Search for the name "Wu Tong" on some mainstream entertainment platforms in China, and you will find a common keyword - "Wu Tong plagiarism".
This variety show director who is famous for plagiarism is one of the most famous directors in the domestic entertainment variety show industry. He has a number of large-scale variety shows in his hands, and he frequently appears on the hot search list, but he claims that he doesn't want to be popular. He graduated from Zhejiang Media at the age of 23, and received real estate support from his family at the beginning.
However, he denied that he was a "rich second generation". After working at Zhejiang Satellite TV, he successfully founded a series of high-profile programs and even became the youngest producer of Zhejiang Satellite TV. He was hugely successful with one show, but then launched another controversial one.
In 2016, he became the chief director of a Friday prime-time variety show. In the face of the show's declining ratings, how did he save it? What kind of turmoil and rumors surrounded Wu Tong? How did he step by step to the peak of the domestic entertainment variety show industry?
After graduating from Zhejiang Media, Wu Tong joined Zhejiang Satellite TV as a program director, which coincided with the period when Zhejiang Satellite TV was preparing for the reform and training of "post-85" producers. He just caught up with this wave of opportunities and successfully served as a variety show producer with the theme of women dancing to lose weight.
and achieved remarkable ratings, becoming the youngest producer of Zhejiang Satellite TV that year. Subsequently, he continued to innovate and launched the controversial program "I Am Not a Star", although the score on Douban was mediocre, but the ratings of the program repeatedly won the first place in the country.
Wu Tong was reused by Zhejiang Satellite TV with the success of these two programs, and then became the chief director of Friday's prime-time variety show "Ace vs. Ace". The show once achieved considerable ratings, but in the third season there was a decline in ratings. In the face of this challenge,
At this critical moment, Wu Tong gathered Shen Teng, Jia Ling, Guan Xiaotong, Hua Chenyu and other stars to recreate the "ace family" of "Ace vs. Ace". He managed to bring together these national comedy characters in one show,
prompted the ratings of "Ace vs. Ace" to come back to life. At the same time, Wu Tong also began to explore new business areas. Looking back on this way, Wu Tong's plagiarism incident, his rise and success in the variety show industry have all aroused people's attention and thinking about him. However, beneath these halos,
How does he view his achievements and controversies? How does he deal with the pressures and challenges he faces? For Wu Tong, can the doubts and praises from the outside world affect his next career planning and innovation direction?
Wu Tong's talent or the team behind it?" "In 2017, "The Birth of an Actor" was in full swing, but the most attractive thing about this show was not the content, but the guest lineup. The frequent appearances of big names such as Zhang Ziyi and Li Bingbing have made the host Wu Tong's connections also rise.
However, should all these achievements really be attributed to him? Wu Tong has many artist resources in his hands, and even claims to be the one that can master the most artist resources in the Chinese TV team. however
His highest-rated work "Youth Travel 2" has only 7.6 points on a certain petal platform. In this regard, people have expressed doubts, pointing out that the similarity between its program model and the Korean variety show "New Journey to the West" is eye-catching.
"New Journey to the West" is directed and produced by the famous Korean variety show producer Luo Yingxi, and Wu Tong's show is not without suspicion. "New Journey to the West" uses tourism as the name to add interest to the program through games and other means, while Wu Tong's "Youth Travel" not only copies the program model,
Even some of the elaborate links have been brought to use. Even in terms of details, Wu Tong imitated the way director Luo Yingxi interacted with the guests, but it was difficult to replicate the emotions and effects contained in it. However, the treatment of Chinese celebrities is significantly different from that of foreign countries. In China
Celebrities are highly sought-after, even higher than the treatment of ordinary professions. Compared with China, the innovation, polishing, and production of foreign variety shows have undergone a strict process.
The tacit understanding and interaction between the producers, directors and guests are all years of experience and profound skills. Should Wu Tong pay more attention to team building and program innovation, instead of simply imitating the form of foreign variety shows?
Where is the boundary between innovation and imitation in entertainment programs? Should Wu Tong pay more attention to innovation and originality instead of simple copying and imitation? In the eyes of the audience, what kind of program is more attractive? Korean stars can sacrifice their image for the sake of effect in variety shows?
But is it enough to do so? Can the guests in "Youth Travel" only appear with idol baggage? The success of a variety show is inseparable from the spirit of originality and respect, and for director Luo Yingxi, these are unnegotiable. He once said that a good program needs to be novel,
interesting and connotation, and this is precisely the essence of many of his classic variety shows. However, compared with director Luo Yingxi, some people will only "take materials", which is really sad. In China's variety show market, the pursuit of attitude and creativity, as well as the aversion to hype,
We need more Yan Min, not people like Wu Tong who only create hype on topics. For variety show directors, what kind of attitude should be used to treat variety shows, and where does the gap between them come from?