On January 26, Hong Kong director Wong Jing appeared at the Central Plains Micro-Short Drama Industrial Highland Launch Ceremony and Jingdian Media's Henan Landing Initiative, announcing that his company would officially establish operations in Zhengzhou, with plans to shoot one hundred high-quality micro-short dramas this year at the Zhengzhou Airport Economy Zone. The following day, Wong Jing appeared again in Zhengzhou to preside over the launch ceremony of Ao Cheng Feng Yun (Casino Tycoon), a micro-short drama for which he serves as chief producer and head scriptwriter.

He remarked: "Having worked in film and television for decades, I have deeply felt the transformation of content dissemination in this era. Micro-short dramas are precisely a product of this trend. Choosing Henan is by no means accidental—this is one of the major birthplaces of Chinese civilization and has never lacked compelling storytelling material. Micro-short dramas are an ideal bridge for revitalizing cultural resources and connecting with younger audiences."

王晶出席“中原微短剧产业高地启航盛典暨晶典传媒落地河南启动仪式”Wong Jing attends the Central Plains Micro-Short Drama Industrial Highland Launch Ceremony and the Jingdian Media Henan Launch Event

消息一出，业界瞩目。这位以高产和敏锐商业嗅觉著称的“娱乐之王”，曾执导或参与制作《鹿鼎记》《整蛊专家》《九品芝麻官》《赌神》等数百部电影，然而，他真正的创作生涯始于中国香港电视广播有限公司，也就是大众熟知的TVB的《欢乐今宵》栏目。在TVB，他是伏案疾书、以天马行空的趣剧剧本崭露头角的青年编剧，半个世纪以来，从香港无线的摇篮到中原腹地的短剧基地，年近70的王晶的轨迹不仅是一位电影人的商业迁徙，更如同一面棱镜，折射出华语影视娱乐格局的深刻变迁，以及一个常被提起的“历史假设”——倘若TVB在九十年代黄金时期能大举北上、深度融入内地市场，其辉煌能否再续二十年？王晶如今的“百部短剧计划”，恰似对那段错失机遇的一次代偿性实践。

The news immediately drew industry attention. Known for his prolific output and sharp commercial instincts, this "King of Entertainment" has directed or participated in the production of hundreds of films, including Royal Tramp, Tricky Brains, Hail the Judge, and God of Gamblers. However, his true creative career began at Television Broadcasts Limited (TVB) in Hong Kong, on the variety program Enjoy Yourself Tonight, which is widely familiar to audiences. At TVB, he was a young screenwriter bent over his desk, who first made a name for himself with wildly imaginative comedy sketches. Over the past half century, from the cradle of Hong Kong television to a short-drama base in China's Central Plains, the trajectory of Wong Jing—now nearing 70—is not merely the commercial relocation of a filmmaker.It is more like a prism, refracting the profound transformations of the Chinese-language film and television landscape, as well as a frequently invoked "historical what if": had TVB, during its golden era of the 1990s, made a full-scale move north and deeply integrated into the mainland market, could its glory have been extended for another twenty years? Wong Jing's current "hundred micro-dramas plan" reads as a compensatory experiment in response to that missed opportunity.

83版《射雕英雄传》The Legend of the Condor Heroes (1983 TV Series)

TVB的“创作沃土”与王晶的喜剧锻炉

TVB's "Creative Soil" and Wong Jing's Comedy Forge

TVB在其鼎盛时期，几乎成为这一香港电视的代名词。从1981年版《大侠霍元甲》到83版《射雕英雄传》，这些作品不仅在香港本地引发收视热潮、造就一代影视明星，更跨越地域，深深影响了内地数代观众。这种广泛影响力的形成，离不开特定历史阶段中香港独特的产业环境与经济动因的支撑。

At its peak, TVB was nearly synonymous with Hong Kong television itself. From The Legendary Fok (1981 TV Series) to The Legend of the Condor Heroes (1983 TV Series), these productions not only dominated local ratings and launched generations of stars, but also crossed regional boundaries to profoundly influence mainland audiences for decades. This far-reaching impact was inseparable from Hong Kong's unique industrial environment and economic drivers of the time.

1981版《大侠霍元甲》The Legendary Fok (1981 TV Series)

彼时的TVB，恰似一个充满活力的创作孵化器，奉行“创作主导、人才为先”的理念，给予年轻创作者广阔的实验空间。王晶正是在这片沃土上成长起来的典型代表：他在TVB王牌综艺《欢乐今宵》中，日夜伏案，撰写了大量短小精悍、笑料密集的趣剧剧本。这种高强度的创作训练，不仅磨砺了他的喜剧触觉和叙事节奏，更让他亲身体验了将天马行空的创意快速转化为大众娱乐产品的完整流程。从这片沃土走出的，不止王晶一人——许鞍华、徐克、杜琪峰、关锦鹏、王家卫等日后奠定华语电影格局的导演，皆在此接受过最初的工业洗礼，TVB“华语影视黄埔军校”的称号实至名归。

TVB functioned as a vibrant creative incubator, adhering to a philosophy ofcreation-led production and talent-first development, granting young creators ample room to experiment. Wong Jing was a quintessential product of this environment. At TVB's flagship variety show Enjoy Yourself Tonight, he wrote tirelessly, producing a large volume of short, punchy comedy sketches dense with jokes. This high-intensity training sharpened his comedic instincts and narrative rhythm, while allowing him to experience firsthand the full process of rapidly converting freewheeling imagination into mass entertainment products.

Wong Jing was far from the only beneficiary of this soil. Ann Hui, Tsui Hark, Johnnie To, Stanley Kwan, Wong Kar-wai, and many other directors who would later shape the Chinese-language film landscape all underwent their first industrial baptism at TVB. The label "the Whampoa Military Academy of Chinese-language film and television" was well deserved.

《欢乐今宵》（来源：香港保良局官网）Enjoy Yourself Tonight (Source: Hong Kong Po Leung Kuk official website)

在这片沃土中，王晶形成了贯穿其职业生涯的核心信条：“观众看得懂、喜欢看，便是硬道理。”这一源自TVB黄金时期的务实理念，成为他日后所有商业成功的“关键推力”。离开TVB后，他将这套经过严格训练的市场触觉与内容产出效率，投入到香港电影工业最澎湃的浪潮中，最终成长为香港商业电影的集大成者与一个复杂的文化符号。

It was precisely within this creative soil that Wong Jing formed the core credo that would run through his entire career: "If audiences understand it and enjoy it, that's the ultimate truth." This pragmatic principle, forged during TVB's golden era, became the key driving force behind his later commercial success. After leaving TVB, he brought this rigorously trained market sensibility and production efficiency into the most vibrant wave of Hong Kong cinema, eventually becoming both a culmination of commercial filmmaking and a complex cultural symbol.

王晶的成功具有多重面向：他不仅是高产量的“电影商人”（参与制作超160部影片），更是深谙香港本土世俗文化脉搏的操盘手。他的电影——无论是开创赌片风潮的《赌神》系列、满足市民爱情幻想的《精装追女仔》，还是游走在情色与暴力边界的风月片——无一不是对香港社会心态的精准投射：在急速现代化的都市中，市民阶层需要的是直给的感官刺激、即时的情绪宣泄与无需深度的娱乐消遣。王晶电影中娴熟的“拿来主义”（谐仿经典电影）、“含沙射影”（戏谑娱乐圈）以及对流行类型的快速跟风，都是其将这种世俗文化需求转化为商业产品的具体策略。

Wong Jing's success has multiple dimensions. He is not only a high-output "film businessman" (having participated in over 160 films), but also a shrewd operator deeply attuned to the pulse of Hong Kong's grassroots popular culture. His films—whether the God of Gamblers series that sparked a genre craze, The Romancing Star catering to urban romantic fantasies, or category-III films straddling the boundaries of eroticism and violence—are all precise projections of Hong Kong's social mentality.

In a rapidly modernizing metropolis, the urban middle and working classes sought direct sensory stimulation, immediate emotional release, and entertainment that required no cognitive burden. Wong Jing's adept use of parody, satire of the entertainment industry, and rapid imitation of popular genres were concrete strategies for translating these secular cultural demands into commercial products.

《赌神》海报Poster for God of Gamblers

面对短剧浪潮，王晶是否会重新激活TVB时期的创作本能，以日更节奏再现《欢乐今宵》的即兴鲜活，用三分钟承载高密度笑料与市井温情。他的野心也十分鲜明：将久经考验的娱乐公式应用于内地微短剧产业，选择河南郑州航空港作为制作基地，利用其成本优势与政策支持，谋划“影视内容+直播电商”的融合模式，意图打造区域性产业中心。

Facing the wave of short-form dramas, will Wong Jing reactivate the creative instincts he honed at TVB, reviving the improvisational vitality of Enjoy Yourself Tonight through a daily-update rhythm, and packing high-density humor and everyday warmth into three-minute episodes? His ambition is equally clear: to apply his time-tested entertainment formulas to the mainland micro-short drama industry, choosing Zhengzhou Airport Economy Zone in Henan as the production base, leveraging its cost advantages and policy support, and planning an integrated "film and television content + livestream e-commerce" model, with the goal of building a regional industry hub.

王晶参加喜剧脱口秀节目《吐槽大会3》Wong Jing appears on the comedy talk show Roast! Season 3

TVB错失的二十年及对中国微短剧行业的启示

TVB's Lost Twenty Years and the Implications for China's Micro-Short Drama Industry

王晶曾在一次采访中感叹，TVB若在九十年代凭借其内容优势、制作经验与明星资源大举进军内地，或可延续辉煌。这一判断指出了TVB历史上关键的战略窗口。九十年代，内地改革开放深化，经济与文化消费需求蓬勃增长，TVB剧集与综艺虽经非正式渠道已积累大量受众、品牌认知度高企，却未以空前力度进行系统性、战略性的内地化布局，运营重心始终偏于本土及海外华人市场。随着内地影视产业在政策、资本与网络平台的多重推动下迅猛发展，TVB的模式优势逐渐消解，其“制播合一”的封闭体系、相对固定的题材套路，在面对更广阔的市场、更激烈的竞争与更多元的观众口味时，渐显适应不足。

Wong Jing has once remarked in an interview that had TVB aggressively entered the mainland market in the 1990s—leveraging its content strengths, production experience, and star resources—it might have extended its golden era. This observation points directly to a critical strategic window in TVB's history.

During the 1990s, as China's reform and opening deepened, economic growth and cultural consumption surged. Although TVB dramas and variety shows had already accumulated massive mainland audiences and strong brand recognition through informal channels, TVB never carried out a systematic, large-scale localization strategy. Its operational focus remained largely on Hong Kong and overseas Chinese markets. As the mainland film and television industry rapidly expanded under the combined forces of policy, capital, and internet platforms, TVB's advantages gradually eroded. Its closed production-broadcast integration system and relatively fixed genre formulas proved increasingly inadequate in the face of a broader market, fiercer competition, and more diverse audience tastes.

TVB在二十年间的起伏与转型，为今日如火如荼的微短剧行业提供了前车之鉴。其式微并非一日之寒，而可能与其系统封闭性、人才流失与创作品质松动等因素密切相关，这恰好为微短剧行业提供了值得警惕的发展参照：

TVB's two decades of fluctuation and transformation offer valuable lessons for today's booming micro-short drama industry. Its decline was not sudden, but closely tied to systemic closure, talent drain, and weakened creative quality—factors that serve as cautionary references for the sector:

《法证先锋4》海报Poster for Forensic Heroes IV

其一，过度的体系封闭与路径依赖导致生态僵化。TVB曾凭借成熟的工业化体系称雄，其标志性的家族商战剧（如《创世纪》、《溏心风暴》） 和职业剧（如《妙手仁心》、《冲上云霄》） 一度成为华语剧集标杆。然而，在面对内地《甄嬛传》、《琅琊榜》等题材多元、制作精良的剧集冲击时，TVB对原有成功路径过度依赖使其在内容创新与形式探索上显得被动与迟缓。它固守既有套路，未能以开放姿态拥抱内地市场变革与观众口味的多元化，最终被更灵活、更具创新力的竞争对手超越。这对微短剧的警示在于：警惕“算法茧房”与“流量公式”所形成的新式封闭。如同当前微短剧领域充斥的“战神归来”、“豪门逆袭” 等同质化题材，若只沉迷于对固定爽感模型的批量复制，而忽视社会文化变迁与艺术表达革新便可能重蹈TVB后期《宫心计2》、《法证先锋4》 等续作口碑下滑的覆辙。

First, excessive systemic closure and path dependence can lead to ecological stagnation. TVB once dominated with its mature industrial system; its signature family business dramas (At the Threshold of an Era, Heart of Greed) and professional dramas (Healing Hands, Triumph in the Skies) became benchmarks of Chinese-language television. Yet when confronted with the diversified, high-quality impact of mainland productions such as Empresses in the Palace and Nirvana in Fire, TVB's overreliance on established formulas made it passive and slow in innovation.

For micro-short dramas, the warning is to beware new forms of closure created by algorithmic echo chambers and traffic formulas. An overindulgence in repetitive tropes like "the returning war god" or "underdog triumph" risks repeating the late-stage decline seen in sequels such as Beyond the Realm of Conscience 2 and Forensic Heroes IV.

《溏心风暴3》海报Poster for Heart of Greed 3

其二，人才外流与创意储备持续消耗影响了其内容内核的延续与充实。TVB素有“明星黄埔军校”美誉，曾培养出周润发、刘德华、梁朝伟等影坛巨星。然而后期，从林峰、佘诗曼等一线演员，到韦家辉、戚其义等金牌制作人纷纷北上，直接导致了其内容生产梯队断层与创意储备不足。演员陈豪、马国明虽仍坚守，但面临在多部剧中重复相似角色，显露出人才青黄不接的窘境。这提示微短剧行业：“短平快”的草莽增长不可持续。若长期忽视专业编剧、导演等核心创意人才的系统培养与价值回报，仅靠套路化剧本和网红演员支撑，行业将迅速面临内容升级无力的瓶颈，丧失长远发展的根基。

Second, talent outflow and depleted creative reserves undermine content continuity. TVB, long hailed as a "star-making academy," once cultivated icons such as Chow Yun-fat, Andy Lau, and Tony Leung. In its later years, however, top actors and producers moved north en masse, leading to fractures in its production pipeline and a thinning of creative reserves.

This highlights a key lesson for the micro-short drama industry: "fast, rough growth" is unsustainable. Without systematic training and fair returns for professional writers, directors, and other core creative talent, reliance on formulaic scripts and influencer casting will quickly lead the industry into a bottleneck, eroding its long-term foundation.

其三，过度成本控制与品质失守侵蚀行业信誉。为追求利润，TVB后期制作预算不断压缩，导致场景简陋、特效粗糙等问题频出。例如，《回到三国》中简陋的战场场面，或《巾帼枭雄之谍血长天》中失真的布景，被观众诟病为“塑料感”十足，消磨了观众的信任。对于微短剧行业，“成本可控”的商业优势绝不能异化为“品质低下”的通行证。当前部分微短剧存在的“五毛特效”、场景穿帮、剧情逻辑硬伤等问题，正在削弱行业信用。反观一些成功案例，如微短剧《逃出大英博物馆》凭借精良制作与文化内涵出圈，证明唯有在合理成本内坚守基本的品质底线，追求“精品化”，才能维护行业的健康与声誉。 

Third, excessive cost-cutting and quality slippage erode industry credibility. In pursuit of profit, TVB continually reduced production budgets in later years, resulting in crude sets and subpar visual effects. Poorly staged battle scenes in Three Kingdoms RPG or distorted sets in No Reserve were widely criticized for their "cheap" appearance, steadily eroding audience trust.

For the micro-short drama industry, "controllable costs" must never become a license for low quality. Issues such as cheap CGI, continuity errors, and logical flaws are already weakening industry credibility. By contrast, successful cases like Escaping the British Museum demonstrate that only by maintaining basic quality standards and pursuing refinement within reasonable budgets can the industry safeguard its reputation and long-term health.

从港风怀旧到中原量产——王晶的“降维打击”与产业嫁接

From Hong Kong Nostalgia to Central Plains Mass Production, Wong Jing's "Strategic Pivot" and Industrial Grafting

作为版图的布局者，王晶此次将数十年积累的娱乐法则投向河南微短剧产业，并非简单的怀旧或玩票，更像是一场深思熟虑的“降维打击”与系统性产业嫁接。其战略核心体现在三个层面的精准契合：业务逻辑的高度同构、战略选址的务实精明，以及产业规划的升级野心。

As a strategist shaping his business landscape, Wong Jing is bringing decades of accumulated entertainment know-how to Henan's micro-short drama industry. This is neither simple nostalgia nor a casual experiment; it is more like a carefully calculated "Strategic Pivot" and a systematic act of industrial grafting. The core of his strategy lies in precise alignment on three levels: a high degree of congruence with business logic, pragmatic and shrewd site selection, and ambitious upgrades in industrial planning.

业务上，微短剧“强情节、快节奏、成本可控、追求即时流量”的核心需求，与王晶自TVB《欢乐今宵》时期磨练并贯穿其商业片实践的“短平快”创作模式高度同构。其“年产百部”、“66集周期10天”的量化目标，正是TVB式工业化高效生产在数字时代的清晰回响。规划上，其布局已超越传统影视生产，指向“影视内容+直播电商”的融合生态，意图构建“内容引流、直播变现”的商业闭环，并以自身为桥梁连接粤港澳与内地产业资源，展现出打造区域性产业中心的明确雄心。

At the business level, the micro-short drama's demand for strong plots, fast pacing, controllable costs, and immediate traffic aligns closely with the "short, fast, and efficient" production model Wong Jing honed during Enjoy Yourself Tonight and later commercial film practice. His quantified targets—"one hundred productions per year" and "66 episodes in a ten-day cycle"—are a clear digital-age echo of TVB-style industrial efficiency.

At the planning level, his vision extends beyond traditional production toward an integrated "content + livestream e-commerce" ecosystem, aiming to build a closed commercial loop of "content attraction and live-commerce monetization," while positioning himself as a bridge between Greater Bay Area and mainland industry resources, with the ambition of creating a regional industry hub.

王晶的河南实践，犹如一场迟来的“TVB模式内地化”实验，验证着那种根植于大众趣味、强调效率与产出的娱乐工业经验，能否在新土壤中焕发新生。然而，挑战与机遇并存。如何在快速量产中保持创新、避免审美疲劳？如何在日益完善的监管框架下精准把握内容尺度？又如何真正实现粤港澳与内地团队在创意、管理及文化上的深度融合？这些，都是王晶这位“娱乐掌舵人”在新航道上必须直面并回答的新考题。

Wong Jing's Henan experiment resembles a belated mainland localization of the TVB model, testing whether an entertainment-industry logic rooted in mass appeal, efficiency, and output can be reborn in new soil. Yet challenges remain alongside opportunity. How can innovation be sustained amid rapid mass production, avoiding aesthetic fatigue? How can content boundaries be precisely navigated within an increasingly well-established regulatory framework? And how can genuine integration be achieved between Greater Bay Area and mainland teams in creativity, management, and cultural understanding?

撰文：温彦卿

编辑：程英子

推荐阅读