If you choose a word-of-mouth work among the new dramas launched in January, "The Years of Dajiang Dahe" ("Dajiang Dahe 3") may be able to win the championship without controversy, with a Douban score of 8The score of 4 is straight to catch up with the first two. Kuyun shows that the show has achieved the highest single-day rating of 1 in CCTV set88% of the results, which is also a good performance.
But in cyberspace, there seems to be a lack of voice.
As of January 28, most of the drama has been broadcast, but according to the statistics of Maoyan Professional Edition, the online drama has been effective cumulatively**6600 million, the heat data in the dual-platform station is mediocre; There are a total of 254 hot search topics on the list, which is not as good as the data of the opening day of some traffic dramas.
The data and topics on the webcast side are cold, whether it is for the "Big River" series or the "new drama" that started in 2018, it is surprising. But it seems to have become the norm since 2023.
"New drama", young people don't like to watch it? What is a "new drama"? For a long time, the mainstream pan-entertainment group on the Internet side has shown the independent aesthetics and consumption habits of young people, and the "main drama" on the TV side has always been an insulator. But after 2018, this insulation relationship began to be broken through, and dramas such as "Little Women Under Zhengyang Gate" and "Big River" came out of the circle and received many large recommendations for drainage. In 2021, this has been regarded as a trend of Taiwan-network integration, and three hit dramas "Mountains and Seas", "Awakening Age" and "Meritorious" with Douban 9 points + have appeared, and "The World" was launched in the spring of the following year. 
Compared with the past, these "new dramas" that rely on quality and tend to the tastes of young people in casting, aesthetics, and character creation have become a content trend that dominates the market trend in recent years, attracting industry platforms and companies to compete for production. But in just a few years, why did "Dajiang Dahe 3", which has a good reputation and was created by the original team, fail to reproduce the online popularity of the first two parts? The problem is not just in one drama. Whether in terms of word-of-mouth, genre or casting, there is no shortage of drama works broadcast on TV this year, but there is no shortage of previous hit "same style", but they are basically "different lives". For example, the major theme work "Ask the Boundless" launched at the end of the year, both in terms of content and production quality, makes the show considered by fans to be a sequel to "The Awakening Age", with a Douban score of 89, but the overall communication volume is very limited, and it is even difficult to enter the top 10 of the major industry hot list. 
There is also a summer word-of-mouth work, Douban 8The 3-point "Glory of the Fathers" is considered to be the big winner of this year's award, but the transformation of the network side is quite limited, the highest popularity of the platform stops at 26517, and the Maoyan Professional Edition has an effective online statistics of **72.63 million. From all sides, it is not difficult to see that the content is actually as close to young people as possible. But the end result is,These works failed to reproduce the high conversion rate from Taiwan to the Internet in the past few years. 
For example, "The Road of Life" and "The Glory of the Fathers" are actually considered to be good for the popularity transformation of the InternetMore of a telecast 15+, but there is no existence of this drama on the Internet side. Including the major themes of "Dawn of the East" and "Avenue Torch", the war drama "Ice and Snow Sharp Knife Company", the poverty alleviation theme of "Fuchun Mountain Residence", "Where Snow Lotus Blooms", and the period drama "Father's Prairie and Mother's River", etc., are no longer popular with similar themes in the past two years. Isn't there a hit "new drama"? No, the closest to the drama genre is "Hurricane". 
But what is interesting is that the discussion around the play does not focus on the protagonist An Xin, or the difficulty of the anti-crime work itself, and the points of interest and empathy that attract watching the play, and even the direction of creating stalks, are more focused on characters such as Gao Qiqiang and Li Hongwei. And from this, it may be more clearly seen that the coldness of the "new drama" is related to many aspects such as the market, content, and industry. Has "Big River" changed, or has the audience changed? To understand the changes of the moment, "Big River 3" can be used as a dissected sparrow. Many of the discussions surrounding the play will argue"Big River" has changed." 
Relevant voices will think that Song Yunhui, a layman, is too "mechanically séance" to promote the reform of pesticide factories; Lei Dongbao lost the wind and fire of the first two parts, and inexplicably derailed; Yang Xun's "kneeling" after making fake accounts is considered by many people to be "the collapse of the personality". But is that really the case? In fact, what has been consistent since the three parts of "Big River" is precisely that several people have their own problems and dilemmas that are difficult to change, and it also interprets the differences and vitality of state-owned, collective, individual and other economic forms. In the past two films, it is this characteristic that has moved and empathized with many people. 
It's just that now, many viewers seem to have lost the ability to empathize with the show. The problem is inseparable from the changes in the market. Starting this year, whether it's movies or series,In the consumption of popular reality themes, the audience is increasingly showing concern for internal and self-interest, rather than enthusiasm for the outside and the world. In the field of films, it is "She Who Disappeared", which tears up the scumbag, "In the Octagon Cage", which changes the fate of children in the mountains, "All or Nothing", and "The Annual Meeting Can't Stop", which creates dreams in the workplace, etc.; In the field of dramas, it is "To a Windy Place" that escapes from the city, "The Long Season", which is a suspense of life in the Northeast, and "News Queen", which tears out a future, ......Producer Tongtong said to Fox Factory Entertainment Observation: "An obvious market trend isEnthusiasm for grand propositions wanes. "The problem of "County Party Committee Compound" and "Dajiang Dahe" is the same, that isThe audience lacks interest in the decisions of big people and the stories that change the environment, and this year's reality dramas are all small people. "It's not that so many police dramas handle cases without a good reputation, but the most popular is "The Long Season", the story of three marginal old men chasing the murderer. Only small people can be substituted into it. 
The general environment determines that everyone must first care about themselves," screenwriter Lu Lu also believes"There is a high probability that the narrative of small people will become a trend in the industry in the future, and the kind of big themes and value-first things in the past few years have been a bit excessive. ”It should be believed that in addition to the changes in the general environment, in the past few years, under the combined effect of policies and market trends, the overproduction of "new drama" content has caused the aggravation of the dullness of the market. This kind of content is also driven by this kind of industry, and there is a problem of routines and flattening. Lu Lu reviewed the popularity of "New Dramas" in the past, and believed that it was mainly due to the content, "Why do young people love to watch war dramas? Because "Meritorious, Nengwen Nengwu Li Yannian", including "Super Hero Huang Jiguang", these contents are well filmed and professionally solid enough; Why can "The Awakening Age" be hotly searched in the first half of the year? Because the characters are good enough, young people can empathize with Chen Yannian. ”
One of the premises of this is that the content was upgraded at that time, and everyone was innovating. But when the yield is high, things go sour. "Everyone knows that things like "The Awakening Age" are difficult to do, but for themes like anti-gang, poverty alleviation and war, many screenwriters will receive a request to 'follow "xxx",The relationship between the characters, including the main contradictions, has a high degree of similarity, and many people do not rule out the mentality of completing the task. Specific to the "sparrow" of "Dajiang Dahe 3", there is also a more specific problem of declining influence. In 2018, Noon Sunshine still has the golden sign of "must be a high-quality product", and protagonists such as Wang Kai and Yang Shuo are also in the limelight with Noon dramas, but after a few years, everything has quietly changed. What was once a narrative ambition that presented a panoramic view of the different economic patterns of the reform era now seems to be less likely to generate market interest. 
The different circumstances of the three "Big River" also reflect the entire boom and bust cycle of the "new drama". The "new drama" is still to be filmedSince last year,More elements of "new dramas" have penetrated into the themes of diverse dramas, further spreading the direction of content. For example, in urban idol dramas, more public career elements have been added, and firefighters, doctors, policemen, etc. not only show their skills in professional dramas, but also begin to talk about sweet love; Another example is that serious literary adaptation has become a new trend in the industry, and the hit "Flowers" at the beginning of the year is an example, although the perspective incision is very small, it objectively still has the literary nature of depicting the development of the times.
But the popularity of these dramas is actually difficult to drive value-oriented topics. On the contrary, some idol dramas have suffered a decline in word-of-mouth because of the unprofessionalism and even anti-common sense of professional portrayal. "The fundamental issue is content," Lu Lu saidFrom last year to now, I think the ability of the drama industry to do content has regressed. Like many professional details, the problem should not appear after reducing costs and increasing efficiency at all, but it still comes out. "On the one hand, the audience's requirements are getting higher and higher, and on the other hand, the content of these themes is not as good as the quality in 2021, and even returns to the audio-visual language of traditional dramas. From the perspective of the industry, there is no confidence to retain the audience. But the development of the "new drama" will not stop because of these problems.
As Tongtong said, "The initial formation of this content tide is inseparable from the policy environment at that time; In this process, the content upgrade of the film and television industry met the market environment at that time, and there were quantitative and qualitative changes, and the wind direction was formed after being promoted in many aspects. Now the market will change, but the top-down demand may be lower but not gone. For platforms and practitioners, how to produce a "new drama" that is influential among the mainstream pan-entertainment crowd is still a compulsory course, and it is also a necessity for self-development at the moment. "Find small incisions and shoot small people, the platform has been putting forward such a request this year," Tongtong believes, "In 2021, aesthetic upgrades, good characters and emotions can make the audience cry and resonate,."Today's logic has changed, the audience will only extract empathy points from their own experience, and when we do the main drama, we must also move towards a more down-to-earth and smaller narrative. In 2024, according to the list of major platforms, the network will also output nearly 40 "new dramas" mode, including "Girls' School in the Mountains", "Going North", "South to North", "True Hero" and other highly anticipated dramas, it seems that there is still room for incubation of popular models.
But the market has made it clear that the "new drama" needs to find its own new pathThis is already very urgent for all parties.