吐 槽《赴山海》 ， 成了互联网新的流量密码，也是截至目前2025下半年剧集市场最大的热闹。 《赴山海》的背景注定它自带高声量：是成毅继《莲花楼》站稳顶流位置、待再度验证实绩的力作，也是桃鹅联手vs裤《藏海传》、平台之间S+剧作的 延迟对打。 客观来说，猫眼认证的播出10天有效播放量破7亿、连续10天登顶剧集热度榜，成毅饰演的萧秋水角色热度在爱奇艺破2亿……前方给出的数据认证，成毅 在热度上确实扛起了《赴山海》，而剧集口碑不及预期，也让成毅在这一战暂处下风。 开播时再不好过，临收官也马上好过了。目前剧集已播出大半，网友下场审判的热情稍微褪去，抖音热点#赴山海口碑回升#话题上升，剧方在暗暗发力抢 救口碑基本盘。 同时成毅的新饼消息已经传出，据悉他主演的《两京十五日》即将开机，今日已进组定妆。这部剧为爱奇艺S+古装、改编自马伯庸同名小说、《大明王 朝》《哈尔滨一九四四》导演张黎加盟，搭档演员林更新。算是大制作好饼。 kk曾和很多看客一样好奇，这一次口碑失利，究竟会不会动摇成毅本被市场看好的扛剧能力？而看到成毅戏约不断，将再次带着S+作品进入待检期，这 个尖锐的问题，竟变成了伪命题。 kk总结下《赴山海》的槽点，其 ...

Core Viewpoint - The article discusses the evolution of online literature in China, highlighting its reflection of societal changes and the impact of different historical periods on literary themes and genres [5][6]. Group 1: Evolution of Online Literature - Online literature has undergone significant transformations, paralleling the industrial and technological revolutions from the 1980s to the present [6][7]. - The article categorizes online literature into four main genres: Wuxia (martial arts), time travel, cultivation (Xianxia), and female-oriented narratives [8]. Group 2: Wuxia Literature - Wuxia literature represents the agricultural society, emphasizing collective values and the traditional master-apprentice relationship [10][12]. - The genre reflects a high moral standard and a strong sense of justice, rooted in the historical context of small artisan communities [12]. Group 3: Time Travel Literature - Time travel narratives resonate with the industrial era, often portraying protagonists who seek to improve the past using modern knowledge [13][18]. - The genre is experiencing a decline due to the rapid industrialization and the saturation of historical periods available for exploration [19][20]. Group 4: Cultivation Literature - Cultivation literature mirrors contemporary society, characterized by individualism and a hierarchical structure similar to modern corporate environments [21][23]. - The genre emphasizes personal growth and the importance of resources, reflecting a realistic approach to success and achievement [31]. Group 5: Female-Oriented Narratives - Female-oriented literature encompasses various genres but primarily focuses on themes of love and human nature, appealing to both male and female readers [33][34]. - This genre has proven commercially viable, with many popular adaptations originating from female-oriented narratives [33][36]. Group 6: Future of Online Literature - The article suggests that the future of online literature may align with China's advancements in science and technology, potentially leading to a resurgence of science fiction [38][39]. - The evolution of online literature serves as a mirror to societal changes, emphasizing the need to understand the underlying production forces shaping narratives [41][42].

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].

Core Viewpoint - The Central Radio and Television Station is preparing a diverse range of dramas for the summer season, focusing on realistic and historical themes to engage audiences [1][5]. Group 1: Focus on Realistic Themes - Dramas such as "The Age of Quenching" and "In the Name of Law" have gained widespread attention, reflecting the struggles and progress of Chinese manufacturing and providing insights into the judicial system [2][4]. - The summer lineup includes various realistic dramas that explore themes of female growth, the struggles of migrant workers, and historical narratives related to the Anti-Japanese War [2][4]. Group 2: Awards and Recognition - Recent awards at the 30th Shanghai Television Festival highlighted the success of realistic dramas, indicating a deepening of creative efforts in this genre [4]. - The increasing quantity and quality of realistic dramas have positioned them at the forefront of viewership and critical acclaim in the Chinese television landscape [9]. Group 3: International Expansion - Chinese dramas have become a significant cultural export, with 70% of the total audiovisual program export revenue coming from this genre, reaching over 200 countries and regions [11]. - Notable international successes include "My Alashan," which is the first Chinese drama to compete in the main competition at the Cannes Television Festival, and "Blossoms," which won an award at the Busan International Film Festival [11][13]. Group 4: Cultural Representation - The integration of traditional Chinese culture and aesthetics in historical dramas is crucial for expanding their international market appeal [13][15]. - Sci-fi dramas, such as "The Three-Body Problem," have also gained attention in international markets, indicating a growing interest in diverse genres beyond traditional narratives [15][17].

Core Viewpoint - iQIYI's hit drama "The Crazy" achieved a record-breaking viewership of 10.79 billion, marking it as the most successful production in terms of traffic, revenue, and influence since the company's inception nearly 13 years ago [1] Group 1: Legal Action and Court Ruling - iQIYI filed a lawsuit against a short video company for unauthorized distribution of content related to "The Crazy," seeking 30 million yuan in damages [2][3] - The court ruled that the short video company's actions constituted copyright infringement, as the videos provided were not merely reviews but included substantial content from the drama [3] - The court determined that the short video platform had a responsibility to monitor and prevent copyright infringement, leading to a ruling in favor of iQIYI for the full amount claimed [3] Group 2: Industry Context and Implications - The case highlights a growing trend of copyright infringement in the short video sector, with many similar cases emerging as platforms allow user-generated content that often violates copyright [5][6] - The legal landscape is evolving, with courts increasingly recognizing the need for stricter accountability from platforms that host user-generated content, especially for popular works [7] - The National Copyright Administration has initiated ongoing campaigns to combat copyright infringement, focusing on various digital platforms and emphasizing the need for enhanced protection measures for high-profile works [9][10]

Group 1 - The article discusses the controversies surrounding the drama "Cang Hai Chuan" and its comparison to "Nirvana in Fire," highlighting a cultural disconnect in the current audience's preferences for ancient costume dramas [1] - The ancient costume drama market has shifted focus towards suspense and power struggles, while traditional martial arts dramas have become niche, indicating a significant change in content consumption [1] Group 2 - The history of martial arts dramas in China is traced back to the 1970s and 1980s, with significant contributions from Hong Kong production companies adapting works from famous authors like Jin Yong and Gu Long [2][4] - The 1983 version of "The Legend of the Condor Heroes" marked a turning point, achieving an average viewership rating of 60% and a peak rating of over 90%, indicating its immense popularity [4] - The 2000s were considered the "golden decade" for mainland martial arts dramas, with over a hundred productions, yet only 14 received ratings above 8 on Douban [11] Group 3 - The rise of fantasy dramas has overshadowed martial arts dramas, with "Xianjian Qixia Zhuan" being a notable example that achieved high ratings and shifted audience interest towards fantasy elements [12][14] - The decline of martial arts dramas is attributed to the oversaturation of adaptations and a lack of original content, leading to a dilution of the genre's appeal [18] - The emergence of female-centric narratives in fantasy dramas has further shifted audience preferences, leading to the development of ancient idol dramas [20] Group 4 - The production quality and audience expectations have evolved, with modern viewers demanding high visual effects and star power, which has made traditional martial arts dramas less viable [25][27] - The cultural significance of martial arts dramas is diminishing, as the ideals of chivalry and justice portrayed in these dramas do not resonate with contemporary societal values [30][31] - New interpretations of martial arts themes are emerging, blending elements of mystery and emotional growth, as seen in recent productions like "Xue Zhong Han Dao Xing" and "Lian Hua Lou" [28]

Core Viewpoint - Chinese online literature has become a significant cultural bridge, allowing overseas audiences to engage with Chinese culture through various adaptations like novels, TV series, and games [1][5]. Group 1: Cultural Exchange and Impact - Chinese online literature is facilitating cultural exchange between the East and West, with stories resonating with readers from diverse backgrounds [3][5]. - The platform "元气阅读" has attracted nearly one million active users monthly, with an average reading time exceeding 50 minutes per day, indicating a strong interest in Chinese online literature in French-speaking regions [3][4]. - Readers in regions like France and Canada are finding personal connections and enjoyment in Chinese online literature, which influences their real-life perspectives and experiences [3][4]. Group 2: Publishing and Translation Efforts - French publishers are increasingly interested in Chinese online literature, with collaborations leading to the publication of translated works such as "武极天下" and adaptations into comics [4][5]. - The translation and adaptation of Chinese online literature into various languages, including French and Korean, are expanding its reach and popularity [12][13]. - The presence of dedicated online communities and platforms for sharing and discussing Chinese online literature is enhancing its visibility and accessibility [3][12]. Group 3: Reader Engagement and Future Plans - Young readers, particularly those born in the 1990s and 2000s, are driving the interest in Chinese online literature, seeking deeper understanding of Chinese culture through these narratives [4][9]. - Future plans include promoting Chinese online literature through various media, including short dramas and social media, to reach a broader audience [4][12]. - The growing influence of Chinese online literature in regions like South Asia is evident, with more young people engaging with these works and expressing interest in learning Chinese to access original texts [8][9].

Group 1 - The core viewpoint emphasizes the importance of constructing a unique symbol system for Chinese civilization, which reflects the spiritual pursuit, values, and cultural characteristics of the Chinese nation, and suggests leveraging modern forms of literature and art, such as online literature and games, to inject new vitality into this system [1] - Online literature is identified as a vibrant and influential cultural form that reshapes the production and dissemination of literature, providing new possibilities for constructing the Chinese civilization symbol system [1][2] - The article highlights the significant role of fantasy and historical themes in online literature, which not only presents traditional cultural elements in innovative ways but also promotes traditional values of the Chinese nation [2][4] Group 2 - The participation in online literature creation involves millions, with tens of millions of works available, showcasing a wide range of themes including Chinese mythology, folklore, and historical events, thus enriching the narrative landscape [3] - Online literature effectively conveys traditional values through various genres, such as fantasy and historical novels, which resonate with readers and enhance their understanding and appreciation of Chinese history [4][5] - The interactive nature of online literature platforms allows readers to engage in cultural creation, transforming the construction of the Chinese civilization symbol system into an open and dynamic process [5][6] Group 3 - The international reach of online literature is expanding, with approximately 200 million active overseas users, predominantly from the "Z generation," indicating a growing global interest in Chinese culture [7][8] - Online literature serves as a cultural bridge, facilitating cross-cultural understanding and exchange, while also incorporating elements from other cultures, thus promoting global cultural diversity [8][9] - The popularity of Chinese online literature has led to increased interest in Chinese traditional culture among foreign readers, resulting in a significant number of foreign participants in online literature creation [9]

Group 1 - The core viewpoint of the articles highlights the success of the drama "Cang Hai Chuan," which has achieved significant viewership and popularity since its release, driven by the collaboration of director Zheng Xiaolong and lead actor Xiao Zhan [1][3][7] - The drama has broken 1% live viewership on its first day, reached over 10,000 in internal heat on Youku within three days, and topped the daily heat rankings on Maoyan for four consecutive days, with an average viewership exceeding 20 million [1][3] - Despite its commercial success, "Cang Hai Chuan" is critiqued for lacking depth in its portrayal of political intrigue, resembling more of a workplace drama than a true power struggle narrative [4][8][22] Group 2 - The director Zheng Xiaolong is recognized for his extensive experience and success in producing high-quality dramas, which raises expectations for "Cang Hai Chuan" [5][7] - Comparisons are drawn between "Cang Hai Chuan" and the acclaimed drama "Lang Ya Bang," with both sharing similar themes and narrative structures, yet differing in their focus and execution [9][21] - The narrative style of "Cang Hai Chuan" employs linear storytelling, contrasting with the non-linear approach of "Lang Ya Bang," which may affect the audience's engagement and understanding of character motivations [14][15] Group 3 - The character development and backstory in "Cang Hai Chuan" are critiqued for lacking depth, particularly in the childhood scenes, which may not contribute positively to the overall narrative [16][18] - The drama's focus on personal revenge rather than broader themes of national significance differentiates it from "Lang Ya Bang," which incorporates elements of patriotism and larger societal issues [22][23] - The production quality and casting of "Cang Hai Chuan" are noted, but the script's limitations hinder the potential for character depth and engagement [30][32]