What inspiration does Secretary Dakang become popular have on brand communication?

　　The annual anti-corruption drama "In the Name of People" has been flooding the screen recently, and Secretary Dakang has also become the new favorite of the post-90s and post-95s on social media. An anti-corruption drama full of mainstream atmosphere is also widely loved and sought after by young people. The city party secretary Li Dakang, the key word on social media is actually "cute" - all of this seems unusual, but if you analyze it carefully, you will find that there is not no reason to explain - and the reason here is quite inspiring to the dissemination of brands and content.

　　Today, let’s talk about why Secretary Dakang is cute and what inspiration has Secretary Dakang brought to us from the perspective of communication.

　　He is the top leader of the municipal party committee, with a high position and a strong person, and is so tough. Where is such a secretary Dakang "cute"?

　　It is observed that Secretary Dakang's "cute" comes like this:

　　First of all, "mood" is often accompanied by "soft", and Secretary Dakang has a "soft" side - his "soft" is a "powerless feeling" that often flashes. For example, as the audience joked, he is the first "burden" in the play, either being tricked by his peers or being dragged by his subordinates; for example, he often suddenly finds some completely unexpected situations when he is rushing forward in one go, and even finds that he is blinded. From time to time, he felt that he had lost control of everything around him, and even a little "confused", and every time at this moment, Secretary Dakang's cute spots appeared.

　　(Secretary Dakang emoticon package circulated on Weibo and Moments)

　　Further, Secretary Dakang is essentially a simple and serious person. He works hard, not for money or power, all he cares about is to build a good city and improve GDP. He is a pure idealist, and his political ideals are great and selfless. And this is a deep-seated reason why this character can become "cute".

　　(Secretary Dakang emoticon package circulated on Weibo and Moments)

　　In addition, Secretary Dakang's personality is both contradictory and unified: he is calm and courageous, but he is also emotional and aggressive; he is upright and not principled, but he will also give his colleagues a small shoe and flatter the leader; he sincerely cares about the suffering of the people, but he will also show off his power in front of his subordinates... All of this reflects the multifacetedness and complexity of the characters, and it is exactly in line with the "contrast cuteness" that young audiences are sought after.

　　"In the Name of People" is a typical main theme work. In the initial creative thinking, Secretary Dakang should be portrayed as a serious and full positive character. The post-90s and post-95s reinterpreted this vivid and three-dimensional character based on their own aesthetic tastes and life experiences, and sharply got the character's "cute" and quickly narrowed their psychological distance from the character. Secretary Dakang became a new internet celebrity sought after by young people.

　　Post-90s and post-95s like creative content consumption

　　Post-90s and post-95s are a group of audiences with strong creativity and observational power. They naturally like to consume content creatively - in terms of big things, it is "deconstruction" and in terms of small things, it is "inscribed to personal imprint". What they enjoy most is to find points that others cannot get from the content they are interested in, and enlarge and extend them, and add personal understanding to recreate the story or characters. This kind of re-creation, with a clear personality mark and a youthful label, can greatly stimulate enthusiasm for sharing and discussion, and therefore often becomes a hot topic that ignites their social media and circle of friends.

　　(A set of emoticons circulated on Weibo is a recreation of the relationship between characters in "In the Name of People" using elements of werewolf killing games)

　　Content that is more "convenient" to recreate content and is suitable for "creative consumption" should be multi-faceted, and the characters in it should be relatively three-dimensional and plump. Flat characters may lack such space for recreation.

　　Mainstream culture can also attract young people

　　"In the Name of People" has become a phenomenal hit drama, which is enough to show that mainstream popular culture is not exclusive to middle-aged and elderly groups, and the younger generation of consumers will also be attracted by mainstream culture.

　　From the massive comments on Weibo, we can see that the incredible story direction, carefully constructed plots, frequent breakthroughs in old scales, frequent dialogues with golden sentences, and the excellent acting skills of a group of old actors and veteran actors have made "In the Name of People" deeply attracted young people.

　　The playback process of this drama is currently halfway through. Wu Gang, the actor who plays Secretary Dakang, has already been on the hot search list of celebrities on major video websites. The limelight has long surpassed Lu Yi, and even surpassed some young audiences who are popular with young audiences. The UGC content on Bilibili with the keyword "Secretary Dakang" has exceeded 15 pages.

　　At the same time, some contents that actor Wu Gang participated in the creation in his early years were also dug out by the post-90s and post-95s and circulated everywhere. Everyone exclaimed, "Secretary Dakang was also a young man back then." In this extended content consumption, the barriers between time and generations have been broken, and "Secretary of Dakang" and actor Wu Gang have become a bridge of communication, further connecting mainstream content with the younger generation of consumers.

　　Mainstream can also attract young people, which reminds us of another public account article from "Kelolin Dashi" before - "This mainstream brand is too big, please don't kneel down and lick subculture casually." In this article, Lin Dashi sharply proposed that mainstream brands do not necessarily enter subculture, and oftentimes, licking subculture can even backfire. This view is one and the two sides of the topic we are discussing here - since mainstream can also attract young people, why don’t big brands play their strengths in a cultural category that they are more suitable and familiar with?

　　Post-90s and post-95s love fragmented content consumption methods

　　"In the Name of People" is not an impeccable drama, especially for the post-90s and post-95s. Its pace is slow and the plot progresses slowly. Compared with the exciting plots surrounding the old cadres, the role of young characters is unsatisfactory. However, even if Lu Yi is anxious in acting, even if Lin Huahua, Zheng Shengli and Zhang Baobao’s passage is a bit mentally retarded, we can fast forward! Skip those irrelevant plots and don’t delay watching Secretary Dakang!

　　Today, when video content consumption is mobile and fragmented, young viewers have great freedom of content selection and have also honed their strong content selection ability accordingly. Nowadays, young people may no longer gather together when watching TV series, and they will not even finish 40 minutes of each episode in full. "Picking and watching" and "jumping" will be the norm for their consumption content. In this case, "spoilers" are no longer acts of destruction. Clever spoilers can instead be used as "a guide to watching dramas" to enhance the audience's stickiness.

　　(The relationship picture of the character "In the Name of People" that has caused heated discussion on social media)

　　Some young viewers no longer even directly consume the series itself, but only follow the derivative UGC content, track relevant hot posts on social media, or even just collect relevant jokes and emoticons to fight pictures on WeChat.

　　Therefore, the impact of popular dramas on young consumers will be divided into multiple levels. There may be several fans of a drama: the core is a loyal fan, who is who has been tracing the drama from beginning to end, and has a comprehensive understanding of the plot and characters; secondly, it may be a character fan, a CP fan, who only focuses on specific characters and CPs; secondly, it may be a free fan who has only watched some episodes; finally, there are followers and peripheral fans who have never watched the drama but consumed UGC content or are keen to participate in social media discussions.

　　All these fans of different levels are the people that popular dramas can radiate to, and are affected to varying degrees by the source of popular dramas - the strong radiation ability of IP and the hierarchical radiation energy. It can be said to be a phenomenon unique to the fragmented content consumption era. When brands use IP to communicate, they need to consider which level of content radiation the fans at different levels are subject to and what strategies are suitable for establishing communication.

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