Huayu: Starting from joining the mainstream entertainment industry in 96

Chapter 105, Section 104: Enthusiastic Response

December 31, 1996, night was falling.

The area around Taipingzhuang, north of Beijing.

The lights in the houses went out one by one, with only a few windows still letting in the flickering light of television screens.

Feng Xiaogang, wrapped in a worn-out military overcoat, huddled on the sofa in his living room, the ashtray in front of him overflowing with cigarette butts.

The main light in the room was off, and only the light from the television cast flickered on his already thin face, which now appeared even more gloomy.

He didn't watch "Everything Goes Well," a show he wrote, Zhao Baogang directed, and Zheng Xiaolong produced, which was airing on Beijing's arts and culture channel.

He even deliberately avoided that channel.

Several newspapers used for advertising a few days ago were spread out on the coffee table, with headlines such as "Hong Kong star Wan Ziliang joins the cast" and "Original cast recreates Beijing-style humor." These words seemed somewhat glaring in the dim light.

At this moment, on the television screen, "Family Harmony Brings Prosperity" is reaching its climax—Grandpa Zhao Benshan's identity is revealed. In the luxurious living room, he speaks in a tearful Northeastern accent about his longing for his grandson. Song Dandan, playing the daughter, rushes over and hugs her father tightly. Fan Wei, playing the son-in-law, looks ashamed, while Guo Da and Lei Kesheng sigh with emotion.

Feng Xiaogang watched expressionlessly, his lips twitching occasionally, whether out of mockery or some other emotion, it was hard to tell.

He had to admit that the production quality of the film was indeed quite good. The technical foundation of the Beijing Film Studio was there for all to see. The lighting, cinematography, and sound recording all had a "cinematic feel" and were much more refined than ordinary TV dramas.

The performances of actors like Zhao Benshan and Guo Da were extremely lifelike, especially Zhao Benshan, whose clumsy yet sincere emotional expression as a lowly person could almost penetrate the screen and capture the hearts of ordinary people.

But what he felt more was resentment, even a sense of being offended and annoyed.

"What is this garbage..." he muttered under his breath, lit another cigarette, and took a deep drag. "So vulgar! The jokes all rely on playing dumb and misplaced identities; there's no skill involved at all! Is the Northeastern accent really that appealing?"

Lines from the TV series "Everything Goes Well" flashed through his mind—the Beijing-style humor he had meticulously crafted, imbued with Wang Shuo's wit and banter, and the satire and helplessness distilled from his keen observations of city life.

He felt that he and Zheng Xiaolong were pursuing a more "sophisticated" kind of comedy, something that could make people smile knowingly and even think about something.

But this show, "Family Harmony Brings Prosperity," is clearly designed to make the audience grin and laugh like idiots; it doesn't care about being profound or not.

However, a cold sense of reality gradually overwhelmed his artistic convictions and his sense of superiority within his circle.

He lost.

It didn't fail because of its creativity or the sophistication of its script, but because of something more fundamental—public acceptance.

In an era when television sets had only been common in households for a few years, most viewers didn't want sophisticated language or urban philosophy; they just wanted the simplest, most direct entertainment that could evoke emotional resonance.

"Family Harmony Brings Prosperity," a down-to-earth "TV movie" that relies on familiar celebrity faces, focuses on family relationships, and uses straightforward humor, accurately hits this greatest common denominator.

The so-called "Beijing-style humor" that Feng Xiaogang and Zheng Xiaolong uphold seems so highbrow and out of touch with the audience, and even... somewhat inappropriate.

On TV, the ending theme song of the TV series "Harmony Brings Prosperity" played. It was a song with a simple melody and heartwarming lyrics.

Feng Xiaogang abruptly turned off the television, plunging the room into darkness and silence.

Only the red dot of the cigarette butt flickered in the darkness, mirroring his gloomy and uncertain mood.

He knew that when the sun rose tomorrow, everyone in the industry would know the outcome of this "New Year's greetings battle".

Wang Sheng used a barbaric method to announce the rise of new forces, and also ruthlessly reflected the gradual decline of their "old Beijing circle".

……

January 1, 1997, New Year's Day afternoon. The winter sun lazily shone on the streets and alleys of Beijing, and the festive atmosphere had not yet completely dissipated.

The latest issue of the Beijing Evening News had just been put on the shelves at the newsstand and was quickly snapped up by citizens.

On the culture and entertainment page, a commentary with a striking title attracted considerable attention:
"TV Movies" vs. "Sequel Nostalgia": A New Year's Eve Showdown on the Big Screen – Which Will Win Over the Public?

The article begins by briefly reviewing the basic information of "Family Harmony Brings Prosperity" and "Stories from the Editorial Department: Everything Goes Well" which aired at the same time last night. It points out that the former is marketed as "the first New Year's TV movie in the country" and covers hundreds of TV stations across the country; while the latter relies on classic IP and Hong Kong stars to maintain its local market in Beijing.

The article argues that the "TV movie" concept proposed by "Family Harmony Brings Prosperity" has successfully attracted attention, and its production quality is indeed approaching that of a movie.

The visuals and sound effects are significantly superior to those of regular TV dramas, showcasing the technological advantages of the film studio system.

"Everything Goes Well" continues the indoor sitcom style of "Stories from the Editorial Department," with a conventional production and failing to offer much new inspiration.

The author points out that the comedic effect of "Harmony Brings Prosperity" mainly relies on the personal charm and lifelike performances of comedians such as Zhao Benshan and Guo Da. The jokes are easy to understand, and the emotional appeal is direct and strong, making it especially suitable for family viewing.

The humor in "May All Your Wishes Come True" leans more towards linguistic skills and the regional cultural characteristics of Beijing, requiring a certain context and understanding threshold. Its "Wang Shuo-style" teasing and satire may not be as "suitable for all ages" as the former in the atmosphere of New Year's Eve family celebration.

The article cites data from a "random street sampling survey conducted by this newspaper".

Data shows that between 9 pm and midnight last night, 68.5% of families chose to watch "Harmony Brings Prosperity" while 19.3% watched "May All Your Wishes Come True". The remaining families chose other channels or activities.

The article analyzes that the huge platform gap is an important reason, but the program's own temperament and its fit with the audience's needs during the New Year's Eve period are even more crucial.

The article concludes that this contest was less a battle of artistic merit and more a victory of market choice and communication strategy.

With its novel concept, strong cast, and down-to-earth comedic style, "Harmony Brings Prosperity" successfully boosted the new viewership of the "New Year's Eve" season and won over a wider audience.

"All's Well That Ends Well" shows, somewhat regrettably, that classic sequels and established styles also need to consider how to break through and innovate when facing new market changes.

This report, like a pebble thrown into a calm lake, has stirred up ripples in Beijing's cultural circles.

With relatively objective data and analysis, it confirmed many people's guesses—"Harmony Brings Prosperity" became the undisputed winner of this New Year's Eve battle.

……

Not just the capital city.

The phone at the alliance's temporary liaison office rang non-stop on New Year's Day.

Representatives from film studios across the country excitedly reported their initial feedback:

"Director Han, it's a hit! Our 'Harmony Brings Prosperity' is a sensation in Northeast China! The ratings skyrocketed as soon as Teacher Zhao Benshan appeared! Many local TV stations are saying that viewers are calling to praise it, saying it's even funnier than a Spring Festival Gala skit!" The background noise on the phone from the Changchun Film Studio representative was loud and filled with joy.

"It's the same here! The people only recognize Guo Da and Fan Wei! They all say this play is lively and has the spirit of the New Year!" The representative from Jincheng Factory said in a loud voice.

"The response from the South has been quite good. Although there is a language barrier, it's not a problem to understand the plot, and the humor created by the contrast between the characters is also very appealing! Many families watched it together, and the reviews were very positive!" The report from Pearl River Film Studio was relatively calm, but their joy was also evident.

Especially in the northern regions, the viewing frenzy sparked by "Harmony Brings Prosperity" was even more intense due to the sense of linguistic and cultural affinity.

Many television stations received numerous calls from viewers after the broadcast, with a strong demand for a rebroadcast.

On the streets and alleys, when people chatted, "Grandma Yu" became a hot topic, and classic scenes and lines from the drama were talked about with great interest.

The concept of "the first New Year's TV movie in the country" became deeply rooted in people's hearts overnight with the success of "Family Harmony Brings Prosperity".

(End of this chapter)