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Webcast "Silence": Why are there few voices in popular spy war dramas such as "Infernal" and "Hive"?
Introduction:
In recent years, with the rapid development of Internet technology, the market share of online dramas in China has continued to rise, and it has become an indispensable part of people's entertainment life.
However, what is confusing is why high-quality spy war dramas such as "Infernal" and "Hive" are "silent" on online broadcast channels? This article will focus on this issue, from the aspects of star cast, story type, market evaluation, political factors and creative style.
First, can the star lineup support the webcast?
In the current Chinese entertainment industry, first-line stars such as Jin Dong, Huang Xiaoming, and Song Yi have a fairly high popularity and influence, and their wonderful performances in many dramas are also loved by the audience. However, whether the joining of these stars can really drive the popularity of a drama's online broadcast is different.
The audience is no longer blindly pursued for a simple star cast, but more at the level of the script and production. For popular spy dramas such as "Infernal" and "The Hive", although the star lineup is strong, it does not guarantee that it will gain higher attention on the online broadcast platform.
Second, the competitiveness of story types in the webcasting market
As a drama with a wide audience, spy war dramas have always attracted the attention of the audience. However, in the current webcast market, spy dramas are also facing fierce competition. The audience is becoming more and more sophisticated about the plot, and for spy war dramas, more advanced plot settings and gripping storylines are needed to retain the audience.
Compared with other types of online dramas, the special restrictions of spy war dramas may also lead to its "silence" on online broadcasting platforms.
Third, market evaluation: good dramas are not necessarily high-profile
Market evaluation is one of the important factors for the popularity of film and television dramas.
However, on webcasting platforms, the role of market evaluation is relatively small. A good drama does not necessarily get widespread attention and discussion on webcasting platforms. Especially for spy war dramas, due to their special audience positioning, it is likely to only resonate with a part of the relatively niche audience group, and it is difficult to expand market popularity.
4. The impact of political factors on the webcasting of spy war dramas
Spy dramas involve sensitive areas such as military and political affairs, which makes them limited in their censorship and broadcasting. Government agencies have certain requirements for the content and expression of spy war dramas, so some plots and plots may be cut or modified, resulting in low expectations for the webcast version.
This has brought certain difficulties to the dissemination of spy war dramas on the webcast platform.
5. Creative style: Are the features of the series eye-catching enough?
In recent years, with the emergence of a large number of spy war dramas, spy war dramas in the market can be described as endless. The audience's aesthetic fatigue with spy war dramas has gradually increased, and they are becoming less and less interested in episodes with similar plots and settings. Whether popular dramas such as "Infernal" and "The Hive" can have unique characteristics in their creative style and make the audience's eyes shine is a question worth pondering and exploring.
Conclusion:
The "silence" on the webcast platform does not represent the decline in market demand for spy war dramas, or the influence of factors such as star lineups and story types. Instead, it may be that each episode needs more clever packaging and strategy in terms of production and promotion in order for viewers to be interested and interested in it.
In the future development, we expect spy war dramas to show more charm on the online broadcast platform and attract more audiences to join the ranks of drama chasers.
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