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‘Yanxi Palace’ abruptly taken off air in China due to it ‘polluting modern society’

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‘Palace intrigue’ dramas were accused by state media of promoting extravagance over frugality.

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- surpassed streaming records worldwide
- 530 million views in a single day, compared to Game of Thrones finale 16.5 million views in a day or Stranger Things 79.2 million views
Half a billion views for these backstabbing concubines in a single day - Inkstone (inkstonenews.com)

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half a billion views for these backstabbing concubines in a single day

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Half a billion views for these backstabbing concubines in a single day

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China's Netflix has a record-breaking hit on its hands.

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1. Making "emperor lifestyle" something fashionable to strive for

2. Polluting modern society with the show's back-stabbing and scheming mentality

3. Beautifying the emperor and his subordinates while ignoring the glory of today's heroes

4. Glorifying extravagance while downplaying the value of hard work and frugality

5. Emphasising commercial incentives while weakening positive moral guidance

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《北京日報》的一篇評論文章力數5大「罪狀」，令風靡全國的宮鬥劇自此遇冷，正在熱播的《延禧攻略》及《如懿傳》隨即被腰斬。
據《每日經濟新聞》報道，經向江蘇衞視、浙江衞視及東方衞視查詢後，「宮鬥劇確實正在陸續撤出衞視螢幕」，各間衞視都已接獲上級通知，宮鬥劇從此下架。

報道指，東方衛視在周一（28日）下午時段原本仍在播放第72集的《如懿傳》，距離大結局還有15集。但翌日同樣時段，《如懿傳》已被換成時裝職場劇《幕後之王》；《延禧攻略》亦遇到相當的命運。據浙江衞視的節目表顯示，周二（29日）上午11時原本要播放的《延禧攻略》，但直播時卻已被替換為處景喜劇《愛情公寓》。與此同時，山東衞視應在同日晚上10時播出的《延禧攻略》，亦被換成了《歡樂頌》。

報道提到，宮鬥劇乃至古裝劇命途多舛並非首次，廣電總局在2013年曾出台《衞視綜合頻道電視劇播出調控管理辦法》，表明「衞視綜合頻道黃金時段每月和年度播出的古裝劇總集數，不得超過當月和當年黃金時段所有播出劇目總集數的15%，原則上不得接檔、連續排播兩部古裝劇」。

報道認為，古裝劇雖然是電視劇的重要題材，但隨着2011年的《甄嬛傳》爆紅後，古裝劇的「戲路」開始愈走愈窄，如今更僅剩宮鬥和玄幻兩大類型，同化情況非常嚴重。事實上，2004年香港電視台TVB推出的《金枝慾孽》可謂是宮鬥劇的「開山鼻祖」，「近十多年來，古裝宮鬥劇呈現的大都為後宮女人的爭鬥沉浮，換湯不換藥，有的宮鬥劇甚至為了商業利益完全不顧歷史真相，迎合觀眾喜好改變劇情」。

（每日經濟新聞）

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【宮鬥劇有罪】停播《延禧》《如懿傳》　內媒：各間衞視已接通知

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《北京日報》的一篇評論文章力數5大「罪狀」，令風靡全國的宮鬥劇自此遇冷，正在熱播的《延禧攻略》及《如懿傳》隨即被腰斬。據《每日經濟新聞》報道，經向江蘇衞視、浙江衞視及東方衞視查詢後，「宮鬥劇確實正在陸續撤出衞視螢幕」，各間衞視都已接獲上級通知，宮鬥劇從此下架。 ...

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撰文 (author)：葉琪 Ye Qi
出版 (posted)：2019-01-30 14:07
更新 (edited)：2019-01-30 14:10

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「宮鬥劇確實正在陸續撤出衞視螢幕」

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「宮鬥劇確實正在陸續撤出衞視螢幕」

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Zhejiang Satelite TV and other broadcasting companies confirmed the cancellation of several palace dramas.

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Ruyi's Legend was still being broadcasted with the finale still on the horizon when the news struck; show was aptly replaced with a workplace drama called The King Behind the Scenes

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"The Drama Path":  Before Ruyi's Legend and Yanxi Palace, the 2011 palace drama The Legend of Zhen Huan began the "assimilation" of the palace-drama fantasy genre in television. As a result, many dramas disregard historical truth for dramatization.

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北京市委機關報《北京日報》日前批判宮鬥劇五大「罪狀」的專家文章，引發爭議，更有傳全國衞視均即時停播《延禧攻略》、《如懿傳》兩部宮鬥劇。
涉事文章上綱上綫，拿著政治正確的大棒大搞批判，其實運用一點常識就能看穿其謬誤，各大媒體應及早發聲批判這種錯誤論調，慎防有人將此事借題發揮。

題為《宮廷文化的負面影響不容小覷》的涉事文章列舉了宮鬥劇五大「罪狀」，其一是「熱衷追崇皇族生活方式，使之成為流行時尚」；其二是「精心演繹『宮鬥』情節，惡化當下社交生態」；其三是「不吝美化帝王臣相，淡化今朝英模光輝」；其四是「宣揚奢華享樂之風，衝擊克勤克儉美德」；其五是「片面追逐商業利益，弱化正面精神引導」。

所謂五大「罪狀」不符常識

縱觀這五大「罪狀」，其核心立足點就是官方的政治正確，即是否符合其社會主義核心價值觀，並以其狹義界定的核心價值觀來作為衡量文藝作品是否正確的唯一標準。這種評論方式將文藝批評政治化，上綱上綫，拿著政治正確的大棒再搞文化大革命的那套政治批判，顯得與當代文化氛圍格格不入。

有一點常識的人都會明白，宮鬥劇是根據古代宮廷歷史為背景而創作出來的虛幻故事，傳統宮廷的勾心鬥角固然不值得提倡，但沒有人會傻到把虛幻當成現實。試想想，平民百姓或權位低的人在古代往往受盡欺凌，一般民眾又豈會願意倒退回封建時代？這五大「罪狀」簡直連最基本的常識判斷都過不了關。

優秀的宮鬥劇製作精良　文化價值高

況且《甄嬛傳》、《延禧攻略》、《如懿傳》等宮鬥劇，也並非如官媒文章所批判的那般不堪。這些作品製作精良、劇情有趣，折射出社會冷暖和複雜人性。其人物設定也無不是在被壓抑的生存環境中堅強求生，保持了人性中最善良的一面。而在《延禧攻略》中，女主角魏瓔珞更以其智慧、勇氣，掌握自己的命運，最終獲得皇貴妃的頭銜，簡直是生動的女性主義教材。

這些作品之所以能風靡中國乃至全球華人，恰恰說明它們接地氣，深入了生活。至於宮鬥劇的宮廷布置、衣著搭配、生活起居也都充滿中國傳統文化的元素，是活生生的文化展覽。優秀的宮鬥劇所反映的文化價值並不比那些主旋律劇差，其製作之精美更是遠勝那些粗製濫造的抗日神劇。

及早批判錯誤論調　慎防有人借題發揮

有人認為，《北京日報》刊登的文章只是一家之言，各大媒體一起來報道它其實是過分重視，小題大做，更在無形中放大了這些「黨八股」論調。況且目前內地仍然能夠看到《延禧攻略》等宮鬥劇，可見這篇文章的影響力並非想像般大。

不過若媒體對這種錯誤論調不理不睬，當真有人藉此事借題發揮，有官員真的停播了宮鬥劇及所有不符合主旋律的作品，屆時將對中國的文化發展、創作自由等方面造成巨大破壞。在此前的「民營經濟退場論」事件中已經有過先例，中共高層需要直接回應才能消除民眾疑慮，難道還要讓這類事件重演嗎？

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【官媒批宮鬥劇．分析】5大「罪狀」不符常識　慎防有人借題發揮

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北京市委機關報《北京日報》日前批判宮鬥劇五大「罪狀」的專家文章，引發爭議，更有傳全國衞視均即時停播《延禧攻略》、《如懿傳》兩部宮鬥劇。涉事文章上綱上綫，拿著政治正確的大棒大搞批判，其實運用一點常識就能看穿其謬誤，各大媒體應及早發聲批判這種錯誤論調，慎防有人將此事借題發揮。 ...

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It was one of China's most popular shows of 2018 - but it's now being pulled from TV screens across the country.

The story of Yanxi Palace, a drama about life in imperial China, broke records when it was released last year.

It was streamed more than 15 billion times on China Netflix-like iQiyi and became the most watched online drama in China for 39 consecutive days.

All that changed in late January when a state media article criticised the "negative impact" of imperial dramas, and it wasn't long before Yanxi Palace was taken off air.

So why has this blockbuster show fallen from grace?

'Bad for Chinese society'

It all started when Theory Weekly - a title linked to state newspaper the Beijing Daily - posted an article criticising period dramas and singling out Yanxi Palace in particular.

It listed several "negative impacts" these shows had on Chinese society, like propagating a luxurious and hedonistic lifestyle, encouraging admiration for imperial life and a glorification of emperors overshadowing the heroes of today.

The magazine named several other popular imperial period dramas, like Ruyi's Royal Love in the Palace, Scarlet Heart and The Legend of Mi Yue.

Shortly after the piece was published, Yanxi Palace and Ruyi's Royal Love in the Palace were pulled from state-run TV channels.

The shows are, however, still available on iQiyi, the place that Yanxi Palace was initially produced for and was first shown.

Rival versions of history

"It's not the first time something like this has happened," Prof Stanley Rosen, a China specialist at the University of Southern California, told the BBC.

"But I would say the censorship is certainly getting worse.

"Yanxi Palace was seen as promoting incorrect values, commercialism and consumerism; not the socialist core values that Beijing wants to see promoted."

"For those who are overseeing those productions there should always some educational value or some promotion of Chinese cultural values or some sort of historical narrative that matter," explains Manya Koetse, editor-in-chief of What's on Weibo, a website tracking Chinese social media.

Prof Zhu Ying of the Film Academy at Hong Kong's Baptist University told the BBC. "Censors tend to turn a blind eye to entertainment programs of frivolous nature.

"But that's only until they become too popular and threaten social norms, morally and ideologically. Yanxi is a perfect example of such a show."

Given the popularity of Yanxi Palace, the Theory Weekly article unsurprisingly became a widely debated topic on the internet - and with most comments condemning the critique, authorities were as little pleased with the online debate as with the series itself.

One post, by online news website Phoenix, was shared more than 10,000 times and had more than 32,000 comments, Ms Koetse explains. All of those comments have since been blocked and the entire comment section is turned off.

"The fact that most comment sections have been locked/shut down for now is quite telling," she says.

Another problem might have been the attention Yanxi Palace received from international audiences.

"It could be that the show became too popular outside China," says Mr Rosen. "It's a contradiction of wanting to succeed overseas but also wanting to control the message."

Beijing wants Chinese culture to be promoted outside of China but showing the values that the authorities want to see portrayed.

So if a show is popular outside China but carries the wrong values, authorities might think it's better to not have it at all.

Beijing is keen to control the narrative of China's past and present.

President Xi Jinping is promoting the idea of the rise of China as peaceful, and that China believes in harmony.

Yanxi Palace, though, paints an image of a China of intrigue and backstabbing.

"It flies in the face of the message that China wants to send about its peaceful rise," Mr Rosen says.

With Yanxi Palace still available online, it's unlikely Beijing will be able to undo whatever perceived damage the series might have done.

But the very public criticism sends a signal to future programmes.

Often, it only takes one person from the political leadership to see the show, dislike it and contact the propaganda department to arrange for a critical article to be written.

Once published, everybody knows the criticism has high level backing; then TV channels will very quickly self-censor and drop whatever show has fallen from grace.

"Historical dramas have been popular in China since the 1990s," says Ms Koetse. "And one of the reasons why is that official censors used to have somewhat different standards for them than for the more contemporary dramas."

"But if the focus of one of those programmes is too much on conspiracy, power struggles and conflict, then I can imagine that this is not the message about Chinese history they want to see."

For future projects this means that producers will likely be more careful.

Already, anything done for TV or streaming has to be vetted and approved. And producers will be less likely to plan an elaborate historical drama if there's a chance it will get shot down by the censors.

"And censorship is getting tighter, I would say," Mr Rosen says. "It's not just series or movies, it's also targeting music like rap for instance."

Struggling for soft power

China often stands in its own way when it comes to building up its soft power.

A point in case are the movies it enters into the Oscars foreign movie category.

There've been plenty of strong candidates in recent years but those didn't get picked, says Mr Rosen, likely because they tell a story that Beijing thinks reflects negatively on China.

The 2017 movie Angels Wear White dealt with child molestation while 2018's Dying to Survive told the story of a cancer patient illegally importing medicine from India.

Both movies were successful in China and have received international praise - but they don't depict the version of China that Beijing wants to world to hear.

"If they tolerated a little bit more criticism, they could be much more successful when it comes to soft power," Mr Rosen sums up.

"But they worry that once they open the floodgates, they won't be able to retain their control anymore."

More on this story

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Yanxi Palace: Why China turned against its most popular show

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It was one of China's most popular shows of 2018 - but it's now being pulled from TV screens across the country. The story of Yanxi Palace, a drama about life in imperial China, broke records when it was released last year.

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“(The show) made the emperor lifestyle’s fashionable and something to strive for, polluted modern society with the concubine’s back-stabbing mentality, beautified imperial China while ignoring the heroes of today, glorified luxury while attacking thriftiness and hard work."

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“(The show) made the emperor lifestyle’s fashionable and something to strive for, polluted modern society with the concubine’s back-stabbing mentality, beautified imperial China while ignoring the heroes of today, glorified luxury while attacking thriftiness and hard work."

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"Excellent palace fighting dramas are well-made and have high cultural value"

"...are not as bad as the official media articles criticize them..."

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When it initially aired on iQiyi in 2018, Story of Yanxi Palace was an instant sensation. On the release day of its first episode, the show brought in a record-breaking viewership of about 500 million people. Telling the story of a maid's ascent to power in the court of the Qianlong Emperor, who ruled China from 1735 to 1796, the show's popularity is largely attributed to its strong female lead and its depiction of maneuvers employed by concubines, which the audience found relatable to modern day office politics.

Sharing many of the elements that made Story of Yanxi Palace a massive success, Ruyi's Royal Love in the Palace, which also revolved around Emperor Qianlong, is another smash hit that has racked up a total of 18 billion views on various streaming websites.

Since the news broke, a slew of rumors about the real cause of the dramas' removal have taken hold on Chinese social media. The initial reaction from most observers was that their disappearances were caused by the video-streaming services' failure to renew their licensing deals with the dramas' production companies. But this guess was quickly refuted as people realized that iQiyi and Tencent Video, who were among the affected, had ownership of the dramas because of their significant investment in their production.

With the acknowledgement that some other external factors were in play, a good number of fans and industry insiders were convinced that the two shows were casualties of a renewed wave of Chinese censors' crackdown on period dramas.

Last year, following a scathing editorial published by the Beijing Daily, in which the state-run newspaper called out period dramas, especially Story of Yanxi Palace and Ruyi's Royal Love in the Palace, for their "negative influence on society," the two shows were suddenly taken off air and never made a return on television channels. In the article, the publication took specific aims at the dramas' palace intrigues and scheming, saying that they were "at odds with the core values of socialism."

Naturally, the recent removal has set off a firestorm of outrage over what many believed to be an extension of the previous campaign. "Who on Earth would strive to be a manipulative intrigant after watching a period drama? We live in a society ruled by laws and I think most people are able to tell right from wrong," a Weibo user commented.

A fair share of critics also directed their anger at what they called "real malignant tumours" in the Chinese TV industry, saying that shows like Mother's Life 娘道, which has been roundly condemned by young people for embracing patriarchal thinking, should be a target of censors looking to restrict promotion of bad values in Chinese television. "Banning what people love to watch and taking no action against things people absolutely hate. This is the most unfriendly practice by Chinese censors," a TV critic wrote (in Chinese).

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China removes popular historical dramas from streaming services - SupChina

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Without any notice or official explanation given by the platforms, the shows' abrupt disappearances have caused an outpouring of anguish among viewers, speculation as to why they were removed, and questions if the removal was an indication of a broad crackdown by Chinese censors on the genre of period dramas.

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mothership: Singaporean digital news platform
"Mothership is one of 11 websites in Singapore that has an individual license with the Info-communications Media Development Authority."

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Mothership: Singaporean digital news platform

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Mothership: Singaporean digital news platform

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"Mothership is one of 11 websites in Singapore that has an individual license with the Info-communications Media Development Authority."

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About Us｜Hong Kong 01

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倡議推動 共建社會

由零到一，從無到有，看似單一的方向，卻有無限可能，等待被發掘。
香港01，作為倡議型媒體的先行者，推動市民積極參與共建社會，憑藉專業和富靈感的新聞內容，驅動思維改變，鼓勵有建設性的互動和交流，建立社會歸屬感，推動社會進步。

「香港01，是我，是你，是所有人」

創新先驅 打造香港人的互聯網生活平台

我們以香港01網站、手機App、周報和01空間為本，構建跨媒體多維平台，連結七百多萬香港人，打破了傳統媒體的限制。

香港01不但有2017年全港獲獎最多的新聞頻道，還有雅俗共賞的娛樂、生活等主力頻道，也有獨特的個性化頻道。我們以大數據驅動內容，以知識與科技帶動多元化生活，推送最合適的資訊予受眾，保證讀者『不斷看到最喜愛的內容，也不會錯過最重要的資訊』。作為互聯網企業，我們積極開拓多元數碼生活服務，開發個人化手機App，完善從線上到線下的整體體驗，打造屬於香港人的數碼生活平台。

01空間 走進生活

在香港01三位一體（印刷、數碼及實體現場）的媒體概念中，『01空間』是與本土社區最緊密相扣的平台。我們本著『01活動在哪裡進行，哪裡便是01空間』的精神，在不同的地方與不同機構及團體合作，為香港01會員、活動參加者提供一個文化互動平台，帶動一種屬於香港社區文化的新形態。

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由零到一，從無到有，看似單一的方向，卻有無限可能，等待被發掘。香港01，作為倡議型媒體的先行者，推動市民積極參與共建社會，憑藉專業和富靈感的新聞內容，驅動思維改變，鼓勵有建設性的互動和交流，建立社會歸屬感，推動社會進步。 「香港01，是我，是你，是所有人」 我們以香港01網站、手機App、周報和01空間為本，構建跨媒體多維平台，連結七百多萬香港人，打破了傳統媒體的限制。 ...

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By Eduardo Baptista, CNN

Updated 9:54 PM EST, Sat February 2, 2019

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Chinese state run news outlet

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北京市委機關報《北京日報》日前批判宮鬥劇五大「罪狀」的專家文章，引發爭議，更有傳全國衞視均即時停播《延禧攻略》、《如懿傳》兩部宮鬥劇。
涉事文章上綱上綫，拿著政治正確的大棒大搞批判，其實運用一點常識就能看穿其謬誤，各大媒體應及早發聲批判這種錯誤論調，慎防有人將此事借題發揮。

題為《宮廷文化的負面影響不容小覷》的涉事文章列舉了宮鬥劇五大「罪狀」，其一是「熱衷追崇皇族生活方式，使之成為流行時尚」；其二是「精心演繹『宮鬥』情節，惡化當下社交生態」；其三是「不吝美化帝王臣相，淡化今朝英模光輝」；其四是「宣揚奢華享樂之風，衝擊克勤克儉美德」；其五是「片面追逐商業利益，弱化正面精神引導」。

所謂五大「罪狀」不符常識

縱觀這五大「罪狀」，其核心立足點就是官方的政治正確，即是否符合其社會主義核心價值觀，並以其狹義界定的核心價值觀來作為衡量文藝作品是否正確的唯一標準。這種評論方式將文藝批評政治化，上綱上綫，拿著政治正確的大棒再搞文化大革命的那套政治批判，顯得與當代文化氛圍格格不入。

有一點常識的人都會明白，宮鬥劇是根據古代宮廷歷史為背景而創作出來的虛幻故事，傳統宮廷的勾心鬥角固然不值得提倡，但沒有人會傻到把虛幻當成現實。試想想，平民百姓或權位低的人在古代往往受盡欺凌，一般民眾又豈會願意倒退回封建時代？這五大「罪狀」簡直連最基本的常識判斷都過不了關。

優秀的宮鬥劇製作精良　文化價值高

況且《甄嬛傳》、《延禧攻略》、《如懿傳》等宮鬥劇，也並非如官媒文章所批判的那般不堪。這些作品製作精良、劇情有趣，折射出社會冷暖和複雜人性。其人物設定也無不是在被壓抑的生存環境中堅強求生，保持了人性中最善良的一面。而在《延禧攻略》中，女主角魏瓔珞更以其智慧、勇氣，掌握自己的命運，最終獲得皇貴妃的頭銜，簡直是生動的女性主義教材。

這些作品之所以能風靡中國乃至全球華人，恰恰說明它們接地氣，深入了生活。至於宮鬥劇的宮廷布置、衣著搭配、生活起居也都充滿中國傳統文化的元素，是活生生的文化展覽。優秀的宮鬥劇所反映的文化價值並不比那些主旋律劇差，其製作之精美更是遠勝那些粗製濫造的抗日神劇。

及早批判錯誤論調　慎防有人借題發揮

有人認為，《北京日報》刊登的文章只是一家之言，各大媒體一起來報道它其實是過分重視，小題大做，更在無形中放大了這些「黨八股」論調。況且目前內地仍然能夠看到《延禧攻略》等宮鬥劇，可見這篇文章的影響力並非想像般大。

不過若媒體對這種錯誤論調不理不睬，當真有人藉此事借題發揮，有官員真的停播了宮鬥劇及所有不符合主旋律的作品，屆時將對中國的文化發展、創作自由等方面造成巨大破壞。在此前的「民營經濟退場論」事件中已經有過先例，中共高層需要直接回應才能消除民眾疑慮，難道還要讓這類事件重演嗎？

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【官媒批宮鬥劇．分析】5大「罪狀」不符常識　慎防有人借題發揮

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北京市委機關報《北京日報》日前批判宮鬥劇五大「罪狀」的專家文章，引發爭議，更有傳全國衞視均即時停播《延禧攻略》、《如懿傳》兩部宮鬥劇。涉事文章上綱上綫，拿著政治正確的大棒大搞批判，其實運用一點常識就能看穿其謬誤，各大媒體應及早發聲批判這種錯誤論調，慎防有人將此事借題發揮。 ...

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《延禧》《如懿》等宫廷剧霸屏 负面影响不容小觑|甄嬛传|如懿传|延禧攻略_新浪娱乐_新浪网 (sina.com.cn)

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原标题：爱看 《延禧攻略》《如懿传》 的注意啦，这几点不容小觑！

来源：北京日报

作者：刘霆昭

从 《甄嬛传》《芈月传》《步步惊心》 的霸屏，到《延禧攻略》《如懿传》的热播，宫廷文化传播的不断升温，确实起到丰富大众文化娱乐生活的作用，但是对其产生的负面影响也不容忽视，简述如下：

热衷追崇皇族生活方式，使之成为流行时尚。 宫廷文化影响着人们的身心健康和生活的方方面面。宫廷剧中的对话，如，朕、陛下、爱妃、臣妾、小主、本宫，现已成为某些人的口头语，似乎人人都成了宫中人。"甄嬛体"一度成为白领写总结和假条的标准文本。许多人似乎都以能沾上点儿皇气儿为荣。

精心演绎"宫斗"情节，恶化当下社交生态。 "宫斗"几乎可以说是这些宫廷剧的核心内容和主要桥段，也是媒体炒作的重点，而我们从"宫斗"中看到和学到的是什么呢？无外乎尔虞我诈，相互倾轧，争风吃醋，勾心斗角，居心叵测，媚上欺下。这些与我们提倡的社会主义核心价值观格格不入，南辕北辙，危害不浅。

不吝美化帝王臣相，淡化今朝英模光辉。 目前在网络和微信圈中疯传的对封建社会重臣名相的夸赞现象尤其值得关注。"清朝十大名臣""清朝十大宰相""康熙手下十大重臣"等等，不一而足。甚至有的传播量超过了对新中国开国元勋、英雄模范及优秀共产党员的宣传。以封建社会的帝王将相为偶像，会潜移默化地侵蚀人们的灵魂。

宣扬奢华享乐之风，冲击克勤克俭美德。 无论这些宫廷剧本身，还是媒体对宫廷文化的报道和解读，都不乏对宫中奢靡之风和锦衣玉食、声色犬马的展示。比如清宫剧中服装配饰的考究：朝服、皇后常服、吉服、绒花、一耳三钳、点翠凤吹牡丹头花、金环镶东珠耳坠，有图有文，极尽奢华。这一切，与我们现在所提倡的艰苦奋斗，克勤克俭的优良传统相差甚远。

片面追逐商业利益，弱化正面精神引导。 有些以宫廷文化为主题的综艺节目最近也非常火爆。但是，笔者注意到此类节目的重点，是对商品的推销和对商业利益的追逐，看不到多少具有积极意义的文化。

有些专家和读者就以此类节目突出炒作宫中选秀女为例，以其围绕"卖卖卖"，推广搞综艺、开咖啡店、卖彩妆等为据，对其指导思想和文化倾向提出质疑，认为此类节目的商业炒作是成功的，文化建设却不尽如人意。

综上所述，笔者认为，我们对宫廷文化的弊端应有清醒的认识，相关影视文艺作品和媒体宣传亦应把握好量与度，特别要注重正确的舆论导向，以与加强精神文明建设，弘扬社会主义核心价值观相向而行，趋利避害，适当降温。

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《延禧》《如懿》等宫廷剧霸屏 负面影响不容小觑|甄嬛传|如懿传|延禧攻略_新浪娱乐_新浪网

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原标题：爱看 《延禧攻略》 《如懿传》 的注意啦，这几点不容小觑！ 　　来源：北京日报 　　作者：刘霆昭 　　从 《甄嬛传》 《芈月传》 《步步惊心》 的霸屏，到《延禧攻略》《如懿传》的热播，宫廷文化传播的不断升温，确实起到丰富大众文化娱乐生活的作用，但是对其产生的负面影响也不容忽视，简述如下： 　　 热衷追崇皇族生活方式，使之成为流行时尚。 ...