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Core Viewpoint - The article discusses the transformation of China's film and television industry, highlighting the shift of focus from traditional heavy asset bases to lighter, more flexible ecosystems that integrate technology and respond to new content demands [1][9][51]. Group 1: Overview of Film and Television Bases - A significant number of film and television bases in China have either fallen into disuse or are struggling to adapt to industry changes, with many previously recognized bases now considered "empty shells" lacking comprehensive support systems [4][5]. - As of 2021, there are approximately 313 registered film and television bases in China, with only 50 to 70 actively engaged in production, and fewer than 20 having more than 10 studios [4][5]. Group 2: Geographical Distribution - The majority of viable film and television bases are concentrated in the northern regions (Beijing, Hebei, Shandong) and southern regions (Yangtze River Delta, Pearl River Delta), with emerging bases in the western regions (Sichuan and Chongqing) [5][8]. - The Yangtze River Delta, particularly the Hengdian area, has become the most concentrated and core region for film and television production, benefiting from a mature industrial chain and extensive support services [11][15][26]. Group 3: Industry Trends and Adaptation - The migration of film and television bases reflects a broader industry transition from heavy asset expansion to a lighter asset ecosystem, integrating technology and adapting to new content formats like vertical short dramas [9][51]. - The Yangtze River Delta's film bases are rapidly adapting to new content forms, demonstrating flexibility and resilience in their industrial ecosystems, which allows them to support both large productions and smaller, innovative projects [26][25]. Group 4: Challenges in Northern and Pearl River Delta Regions - The northern film and television bases are experiencing a decline, with many once-thriving locations now struggling to maintain relevance as projects migrate southward to more competitive regions [27][30][33]. - The Pearl River Delta, while a significant box office region, lacks a cohesive industrial ecosystem, with bases primarily relying on external scenery and tourism rather than developing a robust production infrastructure [34][38][41]. Group 5: Emerging Growth in Sichuan and Chongqing - Sichuan and Chongqing are emerging as new growth areas for the film and television industry, supported by favorable policies, resource advantages, and technological advancements [42][50]. - Chengdu's film industry is centered around the Chengdu Film City, which is becoming a hub for both traditional and animated productions, while Chongqing is transitioning from providing scenery to offering comprehensive production services [46][49]. Conclusion - The evolution of film and television bases in China signifies a shift towards a more integrated and flexible industry model, where successful bases will be those that can balance large-scale productions with innovative, smaller projects while leveraging regional strengths [51][52].

Core Insights - The horizontal short drama segment is facing significant challenges due to competition from vertical short dramas and the transformation of long dramas towards faster-paced, emotionally charged content [2][3][30] - Despite high investments in productions, the performance of recent horizontal short dramas has not met expectations, with many failing to achieve the success of previous hits [6][9][34] Group 1: Market Performance - Recent horizontal short dramas like "Zhuque Hall" and "Parrot" have seen disappointing financial results, with "Zhuque Hall" generating only 10 million yuan on Tencent and 5 million yuan on iQIYI, totaling 15 million yuan [6][9] - The highest grossing horizontal short drama in the first half of 2023, "Duoqu," earned 15 million yuan, significantly lower than the previous year's top performers which exceeded 30 million yuan [3][6] Group 2: Industry Dynamics - The horizontal short drama format is increasingly squeezed between the rapid growth of vertical short dramas and the evolving landscape of long dramas, leading to a challenging survival situation [2][3][30] - The shift towards male-oriented content in horizontal short dramas is seen as a potential new avenue for growth, with titles like "Lion City Mountain Sea" and "Zhuque Hall" targeting male audiences [10][12][15] Group 3: Content and Production Trends - High production costs are not translating into higher revenues, with significant investments in productions like "Zhuque Hall" (over 40 million yuan) and "Lion City Mountain Sea" (over 100 million yuan) failing to yield blockbuster results [6][9] - The content landscape is evolving, with horizontal short dramas needing to adapt to higher creative standards and competition from vertical formats, which have raised the bar for storytelling and production quality [9][34] Group 4: Future Outlook - Industry experts suggest that horizontal short dramas may find new opportunities by exploring male-oriented themes and leveraging existing audience bases from previous successful formats [10][15][34] - The ongoing competition between platforms and the rise of vertical short dramas may lead to a reshaping of the horizontal short drama market, potentially allowing for innovative content strategies and collaborations [26][30][35]

Core Viewpoint - The short drama industry is facing criticism for producing content that is increasingly bizarre and illogical, as exemplified by the recent drama "Kirin Sends Children" where a character gives birth to 99 sons, highlighting a trend of low-quality and sensationalist storytelling [1][3][6] Group 1: Industry Trends - The short drama market has been criticized for its lack of quality control, with many productions violating basic moral and ethical standards [4][6] - Despite calls for stricter regulation, the short drama market continues to grow chaotically, with many shows featuring absurd plots that defy common sense [3][6] - The industry has seen a rise in lowbrow content that prioritizes shock value over narrative quality, leading to a perception of short dramas as "low" entertainment [7][8] Group 2: Audience Reception - The bizarre content of short dramas, such as the aforementioned 99 sons, has sparked outrage among viewers, leading to discussions on social media and calls for accountability [6][9] - While some high-quality short dramas have emerged, they remain the exception rather than the rule, as the majority of content continues to be formulaic and sensationalist [6][8] Group 3: Economic Models - The profitability of short dramas relies heavily on user engagement, with two main revenue models: IAP (In-App Purchase) and IAA (Ad-Supported Free Viewing) [8] - The industry's focus on maximizing viewer engagement through extreme and sensational content has become a prevalent strategy, often at the expense of narrative integrity [8][9] Group 4: Future Outlook - The short drama industry is at a crossroads, needing to shift from a focus on shock value to a more sustainable model that emphasizes quality content [9][11] - The current trend of prioritizing low-quality, sensationalist content poses long-term risks to the industry's health and reputation, as audiences may become desensitized to extreme narratives [11]