Recently, the Network Audiovisual Department of the State Administration of Radio and Television issued management guidelines (strengthening the review of short drama titles) to promptly correct any negative tendencies in short drama titles, and put forward new requirements in terms of guidance, format, and art. In June of this year, the "Latest Work Tips on the Filing of Short Dramas" were officially implemented, which clearly requires the implementation of industry regulatory responsibilities, local management responsibilities, and platform main responsibilities, and implements "classified and layered review" for short dramas. Since then, the overall content quality of short dramas has continued to improve, and many "key micro short dramas" have even used vivid and meaningful titles to stimulate users' dual enjoyment of the titles and plot. However, some of the "other micro dramas" that are self reviewed by the platform still have issues with excessive exaggeration and vulgar use of titles. These film titles prioritize attracting attention and traffic, completely disregarding artistic aesthetics and social orientation, and even using borderline tactics to attract viewers to click in and explore the truth. This not only lowers the overall image of the industry, but also pollutes the online ecosystem. The management reminder released this time is aimed at the chaos in the titles of micro dramas. It specifically points out that "the title problem is particularly serious for mini program micro dramas that deliberately pursue streaming effects, and must be strictly rectified." The title can be regarded as the "face" of the work, and its important role is self-evident. From a guiding perspective, an appropriate and positive film title should reflect a certain depth of thought and actively convey mainstream values. From a stylistic perspective, film titles should be as closely related to the plot content as possible, avoiding the use of overly lengthy and colloquial expressions that leave the audience "confused". In terms of aesthetics, it is necessary to use various rhetorical devices reasonably to enhance the artistic quality of the film title, and never abuse parody techniques such as homophones and exaggeration. As a bridge connecting creators and audiences, online audiovisual platforms shoulder important review responsibilities and must actively play their role by using standardized title review systems to effectively filter out vulgar and low-quality cultural "noise", providing audiences with a clear and pure cultural audiovisual environment, and guiding them to establish correct aesthetic concepts and value orientations. It should be noted that cracking down on the chaos of film titles is not to restrict the creative hands and feet of micro dramas, but to guide them towards a broader and healthier development direction. This also reminds creators and practitioners that as the source of micro drama creation, they should focus more on creation and pay attention to the quality and connotation of their works. According to the Statistical Report on the Development of China's Internet, as of June this year, the number of users of China's mini dramas had reached 576 million, accounting for 52.4% of the total number of Internet users. In the current prevalence of micro dramas, they should not be just temporary entertainment, but should become an important carrier for conveying mainstream values and enhancing cultural connotations. It is timely to strengthen the review of micro drama titles in order to promote the micro drama industry towards the direction of "micro but not weak, short but not shallow, and high-quality dramas". (New Society)