Summary of Key Points
"Our Youth 2" is a typical example of a "fan-customized drama": it boasted impressive pre-release figures (over 1.4 million pre-orders and topped the public opinion charts), but received poor reviews from general audiences (abstract comedy and weak plot). The enthusiasm of its fans maintained its popularity, but failed to attract new viewers. This phenomenon reflects a shift in the industry of fan-customized dramas—moving from the strategy of "creating stars and breaking through boundaries" with high-quality content nine years ago, to a more risk-averse approach focused on serving the fan community and maintaining its existing audience base. This model is financially profitable, but at the cost of prioritizing content quality to the lowest level.
I. Explosive Data but Divided Reviews: Fans Drive the Start, but General Audiences Dislike It
The initial data for this drama was impressive, matching the top-tier standards for the summer season: 1.4 million pre-orders across all platforms, with 350,000 alone on Mango TV, and it topped the public opinion charts for nine consecutive days before its release. On the first day of broadcasting, its popularity on Weibo reached 90 million views within an hour. However, general audiences criticized the show, stating that it was harder to recognize the characters than to follow the plot, and that the characters were overly stereotyped as "perfect teenagers."
Why such a contrast? The popularity came from two groups of people: fans who had been advocating for their favorite idols' roles and screen time since the beginning of the year, and those with emotional connections to the original series from nine years ago (such as TFBOYS, which was a national sensation). The sequel, however, started from scratch, with a disconnected storyline, immature performances, and disappointed fans, leading to many one-star reviews on豆瓣 expressing their disappointment.
II. The Business Logic of Fan-Customized Dramas: A Profitable "Closed Loop"
The real goal of these dramas is not to produce good content, but to create a cycle that benefits the fan economy:
- Low Costs: The actors are all trainees from the same company, so there are no high salaries; the platform guarantees a certain level of investment, eliminating the need for additional marketing, thus keeping costs low.
- Stable Revenue: Fans are happy to see their idols in the show, which enhances their loyalty and attracts new fans to the group.
- Low Risk: The fan base's enthusiasm ensures high viewership numbers, eliminating the need for positive reviews from the general public.
In essence, it's like a talent agency producing a show for its own trainees—improving their resumes, strengthening fan loyalty, and attracting new followers. A similar approach was used in the earlier drama "Oh! My Emperor陛下," which was popular despite its mixed reviews.
III. Why Is the Creativity So Strained?
The issues are structural:
1. Safety Constraints: Domestic regulations prohibit negative portrayals of minors, so characters must be perfectly good, with no flaws or negative traits.
2. Balancing Roles: Eight main characters all need equal screen time and highlights, making each character's story superficial.
3. Fan Supervision: Fans demand ample screen time for their idols and that they are not merely utilitarian characters; even mistakes must be portrayed in a positive light. This limits the creative freedom of the writers.
IV. The Shift from "Creating Stars" to "Maintaining Stability"
Nine years ago, "Our Youth" focused on creating stars through engaging stories (conflicts, distinct characters, and growth). The current sequel prioritizes stability, avoiding controversial elements and ensuring a safe and pleasing experience for fans and the artists.
V. Changes in the Golden Time Slot on TV Channels
In the past, the golden time slot on TV was a platform for popular content (such as "My Fair Princess" and "Family with Children"). Now, fan-customized dramas are gaining traction, indicating a shift towards more targeted and efficient content distribution. Since fans are willing to pay, why bother to please the general public?
However, this might lead to more such dramas, potentially resulting in safer but less innovative content. When being error-free becomes more important than creativity, the space for innovation in Chinese dramas could be limited.
In conclusion, "Our Youth 2" is not a bad drama; it's a product of the industry's evolution. It is commercially successful, but it has compromised on quality. Whether this compromise is a wise choice or a sign of decline remains to be seen by the market and viewers.