Group 1 - The core concept revolves around the popular terms "托举" (lifting) and "接住" (catching), which reflect a societal trend of emotional support being quantified and efficiency-driven, transforming genuine emotional connections into measurable "emotional value" [1][3][15] - The term "托举" has evolved from a physical act of rescue to a metaphor for parental support and societal expectations, highlighting the challenges families face in balancing work and child-rearing responsibilities [4][5][7] - "接住" is used in contemporary culture to express emotional support and psychological recognition, often illustrated through personal anecdotes and media portrayals, emphasizing the need for deeper systemic changes rather than superficial emotional gestures [8][11][13] Group 2 - The discussion of "托举" and "接住" indicates a growing anxiety among younger generations, who feel the pressure of societal expectations and the need for emotional and material support [15][16] - The phenomenon of "托举" and "接住" being turned into KPIs suggests a concerning trend where emotional relationships are commodified, potentially reducing the richness of human connections to mere calculations [15][16] - The narrative surrounding these terms also points to a broader societal issue where individuals are increasingly isolated and view personal relationships as the last refuge from societal pressures, underscoring the need for a robust social safety net [16]

Group 1 - The article discusses the success of the Korean drama "苦尽柑来遇见你" (The Bitter Orange Tree), which has gained immense popularity in China, mirroring the success of "请回答1988" (Reply 1988) with a high rating of 9.5 on Douban [2] - The storyline is set against the backdrop of post-Korean War, highlighting the struggles of Jeju Island fishermen and the life of the protagonist, 光礼, who faces numerous hardships after losing her husband [2][3] - The narrative spans over 70 years, focusing on three generations of women, showcasing their evolving roles and struggles in Korean society [6][13] Group 2 - The drama employs a non-linear storytelling technique, intertwining multiple timelines and utilizing the four seasons as a structural framework to enhance the narrative [7][12] - Each season symbolizes different themes: spring represents dreams and loss, summer embodies intense love and pain, autumn signifies maturity and choices, and winter symbolizes endings and new beginnings [12] - The portrayal of female characters reflects the historical transformation of women's roles in Korea from the 1950s to the present, emphasizing their awakening and resistance against societal constraints [13][14] Group 3 - The article highlights the broader context of Korean cinema's tendency to embrace "苦难叙事" (narratives of suffering), which resonates with the historical experiences of the Korean people [17][19] - The success of "苦尽柑来遇见你" is attributed to its ability to connect with universal themes of family, love, and the pursuit of equality, transcending cultural differences [15] - The work of director 李沧东 is noted as a significant influence in the realm of苦难叙事, reflecting personal and national struggles through his films [27]

Core Viewpoint - The return of the popular Chinese documentary series "A Bite of China" has sparked significant controversy, particularly regarding its portrayal of traditional cooking techniques that some viewers find outdated and harmful [1][3][20]. Group 1: Background and Popularity - "A Bite of China" first aired in 2012 and received widespread acclaim, achieving a high rating of 9.4 on Douban, which led to a cultural phenomenon around food [8][9]. - The second season followed in 2014, maintaining the show's popularity and resulting in a surge of food-related media imitating its style [13][15]. - However, the third season faced a drastic drop in ratings, plummeting to 3.8, indicating a significant decline in viewer reception [18]. Group 2: Controversy Surrounding Season 4 - The fourth season, which aired earlier in the year, was largely ignored until it was released on video platforms, where it received a wave of criticism [20]. - The first episode's focus on traditional cooking techniques, particularly the "贴烧饼" (sticking pancakes) method, drew ire for its depiction of labor-intensive and potentially harmful practices [23][24]. - Viewers expressed concern over the physical toll on the workers, questioning the necessity of such traditional methods in modern times [35][36]. Group 3: Cultural and Social Commentary - The backlash reflects a broader societal shift away from glorifying suffering and hardship, with audiences increasingly rejecting narratives that romanticize "苦难" (suffering) [40][62]. - The documentary's failure to adequately address the implications of these traditional practices and the personal experiences of the workers contributed to viewer dissatisfaction [68][70]. - The series has been criticized for lacking depth in exploring the cultural significance of food and the resilience of individuals, focusing instead on the hardships without showcasing hope or progress [85][86]. Group 4: Industry Implications - The decline in quality and relevance of "A Bite of China" raises concerns about the future of documentary storytelling in China, particularly in how it engages with contemporary issues [67][89]. - The series' inability to resonate with current audience expectations highlights a disconnect between traditional narratives and modern sensibilities, suggesting a need for creators to adapt their storytelling approaches [88][90].

Core Insights - The current state of the film industry is marked by a lack of genuine storytelling and creativity, leading to disappointing box office results during the May Day holiday period, with a 50% year-on-year decline in ticket sales, reverting to 2017 levels [1][3][5] - The industry is experiencing a reflection phase, where the failure of films is attributed to the content itself rather than external factors, indicating a need for creators to take full responsibility for their work [5][6] - Hong Kong directors, once at the forefront of the Chinese film industry, are now seen as outdated, with their techniques becoming tiresome for audiences, as evidenced by the poor performance of their recent films [8][10] Industry Trends - The film market is witnessing a significant shift, with audiences increasingly rejecting formulaic and recycled content, as seen in the stark contrast between successful films like "Nezha" and the underperformance of recent releases [3][19] - There is a growing concern that filmmakers are succumbing to the pressures of short video formats, leading to a faster-paced storytelling style that may not resonate with traditional film audiences [14][18] - The upcoming film slate shows a lack of innovative projects, with many filmmakers opting for sequels or adaptations rather than original content, which may hinder the industry's recovery [21][23] Audience Expectations - Audiences are becoming more discerning, with higher standards for what constitutes a worthwhile film experience, as evidenced by the poor reception of films that fail to deliver meaningful narratives [19][21] - The trend of "crying films" that gained popularity during the pandemic is waning, with recent releases struggling to attract viewers, indicating a shift in audience preferences [19][21] - There is a call for filmmakers to explore deeper, more relatable themes that reflect the complexities of modern life, rather than relying on superficial success narratives [11][18]

以下文章来源于娱乐硬糖 ，作者顾韩 娱乐硬糖 . 有温度的泛娱乐产业自媒体。娱乐人物的商业解读，资本客厅的莎士比亚。 从《苦尽柑来》到《混沌少年时》， 海外从业者如何捍卫长剧。 文 ｜ 顾韩 编辑 ｜ 李春晖 来源｜ 娱乐硬糖（ID：yuleyingtang） 封面来源 ｜ 《混沌少年时》剧照 进入Q2的长视频发布季，第一次，最受关注的不再是片单储备，而是各家对内容策略的重新梳理，对剧集长短的最新判断。 4月23日的2025爱奇艺世界大会上，高管一边肯定"长视频为战略核心、微剧为增量业务"，一边提出"短是内容领域2025唯一关键词"，承认长剧处在"转型阵 痛期"，集数与时长的缩短势在必行。 而优酷自去年的10集迷你剧《新生》起，就在为自家"限集令"做铺垫。随着全行业的缺金断粮，这种调整更是自发自觉。数据显示，2024年播出剧集与备案 剧集的平均集数双双下降到28集左右。 在这个长短之争白热化的特殊阶段，长剧变短已成定局，问题是怎么变？如果说横屏中短剧是长剧向短的权宜之计，迷你剧（只缩集数，单集可能还会加 长）就是大家从《纸牌屋》时期就提出要发展、如今全面提上日程的进化终局。 然而，在国剧最先"迷你化"的悬疑赛 ...

Group 1 - The core focus of the long video industry is shifting from content inventory to content strategy, with a significant emphasis on the trend of shortening series and episodes [1] - Data indicates that the average number of episodes for broadcast and planned series is expected to drop to around 28 episodes in 2024, reflecting a broader industry adjustment due to financial constraints [1] - The transition from long series to shorter formats is becoming a necessity, with mini-series being seen as an evolutionary endpoint in this trend [1] Group 2 - The mini-series format has faced challenges in the domestic market, with many high-profile projects failing to meet expectations, indicating that simply reducing episode count does not guarantee success [3] - International series, particularly from the UK and Japan, have successfully adapted to shorter formats, with typical episode counts dropping to around 10, showcasing a different approach to storytelling [3] - The immersive experience created by international series often stems from high information density, which keeps viewers engaged despite the presence of competing entertainment options [4] Group 3 - The narrative techniques employed in international series, such as continuous shots and non-linear storytelling, enhance viewer engagement and emotional connection with characters [5][8] - Recent successful series have utilized innovative storytelling methods to challenge viewers' attention and cognitive engagement, pushing them to invest more in the narrative [6] - Korean dramas have also evolved by incorporating contemporary themes into traditional storytelling formats, reflecting current societal issues while maintaining audience interest [10][13] Group 4 - Long series are increasingly viewed as a high-cost entertainment option, necessitating more substantial content to justify viewer investment in terms of time and attention [10] - Successful long series have focused on revealing insights into contemporary issues, such as workplace dynamics and societal challenges, thereby enhancing their relevance [11][19] - The ability of long series to foster discussion and create consensus on social issues distinguishes them from short series, which often cater to individual viewer preferences [17] Group 5 - The emotional depth and complexity of long series allow them to address universal themes of human experience, contrasting with the more immediate gratification offered by short series [21] - The narrative approach of long series, which emphasizes character development and relational dynamics, resonates with audiences across diverse cultural backgrounds [21] - The industry recognizes the need for long series to evolve in response to changing viewer expectations, focusing on deeper themes of pain and hope to enhance their artistic value [21]

Group 1 - The drama "苦尽柑来遇见你" has sparked significant interest in the Jeju haenyeo (female divers) culture, highlighting the struggles and resilience of three generations of women [1][3] - The number of haenyeo has drastically decreased from over 20,000 in the 1960s to 3,226 in 2023, with 64.8% being over 70 years old, indicating an aging population and a cultural crisis [3][5] - The Jeju haenyeo culture has been recognized as a significant cultural heritage, being listed as a UNESCO intangible cultural heritage and a national cultural heritage of Korea [3][5][6] Group 2 - The haenyeo culture embodies values of gender narrative, social responsibility, and ecological philosophy, which are increasingly relevant in contemporary society [6][20] - Historically, haenyeo emerged in the 17th century to fill labor shortages, and their work was initially undervalued, but they have since gained economic sovereignty and social influence [7][9] - The haenyeo's collective organization, known as "契," promotes cooperation and mutual support, showcasing a model of social responsibility that contrasts with modern individualism [16][18][19] Group 3 - The cultural significance of haenyeo is being revitalized through media representation, with recent dramas and documentaries increasing public interest and tourism in Jeju Island [24][30] - There is a pressing need for innovative transmission mechanisms to avoid the hollowing out of intangible cultural heritage, focusing on both skill transmission and market viability [25][26][27] - The establishment of haenyeo schools and experiential programs aims to modernize the training of haenyeo while preserving traditional practices [27][28] Group 4 - The success of the haenyeo culture in media can be compared to Disney's IP management strategies, emphasizing the importance of creating a sustainable cultural narrative that engages the audience [29][33] - The potential for user-generated content and community involvement in cultural transmission is crucial for the longevity and relevance of the haenyeo heritage [33][34]