Summary of the Analysis
The box office failure of *Catching Spies* is not just a personal setback for Feng Xiaogang; it represents the complete collapse of the old models in the film and television industry. The days of making easy money through insider benefits, seniority, and networking have gone forever. The information gap has been eliminated by the internet, the main audience has changed, and cinemas have evolved from being low-cost entertainment venues to places where consumers make informed decisions. Viewers no longer pay for nostalgia or face-saving; instead, they use their wallets to support content that resonates with their current emotions. The industry is undergoing a complete revaluation of its value chain, and those who are stuck in past successes will eventually be left behind by the times.
1. Being Criticized Does Not Equal Failure; Silence Indicates a True “Winter”
Many people criticize Feng Xiaogang, but he’s not actually in the worst situation—there are still discussions about his films, they appear on trending search lists, and he earns a stable director’s fee of 20-30 million yuan. The real winter for the industry is one that comes quietly: for example, the movie *A Man and a Woman*, starring Huang Bo and Ni Ni, had a meager box office of only 4 million yuan, not even covering a fraction of Huang Bo’s salary, and it received no attention or debate, effectively being forgotten. This shows that having some popularity (even negative criticism) means you’re still relevant and can make money; being silent means you’ve been completely eliminated by the market. Feng Xiaogang’s films still manage to draw tens of millions in daily box office, but this “warmth from the past” is quickly fading.
2. The Advantage of Information Gaps No Longer Exists; Seniority Is No Longer a Pass
Feng Xiaogang became popular in the 1990s because he was in a position with access to abundant information—beholdings in Beijing’s cultural circles, exposure to the outside world, and earlier experiences. These factors made his humor and style unique. However, the internet and AI have eliminated these information gaps; today’s young people see more in just half a day on their phones than people did in the 1990s. In the past, having experienced certain things was an advantage, but now they ask, “And then what?” Han Hong’s comment about “granting some face” was met with ridicule, reflecting the arrogance of those who still think that seniority and reputation matter, only to realize that such qualities are no longer valuable.
3. The Audience Has Changed; Their Memories Are Not What They Want
The main audience for cinemas is now made up of people born in the 1990s and 2000s, who grew up with the internet, short videos, and video games. They face challenges like job hunting and housing anxiety, which are worlds apart from the “old Beijing culture” that Feng Xiaogang’s works reflect. His films often look back on the past, but the audience sees them as irrelevant to their lives. Product managers say, “If the users change and the product doesn’t adapt, it’s doomed.” Feng Xiaogang has fallen into this trap by trying to serve new audiences with old content.
4. Cinemas Are No Longer Just for Casual Entertainment; They Need a Reason for People to Go Out
In the past, watching a movie was a low-cost activity, but now it’s a costly decision: couples might spend two to three hundred yuan on a movie plus drinks and popcorn, while a family of three might spend four to five hundred. Meanwhile, entertainment on mobile devices (costing just a few dollars for subscriptions or endless short videos) is both cheaper and more convenient. With tighter budgets, viewers need a strong reason to go out to the cinema: *Ne Zha* inspired patriotism, *The Wandering Earth* delivered scientific fiction thrills, and *Grandma’s Love Letter* touched on emotional themes. But what does *Catching Spies* offer? Viewers see no reason to pay.
5. The Industry Logic Has Changed: From “Networking and Nostalgia” to “Real Value”
In the past, the film industry relied on networking and nostalgia—famous directors, influential actors, and support from insiders meant audiences would buy tickets. Now, viewers are more practical with many choices available. They buy tickets based on short video clips, genuine reviews, or recommendations from friends, not just because the director is Feng Xiaogang. This isn’t apathy; it’s a sign of a mature market where people only buy things that have real value, not just for emotional reasons. Feng Xiaogang’s struggle reflects the failure of the old model, and the industry is returning to basic principles: good stories, sincere expression, and content that resonates with current emotions.
In conclusion, the box office failure of *Catching Spies* marks a new beginning. More former successes will realize that their downfall was not due to competitors but rather by their own past achievements. The times come without warning; they simply replace one group of users with another. Everyone who has been successful must learn to understand this new world. As the saying from *Party A vs. Party B* goes, “Even the landlord’s house has no surplus grain left”—the industry’s “surplus resources” have long been taken by the times.