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].

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 Insights - The article discusses the transformation of the male-centric drama genre in 2025, highlighting a shift from traditional "heroic" narratives to more nuanced, emotionally-driven stories that resonate with female audiences [3][17][18] Group 1: Male-Centric Drama Evolution - The male-centric dramas of 2025 are characterized by a departure from traditional "heroic" tropes, leading to a dilution of the genre's original appeal [2][4] - The emergence of "soft male leads" reflects a broader trend where male protagonists exhibit vulnerability and emotional depth, aligning more closely with female audience preferences [5][17] - The shift is evident in popular series like "Cang Hai Chuan," where the male lead embodies a more sensitive and complex character, contrasting sharply with earlier archetypes [4][6] Group 2: Audience Influence - Female audiences have transitioned from passive viewers to active participants in shaping narrative structures, influencing the portrayal of male characters [7][11] - The changing dynamics in audience preferences have led to a re-evaluation of what constitutes appealing male characters, with a focus on emotional resonance rather than traditional masculinity [11][12] Group 3: Industry Response - Streaming platforms are adjusting their strategies, moving from heavy investments in male-centric content to a more balanced approach that includes female-driven narratives [9][10] - The performance of recent male-centric series like "Qing Yu Nian 2" has not met expectations, prompting platforms to reconsider their content strategies and explore new storytelling methods [11][12] Group 4: Future Directions - The article suggests two potential paths for the evolution of male-centric dramas: fully embracing female perspectives or reconstructing traditional masculine narratives [13][14] - The industry faces a critical juncture where it must redefine male-centric storytelling to either align with contemporary audience expectations or return to its roots [18][19]