以下文章来源于每日人物 ，作者每人作者 每日人物 . 轻商业，懂生活。 社交货币。 作者 | 文 | 王潇 编辑 | 张轻松 运营 | 泡芙 来源 | 每日人物 （ID：meirirenwu） 继飞盘、徒步、攀岩之后，这两年，室内网球、匹克球、室内高尔夫成了新晋中产运动 三件套。它们曾经都顶着"贵族运动"的名头，如今走下神坛，甚至走进室内，无需绿茵 场、专业运动场，一个小空间，一个自动发球机或一面屏幕甚至墙壁，一人、一杆/拍， 就可以开打。 很多人开始对它们上瘾。有人每天都想打匹克球，为了搭子发愁，"连前男友的现女友都 找上了"；有人迷上打室内网球，无需对手，挥拍，击中甜区，清脆的响声让人自动产生 多巴胺，并进入一种心流；有人通勤路上都在练习高尔夫挥杆动作；有人发誓再也不办 卡，迷上打球后破天荒又办了张3000块的消费卡。 最初接触这些运动，人们往往出于对"贵族运动"的好奇，真玩上了，发现这些运动不仅 解压，容易上瘾，还是天然的社交货币。 打球上瘾 被裁员快一年后，林越越的生物钟好像彻底乱了。下午两点多，林越越刚从床上挣扎着 起身，前一晚脑子又不受控制地回想起刚离职时的情景，焦虑得几乎整晚没睡，她意识 到，生 ...

另外，拉布布的降温也源于消费者心理上对这种"快乐"适应后变得理性了。盲盒机制是一种仪式感消 费，激活了我们对不确定性的痴迷，提升了消费的情感价值。但购买太多次后，惊喜感大不如前；多 次"抽不中"的挫败感反而会一直累积，最终让消费回归理性。多巴胺褪去，玩家会对其进行价值重估， 理性计算投入产出比。尤其当二级市场有明显不合理溢价时，部分对价格敏感的消费者便会退出"游 戏"。 消费的初衷是"喜欢"，盲盒玩法给了我们"买得起"的即时满足。彰显态度的小玩偶是情感投射的载体， 也是逃避负面情绪的"避风港"。这，才是商家应该始终用心琢磨与开发的方向。 而刚发售不久的迷你拉布布虽热度依旧，但没有出现过高的二级市场溢价，布布的搪胶系列在二级市场 价格也大幅回落。那些曾经愿意高溢价"接盘"拉布布的人去哪了？想要搞懂这个问题，首先要弄清拉布 布到底是谁在买？ 论颜值，拉布布并不符合传统审美，尖耳獠牙，透露着一丝坏坏的感觉。但正因为它的特别，契合了部 分消费者对标准化审美的厌倦，形成"丑到极致就是萌"的观念。拉布布的"丑萌"成了彰显"独特性"的态 度宣言。此外，得不到的就是最好的，拉布布初期的大热极度依赖"稀缺性"，拥有稀有款的玩家 ...

LV首尔餐厅天价饺子引热议：3只243元背后的奢侈逻辑 LV深谙奢侈品行业的"限量法则"。餐厅每日仅接待30组客人，预约通道开放后15秒即告罄，二手交易 平台上单次用餐资格被炒至2000元。人为制造的稀缺性，将餐饮体验转化为类收藏品属性。 "这里卖的不是饱腹感，而是身份认同。"一位金融从业者坦言。韩国媒体观察发现，顾客中鲜见顶级富 豪，更多是金融、公务员、传媒等行业的中高收入群体。对他们而言，243元购买的是一张社交平台通 行证——在钛合金餐具与艺术真迹的包围中，用九宫格照片完成阶层身份叙事。 三、从餐桌到手袋：奢侈品帝国的阳谋 这场高价饺子风暴背后，是LV精心设计的商业闭环。通过"Louis Vuitton Culinary Community"计划，品 牌已在巴黎、纽约、东京、曼谷铺设餐饮网络，中国首店预计落地成都。这些餐厅由米其林名厨主理， 将本土食材进行奢侈化重构，如首尔店的泡菜用LV定制陶罐呈装。 "做餐饮是为培育潜在客户。"业内人士点破玄机。数据显示，超三成顾客在用餐当日购买LV皮具—— 可能是与餐盘配色相衬的手袋，或是印着餐厅logo的限定款钱包。当顾客为氛围付费时，品牌正完成 从"舌尖诱惑"到 ...

凤凰网财经讯 9月23-24日，由凤凰卫视、凤凰网主办的"凤凰湾区财经论坛2025"在广州举行，本届论坛以"新格局·新路径"为主题，汇聚全球政商学界精 英，共同洞察变局脉络、探寻发展新机。 正安康健创始人、正安中医教育基金会创始人梁冬 著名经济学家付鹏与正安康健创始人、正安中医教育基金会创始人梁冬围绕"传统文化重估与资产逻辑变革"进行跨界对话。 梁冬提出，货币的发行权正在从美联储和政府转向公司，如谷歌、腾讯、亚马逊、苹果、Meta等，在某种程度上来说，这些公司已经涌现出了某些新型的 数字国家形态。未来的稳定币可能不仅只是一个流通货币，而包含了某种公司业务功能的属性。 梁冬以亚马逊为例，在其生态上可以看到所有买卖、消费、储值、积分、会员体系等信息，因此如亚马逊一般拥有庞大消费场景的公司，未来可能会发行自 己的社交货币。 ...

毕竟，比起今年暑期档的数字，更值得作为谈资的，是一众映前被视为头部项目的作品票房失利，以及 许多被视为中间梯队的"黑马"涌现。 文｜毒眸 降本，降本，还是降本，在最近进行的一场电影公司论坛上，所有的电影公司老板都将话题聚焦在降本 上。这也是今年暑期档过后最值得讨论的话题。 从观众的视角看，这或许是良币驱逐劣币的欣喜现象，但从产业维度考量，这意味着大量的投资打了水 漂，后续的项目融资变得更加困难。由此，降本是行业上游必须面对的头号问题。未来的电影行业，除 《哪吒》《流浪地球》等极少数收益有保障的系列电影外，全部都需要面临成本收缩的境况。 可尽管投资失利，但暑期档的总体成绩尚可。在6、7月不如人意的情况下，靠8月的后程发力，暑期档 终于追上了去年的自己，而没有与疫情三年的市场坐一桌。不过，2023年暑期档的200亿高点，在连续 两年的回落之后，也被确证为"昙花"，就像《哪吒2》的150亿一样可遇不可求。 理性来说，今年暑期档还是有不少惊喜的，尤其是12.75%的观影人次涨幅，放在历年的档期中都是相 当少见的。 总票房基本持平的情况下，观影人次收获大幅提升，关键点自然出在票价上。2025年暑期档的平均票价 仅为37 ...

Core Viewpoint - The Chinese film industry has shown resilience during the summer box office season, achieving nearly 120 billion in ticket sales, surpassing last year's figures, but it is still facing significant challenges in audience retention and engagement [3][4][12]. Group 1: Summer Box Office Performance - The summer box office reached approximately 120 billion, marking a recovery compared to the previous year, with notable films like "Nanjing Photo Studio" and "Jurassic World: Rebirth" leading the charts [3][4]. - The average audience age has increased from 27.7 years in 2021 to 32.5 years in 2023, indicating a demographic shift in moviegoers [4][12]. - The total number of moviegoers decreased by nearly 200 million compared to 2022, highlighting a concerning trend in audience engagement [4][12]. Group 2: Audience Dynamics and Market Challenges - The film industry is losing its audience, with the average cinema attendance rate dropping to 6.9% [4][12]. - The cinema experience is increasingly viewed as less appealing compared to alternative entertainment options, such as short videos and gaming [10][12]. - The rise of online ticketing platforms and the rapid expansion of cinema infrastructure have previously driven audience growth, but the lack of new viewers poses a risk to future box office performance [6][9]. Group 3: Emotional Engagement and Content Strategy - Successful films are often those that resonate with widespread social emotions, creating a "social currency" that drives discussions and engagement [19][21]. - The trend of producing films that cater to the "maximum common divisor" of audience emotions may lead to a dilution of artistic value, focusing more on marketability than genuine storytelling [22][26]. - Films like "The Disappeared Her" effectively captured contemporary societal anxieties, demonstrating the potential for films to become significant social topics [19][21]. Group 4: Future Directions for the Film Industry - The industry must shift from a focus on broad emotional appeal to creating niche films that deeply resonate with specific audiences [28]. - A diverse film ecosystem is essential for sustaining audience interest, as relying solely on blockbuster hits can lead to market instability [26][28]. - The success of films that prioritize unique narratives and character development over formulaic approaches suggests a need for innovation in content creation [28].

用户懒了，媒体也懒了。 苹果此次推出了4款新手机：iPhone 17、iPhone Air、iPhone 17 Pro、iPhone 17 Pro Max。 配置方面： "科技界的春晚"又一次遭受冷遇。据郭静的互联网圈观察，熬夜看苹果2025年秋季新品发布会的人越来越少，而在朋友圈中也越来越少看到用户讨论 与"iPhone 17"相关的内容，甚至包括一些科技媒体/自媒体也都没有发布iPhone 17相关更新。 那么，是不是意味着苹果公司这次发布的iPhone 17没戏了？显然不是。对于媒体而言，他们也渐渐习惯了"等消息"的套路，与其熬夜拼身体跟iPhone 17发 布会，不如等其他媒体的"一文看懂iPhone 17XXX"、"一文读懂苹果发布会XXX"、"苹果发布会汇总XXX"等内容，第二天再根据相关消息做个汇总稿/分 析稿即可，新闻的信息差在这里基本上没用。 对于用户来说，一方面，苹果新手机的神秘感早就被透露个底朝天，很难会有"超历史"级别的大创新出现；另一方面，用户并非媒体从业者，反正改天看 消息，也不会错过什么，该买还是买，不买也不会因为熬夜看了发布会就冲一把。 用户端的影响也会从侧面影响媒体/自媒体的 ...

Core Viewpoint - The article discusses the current state of the Chinese film industry, highlighting the challenges it faces in retaining audiences and the impact of changing viewer demographics on box office performance [4][6][10]. Group 1: Box Office Performance - The summer box office in China reached nearly 120 billion, surpassing the same period last year, indicating a recovery despite earlier struggles [6]. - The top five films of the summer included "Nanjing Photo Studio," "Wandering Monster," "Chasing the Wind," "Lychee of Chang'an," and "Jurassic World: Rebirth," with the first three receiving ratings above 8 on Douban [6]. - "Nezha 2" achieved a remarkable box office of 15 billion, leading to mixed opinions on whether it expanded the market's potential or exhausted it [5][6]. Group 2: Audience Demographics - The total number of viewers during the summer season decreased by nearly 200 million compared to 2023, with an average cinema occupancy rate of only 6.9% [7][10]. - The average age of moviegoers increased from 27.7 years in 2021 to 32.5 years in 2023, suggesting that the same audience is simply aging [7][10]. Group 3: Industry Challenges - The article emphasizes that the Chinese cinema industry is losing its audience, with the relationship between viewers and films changing significantly over the years [7][10]. - The rapid growth of cinema infrastructure in lower-tier cities and the introduction of low-cost tickets previously attracted new audiences, but this growth has plateaued [9][10]. - The pandemic and subsequent cinema closures have disrupted the viewing habits of the new generation, leading to a decline in cinema attendance [10][11]. Group 4: Changing Consumption Patterns - The rise of alternative entertainment options, such as short videos and online games, has made it more challenging for cinemas to attract viewers [10][11]. - The cost of attending cinemas has increased, with ticket prices now averaging between 40 to 50 yuan or more, alongside the time commitment required for a film [13][12]. Group 5: Emotional Engagement and Content Strategy - The article suggests that films need to connect with social emotions to become relevant and generate discussions on social media, transforming them into "social currency" [14][15]. - Successful films like "The Disappeared Her" and "Nanjing Photo Studio" have effectively captured contemporary societal anxieties, leading to significant box office success [14][20]. - The focus on creating films that resonate with specific audience segments rather than attempting to appeal to the broadest possible audience is emphasized as a more sustainable strategy [20][18].

Group 1 - The core viewpoint of the article is that despite the summer box office performing better than the previous year, the Chinese film industry is facing a significant crisis as it struggles to retain its audience [5][9][20] - The summer box office reached nearly 12 billion, surpassing the same period last year, and was noted for having high-quality films [5][9] - The success of films like "Nezha 2" is viewed with mixed opinions, with some believing it expanded the market's potential while others argue it drained the market's capacity for the year [4][5] Group 2 - The average audience age has increased from 27.7 years in 2021 to 32.5 years in 2023, indicating that the same audience is simply aging [8] - The total number of viewers during the summer season decreased by nearly 200 million compared to 2023, highlighting a loss of audience engagement [8] - The article emphasizes that the film industry must find new value propositions to attract audiences, as traditional cinema experiences are losing appeal [27][30] Group 3 - The article discusses the shift in audience consumption patterns, with younger generations preferring interactive and engaging content over traditional cinema experiences [17][18] - The rise of alternative entertainment options, such as short videos and games, poses a significant challenge to the cinema industry [19][20] - The film industry is increasingly focusing on creating "social currency" through films that resonate with widespread emotions, rather than prioritizing artistic integrity [27][30] Group 4 - The article critiques the "maximum common divisor" approach in filmmaking, suggesting it leads to a lack of diversity and creativity in the industry [31][34] - Successful films in recent years have often simplified complex realities to create easily shareable content, which may not sustain long-term audience interest [30][35] - The industry is at risk of emotional desensitization among audiences due to the over-reliance on high-intensity emotional outputs [36][37] Group 5 - The article advocates for a focus on niche storytelling that deeply engages specific audiences rather than attempting to appeal to everyone [41][42] - Films like "Nanjing Photo Studio" and "Wang Wang Mountain Little Monster" are highlighted for their innovative narratives and focus on individual stories, contrasting with the trend of broad emotional appeal [41][42] - A healthy film ecosystem requires a variety of content that caters to diverse audience preferences, rather than relying solely on blockbuster hits [38][43]

Group 1: Core Insights - The explosive growth of the潮玩 (trendy toys) economy has become a significant phenomenon in the cultural and tourism consumption sector, with notable sales figures such as the first-day revenue of 7 million yuan for the film-related merchandise of "浪浪山小妖怪" and a market capitalization exceeding 100 billion HKD for the "first stock of trendy toys," Pop Mart [1][3] - The cultural and creative products (文博文创) are developing rapidly, but they still have considerable room for improvement compared to the massive communication power exhibited by trendy toy IPs like Labubu [1][3] - There are essential differences between潮玩 and文博文创, particularly in their consumer groups and purchasing motivations, which cannot be simply equated or directly replicated [3][6] Group 2: Consumer Behavior - Consumers of文博文创 primarily seek cultural experiences, with motivations ranging from the enjoyment of "excavating cultural relics" to using creative products for historical enlightenment for children [5][6] - The experience-driven consumption logic of文博文创 is evident, as consumers engage with historical knowledge through the process of purchasing and experiencing blind boxes, even if the items are ultimately left unused [6][9] - Understanding the cultural significance of文博 products requires a certain level of knowledge and aesthetic appreciation, which may not be accessible to all consumers, particularly foreign tourists [6][9] Group 3: Market Strategies -文博文创 can learn from潮玩 in terms of enhancing interactivity, fun, and topicality in product design, such as through cultural restoration experience blind boxes [15][17] - Expanding the sales and display of文博 products in various cultural and tourism venues can create a service network that lowers consumer recognition barriers [15][17] - Implementing systematic IP operations centered around cultural relics can help integrate story creation, product development, and precise communication, fostering a vibrant IP ecosystem [15][17] Group 4: Unique Pathways - The core attributes and operational logic of文博文创 differ significantly from潮玩, making direct replication of the latter's model impractical [17][18] -文博文创 can adopt methods from潮玩, such as community building among cultural enthusiasts and enhancing interaction through creative competitions and exhibitions, while maintaining cultural integrity [17][18] - By leveraging creativity and preserving cultural roots,文博文创 can carve out a unique path that balances social and economic benefits, distinct from潮玩 [17][18]