以下文章来源于互联网怪盗团 ，作者怪盗团团长裴培 互联网怪盗团 . 一生只为那颗星。 本文来自微信公众号： 互联网怪盗团 （ID：TMTphantom） ，作者：怪盗团团长裴培，题图来自： AI生成 昨天 （2025年7月29日） ，一条消息在我的朋友圈刷屏了：中国出品的短剧《特朗普爱上在白宫做 保洁的我》火爆北美市场，三个月内狂揽1.5亿美元收入，成为国内互联网"文化输出"的又一重大战 果云云。我的几位长期经营出海业务的朋友看了非常兴奋，今天一大早就忙着问我"要不要一起做面 向北美的短剧出海"，争取半年内拿出几个类似题材的作品。他们似乎是严肃的。 可惜当时我在睡懒觉，醒来的时候，已经辟谣了：《特朗普爱上在白宫做保洁的我》 （或类似名称 的短剧） 并不存在，美国所有社交媒体平台或短剧平台均找不到， 网传片段均为AI合成，网传出品 公司和演员均已宣称与此无关。同理，一度被宣称在美国火爆的短剧《与特朗普离婚后，我分到了半 个美国》也不存在，网上找到的所有片段或截图均为AI合成。 其实，早在辟谣之前，我就觉得这个消息不太对头： 美国人恶搞自己的总统、公众人物，可谓花样 百出，从电影到短视频，各种形式、各种套路几乎被 ...

Group 1 - The news about the Chinese short drama "Trump Falls in Love with the Cleaner in the White House" claiming to have earned $150 million in North America within three months is false, as no such drama exists and all related content is AI-generated [1][2] - The phenomenon of this false news reflects a broader narrative about the supposed success of Chinese cultural products in Western markets, which is often exaggerated [2][3] - The concept of "upward attack" (升维打击) is discussed, suggesting that low-cost, non-industrialized cultural products can penetrate high-end markets, but the reality of such success is questioned [3][4] Group 2 - The overseas market for Chinese web literature generated revenue of approximately 4.305 billion yuan in 2023, with Southeast Asia being the largest market, followed by North America [5][6] - Although there are examples of Chinese web literature adapted into series on mainstream platforms in the West, the overall impact and commercial success are limited [7] - The short drama market is growing rapidly, with overseas short drama applications generating $700 million in in-app purchases in Q1 2025, with the U.S. contributing 49% [8][10] Group 3 - The total downloads of overseas short drama applications reached 950 million by the end of Q1 2025, but this does not equate to active user numbers [9] - The revenue from the U.S. short drama market is still significantly lower than that of the Chinese market, which reached approximately 50 billion yuan in 2024 [10] - The idea of "upward attack" in content industries is challenged, emphasizing that different content forms can coexist and thrive without one displacing the other [11][12]