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"Safe Evacuation from the 21st Century" was officially released this weekend. It is a rare domestic live-action film with a strong two-dimensional texture, and Bilibili has naturally become the base camp for fans of the film.

During the two-week preview period before the release, it has been strongly recommended by countless well-known UP hosts in the film and television section of Bilibili, including Sandai Lu Ren, Xiaopianpian Shuo Dapian, Xuanmiao Elias, Filmlast, etc.

Not only are there in-depth interpretations, but there are also UP hosts who imitate the incoherent "mushroom-eating" style in the film when sharing their thoughts after watching the movie; there are UP hosts who made the "height difference propeller" in the film purely by hand; and there are UP hosts who used the framework of "Happy Planet" to regroup the three protagonists in the film.

This is Bilibili. It is always the one with the most unique style. Its greatest charm is authenticity and diversity. Works that are considered bad will be criticized in various ways, but once they are favored, there will be countless fans who will love them in all aspects, from remixes, interpretations to even ghost videos. And works that can occupy a place in the film and television section of Bilibili usually will not disappoint people.

This has also led more and more Bilibili users to open Bilibili to observe the reputation of movies and TV shows before watching them. A fact that slightly breaks the existing perception is that many industry practitioners may think that such a "real" ecology is not conducive to the development of marketing work, but according to relevant sources, the number and revenue of external cooperation related to movies on Bilibili have been growing exponentially.

For today's audiences and the film and television promotion and distribution industry, "the industry has lost its appeal" is a common pain point. The audience is happy to express their true feelings, and only when the work and the audience find a real fit can the content of the film and television works be injected with vitality and have the opportunity to ferment word-of-mouth beyond the circle.

From some cases in the first half of this year, it is not difficult to find that the stylized mixed cuts and in-depth interpretations of the B-station film and television area have gradually become a necessary configuration for the fermentation of film and television works. They are suitable for long-term, high-quality works that can withstand interpretation and scrutiny to further amplify their content advantages, and are also a way for works to effectively communicate with this generation of young people.

In-depth interpretation, secondary creation and tap water

If you observe carefully, you will find that most of the film and television works that have attracted public attention this year have traces left by the film and television section of Bilibili.

The highest-grossing movies of the summer season so far, such as "Catch the Dolls" and "The Silent War", which are regarded as saviors of the market, are actually movies that have a lot of room for interpretation. There are many in-depth analysis videos that have become popular on Bilibili.

For example, the UP host Ban Zhimao interpreted "Silent Killing" by re-arranging the movie according to the timeline, using the logic of chronological order to sort out all the memories and montages, and giving multiple perspectives on the ending of the film. Many viewers continued to add to the UP host's interpretation in the comment area, which stimulated users' desire to discuss. The video has received more than 6.3 million views and was selected as a must-see weekly on Bilibili.

Although it is Shen Teng and Ma Li who attract the audience to "Catching Dolls", this work is not a simple hilarious comedy like in the past. Instead, it contains many satires and metaphors. Many people even call it a "thriller", leaving plenty of room for interpretation by UP hosts.

UP host Chen Jia Chu Ge Xiu Cai counted the Easter eggs in the film one by one, and Claire's editing room interpreted the wonderful scenes such as the funeral in the film metaphorically frame by frame. This gave many viewers who only paid attention to the laughter in the cinema the opportunity to re-examine the film and further ferment the secondary word-of-mouth.

There is also the hit drama "New Life" in the first half of the year. As a short drama, it is actually very difficult to ferment word-of-mouth and popularity during the broadcast period. In addition, it was not very popular before it was broadcast. Even the director Shen Ao himself said, "We originally wanted to broadcast it quietly in a dark corner and try new ways to capture the target audience. We were not ambitious in terms of data."

However, the recommendations and hard-core interpretations of Liubi Movie, Xiaopianpian Shuoda, Kaixinzuipao and other UP hosts brought it a lot of viewers, just like a "Speed", which forced it to be one of the hit dramas in the first half of the year. During the broadcast period, there was an UP host Huanghuali Cantou who followed the broadcast time and frantically "worked" to interpret the plot of each episode.

In addition, secondary creation and remixing is the most important step for B station to add value to film and television works. It actually has a higher creation threshold than gossip videos, and not every platform can do it well. It requires creators to have excellent editing skills in technology, and more importantly, the ability to rearrange and combine seemingly unrelated harmonious elements in terms of thinking concepts.

Another hit drama in the first half of the year, "Mo Yu Yun Jian", was also very popular on Bilibili. The eldest princess, who played the villain in the drama, was the absolute hottest in the editing videos. The high-energy mashup of the eldest princess also received over a million views. Many of the "food" produced by UP masters were also moved outside the station to be recommended to passers-by. The secondary creation of UP masters has become the new flesh and blood of film and television works.

Did you find it? The content effect of Bilibili is not only to ferment the popularity, but also to some extent to further enrich the content of the works, prolong the vitality of the content, and help the content to produce a long-tail effect. Even after the broadcast period, dramas such as "New Life" and "Mo Yu Yun Jian" still maintain high playback volume on the platform.

In addition to these popular top works, "niche masterpieces" with good reputation can also gain considerable tap water effect on Bilibili. "Falling into the Mortal World", "Walking and Stopping" and "My Altay", which ranked at the top in the first half of the year, have many UP main recommendations in the film and television section of Bilibili, and the proportion of barrage and comment interaction is quite high.

Of course, bad works will also receive corresponding complaints on Bilibili, but in fact, every platform on the Internet has complaints. The difference lies in whether it is a simple emotional output or a well-reasoned and in-depth discussion. The audience is much more sober than we think. They may be swayed by their emotions at the moment, but the only thing that can really move them is the content that touches them.

Emotions and work don't work

In recent years, the trend of reducing costs and increasing efficiency has been blowing, and the upstream and downstream of the film and television industry have been thinking about a question: what kind of film and television works do the audience like?

This is particularly serious in the film industry, where the IP blockbusters that were effective in the past are now unable to attract audiences to theaters. At this point, we cannot even blindly blame the poor quality of the film and television works themselves, because most viewers have not seen the works themselves, and a small number of viewers who have seen them can hardly create enough social word-of-mouth.

The summer season is currently less than half of last year

Short videos have briefly become a lifesaver in the past, but after the entire industry rushed in, back-end marketing practitioners found that costs were rising, and front-end audiences also found that emotional and fragmented videos that "shout to the screen that they are good" are not trustworthy, and the objective differences in people's viewing tastes are also increasing. At this time, what the industry needs more is some in-depth and objective analysis to gradually rebuild the trust in film and television works before making viewing decisions.

On Bilibili, everyone seems to have sensed that popular content promotion is almost ineffective. Fragmented short videos are unlikely to achieve unexpected viewing data; short videos of "awkward moments" that are irrelevant to the content are often difficult to attract attention; and purely emotional, short and superficial "reviews" are also difficult to truly attract users.

But these users can identify truly high-quality content and give space to good content. Taking "Silent Killing" as an example, if we sort by video playback volume, we can clearly find a pattern: longer, meaningful, in-depth analysis videos are at the top of the list, while shorter videos that focus on emotional rendering or entertainment generally have lower playback volumes.

This may also be due to the continuous iteration of the film and television ecology of Bilibili. Pure emotional complaints can gain a certain amount of attention, but what is ultimately accepted by users is content with real substance and substance.

For example, Mao Jian, a well-known drama critic and professor at East China Normal University, updates film and television review videos on Bilibili, approaching the works from a social and cultural perspective with sharp humor and insightful views. This is not just about making people laugh, but about observing society and culture through film and television content. Currently, Mao Jian has 6 popular videos on Bilibili that have been played over a million times, and has over 700,000 fans.

It is precisely because of these foundations that the film and television area of ​​Bilibili is different from other video platforms.

In fact, when a film or TV work comes out, all kinds of discussions emerge in the public opinion market. Whether it is complaining or recommending, in-depth analysis or secondary creation, they all reflect the voice of young people. The film and television area of ​​Bilibili is one of the mirrors. Only by observing and giving feedback at all times can the content re-anchor its position. Only when it finds the right position can it be seen by more people.