The scriptwriter is meh and also I am not sure about the production
I am talking about the scriptwriter from her previous works, forget about them being big hits, none of them even have a rating above 8 despite mdl audience giving high scores as candy. I wonder why people here don't like her previous dramas.
After POJ, people won't be interested in something average. If LBTG serves an interesting plot, only then audience…
Main leads can't change anything. That's why I said production team and scriptwriter are way more important. Also I noticed fantasy/xianxia dramas are not doing that well for some time and also it's aimed at very younger audience so a younger fl will be more relatable for the targeted audience. Reminds me of yang mi fox matchmaker drama
Unfortunately, Love Beyond the Grave doesn't look that good from the trailer. Don't think it will perform well on charts wise, this is probably why a good production team and scriptwriter is very much important. Ever night and The Long Ballad which released many years ago looked way better even in trailers
I also don't like how there was barely anything shown for second female lead. Don't end up like one of those shows where the entire story revolves around pushing a triangle love story
Why did I feel like the trailer was average? Too much focus on characters especially the three main characters but not much world building or even showcase the human world at all which was weird. My optimism decreased after watching the trailer
Whilst it's great to hear this, but I heard Shi Yun Peng's role is going to be replaced by Deng Kai.
As long as majority of the cast are present, it should be good but again this drama is already close to perfect so I am not sure what direction they go for season 2
Genuine question, why does Arthur has way more shares than likes on his weibo posts. I'm just curious as he can…
I also don't know much about this but from what I saw is younger generation people nowadays rarely use weibo so a lot of people might be sharing to other platforms?
Platforms rarely promote idol dramas these days. I’m not sure exactly when this started, but it likely became more common after COVID. Now, platforms essentially expect the actors’ fanbases to drive the initial popularity themselves by purchasing memberships in large quantities. Major fanbases often raise money even before a drama airs and buy tens or even hundreds of thousands of memberships — sometimes 100,000, 200,000, or even 300,000 — which they then distribute to the general audience so people can watch the show. The purpose is to create visibility and generate interest among regular viewers, since these dramas receive very little promotion from the platforms. If a drama’s heat index is close to a milestone — for example around 9,500 or 29,000 — fanbases often organize another round of membership purchases to push it past the threshold and achieve “hit” status. Reaching those milestones can help the actors secure opportunities in higher-budget productions with better scripts and teams. What makes the situation around Chasing Jade unusual is that Tencent itself distributed around 100,000 free memberships on the premiere day. The drama also received significant promotional support from both Tencent and iQIYI. On one hand, this is positive because the platform itself is actively promoting the drama, which rarely happens with idol dramas now. However, it has also created accusations of favoritism. Other fanbases are understandably questioning why their favorite actors’ dramas do not receive the same level of platform support, while they are expected to raise money themselves to promote their shows. Because of this perceived imbalance, there was already a lot of jealousy and tension when Chasing Jade began airing. After the platform was accused of manipulating the viewing data, many fans now feel betrayed and exploited. This is why the controversy is likely to continue for some time, as it involves the broader idol drama ecosystem and multiple fanbases.
There likely won’t be another traffic star in the near future at least not on the same level as before. The first major traffic star was Lu Han, about a decade ago.
After Lu Han’s rise, more traffic stars began to emerge as investment increased in long-format idol dramas aimed at younger audiences. These dramas were somewhat similar to K-dramas, which were banned around 2016. As a result, many urban viewers who had previously watched K-dramas shifted to Chinese dramas. At the same time, improved production quality also attracted new audiences.
Meanwhile, veteran actors who were already popular with the general public continued to make dramas and films. However, because they usually did not star in idol dramas, they were not classified as traffic stars.
Several traffic stars emerged between 2015 and 2020, including:
Yang Yang (Love O2O), probably the most watched modern idol drama of all time and a gateway series that introduced many international viewers to C-dramas.
Yang Zi (Ashes of Love, Go Go Squid!)
Cheng Yi (Love and Redemption)
Yang Mi and Dilraba Dilmurat (Eternal Love)
Zhao Liying (Princess Agents)
Xiao Zhan and Wang Yibo (The Untamed)
Post-COVID traffic stars include Wang Hedi (Love Between Fairy and Devil) and Zhao Lusi (Love Like the Galaxy, Hidden Love).
Traffic stars are celebrities who can generate massive online engagement and attention occasionally even offline mainly from younger audiences. In that sense, they are somewhat similar to K-pop idols, who can drive significant fan activity and online traffic.
Tencent ruined their reputation with Pursuit of Jade, there is too much controversy now and it will likely spill into the next few dramas that air after POJ
Anyone started to get worried about Love Beyond the Grave? I am getting more and more pessimistic by the day as it will be airing just after Pursuit of Jade and unlikely will receive anything more than 10% of the marketing effort that drama had. So its numbers are not going to be that big initially and people might bash the cast/actors for under performing. If that happens, I will never watch another Tencent drama ever again
The purpose is to create visibility and generate interest among regular viewers, since these dramas receive very little promotion from the platforms. If a drama’s heat index is close to a milestone — for example around 9,500 or 29,000 — fanbases often organize another round of membership purchases to push it past the threshold and achieve “hit” status. Reaching those milestones can help the actors secure opportunities in higher-budget productions with better scripts and teams.
What makes the situation around Chasing Jade unusual is that Tencent itself distributed around 100,000 free memberships on the premiere day. The drama also received significant promotional support from both Tencent and iQIYI. On one hand, this is positive because the platform itself is actively promoting the drama, which rarely happens with idol dramas now. However, it has also created accusations of favoritism.
Other fanbases are understandably questioning why their favorite actors’ dramas do not receive the same level of platform support, while they are expected to raise money themselves to promote their shows. Because of this perceived imbalance, there was already a lot of jealousy and tension when Chasing Jade began airing. After the platform was accused of manipulating the viewing data, many fans now feel betrayed and exploited. This is why the controversy is likely to continue for some time, as it involves the broader idol drama ecosystem and multiple fanbases.
After Lu Han’s rise, more traffic stars began to emerge as investment increased in long-format idol dramas aimed at younger audiences. These dramas were somewhat similar to K-dramas, which were banned around 2016. As a result, many urban viewers who had previously watched K-dramas shifted to Chinese dramas. At the same time, improved production quality also attracted new audiences.
Meanwhile, veteran actors who were already popular with the general public continued to make dramas and films. However, because they usually did not star in idol dramas, they were not classified as traffic stars.
Several traffic stars emerged between 2015 and 2020, including:
Yang Yang (Love O2O), probably the most watched modern idol drama of all time and a gateway series that introduced many international viewers to C-dramas.
Yang Zi (Ashes of Love, Go Go Squid!)
Cheng Yi (Love and Redemption)
Yang Mi and Dilraba Dilmurat (Eternal Love)
Zhao Liying (Princess Agents)
Xiao Zhan and Wang Yibo (The Untamed)
Post-COVID traffic stars include Wang Hedi (Love Between Fairy and Devil) and Zhao Lusi (Love Like the Galaxy, Hidden Love).
Traffic stars are celebrities who can generate massive online engagement and attention occasionally even offline mainly from younger audiences. In that sense, they are somewhat similar to K-pop idols, who can drive significant fan activity and online traffic.