It's reasonable for me, a stuntman, to live a crazy life, right?

Chapter 1446 Post-Pandemic Box Office Logic and New Blue Ocean Markets...

As the lights dimmed in the theater, the black-and-white film texture on the big screen instantly transported the audience to Chinatown in San Francisco in 1900.

On the muddy streets, rickshaws and horse-drawn carriages crisscrossed, and Chinese signs appeared and disappeared in the fog...

The story of "Detective Chinatown 1900" unfolds from there.

It's terrifying right from the start!
The body of a white woman named Alice was found on the edge of Chinatown, her chest cut open in a manner strikingly similar to that of "Jack the Ripper".

The cries of mayoral candidate Grant mingled with the roars of the white crowd.

Bai Zhenbang, a young Chinese man, was quickly convicted, and the public opinion storm surrounding the revision of the Chinese Exclusion Act instantly engulfed Chinatown.

The somber mood was broken by Qin Fu's appearance shortly after the oppressive scene.

Holmes' letter of introduction was blown away by the wind. He chased after the letter and crashed into a fruit stand, his face covered in banana mud, shouting to gangster boss Bai Xuanling (played by Jiang Wen), "I am the great detective's special assistant," which made the audience in the theater burst into laughter.

Many viewers immediately recognized this as the famous scene from the Douyin promotion where Qin Fu first encountered the gangsters.

The subsequent escape journey of Qin Fu is filled with even more laughs.

While being chased by gangsters, he accidentally stumbled upon a gathering of an Indian tribe, mistaking the sacrificial dance for an attack signal. He grabbed a pillar and shouted, "Holmes, save me!" Just then, he bumped into Ah Gui, who was returning with his adoptive father's body.

Ah Gui coldly grabbed him by the back of his collar, but Qin Fu mistakenly thought he had been kidnapped and pulled out his copy of "The Adventures of Sherlock Holmes" as a shield.

This "cross-species blunder" has already gone viral on Douyin, with laughter mixed with comments like, "Was Qin Feng's dad this timid and cute when he was young?"

Following that, the process of the two teaming up to investigate the case perfectly blended comedy and mystery.

Ah Gui used Indian tracking techniques to discover that the pine needles on Alice's body did not belong to Chinatown, while Qin Fu spent a long time drawing a Sherlock Holmes-style sketch of the footprints, only to mistake the dog paw prints for the murderer's marks.

While infiltrating Grant's mansion to investigate clues, Qin Fu accidentally triggered a mechanism, and the two were covered in flour. With "white beards," they hid behind the curtains and listened to Grant's secret plot with the British spy.

While this "flour-masked meme" made the audience laugh until they cried, no one could ignore the cold truth in the dialogue: "using anti-Chinese sentiment to garner votes."

When the clues point to Ah Gui's adoptive father's magic box, the film's underlying theme gradually emerges.

Ah Gui unearthed the revolutionary guns that his adoptive father had hidden in magic props, while Qin Fu discovered love letters between Alice and Bai Zhenbang in old newspaper articles.

Under the moonlight, the two young people slowly pieced together the truth:
Grant accidentally kills his daughter because she falls in love with a Chinese man, and then uses the "Ripper" story to frame her, while also eliminating Ah Gui's adoptive father who was transporting the weapons...

All conspiracies grow on the fertile ground of discrimination inherent in the Chinese Exclusion Act.

In the repeatedly edited "truth revealed" clips on TikTok, Qin Fu holds up a love letter to refute Grant, but is pinned to the ground by a white police officer.

The scene where Ah Gui defeats the policeman with his martial arts skills, but then chokes up in front of his adoptive father's corpse, instantly silenced the theater.

When the laughter abruptly stopped, the audience truly understood the weight beneath the comedic exterior.

This film, though a comedy, reveals the cruelty and absurdity of the times.

Chinese people shed blood on the railway tracks to build the road, yet they were deprived of even their right to a safe place to live.

Grant proclaimed "justice," yet paved his campaign path with his daughter's corpse.

Behind Qin Fu's farcical reasoning lies the tragedy of Chinese people having to rely on the name of a white detective to prove their innocence.

Those moments of witty banter were nothing more than the gasps of breath of insignificant people in a dark age.

The denser the jokes, the more bleak the underlying tone...

As the movie ended and the end credits rolled, thunderous applause suddenly erupted in the theater, lasting for nearly two minutes!

Many film critics in the back row whispered their praise: "The history of anti-Chinese sentiment is hidden in comedy, and the reasoning is flawless. This is the root of the Detective Chinatown universe."

"A top-notch comedy film with a historical theme!"

"The plot is absolutely amazing! Wang Baoqiang, Zhang Ruoyun, Jiang Wen, Bai Ke, Yue Yunpeng... everyone's acting is phenomenal!"

"..."

Listening to the lively discussions around him, the person in charge of the distribution company kept nodding and recording the reactions on his phone.

Chen Fei looked at the tear stains still wet in the eyes and the undisguised shock on the faces of many of the audience members around him who were experiencing intense emotional fluctuations, and slowly nodded.

Whether it's the meticulous historical research in the plot, the balance between comedy and heavy themes, or the repeated exclamations of "it had such a powerful aftertaste" from the audience, all of these point to one thing:
The box office performance of "Detective Chinatown 1900" will definitely be good!

The lights in the screening room were quickly brought back on, and the creative team took to the stage one by one, following the path paved with applause.

As the microphone was passed around, the conversation naturally shifted from the hardships behind the scenes to the original intention of historical expression...

"In order to recreate the street scene of San Francisco's Chinatown in 1900, the art team searched through the archives of Chinese laborers in the Library of Congress, and even the style of the pickle jars on the street was based on the cargo manifests of immigrant ships from that year."

We didn't just want to film unsolved cases; we wanted the audience to see how Chinese people lived with dignity under the shadow of the Chinese Exclusion Act.

As soon as the director finished speaking, a murmur of approval rippled through the audience, and many film critics quickly jotted down notes in their notebooks.

When Wang Baoqiang took the microphone, a simple and honest smile appeared on his dark face: "The character I played, Ah Gui, can actually be considered a microcosm of the Chinese people of that era."

Without status or connections, he had to hide his talents just to survive, but he had an inner resilience, just like the elders in my hometown who struggled to make a living.

He paused, his tone becoming more sincere, "Fortunately, our country is now strong, and Chinese people can stand tall wherever they go. This sense of security is something the characters in the story can't even dream of."

These simple words struck a chord with the audience, and a round of enthusiastic applause immediately followed.

When the reporter asked about "box office expectations," the spotlight almost immediately turned to Chen Fei in the front row.

Even more coincidentally, this is the first time he has publicly faced questions about box office predictions since losing the benefits of his rebirth.

The scene fell silent instantly, and even the breathing of the people around could be clearly heard.

After a few seconds of silence, Chen Fei gave a rough estimate: "Let's start with 30 billion."

The moment this number was announced, a slight commotion broke out in the room.

Do you all remember when "Detective Chinatown 3" was released, it created a box office miracle of 68 billion yuan!

That was an explosive surge in consumption following the suppression caused by the pandemic.

The pent-up demand from audiences over the past year was released in a concentrated manner, coupled with the special environment of a lack of high-quality competitors at the same time, which led to such inflated results.

At that time, the pre-sale box office successfully exceeded 10 billion yuan, directly breaking the record!
In addition, ticket prices were twice as high as usual, and the transfer of advertising costs and the inertia of IP accumulation together pushed up the figures during that special period.

"Nowadays, the market has long since returned to rationality, and the Spring Festival film season is packed with strong films from all walks of life. Audiences will no longer pay for 'compensation psychology'; they will only vote for stories that truly move them."

The box office success of "Detective Chinatown 3" was due to many special factors, but "Detective Chinatown 1900" could only rely on the historical weight and the density of reasoning in its plot.

The figure of 30 billion is my minimum assessment of the sincerity in production, and also a respect for the essence of the market..."

Chen Fei's words actually represent the industry's consensus on the "box office logic in the post-pandemic era".

When the blind consumption brought about by information asymmetry recedes and the halo of IP can no longer cover up content defects, only solid creation can retain the audience.

He was well aware of the intensity of competition during the Spring Festival film season.

To date, the films that have already been scheduled for release cover several popular genres, including comedy and animation.

If "Detective Chinatown 1900" wants to break through, it must rely on solid strength that does not depend on gimmicks.

However, some media outlets still questioned, "Director Chen, isn't your estimated number a bit too conservative?"

Chen Fei smiled and said, "30 billion is actually not a low amount. You know, the audience these days has very discerning eyes. If they can feel sorry for the little people in history and be moved by the tragedy hidden in the jokes, that in itself is a victory."

In my opinion, box office numbers are just a result, not our real goal in making movies…

His explanation successfully eased the tension, and the reporters then began to press for details about the film.

In an instant, flashbulbs popped on the smiling faces of the main cast and crew.

...

That afternoon, news about the premiere of "Detective Chinatown 1900" began to spread across the internet.

In particular, the three key announcements quickly grabbed the headlines in the entertainment section:
"[Plot Summary] 'Detective Chinatown 1900' Unveils History Through Suspense: The Ripper Mystery Hides Anti-Chinese Bloodshed..."

"[Film critics highly praise] 'Detective Chinatown 1900': A historic breakthrough for the genre!"

"[Box Office Prediction] Chen Fei Conservatively Predicts 30 Billion: A Sober Declaration on Returning to the Essence of Content..."

The market hasn't seen this level of excitement in a long time.

Several senior film critics have spoken out in unison, saying that "Detective Chinatown 1900" is a major upgrade for the Detective Chinatown universe!
The plot does not indulge in IP tropes, but instead uses a suspenseful storyline to connect the survival plight of Chinese laborers.

The film's depiction of the mutual assistance between Native American tribes and Chinatown fills a gap in Hollywood's narrative.

In 2025, when mid-tier films are collectively disappearing, works that combine commercial appeal with depth are exactly the kind of "breakthrough" that the market desperately needs!
At the same time, financial and entertainment media outlets have also focused their attention on box office figures.

Chen Fei's statement, in particular, that "starting from 30 billion," has sparked heated discussions within the industry.

In the post-pandemic era, the market is gradually returning to rationality, and only high-quality storylines can retain audiences.

This judgment aligns perfectly with the current market logic that hit products rely on content rather than gimmicks.

On the other hand, while the promotional campaign for "Hot Hot" continued to intensify, it gradually showed signs of decline under the impact of the popularity of "Detective Chinatown 1900".

While the marketing gimmick centered on "the lead actor losing weight" is still trending, data after the premiere shows that the related topics of "Detective Chinatown 1900" have exceeded 50 billion views on Douyin and Kuaishou, far surpassing the former's 28 billion.

Moreover, many scenes from "Detective Chinatown 1900" are highlights of the plot, and each scene can spark a wave of research into the details.

In contrast, the clips released for "Hot and Spicy" still focus on the weight loss process, with few plot highlights. This disparity immediately led to growing criticism of "Hot and Spicy" online.

A netizen posted on social media: "Jia Ling's marketing press releases are all about how hard it is to lose weight, but the scenes are just aerobics and motivational quotes. What's the difference between this and a documentary?"

Some viewers even brought up past examples for comparison: "It suddenly reminded me of 'Shanghai Fortress.' Back then, the whole internet was praising the special effects, but the plot was terrible. So, is 'Hot and Spicy' also following the old trick of emphasizing marketing over content?"

A film and television blogger's rant garnered over 100,000 likes: "Short video promotion is almost becoming 'fraudulent advertising.' Instead of spending a lot of money to create a weight loss gimmick, they should polish the plot to be more solid."

In contrast, "Detective Chinatown 1900," despite lacking exaggerated marketing, has continued to gain popularity thanks to its unique expression of "history hidden within suspense."

According to data from Lighthouse Pro, the number of people who wanted to see the film on the second day of its premiere surged by 230% compared to the previous day, and many cinemas have already started scheduling and pre-selling screenings in advance.

……

On the 6th, the premiere of "Article 20" was held as scheduled.

As the last film in the Spring Festival season to hold its premiere, and given that it's a work by Zhang Yimou to salvage his image after the critical failure of "Man Jiang Hong," audience expectations are quite high.

The morning sunlight streamed through the car window and fell on Chen Fei.

At that moment, he was traveling by car to the headquarters of Enlight Media to attend the film premiere.

The morning entertainment news was playing on the car's screen, and his gaze was firmly drawn to the bustling scene in the TV drama market.

Unlike the current "undercurrents" in the film market, the TV drama industry is already "filled with the smoke of battle"!
Looking around, all kinds of TV series are competing with each other, so lively that it's almost enough to make a dog's brain pop out.

The news first mentioned "Joy of Life 2", a hit sequel produced by Feiyue Pictures. Since its release, it has maintained high popularity, consistently ranking first in viewership on Youku, with daily viewership exceeding 3 million multiple times.

The court intrigue between Fan Xian and Emperor Qing, and the adventures of Haitang Duoduo in the martial arts world, are all scenes that spark heated discussions across the internet.

Topics such as #FanXian'sFamousScenesInCourt# and #HiddenForeshadowingInJoyofLife2# have dominated the trending searches for a long time. Even the costumes and props of the characters in the show have become objects of research by netizens, which shows how popular the show is.

Immediately afterwards, a piece of news about "In the Midst of a Snowstorm" surprised Chen Fei.

This work, regarded by the industry as a "heartwarming sweet drama", has stood out despite not having top-tier leading actors, thanks to its fresh and natural love story and delicate emotional expression.

What's even more surprising is its impressive performance in overseas markets.

It not only topped the Netflix series charts in Southeast Asia, but also secured a place on the trending charts for several TV series in Europe and America.

The romantic scene where the male and female leads meet in a blizzard has even been edited into short videos and widely circulated by overseas netizens, becoming another typical example of Chinese dramas going global.

Meanwhile, "Country Love 16," a "national long-running drama," continues its "myth."

This TV series, which has been with audiences for more than ten years, has gained a large number of loyal fans with its down-to-earth depiction of rural life and vivid characters.

In the new season, the villagers of Xiangyashan have launched a new model of "rural revitalization," engaging in live-streaming e-commerce and developing distinctive agriculture.

The storyline retains the humor of previous works while incorporating contemporary elements, setting a record for the highest viewership of a rural-themed drama on Tencent Video on its premiere day.

Many netizens joked, "The 'Country Love' series always manages to accurately hit the audience's funny bone."

Besides these popular dramas, the heartwarming series "Happy Parents Group" also performed well.

The drama focuses on the parenting anxieties of contemporary parents and the bonds of neighborly affection, showcasing the warmth and touching moments in families and communities through a series of real-life vignettes.

The "things that happen in the parents' group chat" in the drama resonated with many parents and became the first choice for many families to watch the show after dinner.

Even more noteworthy is the realistic drama series "North and South".

This TV series, which tells the story of railway workers' lives, has sparked heated discussions across the internet due to the contrasting personalities of the two characters, Niu Dali and Yao Yuling.

Some netizens felt sorry for Niu Dali's "good guy" image, while others praised Yao Yuling's "cool and capable" demeanor.

The two sides engaged in a heated discussion on social media, which even led to secondary dissemination of the series.

Watching the TV drama news scrolling across the screen, Chen Fei couldn't help but feel a surge of emotions.

Compared to the competitive landscape of the film market during the Spring Festival, dominated by a few major players, the current TV drama market can be described as "a hundred flowers blooming".

From historical political intrigue to modern romance, from rural life to realistic workplaces, dramas of different themes and styles have each carved out their own niche, satisfying the needs of diverse audiences.

The genres of Chinese dramas are expanding at a visible pace, with both production quality and storytelling capabilities constantly improving.

This is undoubtedly a fortunate thing for the entire film and television industry.

"Sigh, if only the film market could be like the television market, with a diverse range of styles, less formulaic plots, and more sincerity..."

Chen Fei sighed inwardly.

"Director Chen, Enlight Media has arrived."

The driver's reminder quickly brought him back to reality.

"okay, I get it."

Chen Fei put away his phone, straightened his clothes, and opened the car door.

Ahead, the red archway for the premiere of "Article 20" is particularly eye-catching.

The names of Zhang Yimou, Lei Jiayin, Ma Li, Zhao Liying, Gao Ye, Liu Yaowen, and others were prominently displayed on the banner.

The inclusion of "co-produced by Enlight Media and Feiyue Films" at the end of the title has drawn considerable attention and admiration from media outlets and viewers alike.

The sensation caused when "Rock Solid" was launched is still vivid in my mind.

This realistic film, which breaks away from Zhang Yimou's previous period dramas, uses the fight against organized crime as its backdrop and employs a cold, detached cinematic language to dissect the entanglement of power and desire. It retains his consistent visual aesthetics while adding profound questions about reality.

The film ultimately grossed 36.69 billion yuan at the box office, and its Douban rating remained stable at 7.5.

This achievement not only shattered the stereotype that "Zhang Yimou can only make period dramas," but also proved his mastery of realistic themes.

Now, Article 20 follows closely behind, focusing on the family and human nature behind the criminal law provisions.

Judging from the clips that have been released, the film does not deliberately exaggerate the drama of the case, but instead focuses on the struggles of ordinary people between law and emotion.

For example, the prosecutor played by Lei Jiayin struggles with the conflict between family ties and legal principles, and the mother played by Ma Li is resilient in her efforts to protect her child; both are full of everyday life.

This shift from "grand narratives" to "micro-individuals" makes Zhang Yimou's transformation path increasingly clear.

He no longer relies on the visual spectacle of period dramas, but instead uses a more delicate touch to depict human nature.

Clearly, he has been quite successful on this path.

On the other hand, Chen Kaige, although not as thoroughly transformed as Zhang Yimou, has also found his own rhythm in the mainstream genre.

For example, in his portrayal of heroic figures in films like "My People, My Country" and "The Chinese People's Volunteers," he consistently maintained a sense of awe for history and an expression of patriotism.

Although some works have sparked controversy due to their "overly grand narratives and weak individual characterizations," the overall tone of the main theme has always been accurately grasped, conforming to mainstream values ​​while attracting audiences through excellent production.

Despite fluctuations in box office and critical reception, he has consistently remained among the top-tier directors.

Only Feng Xiaogang was completely finished at this point.

Chen Fei recalled the news he had heard not long ago about the sale of Dongyang Meila Film Industry, and then thought of the dismal box office performance of "If You Are the One 3" at 1.36 million yuan, and couldn't help but feel a little sad.

Once upon a time, Feng Xiaogang was the undisputed "king" of the Lunar New Year film season, thanks to works such as "The Dream Factory" and "A World Without Thieves".

His comedies can make audiences laugh out loud while also subtly satirizing social realities.

But now, he seems to have completely lost touch with the market.

From the heartwarming failure of "Only Cloud Knows" to the sentimental backlash of "If You Are the One 3", the works have lost their original charm and failed to keep up with the changing aesthetics of the audience, ultimately leaving the stage in obscurity amidst debt and controversy.

Even the identity of "director" is almost a distant memory...

"Director Chen, Director Zhang and Chairman Wang are already waiting for you inside." A staff member's voice interrupted Chen Fei's thoughts as he walked along the red carpet.

He snapped out of his daze, straightened his collar, and strode towards the premiere venue.

In my mind, the contrasting situations of many directors in the industry still linger.

Dong Chengpeng, Jiang Wen, Guo Fan, Ning Hao, Wang Quan'an, Wu Ershan, Wang Baoqiang, Xu Zheng, Han Han, Guo Jingming, Li Shaohong...

From their peak at the beginning to their current situation, it's clear that the directing industry is not a place where seniority matters.

Only by constantly keeping up with the times and refining our work can we avoid being eliminated by the market.

Zhang Yimou has achieved this, Chen Kaige is working hard, while Feng Xiaogang has clearly fallen behind.

Fortunately, the directing team at Feiyue Films is very capable. They not only haven't regressed, but they're also forging ahead.

In particular, the creation of the film "All or Nothing" directed by Shen Ao was handled entirely by him from beginning to end, with Chen Fei not participating at all.

The film's box office success has proven his ability, which is beyond doubt.

With these people around, Feiyue Films can at least be guaranteed to remain standing for the next ten years.

Meanwhile, the training of new directors is also being maintained.

Feiyue Films and Douyin are currently collaborating to create an app called "Hongguo Short Drama," aiming to promote the development of short dramas on this platform.

Many young directors who graduated from the Shanxi Film Academy are already working on their practice films.

The future outcome remains to be seen, but judging from the current situation, the outlook is very promising!
A new blue ocean market is gradually taking shape...

(End of this chapter)