Summary of Key Points
Recently, Mango TV has released three "pseudo-osteology" dramas, namely *Yao Yan* (*Shining*), *Chi Xia* (*Scorching Summer*), and *Ye Gou Gu Ti Bone* (*Wild Dog Bones*). The intention was to replicate the success of the character Meng Yanchen from 2023's drama *My Worldly Fireworks*, but the failure to capture the essential tension and taboo elements of the "pseudo-osteology" genre disappointed viewers. As a result, an older drama from six years ago, *In the Name of Family*, unexpectedly became popular again. This article analyzes the reasons behind film and television companies' rush to purchase such IP rights, the issues with adaptation, the challenges in casting, and the deeper drawbacks of this trend through interviews with industry insiders.
1. New Pseudo-Osteology Dramas Fail, While Old Ones Surge in Popularity: Viewers Want Genuine Tension, Not Fake Labels
The three new dramas were released with high expectations, but they failed to engage viewers. For example, the "rough-hewn brother" character played by Song Weilong in *Ye Gou Gu Ti Bone* did not resonate with audiences, leading them to revisit *In the Name of Family* and its character Ling Xiao. Why are the old dramas more popular? Because the new ones lack the core elements of pseudo-osteology: the tension of wanting to be close to someone without being able to express love openly, the mutual redemption stemming from family traumas, and the subtle moments of attraction. The new dramas either downplay the conflict of "loving but not being able to love" or fail to convey the necessary emotional complexity, leaving viewers unsatisfied and turning back to the more authentic relationships in the older dramas.
2. Despite Challenges, Companies Still Compete for Pseudo-Osteology IP Rights: A Low-Cost, High-Emotional Return
Why do companies still invest in pseudo-osteology IP rights despite the difficulties in adaptation? According to copyright manager Miao Wu, there are three main reasons:
1. A mature relationship formula proven by the female audience: The concept of pseudo-osteology is not new, and female viewers have always responded well to stories of "restrained protection and mutual redemption" (as seen in *Blue生死恋*, *Kai Hua Ban Xia*, and the short-form hit *Ci Gu Chun Ye*).
2. Easy to market with a clear selling point: In the competitive contemporary drama market, pseudo-osteology can be clearly defined as "brother and sister developing feelings within a reformed family," making it easy for platforms and actors to understand and approve of the project.
3. High cost-effectiveness: These IP rights are priced between 3-8 million yuan, which is cheaper than more established contemporary or historical dramas, reducing the risk of investment while having proven appeal to viewers.
In short, pseudo-osteology represents a low-cost, high-emotional return opportunity that many companies want to capitalize on.
3. Adaptations Losing Their Essence: From Taboo Romances to Ordinary Childhood Friends
Why do pseudo-osteology dramas increasingly resemble ordinary romances? Editor Ye Shuangshuang points out that the audience's preferences have changed in the era of sweet romance dramas. To appeal to them, producers often weaken the core ethical conflict of "loving but not being able to love." For instance, many dramas simply add a backstory of the characters meeting as children without any external obstacles like family opposition or societal pressures, turning the story into a standard "childhood friends turn into lovers" scenario.
4. Casting Challenges: The Need for Both Toughness and Idol Looks
Deputy casting director Zhang Hua highlights the difficulty in finding actors who meet the dual requirements of pseudo-osteology roles: they need to convey a sense of roughness (e.g., coming from a tough background or dropping out of school) while also having an idol-like appearance. Few post-95s and post-00s actors can fulfill these criteria.
The main challenges include:
1. Lack of acting experience: Young actors may be able to recite lines and move on stage, but they struggle to portray the subtle complexities of emotional relationships.
2. Mismatch in temperament: For example, Zhou Keyu is suitable for playing a warm-hearted younger brother, but not for a rough-hewn older brother.
3. Incompatibility between actors: The appearance of Song Weilong and Zhang Jingyi in *Ye Gou Gu Ti Bone* makes them look like a typical couple, lacking the necessary contrast for the role of a rough-hewn brother protecting his sister.
5. The Traps of Copycatting: Labels Can Be Replicated, but the Authentic Emotions Cannot
The current trend of pseudo-osteology dramas reveals a common issue in the industry: companies follow trends without focusing on quality. When a character like Meng Yanchen becomes successful, they quickly buy similar IP rights and weaken the taboo elements in adaptations. They also tend to rely on the same group of young actors, leading to homogeneous productions. However, viewers are looking for the genuine emotional depth that comes from well-developed characters and intricate plots, not just a label.
In conclusion, pseudo-osteology dramas can be made, but they must go beyond mere labels. To attract viewers, the essence of the genre—tension and authentic emotions—is essential. The success of older dramas like *In the Name of Family* demonstrates that real storytelling always resonates with audiences.