The martial arts sitcom "Legend of Que Dao Men", led by Zhao Benshan, has attracted considerable attention since its broadcast. Many viewers expect it to inject a glimmer of vitality into the sluggish Chinese sitcom. In 1993, China's first sitcom "I Love My Family" was broadcasted, and this year marks the 30th anniversary of Chinese sitcom. At such an important time point, it is necessary to have a celebration work and a revitalization work. In the past 30 years, Chinese sitcoms have gone through a path of rise, peak, and decline. What remains unchanged is its pursuit of happiness and its efforts to bring laughter to the audience. In today's diverse entertainment world, sitcoms are no longer the main way to make young audiences laugh heartily. However, in the past two or three years, with the efforts of platforms and some insightful individuals, sitcoms are striving to return to the perspective of a new generation of audiences. Even if the road ahead is bumpy, we still have high expectations for Chinese sitcoms. Origin: The convergence of foreign and local cultures. Yingda is widely recognized as the "father of sitcom" in China. Every time people trace the origin of Chinese sitcoms, they talk about Yingda, who studied in the United States in the 1980s. Influenced by American sitcoms, he created "I Love My Family" in 1993 after returning home, which gave birth to Chinese sitcoms. People pay attention to the external influence of Chinese sitcoms, but always overlook the local genes. Many viewers believe that the 1992 broadcast of "The Story of the Editorial Office" was the source of Chinese sitcoms - many of the characteristics of sitcoms, such as indoor filming, unit plots, and relying mainly on lines to create laughter, have been established in this drama. However, when Zhao Baogang, Wang Shuo, Feng Xiaogang, Ge You, and others created this drama, there was no concept of sitcom in China. They filmed 'Story of the Editorial Office' as an 'indoor drama'. This has to mention the popular type of TV drama in China in the 1990s - "indoor drama". The well-known 'Desire' in 1990 was an indoor drama. Indoor drama has several typical characteristics. Firstly, indoor shooting, the scenes are basically fixed and there are no external scenes. For example, the entire drama "Desire" was basically shot in 11 scenes. Secondly, the camera language is very simple. After all, the scene is basically fixed, with a strong stage style, and there is not much emphasis on camera scheduling. It mainly focuses on close-up, close-up, and mid range shots, as well as front and back shots during dialogue. Thirdly, it is highly dependent on the lines. The density of dialogue is high, and there is a high demand for the quality of dialogue. It is necessary to construct a large number of conflicts in the dialogue to avoid monotonous scenery and shots that make the audience feel bored. Indoor drama is a product of limited creative conditions and limited funding, for example, the cost of 50 episodes of 'Desire' is 1.2 million yuan. After the popularity of "Desire", the indoor drama was sought after for its "low cost and high efficiency". The stories of the editorial department, the roots of the imperial city, the half building, and the love you didn't discuss were broadcast in succession. If it hadn't been for the concept of sitcom introduced by Inda in 1993, the comedic tone and unit style indoor drama that "The Story of the Editorial Office" had begun would also have had its development vein. In summary, Chinese sitcoms are not entirely "imported", they are the "convergence" of foreign sitcoms and domestic chamber dramas.