Recently, the historical drama "Taiping Nian" has been popular, sparking a trend of textual research style drama watching. The audience is no longer just spectators of the story, but becomes explorers, disseminators, and even researchers of historical knowledge, forming deep interactions with historical dramas, historical figures, and historical ideas. This phenomenon reflects the upgrading of cultural consumption among people today, and also responds to deep social psychological needs such as identity recognition and emotional connection, providing new inspiration for the creation of historical dramas. From "The Yongzheng Dynasty" to "The Year of Taiping", the textual style drama series has been constantly upgraded to include various historical knowledge, which has always been prone to arousing viewers' "magnifying glass" style scrutiny. As early as the broadcast of "Yongzheng Dynasty" in 1999, some netizens posted long posts on the forum, comparing the plot with "Qing History Draft" and "Yongzheng Zhu Pi Edict" one by one. In 2015, "Nirvana in Fire" was a hit. Although the drama fictionalizes history, it also triggers historians to start with details such as the place name and character prototypes of "Langya" and interpret its relationship with the history of the Northern and Southern Dynasties. This stage of textual research presents a niche feature, mainly dominated by cultural and historical enthusiasts and professionals, with ordinary audiences passively accepting it. But with the popularity of interactive features such as bullet comments and comment sections in video platforms, the impact of technology has begun to emerge. For example, a barrage analysis on a certain video website showed that a large number of viewers began to simultaneously explore and research the details of the plot, providing technical soil for the formation of the research community in the future. In 2021, the broadcast of 'The Age of Awakening' became a watershed. This historical drama has triggered a large-scale enthusiasm among young audiences for textual research. They communicate in real-time online, research various historical details, and form a strong sense of identification with that period of history. At the same time, drama production also pays more attention to the rigor and authenticity of historical details, responding to the audience's enthusiasm for textual research. From the "Watchtower System" in "The Twelve Hours of Chang'an" to the "Pearl and Pearl Makeup" in "Qing Ping Le", many works have undergone thorough research and restoration of costumes, props, etiquette, and other aspects. The main body of the research has gradually expanded from a few professionals to the general audience. The number of interpretations of the website B UP owners, official account bloggers, and short video creators is more than one million, and their influence is growing. If 'The Age of Awakening' ushered in the 'era of national research', then 'Taiping Year' pushed this trend to a new peak. This drama has unique content genes and historical background. From a content perspective, focusing on the history of the Five Dynasties and Ten Kingdoms, which is rarely presented in film and television dramas, inherently creates a sense of "knowledge gap" and leaves ample room for audience research; The dense appearance of historical figures, accompanied by a large number of buried details and metaphors, has enormous interpretation space. For example, the single "xi" character at Zhao Kuangyin's wedding, Shi Zhonggui's kneeling "sheep pulling ceremony" to welcome the Khitan emperor, the role of "teasing the shallow army" in the Wu Yue kingdom, and Cheng Zhaoyue's recitation of Huang Chao's poetry stimulated the audience's desire to actively conduct research. From the perspective of communication ecology, platform empowerment and tool popularization continue to "add fuel" to this research fever. The broadcasting platform has launched a series of short videos called "Little Dictionary" and the "Taiping Year Encyclopedia" column, which analyze knowledge points in a lightweight form. Social media gathers spontaneously created interpretation content and historical site guides from the audience, forming a multi form matrix of textual research content. More noteworthy is the widespread use of AI search tools, which have the ability to perform real-time verification, cross validation, and visual presentation, further improving the efficiency of research and lowering the knowledge threshold. When the audience is watching a drama, they can easily open the AI assistant to complete real-time knowledge replenishment. The support of technological tools has made textual research more routine and real-time, bringing the level of general audience's textual research closer to a quasi professional state, and truly transforming the possibility of national textual research into reality. Not only for the purpose of "nitpicking", but also reflecting the rise of deep cultural and psychological research style drama watching, which deeply reflects the current social and cultural psychology. In the era of information overload, it is difficult to distinguish the authenticity of massive amounts of information, and the uncertainty of cognition has given rise to a widespread anxiety. Under this psychological background, the public is increasingly eager for verifiable 'authenticity'. The historical facts behind historical dramas have objectivity and certainty, and the process of textual research is precisely the process in which the audience confirms the authenticity of the plot details by consulting historical materials, comparing and verifying them. Each confirmed historical detail can bring psychological satisfaction of cognitive confirmation, and each successful research is a small victory over uncertainty. This sense of satisfaction is further amplified in the instant feedback on social platforms, as the research results receive a large number of likes and shares, which can upgrade individual cognitive confirmation to group consensus confirmation. The thirst for truth, looking deeper, points towards cultural identity recognition. With the increasing cultural confidence and recognition of traditional culture, audiences have developed a new thirst for historical authenticity. They actively examine the details in movies and TV dramas, in fact, to touch the true texture of history and clarify the cultural positioning of "who I am and where I come from" in their conversations with the past. This is not only a verification of knowledge, but also an emotional attachment. By repeatedly confirming and deeply understanding historical details, a concrete and profound connection can be established between individuals and ethnic history. The textual research style drama also responds to contemporary people's desire for deep connections. The pace of society is accelerating, social relationships are becoming increasingly fragmented, and there is a sense of alienation between individuals. Using social media as a platform, audience from different regions, professions, and ages gather together with a common interest in textual research to share achievements, explore details, exchange viewpoints, and build a cross circle "textual research community". This precisely provides a low threshold, high viscosity collective connection method. In this community, individual textual research behavior is upgraded to collective cultural practice, giving people a sense of participation. This sense of participation has a dual effect. Externally, it creates social topics that allow people to find like-minded partners in discussions and gain a sense of belonging to the group; Internally, give individuals a sense of meaning that 'I am participating in historical narratives'. As a result, the act of binge watching has surpassed simple entertainment and become a valuable cultural action. From a broader perspective, the popularity of textual research style drama watching is also a product of cultural consumption upgrading. With the overall development of society and the improvement of education level, audiences watching movies and TV dramas are no longer satisfied with passive entertainment, but pursue content consumption with spiritual nourishment. Textual research has become a bridge connecting entertainment and education, and the process of watching dramas is also a learning process. However, this' learning oriented entertainment 'also reflects the trend of knowledge performance in the social age. Once the research results are published on social media, they become not only a personal record of seeking knowledge, but also a public display. By presenting historical knowledge reserves and interpretive abilities, the audience can also gain attention and recognition. Knowledge here combines the dual functions of seeking truth and socializing, and the tension between the two may also turn textual research into a display of knowledge. The textual research of ordinary audiences may not be accurate, and if conclusions that are not rigorous enough are packaged as authoritative interpretations and widely spread, they may actually create new historical misunderstandings. More noteworthy is that if the driving force of textual research shifts from exploring truth to showcasing 'I know more than you', knowledge will be transformed from a tool for seeking truth to a label for differentiation, and the textual research community may also transform from an open learning community to a closed chain of contempt. How to maintain a balance between the enthusiasm for knowledge sharing and the original intention of seeking truth is a proposition that "national research" needs to face in order to move towards healthy development. The more professional the audience is, the more they should respect the historical research style drama craze, which also points out the direction for historical drama creation. This indicates that the audience hopes that the work is not only "good-looking", but also "authentic and substantial". This signal prompts the upgrading of historical drama creation from concept, process to expression, in order to achieve resonance with the audience's deep needs on the same frequency. The most fundamental upgrade lies in the return of creative concepts. For a period of time, pseudo historical dramas flooded the screen, either indulging in palace power struggles, using fictional names to alter history, or portraying modern emotions in ancient costumes. The audience's enthusiasm for textual research style drama watching precisely constitutes a form of correction. This is essentially a collective maintenance of the seriousness of history, and also conveys the simple expectations of the public for the creation of historical dramas, that is, to refuse entertainment based tampering, to use real history as the skeleton, and to convey deep humanistic spirit. The return of ideas requires the support of professional skills. Nowadays, the audience's textual research is becoming increasingly refined, and their requirements for cognitive value and professional details are rising. This has pushed historical textual research from a "behind the scenes embellishment" in the creative process to a "standard throughout the entire process". The State Administration of Radio and Television and the Chinese Academy of History have established a collaborative mechanism, inviting authoritative historical experts to intervene in the early stages of creation and oversee the entire process of content. The success of 'Taiping Nian' also confirms the effectiveness of this direction, allowing historians and other experts to deeply participate in script creation, costume design, and etiquette guidance, in order to achieve accurate restoration of historical framework, logic, and details. This cross-border collaborative model should become the mainstream direction of historical drama creation, allowing more high-quality historical research results to be transformed into well received and popular film and television works. However, emphasizing historical authenticity does not mean equating historical dramas with the film and television splicing of historical materials. On the contrary, reasonable artistic fiction is a necessary means of enriching characters and conveying spirit, and the key lies in finding a balance between historical truth and artistic truth. Although there is no direct historical evidence to support the plot of Qian Hongchu heading north to Bianliang and forming friendships with Zhao Kuangyin and Guo Rong to resist the enemy in "Taiping Nian", this design provides more logical support for the choice of "returning the land to the Song Dynasty". Only by experiencing the hardships of war can we deeply understand the preciousness of peace. It is worth pondering that the discussions sparked by the trend of textual research not only fail to criticize such fiction, but also help the audience clarify the boundary between historical dramas and documentaries, and popularize the creative principle of "big things are not trivial, small things are not to be trifled with". This indicates that what the audience truly cares about is not whether every detail corresponds perfectly to historical materials, but whether the creator tells the story with reverence for history. Therefore, creators should not fall into narrative rigidity in pursuit of "absolute truth", nor should they tamper with history to cater to the concept of "entertainment first". Instead, they should treat history with reverence and tell history with innovation, making historical dramas a cultural link between creators and audiences, and maintaining a virtuous cycle of "creation research feedback optimization". (New Press) (Author: Jin Boting, Director Editor of the Supervision Center of the State Administration of Radio and Television)