在如今的影视界，随着资本的不断涌入，电影和电视剧如雨后春笋般蓬勃生长。然而，随着数量的激增，质量也不可避免地呈现出两极化现象。近年来，一些作品的精彩纷呈让人叹为观止，而另一些则彻底沦为“烂剧”，让人目不忍睹。即便如此，这些烂剧依然能够搭上流量的列车，以巨大的市场期待开播，而结局却往往令人失望至极。
一部剧作的成功，除了其剧本和演员的表演外，更在于是否能够为观众呈现一个连贯的、有深度的情节。可惜，在这个时代，不少剧集为了迎合市场需求，逐渐偏离了应有的方向，强行延长剧集，捏造复杂而又空洞的情节，这不仅让剧情失去了应有的紧凑性，也让演员的演技难以发挥，观众的期望逐渐化作失望。
以2025年的《以法之名》为例，这部剧一开始便因其与《人民的名义》相似的主题而受到期待，然而刚开播便爆发了各种问题。剧中的核心人物万海，本是追求司法公正的象征，可惜在剧情推进至关键时刻，万海却被草率地“写死”，这一突如其来的死亡，仿佛是对正义的极大讽刺，令观众心生失望。这种剧情上的草率和不合逻辑的处理，虽然有着演员如张译、雷佳音等人的加持，但也未能改变剧集的颓势。
紧接着，剧中的司法环节，简直让人质疑导演和编剧的法律常识。法庭上，律师公然喊出“闭嘴”，而法警却如同无物；检察官不遵循审查流程，直接跳过侦查阶段发出抓捕命令，这样的司法流程完全不符合常理，简直是对观众智商的侮辱。最终，剧情的发展更是让人无语，主角团的正面人物死得毫无意义，案件的推进只能依赖反派角色内讧自首。这种“结局”，让观众感受到的是不真实和极度不尊重。
与《以法之名》形成鲜明对比的是《风起洛阳》，一开始凭借其两位顶流演员和精美的服饰布景吸引了大批观众。然而，随着剧情的深入，演员的演技逐渐显露出短板，尤其是王一博那张“面瘫脸”，让观众难以投入到角色的情感中。宋茜的演技同样被吐槽，她的台词缺乏情感波动，完全没有传递角色应有的情感张力。即便如此，剧集的宣传还是极为成功，流量明星的粉丝为作品争执不休，但真正的观众早已失去了对这部剧的耐性。
改编剧作为影视作品中的一大类，历来争议不断。《长安的荔枝》便是一个典型的失败案例。原本仅七万字的短篇小说，竟然被改编成了三十五集的长剧，导演的“注水”手法使得本应简洁明了的故事被不断拉长，填充了大量不必要的细节。原著中的核心人物李善德的妻子在剧中被“写死”，不仅让主线情节失去了动机，也使得人物的塑造陷入了困境。更令人不可思议的是，剧中的“朝廷斗争”被过多地推向了观众面前，主次不分，观众看得云里雾里。最令人失望的，还是这部剧的结局——匆忙的收尾，使得一部原本具有潜力的作品最终落得一个“烂尾”的下场。
在这几部作品中，我们可以清晰地看到一个共同的缺陷——剧情空洞，逻辑混乱，演员演技不济，最终使得这些剧集都难以给观众带来真正的思考和享受。而导演和编剧们，在迎合市场需求的同时，忽视了创作的初心。成功的作品不仅仅依赖明星的流量和强力的宣发，更需要在剧本上做到精雕细琢，注重细节和情感的真实传递。
我们不得不承认，当前的影视市场上，越来越多的作品成为了“流水线产物”。它们往往缺乏应有的精致和内涵，导演和编剧们为了迎合市场的需求，不惜牺牲作品的品质。真正的艺术作品应该是经过时间沉淀的“精酿”，而非一次性的“速食”品。
然而，我们仍旧不能放弃希望。在那些失败的作品中，我们可以看到它们最初的光芒，正如璀璨的星辰，在黑暗的夜空中依然闪烁。我们有理由相信，只要创作者们坚持自己的艺术信仰，注重作品的内涵，真正的好剧一定会脱颖而出。
祝愿所有的创作者们，能够在喧嚣的市场中保持初心，追求卓越，为观众带来更多真正值得称道的好作品。
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English Version:
In today's film and television industry, with the constant influx of capital, movies and TV shows have sprung up like mushrooms after the rain. However, with this surge in quantity, quality has inevitably polarized. In recent years, while some works have garnered widespread acclaim, others have fallen into the abyss of mediocrity and disappointment. Despite this, these bad dramas still manage to ride the wave of market hype and generate enormous expectations upon release, only to end up disappointing viewers.
The success of a drama depends not only on its script and the performances of its actors but also on whether it can present a coherent and meaningful plot. Unfortunately, in this era, many series, in order to cater to market demands, have deviated from their true purpose by artificially elongating their episodes and fabricating complex, hollow storylines. This not only causes the plot to lose its necessary tightness but also prevents the actors from delivering their best performances, leading to viewers' growing disillusionment.
Take \"In the Name of Law\" (2025) as an example. Initially hailed as the \"next People's Republic\" because of its theme, the show quickly fell into absurdity. The central character, Wan Hai, a symbol of judicial justice, is abruptly \"killed off\" just as he is about to uncover the truth. This death, coming at such a crucial moment, feels like an insult to justice and leaves viewers feeling that their investment in the story was in vain. This hasty and illogical plot development, despite the presence of accomplished actors like Zhang Yi and Lei Jiayin, could not save the drama.
The drama further insults viewers with its portrayal of legal proceedings. In one scene, the lawyer shouts \"shut up\" in court, and the police offer no response; the prosecutor skips the necessary investigative process and issues an arrest order directly. Such absurdities not only insult the intelligence of the audience but also undermine the seriousness of the judicial system. As the drama progresses, the main characters, who should embody justice, die without meaning, and the case is only resolved when the villain turns on his own comrades. This clumsy conclusion leads viewers to feel that they have been cheated.
In stark contrast to \"In the Name of Law\" is \"Wind Rising in Luoyang.\" With two top actors and a lavish promotional campaign, the show initially attracted significant attention. Early on, its plot and detailed costume design earned it praise. However, as the story unfolded, the actors' performances began to reveal their limitations, particularly Wang Yibo's \"blank expression\" that prevented viewers from connecting emotionally with his character. Similarly, Song Qian's acting was criticized for lacking depth, with her delivery of lines feeling mechanical and devoid of emotion. Despite the initial buzz, viewers soon grew weary of the drama.
Adaptations often face heavy scrutiny, and \"Lychee from Chang'an\" is no exception. Originally a brief novella of 70,000 words, it was transformed into a 35-episode drama. The director's decision to \"pad\" the story led to an overly extended plot filled with unnecessary details. A subplot involving the protagonist buying a house, which was a mere footnote in the original story, was expanded into a full episode. The addition of irrelevant political intrigue and dual narratives muddled the plot, leaving the audience confused. The casting choices also fell short, with Lei Jiayin's acting not matching the character's persona and Yue Yunpeng's comedic style clashing with the tone of the show. In the end, \"Lychee from Chang'an\" was yet another drama that faltered and ended on a sour note.
These dramas share a common flaw: hollow plots, confusing logic, and poor acting. Filmmakers and writers, in their rush to capitalize on market trends, have abandoned the art of storytelling. A good drama requires more than just star power; it demands careful writing
