Core Insights - The Chinese drama industry is entering a golden period of international expansion, with a 114.5% year-on-year increase in content viewership on iQIYI's international platform, driven primarily by Chinese-language content [1] Group 1: Performance of Chinese Dramas - The top-performing dramas include "Love You" and "White Moon Fan Star," showcasing the appeal of Chinese dramas in overseas markets [1][3] - Other notable entries in the top 10 include "Morning Snow Record," "White Olive Tree," "Book Scroll Dream," and "Dual Tracks," indicating a diversification and premiumization of Chinese content [3] Group 2: Production Companies and Collaborations - Chinese production companies such as Kuqing Film, Bodi Film, Lemon Film, and others have gained international recognition through their collaborations with iQIYI [6] - The increasing quality of content from these companies is driving their desire to expand internationally, with iQIYI facilitating this through close cooperation with content creators [6] Group 3: Performance of Other Content Types - Chinese animation is also seeing success abroad, particularly in the fantasy genre, with titles like "Spirit Martial Continent" and "One World, One Glory" dominating the charts [10] - The "Nezha" IP has shown strong global appeal, with related films occupying the top three spots in the Chinese film category [10] Group 4: Regional Preferences for Chinese Content - Southeast Asia shows a strong preference for localized content, with many Chinese dramas being dubbed in Thai for local audiences [13] - East Asian viewers exhibit a higher interest in mystery and detective stories, while audiences in the Middle East and North Africa favor military-themed narratives [13] - iQIYI plans to deepen its strategy of promoting Chinese content in 2026, aiming to connect diverse global markets with high-quality offerings [13]

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].

Core Viewpoint - The article discusses the evolving nature of offline drama promotion events, highlighting a shift from genuine engagement between creators and audiences to a focus on "CP" (couple pairing) marketing, which may detract from the original intent of promoting the drama itself [5][14][27]. Group 1: Evolution of Offline Promotion - Offline drama promotion events, originally intended to foster direct communication between creators and fans, have increasingly become dominated by CP marketing, where the focus is on romantic interactions rather than the drama's content [5][14]. - The rise of offline drama promotion has been driven by the saturation of online channels, leading to a new promotional model that emphasizes live interaction and emotional engagement [7][9]. - The effectiveness of this offline marketing strategy is evident, as it has transformed from an optional addition to a necessary component of drama promotion, with significant investment from production companies [7][9][10]. Group 2: Impact on Audience Perception - The shift towards CP marketing has led to a change in audience expectations, where viewers are more interested in the romantic dynamics between actors than the actual storyline or character development [21][24]. - This trend has resulted in a disconnect between the promotional activities and the actual content of the dramas, often leading to viewer disappointment when the on-screen chemistry does not match the promotional hype [24][27]. - The increasing demand for "sugar" (romantic content) in promotions has created a cycle of escalating expectations, where audiences continuously seek more intense displays of affection from actors [24][27]. Group 3: Risks and Future Directions - The current trajectory of offline drama promotions raises concerns about the sustainability of this marketing approach, as it risks alienating viewers who seek substantive storytelling rather than superficial interactions [22][27]. - The industry faces a dilemma: whether to continue down the path of CP-centric promotions or to refocus on the core elements of storytelling and character development that truly resonate with audiences [19][27]. - Ultimately, the article suggests that while CP marketing can be a valuable tool, it should not overshadow the fundamental purpose of drama promotion, which is to engage audiences with compelling narratives and character arcs [27].

Core Insights - The overall performance of the drama market in the first half of 2025 shows a decline compared to the previous year, with a notable drop in the number of high-performing series and overall viewership [1][3][5] - Despite the challenges, platforms and creators are actively seeking ways to adapt and innovate in content delivery and scheduling strategies [1][18][20] Market Performance - In the first half of 2025, 137 new domestic dramas were launched, an increase of 7 compared to the previous year, while the inventory of dramas decreased by 36 to 71 [3][18] - The effective viewership of top dramas has significantly decreased, with the leading series in 2025 achieving 18 billion fewer views than the top series in 2024 [3][5] - The only series to exceed an average of 50 million views per episode in the first half of 2025 was "漂白" with 54.9 million views, compared to three series achieving this in the same period last year [5][14] Audience Reception - Four domestic dramas scored above 8 points on Douban in the first half of 2025, with the highest being 8.3 for "无尽的尽头" and "异人之下之决战！碧游村" [6][8] - The number of high-scoring dramas has not significantly changed, but the highest ratings and number of ratings have decreased compared to the previous year [8][6] Platform Dynamics - The competitive landscape among major platforms has shifted, with Tencent Video's "大奉打更人" leading in total effective views, while iQIYI's "漂白" excelled in average views per episode [10][13][15] - The proportion of exclusive dramas has increased to 87% in the first half of 2025, up 11 percentage points from the previous year [18][20] Content Trends - Historical dramas continue to dominate the market, accounting for 70% of the top 10 dramas by viewership [22][24] - There is a notable trend towards shorter series, with an increase in the number of episodes ranging from 13 to 23, particularly in the suspense genre [27][24]