However, the capital in the entertainment industry learns the counter-routine of black-and-red.
Since being scolded can make one famous, why not mass-produce it?
Getting scolded a few times won't cost them an ounce of flesh. Gaining traffic and earning big money is the hard truth.
It's quite pathetic to think that in the past, a new drama would be well-made, and word-of-mouth publicity would cause viewership and playback numbers to skyrocket.
Now, it's a competition of who can make it worse. Because it's bad, people will complain. Other viewers, seeing someone harshly criticize a drama, become curious and want to see if it's as bad as they say.
As a result, bad dramas also gain playback numbers, viewership, traffic, and buzz.
It's hard to go from luxury to frugality, but easy to go from frugality to luxury.
Similarly, making a whole bad drama is much easier than spending several years contemplating a good one.
Capitalists pursue profits. Since making bad dramas is more profitable than good ones, why not mass-produce them and earn more money?
There are even many dramas that don't seem inherently bad.
To attract viewers, investors even pay video bloggers on various platforms to criticize them, paying a heavy price for criticism.
This is the fundamental reason for the proliferation of bad dramas in the entertainment industry.
Having been immersed in the corrupting influence of the entertainment industry for two lifetimes, Jiang Ling finally understood.
To end the chaos of rampant bad dramas in the entertainment industry, the only way is to have them ignored.
If viewers actively shun them and remain indifferent to bad dramas regardless of criticism, even too lazy to curse them, then they will realize their mistake.
People, sometimes, are just stubborn.
They cannot be awakened by scolding; only by a harsh lesson.
Capital produces bad dramas for money. Only when these dramas they produce completely lose attention, flop without a ripple, and suffer catastrophic losses will they voluntarily abandon making bad dramas.
However, curiosity is human nature. How can it be easy to make all viewers ignore bad dramas and resist their curiosity?
Thinking about the current chaos in the entertainment industry, Jiang Ling sighed with regret.
Shaking her head, Jiang Ling continued to study the script.
The screenwriter of "The Two Saints of the Great Tang" was clearly a cultural person who knew how to think independently.
Knowing that the scandals in the "New Book of Tang" were fabricated by those pedantic literati to blacken Empress Wu Zetian, they chose to discard them and instead referenced the history in the "Old Book of Tang" for adaptation.
As a result, the story they wrote is vastly different from people's perceived understanding.
Take, for example, Emperor Gaozong's original empress, Empress Wang. In many dramas, she is portrayed as a gentle, dignified, virtuous woman who, lacking good judgment, invited trouble by targeting Consort Xiao as a love rival, only to be devoured by Empress Wu, the wolf.
However, in "The Two Saints of the Great Tang," Empress Wang is depicted as a woman even more arrogant and overbearing than Consort Hua.
Why did she dare to be so arrogant?
It's simple: her family background was too excellent; she was the legitimate daughter of the Wang clan of Taiyuan.
The Tang Dynasty was a society based on status, where aristocratic clans enjoyed immense prestige and influence in society.
Among them, the Five Surnames and Seven Clans were the most formidable.
The Five Surnames and Seven Clans had endured for a century, spanning multiple dynasties, always standing firm. Dynasties flowed, but these great clans remained.
The influence of these five major clans in the Tang Dynasty was even greater than that of the South Korean chaebols, led by Samsung, in modern times.
The daughters of the five major clans were considered noble ladies, even more esteemed than imperial princesses born from the main lineage.