"be trash again"? ZeeNunew series are always good bro
OK. And the motivation behind its success is not that they produce the highest-quality audiovisual projects. It’s a mix of curiosity, surprise, provocation, a gap in the market, and an obsession with fluffy BL content, combined with the target audience’s age range and the actors’ chemistry.
It also includes parasocial relationships with the actors, expectations and hype built up over years of waiting, identification with the BL community, specific scenes or clips that work well in isolation, and even the “so bad it’s good” effect. A significant part of it comes down to luck and strategy.
These are the factors behind the success—not necessarily high-quality performances or consistently strong projects. Even fans can see how far some productions fall short of the desired outcome. I don’t pay much attention to loud public claims suggesting otherwise. After all, I saw what you saw when both series were airing.
And if you weren’t watching through the eyes of a die-hard fan or a completely uninvolved viewer who lacks a deeper understanding of audiovisual projects, you had to see the significant shortcomings both projects had. And that a large part of their success lies not in how good the projects actually are or in what they delivered that hadn’t been seen before, but in how much the final products cater to a specific group of people and their expectations of what such a series should look like.
In other words, yes—a sizable group of mostly girls chose to push them, and that made a difference. It’s social proof rather than pure artistic merit; more of a perfect storm than outstanding performance. But they delivered something that a specific audience—mainly teenagers and young adults—wanted to see, in exactly the way they wanted to see it. And on that level, it worked.
I feel like the lack of constructive, socially acceptable criticism—the kind that actually helps projects improve—has disappeared. It’s been pushed out, almost excommunicated, treated like something unacceptable.
Instead, what’s spreading—almost like a disease—is an environment where you’re expected to be 100% supportive of every aspect of a project publicly, or you risk being treated like a witch hunted by a mob.
There’s no longer a distinction between criticism and harmful intent in people’s eyes. An interesting development.
"be trash again"? ZeeNunew series are always good bro
Nice, but with the type of fans they have, it mainly means they have a large, active, self-sacrificing fanbase that’s currently pushing them—not that they’re objectively the best.
And yes, CP did seem to bring something new—cheeky and daring—which grabs people’s attention at first, and it was good at doing that. Then again, halfway through, the execution started to lag far behind its ambitions.
ME: I'm not gonna check this, they are gonna mess it and I will be annoyed. Also ME, after checking out the first ep.: The hell, i need to watch this! :D 👀👀👀 🤣🤣🤣🙏
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It also includes parasocial relationships with the actors, expectations and hype built up over years of waiting, identification with the BL community, specific scenes or clips that work well in isolation, and even the “so bad it’s good” effect. A significant part of it comes down to luck and strategy.
These are the factors behind the success—not necessarily high-quality performances or consistently strong projects. Even fans can see how far some productions fall short of the desired outcome. I don’t pay much attention to loud public claims suggesting otherwise. After all, I saw what you saw when both series were airing.
And if you weren’t watching through the eyes of a die-hard fan or a completely uninvolved viewer who lacks a deeper understanding of audiovisual projects, you had to see the significant shortcomings both projects had. And that a large part of their success lies not in how good the projects actually are or in what they delivered that hadn’t been seen before, but in how much the final products cater to a specific group of people and their expectations of what such a series should look like.
In other words, yes—a sizable group of mostly girls chose to push them, and that made a difference. It’s social proof rather than pure artistic merit; more of a perfect storm than outstanding performance. But they delivered something that a specific audience—mainly teenagers and young adults—wanted to see, in exactly the way they wanted to see it. And on that level, it worked.
I feel like the lack of constructive, socially acceptable criticism—the kind that actually helps projects improve—has disappeared. It’s been pushed out, almost excommunicated, treated like something unacceptable.
Instead, what’s spreading—almost like a disease—is an environment where you’re expected to be 100% supportive of every aspect of a project publicly, or you risk being treated like a witch hunted by a mob.
There’s no longer a distinction between criticism and harmful intent in people’s eyes. An interesting development.
And yes, CP did seem to bring something new—cheeky and daring—which grabs people’s attention at first, and it was good at doing that. Then again, halfway through, the execution started to lag far behind its ambitions.
Also ME, after checking out the first ep.: The hell, i need to watch this! :D 👀👀👀 🤣🤣🤣🙏