Recently, the demolition of a famous filming location in Hengdian became a hot topic online. Known as the 'busiest staircase in Hengdian,' it was finally torn down. Netizens joked that before the villains could arrive, modern excavators came to 'wipe out the entire family.' This incident has sparked discussions about how much 'junk food' we've been fed in terms of repetitive and uninspired set designs.
This staircase, both loved and hated by viewers, has appeared in countless dramas. It has served as a sect's headquarters, a temple, a mountain, or even a character's home. Regardless of the context, the symmetrical structure and the strikingly similar ascending figures made it instantly recognizable. Dubbed the 'pillar of dozens of TV shows,' this staircase truly gave viewers a sense of 'a thousand years in one glance.'
Over the past two years, it frequently appeared in various costume dramas, earning its title as the 'busiest staircase in Hengdian.' Even popular recent shows like 'The Double,' 'The Legend of Shen Li,' and 'Strange Tales of Tang Dynasty 2' featured it. Netizens closely followed its 'career,' humorously commenting, 'Look, the staircase is back at work again.' Some even visited the site to take commemorative photos with it.
Initially built for 'Till the End of the Moon,' many assumed this set would be endlessly replicated. However, when it was finally demolished, countless netizens celebrated. This event also made many realize how visually fatigued they had become. How much 'junk food' have we been consuming?
Beyond the staircase, standardized inns, mansions, and even the same 'heart-to-heart talk' tree have become staples. Nowadays, dramas don’t even bother hiding their reused sets—swapping a signboard or adding a curtain seems like too much effort. This isn’t about big budgets or grand productions but rather a rigid, formulaic approach to aesthetics and a rush for quick outputs. The lack of originality extends to identical camera angles, turning what should be a creative industry into a repetitive cycle that stifles imagination. The result? A feast of 'junk food' for the audience.
In this era of fast-food entertainment and copy-paste sets, demolishing one staircase won’t solve the problem. Most scenes are replicable, actors frequently cross over between shows, and costumes and props often overlap 'by coincidence.' Fight scenes rely heavily on editing, leaving little room for genuine acting or plot development. With pre-made and fast-food elements dominating, it’s no wonder audiences are crying out about aesthetic fatigue.
Alongside the 'revenge-seeking male lead,' we’ve seen a surge of 'assembly-line business heroines.' Unlike Japanese dramas that delve into craftsmanship, whether the heroine sells fabric, pastries, jewelry, or runs a teahouse, the 'business' details are glossed over—mere excuses to keep the female lead busy and advance the romance. These shows often label themselves as 'female empowerment' or 'independent women,' but a closer look reveals the heroines still rely on male leads to open 'back doors' at critical moments. It’s a case of 'unchanging romance, interchangeable entrepreneurship.'
Even 'People’s Daily' has criticized these fast-food dramas, emphasizing that 'exquisite audiovisual presentations and captivating stories should not only entertain but also elevate cultural taste and aesthetic standards.' As a medium that occupies vast public resources, TV dramas should bear the responsibility of guiding public aesthetics, not just consuming viewers' time or manufacturing stars.
In reality, better productions shouldn’t pander to audiences but respect them. The goal should be creating genuine works, not substitutes. For example, the director of 'Strange Tales of Tang Dynasty 1' took netizens' advice and removed earrings from all female characters in the sequel, as they didn’t align with Tang Dynasty fashion. This attention to cultural authenticity is what fosters positive cultural dissemination.
I recall how Hou Hsiao-hsien spent eight years perfecting 'The Assassin,' even waiting days to capture the perfect shot of birds flying by. His obsession with craftsmanship and poetry embodies the pinnacle of Eastern aesthetics. Older directors would trek through mountains and rivers for the perfect sunset shot, never settling for artificial lighting. Today, many actors never leave the green screen.
Older dramas, though less visually polished, had a warmth and 'lived-in' quality that made them relatable. Every character felt real, unhurried, and grounded in their roles. The variety in scenes and angles brought genuine novelty. No matter how many lanterns or curtains modern dramas hang, they lack this 'heartfelt and down-to-earth' feel
