Recently, the reality show “Happy Is Back” came to an end after being broadcast for three consecutive days. The show was based on the experience of the six 2007 Happy Boys contestants raising geese, pearls and seafood in Xiangshan. Form, but also play the 07 men’s group variety show the consistent advantages. In fact, if you count the previously concluded “Happy Restart”, “Summer if You Want to Sing” and the group ensemble “My Type, My Show” that is currently being recorded, this re-integration of talent groups in the early years has aroused the audience’s nostalgia. The slow variety show of feelings has opened up a new trend of “group variety” reality shows.
However, different from the high reputation and popularity of 07 Kuainan’s “Happy Going Again” and “Happy Comes Back”, 09 Supergirl’s “Summer If You Want to Sing” is not only popular, but also attracted a lot of ridicule throughout the process. The hot and cold reactions show that: pure sentimental consumption cannot guarantee the reputation of the program. Only on the basis of accurate program positioning and appropriate value output can nostalgia be brought into full play.
“Happy Come Back” leverages the consistent advantages of the 07 men’s group variety show
The emergence of nostalgic troupe shows is a type of new nostalgic variety shows that have emerged recently. A number of programs including “Breaching the Thorns”, “Riding the Wind and Waves”, “Sounds Endless”, “Welcome to the Mushroom House”, “Happy Going Again”, “Summer if You Want to Sing”, and “Happy Is Back”, although they did not put “nostalgic” “As the main label, under the slogans of “I want to wake up”, “I want to break through” and “Re-employment men’s team”, it is wrapped with a nostalgic emotional core. These programs fully explore several elements and levels of “old” people, “old” works, “old” events, and “old” feelings, and through the “old people + new model” approach, multi-dimensionally stimulate the interaction of emotion and memory, triggering Emotional consumption. From the perspective of cultural economics, nostalgic variety shows are essentially a way of IP-based operation of cultural resources. It regards “old people” and “old works” as a kind of cultural resources, and realizes the regeneration of cultural resources and the creation of cultural value by excavating and leveraging the collective memory and nostalgic feelings contained in them.
In fact, variety shows featuring “nostalgic” themes or elements are not uncommon. However, unlike traditional TV variety shows such as “The Show of the Times”, “Concert around the Hearth” and “Ace vs. Ace”, which either use nostalgia as the theme of the show, or set nostalgic elements in the program, these recent online variety shows have fully tapped artist resources. Combining “nostalgia” with a coming-of-age narrative highlights how reality shows are made. Its modes can be divided into two types: one is a stage-type fast variety show represented by “Sound Lives”, “Overcoming Toughness” and “Riding the Wind and Waves”; Nostalgic ensembles such as “Summer Just Sing” adopt this production mode.
From the perspective of mobilizing nostalgic feelings, stage-type fast variety shows take stage performances as the focus of nostalgia, and use the unique and rich memories contained in classic works as a medium to connect different subjects including artists and audiences. The multi-dimensional connection of emotion and experience between the past and the present achieves the program effect by leveraging the nostalgic energy formed by the classic works between different generations. In contrast, the slow life variety show is based on a certain life situation full of details. By choosing a group of people familiar to the audience, let them live together in a specific life situation, and use the familiarity and intimacy between each other to form a unique. chemical effect. The overall fusion of the life attitude, life feeling, ideal pursuit and friendship between the guests forms a spiritual healing power with a sense of time. The former is centered on stage performance and competition, connecting the lives and dreams of artists, while the latter is life-centered, connecting music and stories.
However, the mere mobilization of nostalgic emotions may not be able to achieve an excellent network comprehensive that has both popularity and reputation. The difference in word-of-mouth between “Riding the Wind and Waves” and “Overcoming Toughness”, which are stage-type fast variety shows, and the hot and cold differences between “Happy Start Again”, “Happy Come Back” and “Summer if You Want to Sing”, which are slow-moving variety shows, are highlighted. The more fundamental issues of program positioning and value output behind the nostalgic web comprehensive.
Taking “Riding the Wind and Waves” as an example, the originality of the show was to break through the single type of the hot youth idol group variety show at the time, and to use the “ideal and passionate re-start” of a group of elderly or retired entertainers and “self-respecting”. Reaffirmation of Value” opens up a new program track for the center. However, the show did not stick to this position, but either fell into the pursuit of the youth idol girl group singing and dancing competition mode (season 1), or emphasized the internal conflicts and contradictions of the team (season 2), or emphasized winning and losing too much. Competition (the third season highlights the league competition system itself), the creative core of the program of “women’s re-start” and “value re-discovery” has not been truly expressed, and the intervention of reality TV has failed to truly enrich the life experience of middle-aged women, and It is in the life attitude and value choice that it presents in the reality show situation inside and outside the performance and matches it. The “cold” of “Summer When You Want to Sing” also stems from the lack of deep excavation of the core of “their love for music” and “because of different encounters and different paths” as advertised by the program, resulting in a lack of nostalgic feelings Matching carrier and soul. The program neither expands the theme of their different life choices and the life feelings behind them by deeply digging into the experiences and stories behind the different individuals of this group of “super girls” after the competition that year, nor does it stimulate the audience through the intervention of the program. nostalgic memories and feelings, to relive their musical dreams and passions. More importantly, they lack the intimacy of “0713” (the top 13 fast boys in the country in 2007), which makes the nostalgic group lack the spirit of value output.
In stark contrast, although its framework is also a stage competition, its good reputation is mainly due to the accurate exploration of the multiple nostalgic characteristics of this group of middle-aged male-based “old artists”, while weakening the concept of winning and losing. , The competition system, training and daily performance are the middle-aged attitude, life wisdom and juvenile feelings and brotherhood of these “old men”, which make “nostalgia” and “rekindling” complement each other. Similarly, the success of “Happy Going Again” and “Happiness Comes Back” largely stems from a group of middle-aged artists who have experienced vicissitudes of life and are still idealistic in music, familiar but unburdened (Fast Boys in 2007) The real and natural collision of the top 13 in the country), good-natured self-mockery, real emotional expression, and authentic character presentation. Authenticity, purity, sincerity, strength, good feelings, and moving have become the most frequent barrage words. Netizen “Night Dress Mask” commented on Douban, “Happy Restart” “After watching it, I am not afraid of getting older, because only you are old enough and old enough to talk about what you have experienced. , You can even make fun of yourself, those things are really over, and you can really grow up.” This can be said to be the best expression of the show’s values. The effect of such a program depends on the accurate positioning of the program. Through the intervention of various program links (guessing the song name, guessing the picture, etc.), the audience’s nostalgic memory can be mobilized to the greatest extent. It touches the audience, and the tacit understanding, tolerance and understanding between the “brothers” have even more moving power-a kind of group soul that people will miss and be renewed with time.
If it is said that “Overcoming the Thorns” is a latecomer to “Riding the Wind and Waves”, the key to its ability to “be better than the blue” is to find an appropriate program positioning, to fully and deeply explore the nostalgic characteristics of different artists, and to use If it forms an accurate value output; then the copy of “Summer if You Want to Sing” to “Let’s Go Again” is a failure of “painting a tiger is not an anti-dog”, and the “cold reception” of its reputation not only reflects the program’s As a slow variety show, the nostalgic troupe does not have enough grasp of the rules of “interesting interaction” and “life charm”, which also exposes the misunderstanding of its lack of accurate program positioning and value output.
In fact, the nostalgic online variety in the reality show mode, whether it is a stage-type fast variety show or a life-flow variety show, needs to deal with the three levels of people’s “sense of nostalgia”: the sense of expectation brought by “sense of reunion” and Curiosity: How are they doing now? The different characteristics brought by the “exotic sense” from the present: What side do they have that we don’t know? And the kind of mutual purity and happiness that “realism” brings: emotionally and ideally, they are still what we know! The presentation of nostalgic factors is only the surface layer of nostalgic emotions. Only by digging deeply into the story and value behind the “sense of nostalgia” can the true charm of the nostalgic web comprehensive be presented. (The author Zheng Huanzhao is an associate professor at the School of Literature, Jinan University)