“六妹妹，你一直叫我作小公爺。不然，叫我一聲元若吧。”
如果你看到這句話還摸不著頭腦，那證明你已經跟不上最新的影視潮流了！
馮紹峰、趙麗穎的官方宣傳體還沒有冷去，這對明星夫妻搭檔的又一部電視劇已經火了起來。沒錯，我說的就是《知否？知否？應是綠肥紅瘦》
(圖via IC)
這部以李清照《如夢令》著名詩句命名的古裝電視劇，在上線第2天就登上了貓眼全網電視劇熱搜榜的第二名，並從上線第4天起，牢牢霸佔著榜首。
同樣掀起追劇潮的還有海峽另一邊的台灣。
小編發現，在Facebook （臉書）台灣網友發起組建的“陸劇討論社”裡，每天都有關於《知否》劇情角色的各種討論，觀劇進度與大陸同步。而文章開頭那句話，就是由台灣網友發於facebook的，關於昨天的最新劇情，並在推文最後自封“知否推廣委員會——齊衡分部”，號召大家“一同來喊 元若哥哥”。
這已經不是第一次大陸電視劇俘獲台灣劇迷的芳心了。
Chinese mainland drama Story of Yanxi Palace had been played 10 billion times in the Chinese mainland and nearly 47 million times in Taiwan by August 25, 2018.
據《環球時報》早些時候的報導，大陸劇《延禧攻略》自去年8月25日在大陸的播放量已破100億次，台灣總播放量近4700萬次。
其實，在台灣一直有那麽一批大陸劇迷，只是……
According to a report from Taiwan newspaper Want Daily, "Chinese mainland dramas, especially period series, have always had a fixed audience in Taiwan among seniors."
據台灣《旺報》報導，他們的
“年齡層偏高”。
However, with the broadcast in Taiwan of the period drama Empresses in the Palace in 2015, the number of young viewers began to grow dramatically. Over the following years, dramas such as Eternal Love (2017) and The Advisors Alliance (2017), which are popular in the mainland, have also gained a strong fan base in Taiwan.
但該媒體同時又提到，從2015年《后宮?甄嬛傳》在台播出開始，台灣的大陸劇觀眾群始擴大，年齡也越來越年輕。此後《三生三世》 《軍師聯盟》等劇“都成為台灣年輕網友瘋狂追劇目標。”
就此，小編同幾位來自台灣的小姐姐們聊了聊。
一位叫Lisa Chao、來自高雄的80後小姐姐說，她還記得90年代，還是孩子的她經常跟奶奶一起看《宰相劉羅鍋》。現在，陸劇和歐美劇、韓劇在台灣都有各自的市場，不過相對來說陸劇中古裝劇比時裝劇更受歡迎些。
來自新北市的Mao Hsuan 小姐姐表示自己就是大陸仙俠劇的硬核粉，而《香蜜沉沉燼如霜》是她最喜歡的一部。自己對劇裡的半文言台詞也是“喜歡得不得了”。
Mao Hsuan, a 30-year-old from New Taipei City in Taiwan, is a huge fan of Chinese mainland TV dramas. On Facebook she shares photos of her newly-bought hairpin, merchandise from the 2018 show The Ashes of Love, and she also owns a dragon gown modeled after the one Chinese mainland actress Fan Bingbing wore to the Cannes film festival in 2010.
不久前Mao姐姐還在facebook曬了她從大陸淘寶買的《香蜜》女主同款發簪。
她還給小編秀了下她的結婚照——穿著范冰冰坎城龍袍的改製款。
Mao姐姐還提到陸劇裡的一些服裝和妝面也影響了台灣的時尚界呢。
Mao noted that the costume and makeup in these hit dramas have also influenced fashion in Taiwan.
"Morandi gray, which is a major color in Story of Yanxi Palace, is still a fashion trend [in Taiwan]," Mao said. "From nail color to everyday wear and wedding photos, people love that style."
比如自從《延禧攻略》火了以後，
莫蘭迪灰色系就成為台灣時尚新寵。“從指甲顏色到穿搭的衣服，再到拍攝婚紗都要有那樣的風格”。
(圖via Vogue)
Kelly Lee 來自台北市，目前在英國工作，但這並不妨礙她感受到陸劇在台灣的風靡。
"The first [mainland drama] I watched was Empresses in the Palace, because it aired on Taiwan TV and my family and I could watch it together during our leisure time," Lee said, adding that at the time she was still mainly watching shows from the US, Europe and South Korea.
"In recent years, however, because all the social media platforms are talking about mainland TV dramas, I watch more mainland shows like [modern drama] Here to Heart (2018) and Story of Yanxi Palace."
Lee回憶到，她看的第一部陸劇是《甄嬛傳》，因為那時候台灣電視台有播出，她於是就在茶余飯後跟家人一起看。不過在當時，她還是更迷歐美劇和韓劇。
近幾年來，她發現各個社交媒體平台都在談論陸劇，於是自己又被吸引去看了時裝劇《溫暖和弦》和古裝劇《延禧攻略》。
跟小姐姐們聊完，小編突然想起中學時代的某個寒假，和家裡七大姑八大姨一起追看台灣偶像劇《流星花園》。開學後，還被學校老師點名叫出去，以為是談論偶像劇太多要被批呢，結果是老師跟我借碟來了……
你還記得道明寺那句經典台詞嗎？
“如果道歉有用的話還要警察幹嘛？”
確實很久沒有看台灣劇了……那大陸產電視劇到底是為什麽能在不知不覺中就趕超了呢？
In an interview with entertainment site dwnews.cn, Taiwan scriptwriter and TV drama director Huang Chih-Hsiang said that besides improving production quality, Chinese mainland TV drama makers have been learning storytelling methods from Hollywood for more than 10 years now, which has contributed to their popularity.
除了大家普遍認可的大陸市場發展越來越好，製作越來越精良等等，台灣知名編劇、電視導演黃志翔提到了一點——大陸電視劇學習好萊塢劇的敘事方法已經有十多年了。
"Chinese mainland TV dramas are now good at setting 'watching points,'" he said. "Every four minutes has one 'watching point,' which is a hook that keeps audiences following the story. It can be a big climax or a small clash or something that ignites unconscious emotional sympathy in the viewer."
“陸劇在編排故事的過程中很懂得設定‘追看點’。平均4分鐘就要有1個追看點，可能是大的衝突，也可能是小的衝突，或是很幽微的情感事件。”黃志翔在對多維的採訪中說道。
（小編看了覺得確實很有道理呢！怪不得一看起來就刹不住車，原來是被設局了呀）
同時，《旺報》也提到兩岸民眾本就說著一樣的語言，而近幾年兩岸交流密切，喜好也漸漸相近。於此同時，得益於影片網站的發展，台灣劇友不再需要依賴當地電視台的引進，很方便的就可以同步追劇。
The Want Daily article noted that since audiences on both sides of the Taiwan Straits speak the same language, there are no language barriers when it comes to watching dramas. Additionally, since today's young people in Taiwan and the mainland have increasingly similar interests and hobbies, this is causing audience tastes to mingle in both regions.
Accessibility is also a factor. With the rise of internet streaming platforms, it is now more convenient than ever for netizens in Taiwan to view mainland programs.
當然，也有一些觀點是覺得這幾年優秀的台灣演員都“流失”去大陸了，這才導致台灣影視行業的不景氣加劇。
對此，黃志翔這樣說道：“台灣人到大陸就是人才流失？那是因為你劃了一條政治的紅線。”
“一個雲林人從鄉下地方到台北來，跟他從台北去北京或上海沒有差別。兩岸同文同種，人才流失就只是某種政治語境。”
Huang added that people working in the creative industry, including actors, directors, scriptwriters or makeup artists, they all want their works to be appreciated by more people.
"People from Taiwan can improve themselves in the mainland and bring what they have learned back to their hometown. At the same time, they bring creative ideas to the mainland," he said.
"Through such mutual communication, the two sides… no longer view each other as an outsider, which is better for the development of the TV and film industry in the long run."
黃說道，創意行業工作，“不論是表演工作者，導演、編劇，抑或是美術、造型師，他通常都會有某種渴望，希望自己的作品能夠被越多人看到越好。”
“去大陸工作之後習得一技之長，再把技術和經驗帶回台灣……同樣的，台灣也有許多獨特的創意巧思，也可以帶到大陸。我認為，通過這種雙向的交流，兩岸在求同存異的同時，不再把彼此視為他者，這才是影視產業的長久之計。”
整合：菠蘿女俠
圖：網絡
香港九龍灣馬來街興發大廈15樓D室