 薛静和网络文学的故事，最早可以追溯到中学时期。她在网站上追更明晓溪的《泡沫之夏》，那还是拨号上网的时代，因为怕被父母发现，薛静每次都会 等新章节加载完成后迅速断网。 后来薛静考入北京大学中文系，很多人和她聊严肃文学，但往往不出十分钟对方就会露馅。不得不承认，虽然很多人对文学怀抱旖旎的想象，但未必能读 完人民文学出版的四大名著。真正启迪大众的精神食粮，恰恰是处于"鄙视链底端"的通俗文学。 2015年，北京大学网络文学研究论坛成立，薛静在这里结识了很多偷偷读网文长大的女孩，她们出于共同的、隐秘的爱，聚集成学术共同体。这里没有文 学的鄙视链，她们可以分析这个爱好为什么曾与羞耻绑定，也在喜欢的网文中看清彼此的爱情观和价值观。 网文 ...

Core Viewpoint - The article discusses the evolving landscape of Chinese drama series, particularly focusing on the performance and influence of leading actresses like Liu Shishi, and how their roles and the production dynamics affect the overall reception of the shows [1][3][24]. Group 1: Performance and Role Dynamics - Liu Shishi's portrayal in "Huai Shui Zhu Ting" showcases a blend of various acting styles, reflecting a multi-faceted performance that combines elements from different popular characters [8][10]. - The article critiques the trend of leading actresses having excessive control over their roles, which can lead to a disconnect with the audience and a decline in the quality of the production [5][23]. - The concept of "Tian Xuan Gu Ren" (heavenly chosen ancient person) is discussed, highlighting how the perception of actresses has shifted from their acting skills to their physical presence and demeanor [14][16]. Group 2: Audience Reception and Critique - The audience's mixed reactions to "Huai Shui Zhu Ting" indicate that while there is a viewership, the critical reception has been less favorable, drawing comparisons to previous works like "Ru Yi Chuan" [3][24]. - The article suggests that the overemphasis on aesthetics and personal interpretation by actresses can detract from the narrative and character development, leading to a lack of resonance with viewers [18][23]. - The production's failure to connect with the audience is attributed to a lack of respect for professional input and an over-reliance on star power, which can result in a superficial portrayal of characters [24][25].