文 | 文娱商业观察 德黑兰 播出已过大半，但各种buff层层叠加的《枭起青壤》，似乎还未撑起"尾鱼宇宙"效应。 在开播81分钟即破25000热度值刷新腾讯视频站内现代剧热度纪录后，《枭起青壤》逐渐陷入"高开横盘"的尴尬境地，直至发稿前，站内热度仍停滞在 27000区间难以突破。与此呼应，其虽已获得云合S+评级，但目前的市占率走势也基本是在横盘运动，最高仅13.8%，并且在云合剧集霸屏榜上的排位已 连续多日被《大生意人》反超。 两年后，腾讯视频"尾鱼宇宙"首发作《西出玉门》正式登场。可遗憾的是，尽管该剧的站内热度创下腾讯视频2023探险剧最高纪录（29271），并在完全 没有云包场的情况下跻身平台年度畅销榜TOP10，但由于舆论场里的观众反馈"毁誉参半"，距离"现象级"始终差了一口气。 《枭起青壤》与预期的"压轴剧王"还有距离，而近日腾讯电视剧运营人员回怼观众"外行指导内行"的言论，又挫伤了剧集核心粉丝的热情，对其路人盘也 产生了一定的消耗。 这显然不是腾讯视频所希望看到的。 在今年6月举办的2025腾讯视频影视年度发布上，腾讯视频曾重点披露了自己的IP宇宙系统化打造计划，《枭起青壤》所属的"尾鱼宇宙"正在其 ...

《枭起青壤》在超点完结日的热度跌回了仅次于开播日的新低，播放量也被后来居上的《大生意人》反超并且日渐拉开距离。 以迪丽热巴的流量级别、加上尾鱼"超大IP"的招牌来看，这样的数据表现实在不达大部分人的预期。 与此同时，尾鱼小说的书粉也没闲着，飞速翻出《枭起青壤》导演田里在八年前拍《河神》时的一段采访，文字中"尊重原著是在害人"如同一颗延时炸 弹，刚好在剧版遭遇质疑的当口"砰"地炸开。书粉怒火高涨，网友判断混乱，评论区从"你没懂原著"吵到"你就是不尊重原著"，再吵到"你拍的根本不是 原著"。 《枭起青壤》导演田里八年前的采访 如果只看这一轮骂战，你甚至会以为尾鱼小说是那种"读者自己都看不懂"的小众怪谈，可事实恰恰相反，尾鱼在网络文学世界可以说是"铁盘"级别的存 在，书粉忠诚度极高，长尾效应也足够稳，甚至到了她写什么、读者就追什么的程度。读者执迷于她笔下的东方志怪世界观和诡谲氛围，恨不得有人能把 她营造的"民间神秘感"和"精怪味道"完整拍出来。 可是，一旦进入影视化，情况立刻像被诅咒似的，《怨气撞铃》剧版被书粉自嘲"看了怨气大到想要撞铃"，《西出玉门》在黄沙中拍得索然无味，《七根 心简》被吐槽棚内虚拟拍摄看着廉价， ...

Core Viewpoint - The article discusses the varying success rates of authors in adapting their works into films and series, highlighting the concept of "adaptation luck" in the Chinese entertainment industry, particularly in the context of web literature and its transition to screen adaptations [1][4][5]. Group 1: Adaptation Success Stories - The article emphasizes the rise of author Qianshan Chake, whose works have gained significant popularity through successful adaptations, particularly with the web series "Mo Yu Yun Jian" and "Yan Hui Shi," which have achieved high viewership and engagement [6][14][16]. - Qianshan Chake's notable works, such as "Rebirth of the Noble Girl" and "Rebirth of the General's Poisonous Wife," have accumulated millions of views, showcasing her strong presence in the web literature scene [9][10]. - The success of her adaptations is attributed to the compelling female characters and engaging narratives that resonate with contemporary audiences, aligning with current trends in the entertainment industry [18][19][20]. Group 2: Challenges in Adaptation - The article contrasts the success of Qianshan Chake with other authors like Wei Yu, whose adaptations have faced criticism and poor reception, indicating that not all popular web literature translates well to screen [27][30]. - The difficulties faced by authors like Wei Yu stem from the complexity of their narratives, which often do not adapt easily to the visual medium, leading to challenges in maintaining the original story's essence [28][29]. - The article suggests that adaptation success is not solely dependent on the original work's popularity but also on the adaptability of its content and the execution of the adaptation process [30][39]. Group 3: Future of Adaptation - The article posits that authors can enhance their "adaptation luck" by considering the potential for screen adaptation during the writing process, as seen with the author of "Da Feng Da Geng Ren," who tailored his narrative for better compatibility with film and television [31][34]. - It highlights the importance of collaboration between authors and web literature platforms to create works that are more likely to succeed in adaptations, indicating a shift in the industry's approach to content creation [36][37]. - The article concludes with a hopeful outlook for both successful and struggling authors, suggesting that the evolving landscape of the entertainment industry may provide new opportunities for adaptation success in the future [44].