Peng Xiaoran’s situation is not unique. In large-scale drama productions, the practice of “changing the story while filming” has become the norm; many actors only receive partial scripts when arriving on set and may even receive sudden dialogue changes, making it difficult to build a cohesive character logic. This voice reflects the limitations of actors who lack the right to contribute to the creative process.
Conversely, popular or senior actors with influence often request script changes for personal benefit, which can disrupt the main plot. Even supporting actors who have strong backing can do this. For instance, in one xianxia drama, the supporting cast team requested additional romantic storylines, causing the main plot to be disturbed.
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The root of this problem is the loss of a power balance. In the IP adaptation profit chain, the production company—which holds the capital and production rights—focuses more on short-term popularity and profit, often neglecting content value and creative logic.
Lately, there have been improvements: some adaptations strive to follow the original novel, replicating iconic characters and scenes to satisfy fans. For example, renowned scriptwriter Wang Juan has managed to gain more say, reducing external interference that damages adaptations. She is known for writing scripts for popular dramas like Joy of Life and Douluo Continent.
However, the core issue remains: those who control the main interests in drama production can still influence the creative process. Ideally, drama production should be collaborative—the production side sets the boundaries of responsibility, the author clarifies the principles of adaptation, and the actors maintain professionalism, neither abusing their voice nor compromising acting quality. With collective effort, the industry can move toward clearer rules and reduce the controversy surrounding “magic alteration.”
Nevertheless, changing this long-standing culture still faces many challenges.
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