Author | Akagi Jarko
Editor | Mia
Without the dimensionality reduction "fight" of last year's "Singer 6", this year's "Sister Lang 0" has a heroic start.
初舞台階段出現了久違的“斷層第一”。在演唱了《還珠格格》主題曲《當》後，李晟單日增長超 40 10,000 票，以 64 萬票實現斷層第一。相較於葉童、曹穎、王珞丹、侯佩岑、卡琳娜等自帶人氣關注度的姐姐們，李晟的“爆冷”斷層，讓許多人將其視為“浪姐 3 ”裡的“王心淩 2.0 ”。
The popularity is still continuing, in the personal & stage ranking of "Riding the Wind 7" Weibo favorite, as of 0/0, Li Sheng ranked TOP0 with 0w power score, higher than the 0W power value of Ye Tong in TOP0; In the Mango TV Chengfeng Xinxuan stage voting list, Li Sheng, Zhang Xiaowan, and Li Jiaqi's one-public stage "Savage" ranked TOP0, with a wave value of 0.0W. re-screened in the middle of the night on 0/0 "Huanzhu Gege: Swallows Flying (New Huanzhu Gege)". Beacon data shows that "Huanzhu Gege: Swallows Flying" became the top 0 satellite TV ratings on 0.0 and 0.0, with a market share of 0.0%.
Therefore, he starred in and sang the theme song "Withered Leaf Butterfly" in the 6 TV series "Flowers Are Not Flowers and Mist", and Li Sheng's performance in Sister Lang 0 is also known as the "Dead Leaf Butterfly" counterattack. Li Sheng's "counterattack" is not accidental, but it is inseparable from "feelings" as a strong driving force.
From Wang Xinling to Li Sheng, it seems that the program team "made a mistake in betting" again and again, and finally realized the "elected counterattack" behind the sisters who "got out of the circle", "emotional killing" always seems to be so "effective" and even surprising. Pulling the perspective to the entire entertainment industry, a few years ago, due to a sentence of "poor data" from netizens, the whole people hit the list for Jay Chou, and last year's "Singer 2024" "Fifty Years of Naying Guarding the Country Narrative", when the audience's feelings were further upgraded to group emotions, the "emotional economy" was also formed.
"Dead Leaf Butterfly" counterattacked, and recreated the "elected myth" after 00 and 0?
With previous experience in multiple vertical tracks such as ACG, Guofeng and Sweet Girl, "Riding the Wind 48" invited more cross-field guests to participate. The popular coser Karina, Wu Xuanyi, who was born in the draft girl group, Li Yitong, the former champion of SNH0, and Tan Wei, the host of the Golden Eagle cartoon "Little Swallow Sister", etc.
Even if some of them have no experience in singing and dancing, they also brought more cross-circle traffic before the show started, but most of them did not set off many topics after the official broadcast. For example, coser Karina, who has gathered a considerable two-dimensional audience, has a derivative topic of #Karina Chinese#, and a group of netizens came to watch why she "has been in China for many years but cannot speak Chinese well".
can perceive that this year's "Sister Lang 6" pays more attention to the cross-circle traffic of actors and singers. However, although the program team invited guests from different fields to increase the topicality, what really detonated the audience's enthusiasm were the classic characters and works with strong emotional identity. Whether it is Ye Tong or Li Sheng, their participation not only adds topics to the show, but also makes the "sentiment card" occupy a place again.
"National Xu Xian" Ye Tong, "Qiong Girl" Chen Derong and other veteran actors joined. Ye Tong gained a group of favorites with his "juvenile sense", and Chen Derong and team members Wang Rong and Huang Ying appeared on the hot search because of the topic of "dispute" over the rehearsal of a public dance. The classic characters themselves already carry a lot of memories and emotions, and the audience's familiarity with them makes the return of these characters often attract a lot of attention in an instant, and it is a great impetus for the show.
Li Sheng's "counterattack" is more symbolic, in recent years, Li Sheng has often appeared in supporting roles in film and television dramas, such as Miao Guifei in the broadcast "When the Goose Returns". But in his most classic work "New Huanzhu Gege", the character of "Little Swallow" carries the childhood memories of countless audiences, and when she reappears in front of the audience, it immediately inspires the audience's nostalgia and emotional resonance for the past era.
The first generation of Little Swallow is the childhood of the post-00, and Li Sheng, as a new generation of Little Swallow, has a higher recognition in the post-0 group, and the new generation of "Little Swallow" Li Sheng, who has not been in business for a long time, has strengthened its filter itself, and chose to use the theme song "Dang" of "Huanzhu Gege" as the opening, which directly resonated with the entire Huanzhu Gege IP and triggered a round of "emotional revival". For a while, related topics such as "the post-0 generation has grown up and is not without childhood" appeared, and the discussion was swiped, and "Huanzhu Gege" and "New Huanzhu Gege" were used to divide the childhood memories of the post-0 and post-0.
Her husband Li Jiahang, who was married because of the "new return of pearls", used his famous character "Zhang Wei" to make emojis and carried out a wave of creative canvassing, and on the short video platform, related topics such as "Li Sheng's turn to tour in various cultural tourism" emerged. An account of the Bureau of Culture and Tourism cut out Li Shengchu's stage to the homepage of the promotional video.
Behind the continuous "casting" between the audience and the "official account", Li Sheng is not only the "little swallow" in "Huanzhu Gege", but also an "emotional symbol" with a deep emotional foundation in the post-00 and post-0 groups.
Interestingly, after experiencing several "upset faults" on Sister Lang's stage, this year's audience prefers to take the initiative to discover "independent contestants" who have been forgotten by the show than to be "fed", and they know that this year's senior audience is also familiar with the topic of hot search and momentum. This kind of situation of "the audience feeds back the content" has become a new type of variety show ecology. For example, some netizens captured Li Sheng, who was trying to dance as a blurred background when the camera was aimed at other sisters in the rehearsal room, and organized it into a video. The mismatch between the number of votes and the lens also made #Li Sheng look like a dead leaf butterfly that no one found #The topic appeared on the hot search.
Later, Li Sheng also responded to "fewer shots" in the live broadcast, saying, "There is nothing right or wrong, there are always people with more shots, and there are always people with fewer shots, because I have always felt that the audience is very sensitive, as long as you work hard, as long as you are doing what you should do, the audience will definitely see you." ”
從王心淩到李晟，浪系“情懷逆襲”能走多遠？
The popularity "fault line phenomenon" is not only a large-scale Internet memory killing, but also a game of official betting and the audience's "popular election". Looking back on the past few seasons of "Sister Lang", whether it is Wang Xinling, Chen Lijun or Li Sheng, the audience's voting rights not only symbolize their support for the sisters, but also redefine the logic of reality shows, and even force the program team to adjust their editing strategies.
There are not many scenes of Wang Xinling in "Lang San", and even the first stage performance is incomplete, and after the first stage, Wang Xinling's lens quickly "opened the gate". Coincidentally, after the launch of "Lang Liu", #李晟鏡頭#登上熱搜, and even after becoming the popularity queen of the fault, #李晟回應節目鏡頭少#也上了一波熱搜.
Looking back on the "popular king" in the group portrait stage of Sister Lang's series, it is not difficult to find common characteristics: first, there are heavier works/feelings to support; second, in recent years, it has not been exposed too much on mainland programs, which has a certain sense of mystery; Third, carry out the "original flavor" to the end. After the accumulation of time, many artists' careers will undergo a big turn, such as the singer's style of music and the actor's career in other fields, and whether it is Wang Xinling's "Love You" or Li Sheng's "When", a simple statement without adaptation can best trigger collective memories.
Of course, not every sister who plays the emotional card can play the trump card. Like Mei Yi Liya of "Lang 4" and Chen Lijun of "Lang 5", they also have a good topic degree and foundation, but in the end, only Wang Xinling can form a "national phenomenon". Directly in the QQ Music "Slaughter Chart", she alone accounted for 3 songs in the Top0 of the soaring list. And "When (Live Version)" is only the top 0 of the hit singles that soared to Li Sheng's personal page.
Although Li Sheng's current momentum is good, it is not yet known that he can transform into the second curve of his career. The effect is usually short-term, the phenomenal popularity is mysterious, and the continuity of the program's stamina, team operation, and the right time and place are all gradually increasing the difficulty of the follow-up transformation of "emotional counterattack".
In the final analysis, the durability of the emotional counterattack depends not only on whether the audience is only driven by emotional resonance, but whether it really depends on the strength and content of the contestants. For example, another hot topic in "Lang Liu" is that Wang Rong, a powerful player who was eliminated in Yigong, became the audience's "uneasy".
On the stage of "Sister Lang", Wang Rong was basically all-round in singing and dancing, and after being eliminated, some netizens soon sorted out the narrative of her efforts to promote the dance rehearsal of the public performance, to solve the gap with the captain, and released a "perfect performance" on the stage, but was finally eliminated due to the low score of the group. Behind the "difficult to peace", to a certain extent, it is the audience's emotional sustenance for the transformation of emotional symbols into a concrete "powerful heroine".
The emergence of the fault stage is not only a resurgence of "feelings", but also a manifestation of an emotional consumption trend. Under the influence of the "emotional economy", the program team should not only pay attention to the presentation of program content, but also deeply understand the needs and changes of the audience's emotions. As the audience's emotional dependence on "memory of the times" is gradually awakened, the editing of program content and the participation of stars have gradually become more dependent on "emotional resonance".
In this context, by making the former "classic characters" reappear, it is obviously extremely "cost-effective". However, the emotional resonance of the audience is limited, and the window period is fleeting, and it will be interesting to see how long this wave of "sentimental economy" can last.