Original title: The flow star operating model is destroying real literary criticism
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With profound industry reforms, let the entertainment industry return to professionalism, common sense and works.
The butterfly effect caused by the Wu Yifan incident allows us to see that a huge industry has been born around traffic stars. At the moment, its foundation has a tendency to loosen up.
Recently, the Central Propaganda Department and other five departments jointly issued a document stating that professional and authoritative literary and artistic commentary should be carried out, “not only for traffic, and simple commercial standards cannot be used to replace artistic standards”, and emphasized that “resist flattery and vulgar comments. , Oppose the bad phenomenon of scrutinizing points, controlling and rating.”
The collapsed entertainment ecology under the traffic baton
Fan operation is one of the important departments in the traffic star model. Organizing and mobilizing fans to scan data is one of the core tasks of fan operation. Due to the lack of business capabilities of traffic stars, control evaluation has become a necessary option to maintain the commercial value of traffic stars.
Control and evaluation gave birth to a public relations company. The public relations company is responsible for leveling mainstream media, influencing scoring websites, using marketing accounts to participate in traffic-related word-of-mouth marketing, creating rumors to discredit competitors, especially mobilizing fans to compete for the position. In recent years, artists have been keen to compete for fandom, but they have emerged as fans competing for fandom: fans attack critics and even encourage human critics. The chaos on the Internet has become uncontrollable.
In the end, the flow star operating model hopes to eliminate literary criticism, leaving only marketing accounts and fan comments. In recent years, fans have interfered with real literary criticism, leading to silence in the industry and the pollution of the new media scoring system.
Closed-loop industry relying on resources but not capabilities
Traffic stars can easily obtain huge wealth at a young age. They can also become leading actors without acting, and even win awards. This gives them the illusion of “oneself is omnipotent”. The long-term drama production and purchase and sale mechanism that relies on the traffic star model has deepened their illusions. When a drama has traffic, celebrities have investment and can sell. At this time, the script is not important at all, and celebrities have almost become the only pricing standard.
Therefore, in contrast to this long drama production model centered on traffic stars, its content must be hollow and suspended. In recent years, although this type of model has spawned and concocted a lot of cultural waste, such dramas have allowed the producers to make a lot of money. However, it is worth noting that several major video platforms are at a loss.
Under the general situation of overall losses in the industry, some production agencies, traffic stars, and certain people on the platform have become beneficiaries of huge profits. The production of film and television content centered on traffic stars must be established on the basis of monopoly. From creativity, creation, production, artist management to marketing, distribution, and broadcasting, it must form a closed loop, produce and sell to itself. This mechanism creates beautiful data on the capital market by increasing the cost and the selling price of the drama series. This process creates a huge gray area and profit from it.
From this perspective, it becomes easier to understand where the high salaries of traffic stars come from. The survey shows that audiences who like acting actors are often relatively mature, have certain requirements for content, and have certain thinking skills. Although their consumption power is higher, their aesthetic ability and requirements for content will cause creative risks. “Trouble” such as increase, uncontrollable content, and unreplicated content mode.
On the contrary, traffic stars attract fans who lack thinking ability and only focus on appearance as a consumer group. Although their spending power is relatively low, they are easily mobilized and mobilized, and they don’t mind participating in activities such as data fraud. Through this series of operations, a stable business model can be realized.
The entertainment industry should return to majors and works
Looking back at the traffic stars themselves, they lack professional and counterpart training. They participate in the performance of film and television works across the industry, but they have gained important roles. They appear as central figures on mainstream platforms and have formed a huge demonstration effect. Young people are keen to participate in the audition program organized by the platform, hoping to become famous overnight. The four-year professional training in professional colleges is no longer the first choice of young people. Looking for a good brokerage company, looking for a platform with high exposure, far It is much more important than professional training, which has led to the collapse of the industry.
The personal profitability of traffic stars is very strong, but the profitability of content is often negative, and the box office loses disastrously as soon as a movie is performed. At present, the best case of commercial performance is in the aspect of digital recording. The unit price of digital records is low, and sales are obtained through repeated purchases by fans. But the song itself is not popular and no one listens to it, so a new relationship between the content and the artist appears: the artist is the main body, the artist is the product, and the record, film, and drama that the artist participates in are derivatives. The best way for the artist to communicate with the user Not film and music content, but reality show.
Today, Wu Yifan is just an appearance, and the capital logic behind it requires us to be vigilant. They hinder the healthy and orderly development of the film and television cultural industry, and are also the biggest enemy of the current cultural industry in the process of content upgrading. It is necessary to use profound industry reforms to return the cultural and entertainment industry to professionalism, common sense, and works.
□Wang Hailin (screenwriter)
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