In today's entertainment industry, where traffic is king, strength has lost its former status. Nowadays, it seems to have become the world of small fresh meat. However, the irony is that these high-profile new idols have struggled to meet the expectations of the audience, and even the audience looks at their performances as a kind of torture. In stark contrast, those powerful old actors are facing the dilemma of having no drama to film, and some have even been forgotten by the times. In response to this phenomenon, people can't help but think: In the entertainment industry, how much weight does strength still have? What kind of performances do the audience really need?
First of all, let's look at the popular actor He Zhengjun who plays the political commissar Zhao Gang in "Bright Sword". Although he has not stopped in recent years, appearing in the much-watched "Awakening Age" and "Ideal City" starring Sun Li, he has failed to arouse the audience's deep memory. Even if the strength and audience love are good, they can still only leave the scene. Why did this happen? And his choice to fade out of the entertainment industry has triggered people's thinking about the current situation of survival in the entertainment industry.
Next, let's focus on Ma Shaohua, who is known as a "late bloomer". Although his outstanding performance in "The Awakening Age" was recognized by the Golden Eagle Award, how did he work silently before this and how did he respond to changes in the industry? What is the secret of his success? This may be a question worth digging into.
Yan Shikui, a senior existence in the film industry, chose to leave the entertainment industry and join the business world in his glory days. However, when he returned, it was a new era of talent, and the audience's recognition and attention to him were not as good as before. This is a phenomenon worth reflecting on: in the entertainment industry, is it only possible to be recognized by returning? And is such an industry law fair?
Li Xuejian's case is even more thought-provoking. He was criticized for his voice, but with his in-depth understanding and professionalism of the role, he transformed his "shortcomings" into the charm of the role. This kind of principled and role-focused attitude is worth learning and exploring.
Wang Xueqi, Pu Cunxin, Liang Guanhua, Wei Zongwan ......Behind every name is a moving story. They have chosen to leave or been marginalized because of their families, or because of their principles, or because of their health. However, their strength and talent cannot be eliminated by time and the market. Should the current situation of the entertainment industry cause us to reflect? Should we give more attention and opportunities to the old actors?
In this era when traffic is king, does the dismal departure of the old drama bones mean that the audience's tastes have changed? Or are we ignoring the real acting and emotional expression? When we enjoy the visual feast brought by the little fresh meat, should we stop and think about what kind of life and acting skills the old actors who have quietly passed away in those years?
Perhaps, only when we give more opportunities and respect to the old actors, and let strength and popularity coexist, can we truly achieve the diversification and sustainable development of the entertainment industry. This question is worth thinking about and ** for each of us.