Core Viewpoint - The controversy surrounding the drama "赴山海" (Journey to the Sea) is primarily due to the incorporation of "light comedy" elements, which are seen as incompatible with the original narrative style, leading to a negative overall viewing experience [2][3][5]. Group 1: Impact of Light Comedy - The introduction of light comedy in "赴山海" has been criticized for disrupting the original narrative rhythm and style, which is rooted in themes of chivalry and national duty during the Southern Song Dynasty [3][4]. - The light comedic elements have not enhanced the drama but rather diluted its martial arts essence, resulting in viewer backlash against the creative team's approach [5][6]. - The trend of light comedy in historical dramas has been prevalent since the success of "庆余年" (Joy of Life), which effectively blended modern humor with a historical setting [7][8]. Group 2: Market Trends and Audience Demand - The success of "庆余年" sparked a wave of light comedy adaptations in the drama market, with subsequent series like "赘婿" (The Son-in-Law) continuing this trend [9][10]. - Light comedy has become a ubiquitous element in various genres, appealing to a broad audience due to its accessibility and ability to provide entertainment amidst real-life pressures [12]. - However, the indiscriminate application of light comedy across all genres has raised concerns about its suitability and effectiveness, as not all narratives can accommodate such elements without losing their core essence [14][20]. Group 3: Creative Challenges - Successful integration of light comedy requires careful consideration of narrative pacing, thematic consistency, and character logic, which is often overlooked in recent adaptations [18][20]. - The failure to appropriately blend light comedic elements with the original story can lead to a loss of emotional depth and viewer engagement, as seen in "赴山海" and "折腰" (Bending Waist) [15][17]. - Even previously successful light comedies like "庆余年" faced criticism in their sequels for excessive comedic content that did not align with the overall narrative tone [19].

吐 槽《赴山海》 ， 成了互联网新的流量密码，也是截至目前2025下半年剧集市场最大的热闹。 《赴山海》的背景注定它自带高声量：是成毅继《莲花楼》站稳顶流位置、待再度验证实绩的力作，也是桃鹅联手vs裤《藏海传》、平台之间S+剧作的 延迟对打。 客观来说，猫眼认证的播出10天有效播放量破7亿、连续10天登顶剧集热度榜，成毅饰演的萧秋水角色热度在爱奇艺破2亿……前方给出的数据认证，成毅 在热度上确实扛起了《赴山海》，而剧集口碑不及预期，也让成毅在这一战暂处下风。 开播时再不好过，临收官也马上好过了。目前剧集已播出大半，网友下场审判的热情稍微褪去，抖音热点#赴山海口碑回升#话题上升，剧方在暗暗发力抢 救口碑基本盘。 同时成毅的新饼消息已经传出，据悉他主演的《两京十五日》即将开机，今日已进组定妆。这部剧为爱奇艺S+古装、改编自马伯庸同名小说、《大明王 朝》《哈尔滨一九四四》导演张黎加盟，搭档演员林更新。算是大制作好饼。 kk曾和很多看客一样好奇，这一次口碑失利，究竟会不会动摇成毅本被市场看好的扛剧能力？而看到成毅戏约不断，将再次带着S+作品进入待检期，这 个尖锐的问题，竟变成了伪命题。 kk总结下《赴山海》的槽点，其 ...

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 ...

武侠剧《赴山海》于9月11日起在腾讯视频、爱奇艺播出。 新京报讯（记者杨莲洁）由腾讯视频、爱奇艺、稻草熊影业、烨华影视、童乐影视出品，成毅领衔主演的古装新 概念武侠剧《赴山海》将于9月11日起在腾讯视频、爱奇艺播出。该剧改编自武侠大师温瑞安原著《神州奇侠》， 以全新视角打开武侠世界，在延续经典的同时探索属于新时代的热血与情义。 武侠一直是中国文化特有的基因，每一代人都有对于"大侠"的独特记忆。《赴山海》在武侠文化的传承中探索新 路——作为武侠穿书系统文改编剧，它在形式上突破了传统武侠的边界，融合穿书设定与"Z世代"潮流语境，用创 新的叙事手法和视觉表达为武侠注入了新鲜血液，形成独具辨识度的江湖质感。剧中，成毅饰演的少年肖明明意 外化身为小说的主角萧秋水，本以为能凭借"主角光环"横行江湖，却在暗算与背叛中屡遭重创。跌落命运的谷底 之后，他以血与泪重塑信念，从苟活求生的小剑客，一步步逆袭成长为以义为先的大侠。 该剧以萧秋水、李沉舟、萧雪鱼、柳随风等核心人物展开，用细腻的笔触描绘了江湖势力的碰撞与交锋。主角的 成长并非"开挂式"的逆袭，而是在一次次挑战与挣扎中逐渐突破，从"能自保"到"能护人"，极具代入感。此外， ...

Industry Overview - The current state of the drama market is challenging, with only a few shows like "In the Name of the Law" performing reasonably well, while others from major production companies have not made a significant impact [1][9] - The first phase of the summer season has concluded with disappointing results for major players, as many anticipated dramas failed to resonate with audiences [9] Key Productions and Performances - Tencent Video and iQIYI launched "Lychee of Chang'an" and "Lingjiang Xian" respectively, but both shows faced content controversies that hindered their success despite strong production teams [1][3] - Notable dramas such as "The Age of Forging" and "Huan Yu" also struggled, failing to meet audience expectations due to weak storytelling and character development [3][6] - The summer drama landscape is expected to become more competitive as new productions are set to debut, including "Justifiable Defense," which focuses on self-defense cases and features a strong cast [10][12] Upcoming Projects - Several new dramas are scheduled for release, including "Justifiable Defense" on July 9, which is anticipated to be a standout due to its unique theme and high-profile cast [10][12] - New productions from established companies like New Classics Media and Zhengwu Media are also on the horizon, with a variety of genres being explored [14][18] - The upcoming dramas from Noon Sunshine and Lingmeng are expected to contribute to the summer lineup, with "Cherry Amber" and "Midnight Return" respectively [14][16] Market Trends - Compared to the same period last year, the overall quality of summer dramas has declined, with no standout series capturing a wide audience [20] - The industry is looking for high-quality productions to emerge in the coming months to reverse the current downward trend [20]

Group 1 - The long drama market is regaining vitality with the release of "Cang Hai Chuan" and "Zhe Yao," both achieving rapid viewership milestones, indicating a prelude to the upcoming summer season [1][2] - "Zhe Yao" has shown impressive performance, breaking 20,000 in viewership within 10 minutes of its release on Tencent Video, and reaching a peak of 26,712 on its first day, setting a record for the fastest to break 26,000 in 2025 [2][3] - "Cang Hai Chuan" also performed well, achieving over 8000 in viewership within 5 hours and surpassing 10,000 in 38 hours, setting a new record for the highest premiere ratings in 2024 on Youku [5][6] Group 2 - Both dramas have attracted significant advertising interest, with "Zhe Yao" increasing its ad count from 2 to 7, while "Cang Hai Chuan" also saw a rise in ad numbers, reflecting their popularity [3][5] - The success of both series can be attributed to their strong male leads, with Liu Yuning from "Zhe Yao" and Xiao Zhan from "Cang Hai Chuan" drawing large audiences, particularly among female viewers [5][6] - The current market environment and the quality of the content in both dramas are crucial factors for their success, as they meet the audience's demand for high-quality productions [8][9] Group 3 - Despite the success of "Zhe Yao" and "Cang Hai Chuan," the overall drama market is still struggling compared to the previous year, with fewer standout titles available for the summer season [11][13] - Other dramas airing concurrently are unlikely to significantly impact the market, indicating that the upcoming months are critical for revitalizing the long drama sector [13][15] - The ability of "Zhe Yao" and "Cang Hai Chuan" to maintain their momentum will be essential for lifting the overall market performance ahead of the summer season [9][15]

Core Insights - The anticipation for the male-oriented dramas "Fu Shan Hai" and "Cang Hai Chuan" has been overshadowed by controversies surrounding the cast, particularly the female lead of "Fu Shan Hai" [1] - "Cang Hai Chuan" has already aired, while "Fu Shan Hai" remains without a release date, indicating a shift in the competitive landscape of male-oriented dramas [1] - Despite setbacks, the upcoming male-oriented dramas are not significantly impacted, with several high-profile actors still having multiple projects lined up for release [1] Industry Trends - The upcoming male-oriented drama battle in 2025 is characterized by a sense of stability, with many projects drawing inspiration from past successful series [4] - A significant portion of the upcoming dramas are historical martial arts, with titles like "Shui Long Yin" and "Ying Xiong Zhi" reflecting a trend towards familiar themes and narratives [4][5] - The male-oriented drama market is facing challenges similar to those in 2024, where only "Qing Yu Nian Season 2" received critical acclaim, highlighting ongoing quality issues [3][12] Audience Dynamics - The disconnect between the fan bases of male-oriented drama leads and the target audience is a persistent issue, as many actors gained popularity through female-centric narratives [12] - The attempt to balance male and female audience preferences in male-oriented dramas has not yielded satisfactory results, as seen in the mixed reception of shows like "Da Feng Da Geng Ren" [12][13] Actor Strategies - Prominent actors like Yang Yang, Cheng Yi, and Luo Yunxi are strategically taking on multiple male-oriented projects to navigate the shifting market dynamics [8][9] - The transition of these actors from romantic dramas to male-oriented narratives reflects a broader industry trend where traditional genres are declining, necessitating a shift in actor roles [8][9] Competitive Landscape - The emergence of new historical dramas, such as "Feng He Jin Qi Zhang Ju Zheng," poses a competitive threat to traditional male-oriented dramas, as they attract a broader audience base [15] - The success of upcoming dramas may hinge on their ability to innovate and differentiate themselves from existing narratives, as seen with the anticipated "Shui Long Yin" [15]

Core Viewpoint - The recent controversies surrounding foreign artists in China, particularly the incidents involving Li Kaixin and Zheng Naixin, highlight the risks associated with their public statements and behaviors, prompting a call for stricter background checks during casting processes to avoid potential fallout for productions [1][10][17]. Group 1: Impact on Productions - The upcoming series "Journey to the Mountains and Seas" faces significant challenges due to the fallout from Li Kaixin's recorded statements, leading to her removal from promotional materials and potential delays or reshoots, resulting in substantial financial losses [1][10]. - Media criticism has emerged regarding the series' passive response to the controversy, suggesting that merely removing Li Kaixin's content without a clear stance is insufficient [3][10]. Group 2: Public Reaction and Cultural Sensitivity - Li Kaixin's derogatory remarks about Chinese people have sparked widespread outrage, with media and public discourse emphasizing the importance of respecting national dignity and the consequences of foreign artists' negative comments [7][10]. - The incidents have led to a broader discussion about the growing foreign artist community in China and the need for greater scrutiny of their public conduct, as the public's tolerance for "double-faced" behavior diminishes [3][10][16]. Group 3: Industry Trends and Future Implications - The influx of foreign artists into the Chinese entertainment industry has been driven by various factors, including popular talent shows and the demand for international collaboration in productions [11][13]. - As the industry evolves, there is an increasing expectation for foreign artists to demonstrate cultural respect and integrity, with a clear message that disrespectful behavior will not be tolerated [16][17].

Group 1 - The drama market in May is experiencing a slow start, similar to the weather in Beijing, with platforms releasing new series but overall market performance remaining subdued [1][2] - Recent dramas such as "淮水竹亭" and "落花时节又逢君" have failed to gain significant popularity despite being in the airing period, indicating a lack of breakout hits [2][11] - New series like "刑警的日子" and "亲爱的仇敌" have been launched, but their reception has been lukewarm, with the former's crime-solving plot being described as bland [4][6][11] Group 2 - Upcoming dramas in May include a variety of genres, with Tencent Video releasing a list of eight new series, including "陷入我们的热恋" and "华山论剑," which aim to attract different audience segments [12][14] - Notable anticipated series include "赴山海" and "藏海传," both of which have generated significant pre-release buzz, with "赴山海" achieving over 6 million reservations across platforms [18][19][21] - The industry is looking forward to the second half of May for potential market recovery, as several high-profile dramas are set to premiere [12][21]

Group 1 - The long drama market is experiencing a period of anxiety, but promotional activities in the drama sector remain vibrant, utilizing social media, actor interactions, and offline fan events as regular promotional processes [1] - The recent ancient costume drama "Wuyou Du" premiered on iQIYI with a "zero promotion" strategy, which is often a misleading term as most dramas claiming this still engage in some marketing activities [2][4] - The promotional strategy for "Wuyou Du" was initially low-key due to the lead actress's tax issues, focusing on precise marketing of the plot and engaging viewers through social media challenges [4][6] Group 2 - As the drama progressed, the popularity and reputation of "Wuyou Du" grew through word-of-mouth, leading to a series of online and offline promotional activities, including live interactions with the cast [6] - The upcoming drama "Fushan Hai," led by popular actor Cheng Yi, has seen significant fan-driven promotional activities across 27 cities, showcasing the power of fan engagement in marketing [7][9] - Fans organized various innovative promotional events, including large-scale activities in shopping malls and public spaces, demonstrating their creativity and commitment to promoting the drama [11][13] Group 3 - Long video platforms play a crucial role in drama promotion, with Tencent Video launching a new variety show "Yi Jian Ni Jiu Xiao" to enhance viewer engagement and provide a long-term promotional strategy [14][18] - The first episode featured interactive games and behind-the-scenes content, increasing the exposure of the drama and contributing to its long-tail effect [16][19] - The show serves as a fixed promotional platform for Tencent Video, helping to build user loyalty and establish a stable relationship with the audience [18][19]