Where did the original screenwriters of the inner entertainment disappear?

Chinese social media platforms, such as Weibo, have been abuzz with discussions about the disappearance of original screenwriters in the domestic entertainment industry. The debate revolves around the lack of fresh and original content being produced, with many blaming adaptations of previously published works for the shortage. This phenomenon has sparked a heated online conversation among netizens, with reactions ranging from disappointment to outrage.

The discussion began when several popular Chinese dramas were pointed out as adapted works, including <Long Secret Love>, <Lotus Building>, <West Exodus of Jade Gate>, and <My Urban Heat and Fire>. These shows are rated differently but share a common thread - they all originate from previously published materials. This sparked questions about the adaptability of certain books into screenplays, the luck of certain adaptation teams, and the standards that should be met by qualified adaptions.

The original script <Ocean in My Dream> stands out as an exception to this trend. It has been a hit on CCTV, with its historical background, comprehensive top-level team, and Xu Zheng's flawless portrayal of the main character, Xiao Chunsheng. The show has been running for three months on 2 Central, 4 gold, 5 defense, and 13 rounds, earning it a lot of praise and accolades. CCTV even recognized Xu Zheng as a true character actor.

Amidst this trend, an original script created by Golden Bowl screenwriter Zhao Dongling and young screenwriter Tan Jiaxian has been welcomed warmly by audiences. It is hoped that it will fill the gap left by the absence of fresh content in the industry. However, this positive move seems to be a rare exception rather than a new trend.

Many netizens lament that if they enjoy reading a book, they are less likely to watch its adaptation on screen. This highlights a growing concern about the reliance on adaptations and the lack of original content in China's domestic entertainment industry. There is also a call for more emphasis on the creation of original scripts, rather than relying solely on adaptations from existing works.

Another popular show that has been highlighted as an exception is <The Young Spycraft> by Mr. Wang Juran, which received praise for its lack of dog-blood love storylines. This show was a hit with audiences and proves that there is indeed demand for original content in the market.

While the trend towards adaptations continues to dominate the industry, many netizens express their disappointment and frustration. They point out that it is ultimately the audience's demand for derivative works that drives the production of these adaptions. The quality of the original work seems to be a secondary consideration, as long as the show promises excitement and entertainment.

The nostalgic memory of dramas such as Water Moon Cave and Ling Jing Chong Li serve as a reminder of how Chinese drama used to be - full of unique ideas and compelling stories that stood out in a crowded market. In contrast, the current trend of adaptations seems to indicate a lack of creativity and reliance on already established works for success.

In conclusion, the disappearance of original screenwriters in China's domestic entertainment industry is a topic that has sparked debate online. While some shows like <Ocean in My Dream> show that there is still hope for fresh and original content, others highlight the growing trend towards adaptations of previously published works. The audience's demand for derivative works seems to be driving this trend, raising questions about the role of quality and creativity in the production of screenplays. As we move forward, it will be interesting to see if this trend continues or if original scripts can make a comeback in Chinese drama.