Core Viewpoint - The article discusses the evolving role of "heat value" in the Chinese drama industry, emphasizing its importance as a multi-dimensional evaluation tool rather than a simple ranking mechanism. It highlights the need for platforms to lead in establishing order and recognizing quality content amidst increasing competition and audience fragmentation [1][19]. Group 1: Heat Value as a Measurement Tool - Heat value is not merely a reflection of viewership but represents a shift from a single-dimensional logic of "play count" to a more complex evaluation system that includes various metrics such as audience engagement and feedback [2][15]. - The introduction of heat value by iQIYI in 2018 aimed to address concerns over inflated view counts and to create a more objective and quantifiable assessment of content [2][15]. - Heat value serves as a collaborative discussion point among platforms, creators, and audiences, reflecting a consensus on the value of content in the current market [3][16]. Group 2: Differentiation in Audience Engagement - The article notes that heat value can vary significantly based on audience demographics and viewing habits, leading to discrepancies between perceived popularity and actual heat value [11][19]. - Examples such as "Chao Xue Lu" demonstrate that some dramas can achieve high heat values through consistent quality and audience loyalty, rather than relying on star power or trending topics [4][6]. - Conversely, shows like "Liang Zhi" and "Nan Lai Bei Wang" illustrate that traditional viewership metrics may not align with heat value due to their mature audience's viewing preferences [9][11]. Group 3: Implications for Content Strategy - Heat value is increasingly recognized as a tool for platforms to gauge content quality and distribution efficiency, while also serving as a reference for creators to adjust their strategies based on audience feedback [16][19]. - The article emphasizes that heat value should not be seen as the ultimate measure of success but rather as a starting point for understanding content trends and audience preferences [19]. - The existence of heat value allows for a more nuanced understanding of content impact, enabling the industry to appreciate both immediate hits and long-term cultural significance [15][19]. Group 4: Platform Comparisons and Standards - The article discusses the differences in heat value calculations across major platforms like iQIYI, Tencent Video, and Youku, with general perceptions that Tencent's heat values are approximately three times higher than iQIYI's [13][14]. - These discrepancies have led to discussions among audiences regarding the relative performance of content across platforms, highlighting the need for a standardized understanding of heat value metrics [13][14]. Group 5: Future of Heat Value in the Industry - The article concludes that while heat value is not a perfect measure, it plays a crucial role in a data-driven content landscape, providing a framework for understanding audience engagement and content visibility [15][19]. - The industry is encouraged to focus on content quality and meaningful discussions rather than solely on heat value as a metric, fostering a healthier ecosystem for diverse storytelling [19].

Core Viewpoint - The article discusses the concept of "CP感" (Couple Chemistry) in Chinese dramas, suggesting that it can be analyzed and understood through specific frameworks rather than being purely mystical or random [4][5][15]. Group 1: CP感 Analysis - CP感 can be likened to a chemical reaction, where the right elements and conditions lead to successful pairings in dramas [6][13]. - The article categorizes CP感 into five basic types of reactions: 1. **Combustion Reaction**: Intense physical chemistry, exemplified by the drama "这一秒过火" [8]. 2. **Acid-Base Neutralization**: Character contrasts that create balance, seen in "永夜星河" and "念念有词" [9][10]. 3. **Oxidation-Reduction Reaction**: Characters drawing out needed traits from each other, as in "雁回时" [10]. 4. **Decomposition Reaction**: Unleashing suppressed traits, illustrated by "苍兰诀" [11]. 5. **Synthesis Reaction**: Combining two distinct characters for a common goal, as in "朝雪录" [12]. Group 2: Industry Trends - The article notes that the understanding of CP感 is not just theoretical but also practical, requiring careful casting and direction to achieve desired emotional responses [15][26]. - It highlights the trend of "CP邪修" (CP Deviance), where unconventional pairings are explored, often leading to unexpected audience engagement [18][20]. - The phenomenon of audience-driven "self-generated CP" is also discussed, where fans create their own narratives and pairings through editing and reinterpretation [22].

Core Viewpoint - The article discusses the evolving landscape of the ancient costume drama (古偶) industry, highlighting the rise of new directors and the challenges faced by established ones, particularly focusing on the works of director Deng Ke and the reception of his recent projects [1][4][17]. Group 1: Director Performance and Reception - Director Deng Ke, despite having popular dramas like "折腰" and "大奉打更人," has faced criticism for his approach, particularly for turning "折腰" into a "male-oriented comedy," leading to negative feedback from fans [1][4][17]. - Other established directors such as Zhu Ruibin, Guo Hu, and Xie Ze also struggle with their reputations, often receiving backlash from audiences for their work [4][19]. - New directors like Zhao Yilong, Zeng Qingjie, and Yang Long have revitalized the ancient costume genre, receiving positive reviews for their innovative storytelling and visual aesthetics [4][7][14]. Group 2: Upcoming Works and Ratings - A list of upcoming works by various directors includes titles like "无忧渡" by Lin Yufen, which has a rating of 7.4, and "九重紫" by Zeng Qingjie, rated at 7.8 [5][6]. - Deng Ke's "折腰" currently has no rating available, while "大奉打更人" received a lower rating of 5.6, indicating a decline in audience reception [6][17]. - The article notes that the new generation of directors is successfully capturing audience interest, with shows like "雁回时" and "九重紫" standing out for their unique narratives and visual storytelling [7][10][12]. Group 3: Industry Trends and Audience Engagement - The ancient costume drama industry is experiencing a shift, with platforms investing in both established and new directors, reflecting a growing interest in quality storytelling over mere star power [20][30]. - Platforms like Tencent Video and Mango TV are strategically backing directors who have proven their capabilities, indicating a trend towards nurturing talent within the industry [21][23]. - The article emphasizes that the success of ancient costume dramas relies on a collective effort from all production aspects, suggesting that merely changing directors will not suffice to elevate the genre's overall quality [31].

Group 1 - The drama "折腰" (Bend the Waist) achieved significant popularity upon its release, with a heat value exceeding 26,000 within the first night and over 10 million interactions on various platforms within a day [1][3][4] - The production cost of "折腰" was 260 million, and it was initially shelved due to tax issues involving lead actress Song Zuer [3][4] - The success of "折腰" is attributed to its engaging storyline and the current market's struggles with long dramas, which have seen a decline in viewership and quality [4][5][6] Group 2 - The drama incorporates popular elements such as family feuds and romantic entanglements, appealing to the audience's preferences for complex narratives [6][7] - The show has received mixed reviews, with some praising its entertainment value while others criticize its handling of serious themes [8] - Advertisers have shown confidence in the series, with multiple brands investing in ad placements during the first few episodes [8][10] Group 3 - The rise of short dramas has created additional challenges for long dramas, leading to a more competitive and uncertain market environment [5][15] - The market has seen a trend of "积压剧" (shelved dramas) gaining unexpected popularity, indicating a shift in audience preferences towards quality content over quantity [12][13][20] - The overall landscape of the drama market is evolving, with a focus on high-quality, concept-driven productions that resonate with viewers [20]

Group 1 - The article discusses the resurgence of slapping scenes in Chinese dramas, highlighting their role in conveying intense emotions and audience engagement [3][12][13] - It notes that slapping has become a significant element in both short and long dramas, reflecting a shift in narrative style and audience expectations [11][14] - The article emphasizes that slapping serves as a form of immediate emotional feedback, contrasting with the slower pacing and emotional restraint seen in some contemporary dramas [12][13] Group 2 - The piece mentions specific dramas that have effectively utilized slapping, such as "Summer Family Three Thousand Gold" and "Cloud of Feather," showcasing the variety of contexts in which slapping is employed [8][9][10] - It highlights the cultural significance of slapping in storytelling, suggesting that it has evolved from a trope of lowbrow entertainment to a more nuanced expression of character dynamics and societal commentary [3][12] - The article also points out that the portrayal of slapping can vary in effectiveness, with some scenes resonating well with audiences while others may detract from the overall narrative [5][11]

Core Insights - The drama market is experiencing a surge in activity with several high-profile releases and a strong interest from brands for advertising partnerships [1][3][4] - Major platforms like iQIYI, Tencent Video, and Youku are ramping up their content offerings in anticipation of the summer season, with a focus on both historical and urban dramas [3][10] Group 1: Market Trends - The second quarter has seen a continuation of strategies from the previous year, focusing on heavyweight content and a denser output to extend the popularity of dramas [4][10] - Successful dramas such as "The Cloud Above" and "The Good Life" have attracted significant brand partnerships, indicating a robust advertising market [6][8] Group 2: Advertising Performance - "The Cloud Above" secured 90 advertisements from 13 brands by the end of its run, while "The Good Life" achieved 86 advertisements from 16 brands within just 13 episodes [6][8] - The advertising duration for "The Good Life" reached nearly 120 seconds per episode, showcasing its strong market appeal [6] Group 3: Upcoming Releases - Anticipated upcoming dramas include "The Cang Hai Chuan" and "The Journey to the Mountain Sea," which are expected to further elevate the current market excitement [10][15] - The upcoming summer season is likely to mirror the previous year's high points in drama viewership and advertising success [18]