In recent years, the stars in China’s entertainment circle have often attracted the attention of the media and the public because of various remarks, and Bao Beier’s self-exposure of the "king of bad movies" has recently aroused extensive discussion. His speech on social media not only triggered a heated discussion among the audience, but also showed us the complex relationship between film quality and commercial interests in the entertainment industry. Is the "bad film" referred to by Bao Beier a helpless move or the result of market compromise?
As a young artist, Bao Beier’s performance in many works in the film and television circle has attracted public attention in recent years. Although he has achieved some success in some subjects, he is inevitably caught in the market demand for low-cost and fast-paced films. With the diversification of audience entertainment consumption, the rhythm and depth of classic stories in the past seems to be no longer the main pursuit of the industry. Whether in response to market demand or in order to get back to the book as soon as possible, many films that Bao Beier participated in may be labeled as "bad films".
Behind this phenomenon, there are actually deeper economic considerations and cultural reflections in the industry. Experts pointed out that the income of the film market comes from multiple income modes such as box office, peripheral products and subsequent streaming media, and many small-budget works often choose more chaotic plots and grandiose special effects in order to maximize their income. This choice of pursuing advantages and avoiding disadvantages makes the quality of the film uneven. In this case, stars are often faced with a choice: whether to stick to their own style of creation or meet the needs of the market?
Bao Beier said that in fact, in today’s highly competitive entertainment circle, it is not easy to make a good film, and many times the producers need to complete the work in a short time to meet the demand. In order to ensure commercial returns, many directors may be more willing to make a fuss about the visual effect and viewing experience of the film than the improvement of quality. This has led to a problem: the audience is strongly dissatisfied with the declining film quality, while the artists bear the label of "king of bad films" and bear unnecessary pressure and accusations.
From another perspective, it also reflects the huge gap between the expectations of the whole society for film art and the reality. In recent years, while enjoying the entertainment content, more viewers began to pay attention to the quality and depth of the film. To solve this dilemma, we need not only the introspection of the creators themselves, but also the regulation and guidance within the industry. When the audience’s demand for high-quality content reaches a certain level, it is possible to push the production company back to its original intention and re-balance art and business.
In the future development, Bao Beier may be able to use this kind of public opinion feedback to actively choose more challenging works and find his own creative path. At the same time, the audience, as an integral part of the market, should make more wise choices in consumption and support high-quality films. In this way, perhaps we can find a more balanced state between comedy and serious subjects.
In any case, Bao Beier’s self-exposure of the "king of bad movies" reveals not only a star’s self-reflection, but also the mode and direction that the whole film industry needs to solve urgently. This discussion will help us to think more deeply about the film and television industry and its future development.
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