三湘都市报·新湖南客户端 全媒体记者 龙思言 通讯员 刘嘉馨 "可以不焗油也可以不烫头，但是这个指甲盖子一定记得留，为啥这么说，这美甲你得做，做了之后你会发现过得可洒脱。"近日，一段关于美甲魔性的背 景乐刷爆各大平台，不少网友纷纷晒出自己的美甲照片，表示"美甲早已成为生活的'必需品'"。有趣的是，在一众美甲图片前，部分网友晒出的"丑甲"照 片，热度颇高。 8月1日，记者蹲守多家直播间发现，造型各异的"丑甲"，配上直播间主播的幽默解说，这个夏天，丑甲迅速出圈。 丑甲盲盒直播间人气旺，部分销量达3万余件 在许多穿戴甲直播间内，丑甲盲盒倍受欢迎，很多消费者留言"不丑的不要"，丑甲命名和造型更是五花八门，如："清凉油美甲"甲片上贴了一盒清凉油作 为装饰，"马蹄哒哒哒美甲"则是贴了一张巨大的搞怪马脸在美甲上…… 记者观察发现，丑甲盲盒直播间的主播，通常根据下单的顺序拆开消费者购买的穿戴甲。在一家名为"特好看穿戴甲"的直播间内，主播边拆边配上风趣幽 默的解说，"恭喜这位宝子中了十只大蟑螂，你不用再逞强了，因为你的强来了""主播英语不好，英语昵称的客户都简称为外国人，恭喜这位外国人朋友 抽中鞋刷子，贴在甲片上的鞋刷子真的能 ...

Core Insights - The report indicates a significant shift in the cultural and tourism consumption patterns of young people in Shanghai, moving from traditional functional needs to a focus on emotional value and personal expression [1][2] Group 1: Youth Consumption Trends - Nearly 80% of young people choose to visit museums, art galleries, and cultural venues on weekends, with Saturday and Sunday visitors accounting for 43.4% and 36.2% respectively [1] - The majority of visitors to these cultural sites come from outside Shanghai, with 53.4% from other provinces, particularly Jiangsu (10.8%), Anhui (6.5%), and Zhejiang (5.0%) [1] - The age distribution shows that "post-90s" and "post-80s" generations have a higher preference for visiting cultural venues, accounting for 37.8% and 28.2% respectively, while "post-10s" make up 14.4% [1] Group 2: Cultural Engagement and Experiences - The report highlights the role of Shanghai's rich cultural resources in connecting young people with local culture, with the trend of "coming to Shanghai for cultural exhibitions" becoming increasingly popular [2] - New cultural consumption trends are emerging, such as "Artwalk" routes that enhance urban experiences and cultural engagement, with popular routes including "Wandering the Bund" and "Wandering Huaihai Road" [2] - Young people from outside Shanghai represent 58.5% of those visiting for cultural experiences, with Jiangsu, Anhui, and Henan being the top three provinces [2] Group 3: Economic Insights - The performing arts sector is identified as a high-value area within the emotional economy, with Shanghai's performance consumption showing significant aggregation advantages [3] - Theme parks and experiential projects are also gaining popularity, with consumption proportions of 30% and 20% respectively, indicating a shift from mere sightseeing to immersive experiences [3]

Core Insights - The youth demographic is increasingly becoming the main consumer group in the cultural and tourism market, reshaping the market landscape with their broad audience reach, rapid dissemination effects, and strong purchasing power [1][3] - The "2025 Shanghai Cultural Tourism Scene Consumption Report" highlights a shift in young people's consumption from traditional functional satisfaction to a pursuit of emotional value and personal expression [1][3] Group 1: Cultural Consumption Trends - Cultural and artistic venues are evolving into complex cultural carriers that integrate historical memory, artistic expression, and spatial experience, meeting young people's deep-seated needs for meaningful leisure and quality social interactions [3] - A significant trend is observed where young people travel to cities specifically to visit cultural venues, with 46.6% of visitors to museums and galleries in Shanghai being local, while 53.4% come from other provinces [3][4] - Nearly 80% of young people choose to visit museums, art galleries, and cultural venues on weekends, with Saturday and Sunday visitation rates at 43.4% and 36.2% respectively [3] Group 2: New Cultural Consumption Experiences - Shanghai's rich cultural resources and frequent artistic exchanges have made art a part of young people's daily lives, with curated Artwalk routes connecting various cultural scenes [4] - Young consumers actively participate in cultural construction and perceive the symbiosis of city and art through social media, transforming their experiences into unique lifestyle and cultural consumption choices [4] - The rise of new cultural consumption scenes such as popular performances, immersive theaters, and urban amusement parks caters to young people's social media engagement, emotional value, and ritualistic needs [4][5] Group 3: Emotional and Social Needs - The current trend of attending performances reflects young people's pure love for artistic content and cultural icons, as well as their deeper needs for emotional healing and social circles [5] - The performing arts economy is characterized by high creativity and unique cultural attributes, extending the focus of consumption from functional and quality aspects to providing emotional value [4][5]

来源：文汇报 ■记者 卫中 在注意力快速转移的"短视频"时代，B站推出的"1分钟动画剧场"精准把握这一需求，每期围绕年轻用户 热议话题，由UP主自制10部各1分钟的原创动画短片，全年共四期。该IP秉持"不靠炫技，以现实为创 意注脚"理念，挖掘扶持原创动画UP主，邀请插画艺术家、动画导演及人气UP主参与，以高浓缩叙事满 足观众快速获取信息需求，带来全新视听体验，让人们在忙碌中沉浸于动画奇幻世界，获得放松愉悦。 这也是B站原创动画UP主扶持计划的初衷：让缺乏资源和背景的动画人得以参与创作，同时扶持编剧、 美术等多环节优质创作者，致力于构建多元共生的创作生态，讲述中国当代年轻人风貌的故事。 "1分钟动画剧场"上线后备受好评，《当国宝下班后》是其中的典型代表。该作品将博物馆文物拟人 化，借陶鹰鼎"摸鱼"、彩绘石骑马人"跳舞"等现代职场梗，让文物在闭馆夜晚"活"起来，上线四天获 190万播放量，展现出传统文化与当代叙事碰撞的强大感染力。文物"摸鱼"映射现代职场生活，让观众 看到自己的影子，产生强烈共鸣，在欢笑中释放情绪、慰藉心灵。与《逃出大英博物馆》以文物思乡情 引发情感共振不同，它用幽默消解历史厚重感，让年轻观众在会 ...