Core Viewpoint - The discussion at the 2025 Beijing Cultural Forum emphasizes the importance of creators' self-awareness and innovation in the face of the flow-driven era, highlighting the need for a balance between "breaking boundaries" and "deep cultivation" in the development of the Chinese film and television industry [1][2]. Group 1: Innovation and Creativity - The key to "breaking boundaries" and engaging audiences lies in pursuing innovation and avoiding formulaic approaches in film and television works [2]. - The core vitality of artistic creation is rooted in the pursuit of novelty and uniqueness, with a focus on "aesthetic purification" to preserve initial creative impulses and amplify differences [2]. - Successful long-form dramas should possess a grand worldview, rigorous logic, and strong character appeal, while also conveying cultural values that resonate with audiences [6]. Group 2: Audience Engagement and Cultural Value - The series "Shan Hua Lan Man Shi" showcases the character of Zhang Guimei, emphasizing her idealism and humor while depicting the challenges of her entrepreneurial journey, thus presenting a broader picture of contemporary life in small Chinese cities [4]. - The rural-themed series "Sheng Wan Wu" connects individual life with the land, appealing particularly to younger audiences, with 54% of viewers aged 25-35, indicating a strong cultural impact [6][7]. - The series "Gui Dui" focuses on ordinary individuals during wartime, emphasizing sincerity in storytelling and the importance of genuine emotional connections with the audience [9]. Group 3: Emotional Resonance and Storytelling - The production of "Yi Fa Zhi Ming" adheres to principles of distinct character development, complex relationships, and emotional construction, aiming to create a strong emotional resonance with viewers [10]. - The adaptation of "Mei Gui De Gu Shi" transforms the original narrative into a story of female growth, highlighting the importance of maintaining the original work's core essence for innovation [10].

【文化论坛大咖说｜《生万物》总制片人：希望传达出每一个人都在努力生活的生命力】9月24日， 2025北京文化论坛剧集精品创作专业沙龙在美后肆时举行。爱奇艺高级副总裁、《生万物》总制片人戴 莹提到，《生万物》简单来说是"以小家去讲大家"。"剧里有一句台词是'把日子过出花'，"戴莹说，"每 一个时代都有苦难和困境，但我们希望传达出每一个人都在努力生活的生命力和感染力。" （王雅贤 李 俊萱） #2025北京文化论坛##文化与科技双向赋能##北京范儿# ...

最近，一份《2025云合长尾数据分析》榜单在豆瓣各大影视小组和微博流传，统计了今年开播的剧集在热播期之后的"长尾集均"数据，也让"长尾剧"再度 成为剧粉圈的热门话题。 文娱价值官发现，不仅观众群体开始关注一部剧集的长尾情况，今年爱优腾等长视频平台也将独播剧集的"长尾效应"，作为宣传重点——无论是热播期结 束后，新增播放仍保持逆跌增长，剧集完结后会员拉新仍逆势上涨，还是剧集播出半年依然有新广投放，平台不再仅仅关注剧集播出时的收视表现，而是 日益看重其对于会员拉新、用户留存、商业回报所持续释放出的价值。 面对碎片化叙事、快消费属性的短视频、短剧，视频平台正在努力发挥长剧在叙事层次、内容厚度方面的优势，打造出更多让用户逐渐"上头"的慢热型作 品，社交平台和短视频也为长尾剧集的发酵破圈，提供了条件。 而"长尾"成为行业关键词，也是内容同质化倒逼差异化竞争的结果。当古偶、甜宠等批量生产内容陷入审美疲劳，平台转向通过"长尾价值"证明内容品 质，建立用户信任壁垒。 "优质的头部内容不仅在热播期是成功的，而且要具有长久的长尾效应。"2024年以来，爱奇艺、优酷、腾讯视频等平台的负责人，分别在不同场合强调了 内容"长尾"的重要 ...

爱奇艺亲自盖章"2025品牌主们最爱投的剧"，播至18集，双平台剧集品牌露出各达25家，与《赴山海》热播效应同步炸裂的，是它的招商能力。 大剧市场吸金能力依旧？这似乎毋庸质疑。甚至在刚过去的暑期档，它还打破了一些类型题材的限制：严肃文学改编的农村群像剧《生万物》合作品牌数 37家，古装权谋大剧《藏海传》合作品牌数达48个再攀新高。更细化的维度，《锦绣芳华》刷新了集均广数、单集广数等纪录。 但这又不是全部。相比去年同期，超过40家品牌合作的剧集数量大幅下滑，即使面对最头部的内容，客户入局也愈发谨慎；对于大部分剧集，"全集有 广"更是跨不过的硬指标，尤其是到了8月只有一部《生万物》实现了全集有广，其余皆"沦陷"。 与剧集市场"整体降温、两极分化"的走势不同，综艺市场的招商表现在整体上更为"平稳"。这是个喜忧参半的词：一方面，头部综艺动辄10+品牌合作的 时代确实已经过去，综艺招商高点基本落在了8个品牌合作上；另一方面，新综艺在声势和吸金能力上，相比往年更加亮眼。 我们常说"春江水暖鸭先知"，长视频招商能力的分化背后，是娱乐营销品牌池的加速洗牌，以及内容市场最真实的发展趋势。前者是消费市场的风向变化 也在真切作用于 ...

Core Viewpoint - The article discusses the trend in recent Chinese dramas where female protagonists are depicted moving from larger homes to smaller living spaces, reflecting a shift in narrative that emphasizes autonomy and choice over traditional notions of status and wealth [5][9]. Summary by Sections Changing Narratives in Dramas - Recent Chinese dramas showcase female leads moving from spacious homes to smaller ones, indicating a narrative shift that challenges traditional views on marriage and living conditions [5][6]. - The phenomenon has sparked discussions on social media about the implications of "downward marriage" and the associated living conditions for women [6]. Autonomy and Choice - The article argues that the size of the home should not be viewed as a regression but rather as a reflection of the characters' agency and decision-making power [6][9]. - For instance, in "生万物," the character 宁绣绣 gains decision-making authority and autonomy despite moving to a smaller home, showcasing her ability to influence her circumstances [6][9]. Relationship Dynamics - The dynamics of relationships are explored, with female characters choosing partners based on compatibility and support rather than wealth, as seen in "子夜归" where the protagonist 武祯 exercises her choice in selecting a partner [7][15]. - The article highlights that the size of the home can symbolize the nature of the relationship, with smaller spaces fostering deeper connections and mutual support among characters [8][20]. Historical Context of Housing in Dramas - The article contrasts the current trend of smaller homes with earlier dramas that featured opulent living spaces, such as "我的前半生" and "亲爱的，热爱的," where wealth was prominently displayed [11][12]. - It notes that the portrayal of large homes in earlier dramas often served as a backdrop for romantic and social narratives, while the current trend reflects a more grounded and relatable approach to storytelling [11][14]. Modernity and Mobility - The shift from large homes to smaller living spaces is also seen as a response to modernity, where characters are depicted as more mobile and less tied to traditional notions of stability and ownership [17][19]. - The article suggests that this reflects a broader societal change where the significance of physical space is diminished in favor of personal agency and relationships [18][20]. Conclusion - Ultimately, the article posits that the trend towards smaller homes in Chinese dramas signifies a deeper understanding of female empowerment and the evolving nature of relationships in contemporary society [20].

Core Viewpoint - The summer season has marked a significant transformation in the short drama industry, shifting from a focus on "traffic supremacy" to "quality supremacy," reshaping the content landscape of the domestic entertainment market [5]. Group 1: Performance Data - The summer season attracted 31.1 billion views for short dramas, surpassing the 15.6 billion views of the top 20 long dramas, indicating a shift in consumption patterns [7]. - The top short drama, "Eighteen-Year-Old Grandma 2," achieved an average of 25 million views per episode, while several long dramas averaged over 30 million views, showing a narrowing gap in viewership [7]. - A total of 16 short dramas exceeded 1 billion views, with the summer season setting multiple records for rapid viewership growth [9]. Group 2: Content Trends - The short drama industry is experiencing a self-iteration capability, moving beyond superficial changes in themes to systemic innovations in narrative modes, character settings, and aesthetic styles [14]. - New short dramas are breaking traditional narrative patterns, focusing on realistic portrayals and character authenticity, thus redefining the balance between popularity and quality [15]. - The integration of social issues into short dramas has redefined their potential, with themes like intergenerational relationships and national pride resonating with audiences [19]. Group 3: Platform Policies - Major platforms like Hongguo, Tencent Video, and iQIYI are implementing new policies to encourage high-quality content creation, shifting the focus from mere traffic to content quality and user engagement [22]. - Hongguo's recent policy changes include increasing minimum guarantees and revenue-sharing ratios, aiming to attract quality creators and establish a more structured creative ecosystem [23]. - Tencent Video and iQIYI have also enhanced incentives for exclusive quality content, emphasizing long-term viewer engagement over new user acquisition [24].

Group 1 - The summer drama market experienced a decline after a promising start, with the second half failing to produce any major hits, leading to a lack of standout performances [1][4][12] - The overall performance of the drama market was characterized by a "tiger head, snake tail" phenomenon, where initial excitement was not sustained, resulting in disappointing outcomes for many shows [2][4][6] - The reality genre showed strong performance with titles like "生万物" and "以法之名" leading in viewership, while traditional genres like ancient costume romance struggled significantly [6][12] Group 2 - Major platforms such as iQIYI, Youku, and Tencent Video did not emerge as clear winners during the summer season, with no platform significantly outperforming the others [7][10][12] - iQIYI managed to maintain a slight edge in viewership with several successful titles, but faced credibility issues due to controversies over inflated viewership numbers [12][17] - The overall lack of high-quality content and blockbuster hits across platforms has led to a disappointing summer season, with no series achieving a rating above 8 on Douban [12][15] Group 3 - The drama market is expected to face a cooling period following the summer season, with a notable drop in viewership from 2.7 billion to 1.7 billion, indicating a need for a breakout hit [13][15] - Upcoming projects like "不眠日" and "赴山海" are anticipated to potentially revitalize the market, but they come with high creative challenges [16][17] - The industry is witnessing a shift in audience expectations, with viewers becoming more discerning and less reliant on established formulas for success [13][15]

Group 1 - The summer drama market experienced a decline after a promising start, with the second half failing to produce any major hits, leading to a lack of overall excitement [1][4] - The initial success of dramas like "Cang Hai Chuan" and "Yi Fa Zhi Ming" was not sustained, with many anticipated series underperforming in viewership [2][9] - The phenomenon of "tiger head, snake tail" was evident, with several dramas receiving negative feedback for poor endings, impacting their overall reception [3][6] Group 2 - The competition among major platforms (iQIYI, Youku, Tencent Video) did not yield a clear winner, as none managed to dominate the summer season [8][12] - iQIYI had a slight edge with several dramas in the top rankings, but faced credibility issues due to concerns over inflated viewership numbers [12] - Tencent Video struggled significantly, with no major hits and a lack of presence in the top rankings, marking a notable downturn for the platform [10][11] Group 3 - The overall drama market is facing a cooling period, with a significant drop in viewership from 270 million to 170 million, indicating a need for breakout hits [15] - New dramas released post-summer have also underperformed, with audience expectations becoming more discerning, making it difficult for traditional content strategies to succeed [15][17] - Upcoming projects like "Bu Mian Ri" and "Fu Shan Hai" are seen as potential game-changers, but their success is uncertain due to the inherent challenges in their innovative concepts [18][20]

Group 1 - The core idea of the article revolves around the concept of "heart power" and its significance in the context of personal and societal development, particularly through the lens of the novel "Cianquan and Juejue" and its adaptation into the popular TV series "Sheng Wanwu" [1][2][8] - The narrative spans a 70-year time frame, illustrating the deep emotional connection of older generations to the land, contrasted with the detachment of farmers post-reform [3][4] - The article emphasizes the importance of "heart power" as a driving force behind economic activities, highlighting how individual curiosity, creativity, and belief contribute to personal and societal growth [12][25] Group 2 - The adaptation of "Sheng Wanwu" highlights the awakening of female power, yet it lacks a connection to the nurturing strength of the land, which is essential for a well-rounded understanding of life's complexities [8][16] - The concept of "heart power" is likened to compound interest, where initial efforts in learning and exploration yield exponential growth over time, reinforcing the idea that sustained effort leads to significant outcomes [10][11][12] - The article discusses the cultural attributes that shape individual and collective destinies, emphasizing the distinction between strong and weak cultures, and how these cultural frameworks influence personal agency and responsibility [19][20][26]

Core Viewpoint - The article discusses the success of the Chinese period drama "生万物" (Life of All Things), which has broken through traditional barriers in rural-themed dramas, attracting a wide audience across urban and rural demographics, and achieving high viewership ratings and online engagement [3][6][10]. Summary by Sections Overview of the Drama - "生万物" is a period drama set in rural Shandong, depicting land changes from 1927 to 1947, focusing on the lives of characters from three families [6][10]. - The show premiered on August 13, achieving a peak viewership rating of 2.68% on CCTV-8, the highest in three years, and surpassed 2 billion views across platforms by August 23 [3][10]. Director's Vision - Director Liu Jiacheng aims to present the complexities of rural society and the fates of different social classes during a transformative era, maintaining the original spirit of the source material [6][12]. - The title "生万物" symbolizes hope and vitality, contrasting with the tragic themes of the original novel [6][10]. Authenticity and Production - The drama was filmed in a real, abandoned village in Shandong, enhancing its authenticity with detailed set designs that reflect historical accuracy [9][10]. - The production team emphasized real-life agricultural practices, capturing the essence of rural life through seasonal farming activities [10][12]. Casting and Audience Reception - The casting of popular young actors like Yang Mi and Ou Hao has attracted a younger audience, with 32% of viewers under 35 at the premiere, increasing to 43% by the finale [19]. - Yang Mi's commitment to authenticity, including immersing herself in rural life, has been noted as a significant factor in the show's appeal [9][18]. Challenges and Controversies - The use of popular actors has sparked mixed reactions, with some praising their performances while others criticize the mismatch between their celebrity status and rural character portrayals [18][19]. - The article highlights the tension between commercial appeal and artistic integrity in casting decisions for rural-themed dramas [19].