走向共和

4月14日：权力游戏，第八季官方电影《冬城酒窖》上映_我的网站

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    Chinese actress Luo Xinyuan played Huang Rong, a beloved wuxia heroine, at Hengdian World Studios. Photo: Courtesy of Luo XinyuanAs China's once-thriving live-action short drama industry looses speed due to the weight of AI-generated content and shrinking investment, a growing number of young actors who once starred in micro-dramas are moving to a different kind of stage: playing roles at cultural tourist attractions. 
There, they play martial arts heroes and folk characters for live audiences, finding steadier income and real-time connection with viewers. 
"Earning a living with your own hands is nothing to be ashamed of," actress Luo Xinyuan told the Global Times, even as many still hold out hope, waiting for good scripts.
The migration reflects a stark reality. In the first quarter of 2026, AI micro-dramas accounted for more than 95 percent of all micro-dramas released industry-wide, sharply squeezing the space for live-action productions. 
By July, pay for leading actors had shrunk by over 50 percent, mid-tier actors by more than 80 percent on average, and daily wages for bottom-rung extras had fallen into double digits, China's CCTV reported.
Luo, a 21-year-old actress, experienced the downturn firsthand. She came to Hengdian, China's largest film and television production base, to shoot short dramas. "When I first arrived, there were many crews preparing in one hotel. Now sometimes there are only one or two, or none," she told the Global Times. 
This May, she began playing the role of Huang Rong, a beloved wuxia heroine, at Hengdian World Studios. Her daily routine includes interactive stage competitions, parades and live audience interactions, working nearly 13 hours daily during the peak summer season.
"It's tiring but fulfilling," Luo said. "There are no scripts here. It's more about playing with visitors face to face." The change has eased her anxiety. "When I was filming, I kept worrying about the next job. Now I feel more stable."
Yin Jiaxuan, 25, took a different route. He started his career as a professional character performer at major theme parks, starring in immersive shows based on popular game and film IPs before transitioning to short dramas and online movies in mid-2024. 
At the industry's peak, he moved seamlessly between sets. 
"One crew wrapped, and the next was already arranged. I'd go straight to makeup the next day and start filming the day after," he said. Now he keeps both identities, taking film roles when they come and returning to scenic spots during holidays.
Yin rejects the stigma that screen acting is the only proper path. 
"Screen acting is seen as the professional main road, while street-level performance is treated as amateur work. This invisible prejudice has trapped many performers," he said. Yet the tangible stage offers something the camera cannot. 
"Performance comes from life and is higher than life - that is the core of film creation. But now I realize that beyond artistic expression, performance is about building human connections."
Both actors shared that theme park characters must do more than act; they must draw tourists into the scene, delivering emotional value on demand. Visitors come to the scenic spot not just to sightsee, but "to step into a fantasy."
    Yin Jiaxuan Photo: Courtesy of Yin JiaxuanScenic areas are reaping the benefits. Media outlets have reported that in Kaifeng's Wansui Mountain Martial Arts City, Central China's Henan Province, tourists who interacted with these characters stayed an average of 2.3 hours longer per day. 
Every extra 30 minutes of stay raises the probability of secondary consumption by about 25 percent, according to local data. Revenue jumped from about 80 million yuan ($11.86 million) in 2022 to 1.27 billion yuan in 2025. 
While Hengdian World Studios has used characters to boost repeat visits, with annual pass holders returning multiple times "for a specific character."
Cultural scholar Yu Jinlong told the Global Times that the influx of trained actors is upgrading immersive tourism. 
"In the past, theme park characters were mostly amateurs doing costume photos. Now professional actors can build complete characters, improvise and connect storylines, turning scenic spots into open-air theaters," he said. 
Yu pointed out the uniqueness of China's character boom compared with global immersive entertainment. 
"Unlike Western theme parks that rely heavily on mature imported IPs and standardized performances, China's scenic character culture is rooted in local wuxia (martial hero) history and folk customs, encouraging personalized improvisation. Many local scenic spots create hit immersive projects with small investments, forming a unique online-offline communication loop via social media," Yu said. 
As China's cultural consumption shifts from sightseeing to participation, Yu said the young actors swapping short drama sets for scenic spots may be shaping a new hybrid career for the country's entertainment workforce.
For Luo, the recognition from visitors is a reward in itself. 
"There are tourists who travel from far away just to see my performance. It feels good to be recognized," she said. "Actually, I'm still exploring too. But I think you should do what you love, as long as you have the ability."
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二 | 1月14日：HBO今天发布了《权力的游戏》的第一部官方电影《冬城地窖》，并宣布将于4月14日（北京时间4月15日）上映，届时斯塔克一家在冬城的冷地窖以另一种方式再次见面。从花的角度来看，斯塔克家的三个孩子乔恩·斯诺、桑萨和雅利安又聚在一起了。他们在地窖里走过内德、猫阿姨和利昂娜的坟墓，但最后他们看到了他们的石像……虽然只有一辆短拖车，但是看第八季已经太晚了。第八季是权力游戏的最后一季。虽然只有六集短剧，但每集都要持续一个多小时。

三 | 据制片人说，每集似乎都在看一部制作水平很高的电影。演出开始前还有三个月。由于时间跨度较长，球迷可以回顾前七个赛季的内容，享受最后的盛宴。

四 | ”《权力的游戏》是一部中世纪的史诗性幻想剧，改编自美国作家乔治·R·马丁的幻想小说《冰与火之歌》系列。《权力游戏》颠覆了好莱坞魔术电影的创作水平，成为魔术剧不可逾越的高峰。从第八季开始，它塑造了无数形象丰富的人物，描绘了奇怪的风俗习惯，给观众留下了深刻的印象。从2011年第一季开始，权力游戏就引起了观众的狂热，吸引了世界各地无数的粉丝。2017年6月，尽管早期有黑客泄露和威胁，第七季的广播仍创下新高。即使是去年的艾美奖主持人在颁奖典礼上也开玩笑说，今晚所有的获奖者都要感谢权力游戏没有参加艾美奖。《权力游戏》在2018年第70届艾美奖上获得最佳戏剧奖，在2017年美国演员联盟奖上获得戏剧/喜剧系列最佳动作组戏剧奖。在4月14日回归的第八个赛季结束时，是时候向美国戏剧《权力游戏》说再见了，球迷们充满了期待。

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Published on:20:28:07