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37岁演员于朦胧坠楼身亡,工作室:已排除刑事嫌疑,愿逝者安息,愿生者坚强
Mei Ri Jing Ji Xin Wen· 2025-09-11 11:25
我们怀着无比沉痛的心情告知大家,我们深爱的朦胧,于2025年9月11日坠楼身故。经警方工作,已排除刑事嫌疑。愿逝者安息,愿生者坚强。 每经编辑|何小桃 9月11日,演员于朦胧的名字突然冲上热搜。有自媒体发布消息称,于朦胧于9月11日凌晨在北京坠亡。该消息迅速引发全网关注。 11日晚些时候,@于朦胧工作室 发文证实了此消息: 三湘都市报记者查询于朦胧社交平台看到,于朦胧上次更新动态是在8日前,记者注意到,于朦胧9月10日21:31还上线了微博。 于朦胧最新一部热播剧是《临江仙》,其在剧中饰演玄天使者。其还有一部待播剧《风起大漠》,公开消息称,于朦胧在《风起大漠》里饰演李敢,飞将 军李广之第三子。 圈内有好友发文哀悼后删除动态 9月11日,多位圈内人士通过社交媒体发声表达震惊与悲痛。 演员文苡帆发悼念长文,以"今夜,星星回去睡觉了"开篇,提及"听到跳楼消息时呆立原地"、"愿你回到星星上,那里没有痛苦"等语句,并呼吁关注心理 健康,该动态随后被删除。 演员邢菲,曾与于朦胧合作《明月曾照江东寒》,发文称:"希望是假的!一定是假的!"此后也删除了该动态。 高泰宇,曾与于朦胧合作电影《为爱放手》,发文:"你的笑容,永远定 ...
线下剧宣变“婚闹”,尺度越大播的越好?
Hu Xiu· 2025-08-25 03:47
Core Viewpoint - The article discusses the evolving strategies of offline drama promotions, highlighting the shift from traditional methods to more interactive and sensational approaches, such as "wedding-style" promotions and CP (couple pairing) marketing, which aim to generate buzz and attract audience attention, but raise questions about their effectiveness in driving actual viewership of the series [1][8][14]. Group 1: Offline Promotion Strategies - The offline promotion for the drama "献鱼" involved a wedding-themed event where the lead actors engaged in various interactive activities to create a lively atmosphere [2][3]. - The rise of offline drama promotions is attributed to the saturation of online marketing, leading creators to seek more direct engagement with audiences [5][6]. - Successful offline promotions have shown that interactive elements can generate significant online buzz, making them a popular choice for drama marketing [4][6]. Group 2: Impact on Audience Engagement - While offline promotions like dancing and CP interactions can attract attention, there is skepticism about whether these methods effectively convert viewers into actual fans of the series [8][12]. - Many viewers express dissatisfaction with the focus on sensationalism rather than substantive content, questioning the long-term value of such promotional tactics [10][12]. - The article suggests that a return to content-focused promotions, where creators engage in meaningful discussions about the series, could better serve both the audience and the creators [13][14].
我在CP感玄学课考了99分的好成绩
Hu Xiu· 2025-08-02 09:35
Core Viewpoint - The article discusses the concept of "CP感" (Couple Chemistry) in Chinese dramas, suggesting that it can be analyzed and understood through specific frameworks rather than being purely mystical or random [4][5][15]. Group 1: CP感 Analysis - CP感 can be likened to a chemical reaction, where the right elements and conditions lead to successful pairings in dramas [6][13]. - The article categorizes CP感 into five basic types of reactions: 1. **Combustion Reaction**: Intense physical chemistry, exemplified by the drama "这一秒过火" [8]. 2. **Acid-Base Neutralization**: Character contrasts that create balance, seen in "永夜星河" and "念念有词" [9][10]. 3. **Oxidation-Reduction Reaction**: Characters drawing out needed traits from each other, as in "雁回时" [10]. 4. **Decomposition Reaction**: Unleashing suppressed traits, illustrated by "苍兰诀" [11]. 5. **Synthesis Reaction**: Combining two distinct characters for a common goal, as in "朝雪录" [12]. Group 2: Industry Trends - The article notes that the understanding of CP感 is not just theoretical but also practical, requiring careful casting and direction to achieve desired emotional responses [15][26]. - It highlights the trend of "CP邪修" (CP Deviance), where unconventional pairings are explored, often leading to unexpected audience engagement [18][20]. - The phenomenon of audience-driven "self-generated CP" is also discussed, where fans create their own narratives and pairings through editing and reinterpretation [22].
剧宣“豁出去”了,剧却更难爆了?
3 6 Ke· 2025-07-31 02:32
Core Viewpoint - The article discusses the evolving promotional strategies in the Chinese entertainment industry, particularly focusing on the intense and creative marketing efforts for TV dramas, which have become increasingly common and competitive [1][3][10]. Group 1: Promotional Strategies - Recent promotional activities for dramas like "凡人修仙传" involve various engaging methods such as singing, dancing, and recreating popular internet trends to attract viewers [1][3]. - The use of short video platforms has become a key strategy, with actors participating in viral dance challenges that generate significant online engagement, regardless of their dancing skills [3][11]. - The trend of "abstract" promotional tactics is on the rise, where unconventional and humorous interactions among cast members create buzz and attract attention on social media [7][9]. Group 2: Effectiveness and Challenges - While these promotional efforts yield high engagement on social media, there is skepticism about their effectiveness in converting views into actual audience numbers for the dramas [11][16]. - The industry faces challenges of homogenization in promotional strategies, leading to a lack of originality and potential viewer fatigue [14]. - Ultimately, the quality of the content remains the most crucial factor in determining a drama's success, as even the best marketing cannot compensate for poor storytelling [16].
古偶剧创新不能“虎头蛇尾”
Ren Min Ri Bao· 2025-07-14 22:03
Core Viewpoint - The ancient costume drama genre, while mature and a key player in China's overseas content, faces challenges of innovation and audience fatigue due to formulaic storytelling and character development [1][2]. Group 1: Innovation Challenges - Recent popular ancient costume dramas like "Book of Dreams" have set new viewership records for 2025 but struggle with maintaining narrative quality as the plot becomes predictable and repetitive [1]. - The "tiger head, snake tail" phenomenon is common among recent ancient costume dramas, where initial creativity fails to sustain throughout the series, leading to viewer disengagement [1][2]. - The integration of modern psychological principles in dramas like "Eternal Night Star River" and "Palm Heart" shows initial promise but ultimately falls short in delivering a cohesive story [1]. Group 2: Production and Narrative Issues - The trend of borrowing elements from short dramas has led to a loss of the unique immersive experience that long dramas traditionally offer, resulting in fragmented storytelling [2]. - The production process, characterized by a conveyor-belt approach, often compromises the quality of the script, as multiple writers contribute to a single project, leading to inconsistencies in narrative and character development [2]. - The core appeal of ancient costume dramas lies in emotional depth and character growth, which is jeopardized when the focus shifts to quick, superficial storytelling [2]. Group 3: Future Directions - There is a need for ancient costume dramas to balance innovation with strong storytelling and character development, ensuring that new ideas are built on a solid foundation of narrative quality [3]. - A long-term perspective that respects creative processes and integrates innovation with coherent storytelling is essential for the genre's continued success [3].
古偶导演101:这届用户对“玉芬邓科们”又爱又恨
3 6 Ke· 2025-05-23 08:37
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].
剧集导演“上桌”记:视频平台的“买股”策略之变
3 6 Ke· 2025-03-31 02:40
Core Insights - The article highlights the rising prominence of directors in the Chinese drama industry, particularly through the success of recent series like "雁回时" and "永夜星河" [1][4][10] - It discusses the shift in focus from star actors to directors as key creative forces, reflecting a broader change in content creation strategies within the industry [8][10] Group 1: Director's Rising Prominence - Director Yang Long of "雁回时" has gained significant recognition for his exceptional visual storytelling, despite previous criticisms of his work [1][3] - The trend of directors becoming central figures in drama projects has been observed with other successful directors like Zhao Yilong and Zeng Qingjie, who have also transitioned from lesser-known roles to prominent positions [3][4] - This shift indicates a growing appreciation for the director's role in enhancing the quality and appeal of television dramas [7][10] Group 2: Changes in Investment Strategies - Video platforms are increasingly investing in new directors, recognizing their critical role in the success of drama series, as seen with Tencent's support for directors like Zeng Qingjie and Yang Long [7][10] - The industry's focus has shifted from prioritizing star actors to valuing content quality and innovative storytelling, leading to a more sustainable development model for drama production [8][10] - This change in strategy is expected to continue, with potential future investments in other key creative roles such as screenwriters and production designers [10]