以下文章来源于新周刊 ，作者顺顺 新周刊 . 中国最新锐的生活方式周刊。 文 ｜ 顺顺 编辑 ｜ 陆一鸣 来源 ｜ 新周刊（ID：new-weekly） 封面来源 ｜ 顺顺 摄 你一定也在社交平台上刷到过这样的"工地盒饭"：一份和饭盒齐平的米饭和青菜上，盖上两三勺堆得像小山似的卤肉，最后再浇上几勺香浓的卤肉汁。这样 健康现做又量大的盒饭，一份只需要10元，以至于评论区很多人不敢相信这是上海的物价。 最近几个月来，被裁员的前程序员小兵在家附近的工地卖起了盒饭，并用自媒体记录自己的经历，仅仅半个月的时间，他就有了20万的粉丝。 小兵的账号主页。(图/@小兵开摆了) 某种程度上，自媒体创业给了年轻人打开另一种生活的契机，但在流量算法机制下，生活的本质与社交媒体的展示属性之间又无可避免地相互冲突。小兵的生活，也 是流量时代下生存实验的一个缩影。 不过，小兵能够"顺利起号"、吸引粉丝原因，大概不只是大家对于实惠饭菜的向往，而是镜头那端人与人之间的真实互动。在小兵的视频里，工地上流动的 工人、拾荒老人、路过的司机大哥，都不是背景板，而是一同被看见的具体的人。 在当下，自媒体几乎涵盖了所有人"改行""创业"的想象力。在社交 ...

以下文章来源于看客inSight ，作者看客 看客inSight . 微信编辑/秦哈欠 来源/看客inSight 网易文创·看客栏目：看看这个荒诞又有趣的世界。 文化缩影。 作者/赵土司 内容编辑/小山 (ID：pic163) 就 业 越 来 越 难 了 。 回 家 啃 老 不 再 是 一 件 新 鲜 事 ， 甚 至 开 始 " 领 域 细 分 " ， 完 全 靠 父 母 养 叫"啃老"，三不五时伸手要点生活费叫"嘬老"，掏空六个钱包买车买房养下一代叫"托 举"…… 还有一种介于两者之间的，是互联网上最近出现的一批"家庭故事博主"。他们靠家人出 镜获得流量，成为自媒体博主，说是啃老吧，拍摄、文案、接商务一样没少干；说独立 吧，完全是"靠爹吃饭"。 2 0 2 2年 ， 潮 汕 男 孩 阿 游 被 公司 裁员。 前同 事找 他 创业 做 自 媒 体 ， 他 抱 着 " 一 夜 暴 富 " 的 幻想入行，但拍了一堆，反响平平；直到他回到汕尾，把镜头对准了家人—— 拍摄父亲的第一部"微纪录片"《爹味元宇宙》获得了全网2 0 0万播放，成为阿游正在运 营的自媒体账号中的爆款，还被邀请去F irst电影展特别展映。 影 ...

Core Viewpoint - The article highlights the story of a young man, Xiao Bing, who transitioned from being a programmer to selling affordable lunch boxes at construction sites in Shanghai, illustrating the intersection of self-media entrepreneurship and the realities of labor in urban China [5][7]. Group 1: Xiao Bing's Business Model - Xiao Bing sells lunch boxes for 10 yuan, which are popular among construction workers for their generous portions and affordability, reflecting a demand for substantial meals at low prices [8][15]. - His setup includes a four-wheeled cart and a 30L thermal container for the meat, allowing him to serve a high volume of customers quickly [13][14]. - The business has gained traction, with Xiao Bing selling out quickly, indicating a successful model that meets the needs of laborers who prioritize value for money [15][30]. Group 2: Background and Motivation - Xiao Bing, born in 1999, faced unemployment after being laid off as a programmer, prompting him to explore self-employment through food sales [18][20]. - His previous experience in the food industry and a desire to escape the pressures of corporate life motivated his shift to selling lunch boxes [20][21]. - The financial pressures of a mortgage and family responsibilities further fueled his decision to start this venture [20]. Group 3: Social Media Impact - Xiao Bing's journey gained significant attention on social media, with his account amassing 200,000 followers in just 15 days, showcasing the potential for self-media to create new opportunities for young entrepreneurs [27]. - His content resonates with viewers due to its authenticity and the portrayal of real interactions with customers, contrasting with the often curated nature of social media [7][34]. - Despite the initial challenges and negative feedback, his persistence led to a successful online presence that complements his food business [25][27]. Group 4: Community Engagement - Xiao Bing emphasizes the importance of providing affordable meals to workers, often giving away food to those in need, such as elderly scavengers, highlighting a sense of community responsibility [30][31]. - His interactions with customers reflect a deep understanding of their needs, as he adapts his offerings based on feedback to ensure satisfaction [17][34]. - The article illustrates the transient nature of the labor force in construction, with workers frequently moving, which adds a layer of complexity to maintaining customer relationships [32]. Group 5: Challenges and Future Considerations - Despite the success of his food sales, Xiao Bing faces challenges in maintaining viewer engagement on social media, as content can become repetitive [39]. - He is cautious about expanding his business model, preferring to focus on quality food service rather than diverting attention to elaborate content creation [39]. - The article concludes with Xiao Bing's commitment to authenticity in his work, choosing to remain true to his original concept rather than conforming to external pressures for change [39].

Group 1 - Zhang Xuefeng has established a new company, Suzhou Wujiao Cultural Media Co., Ltd., with a registered capital of 1 million RMB, focusing on various media and cultural services [2] - The company is co-owned by Zhang Zibiao (Zhang Xuefeng's real name), Ding Yu, and Kang Li, holding 60%, 30%, and 10% of the shares respectively [2] - Zhang Xuefeng currently has 11 associated companies, with 9 still active, including Suzhou Fengxue Weilai Education Technology Co., Ltd. and Suzhou Yantu Education Technology Co., Ltd., covering sectors like education, tourism, and technology [2] Group 2 - Zhang Xuefeng's social media accounts faced a suspension due to inappropriate remarks during a live broadcast, leading to a loss of nearly 1 million followers across platforms [3] - His accounts were reinstated on October 22, 2023, after a period of reflection and handling the situation [3] - As of the latest data, Zhang Xuefeng has over 40 million followers across various platforms, including Douyin and Weibo [3] Group 3 - Suzhou Fengxue Weilai has applied for nearly 40 trademarks under the name "Nianhan," covering a wide range of international classifications [4] - The majority of these trademarks are currently in the initial review stage [4] - The name "Nianhan" is derived from Zhang Xuefeng's daughter, indicating a personal connection to the brand [4]

Group 1 - Zhang Xuefeng has established a new company, Suzhou Wujiao Cultural Media Co., Ltd., with a registered capital of 1 million RMB, focusing on various media and cultural services [1] - The company is owned by Zhang Zibiao (Zhang Xuefeng's real name) and two other shareholders, with Zhang holding 60% of the shares [1] - Zhang Xuefeng currently has 11 associated companies, 9 of which are active, covering sectors such as education, tourism, and technology [1] Group 2 - Zhang Xuefeng's social media accounts faced a suspension due to inappropriate remarks during a live broadcast, resulting in a loss of nearly 1 million followers across platforms [2] - After the suspension, his accounts were reinstated, and he has over 40 million followers across various platforms, including Douyin and Weibo [2] - Zhang Xuefeng gained fame in 2016 with his online content and has since expanded his business into multiple educational services [2] Group 3 - Suzhou Fengxue Weilai has applied for nearly 40 trademarks under the name "Nianhan," covering various international classifications, with most currently in the initial review stage [3] - The trademark name "Nianhan" is derived from Zhang Xuefeng's daughter [3]

Group 1 - The article discusses the shift from a growth-focused narrative in the financial industry to a more cautious approach as the economy enters a downturn [2][5][7] - It highlights the challenges faced by professionals in the finance sector, leading to a trend of individuals leaving traditional roles for self-media entrepreneurship [2][5][8] - The podcast format is emphasized as a new medium for financial discussions, with a focus on authenticity and the sharing of real experiences [8][9] Group 2 - The conversation touches on the changing dynamics of the investment landscape, where the emphasis on scale is diminishing [7][8] - It notes the increasing complexity and competition in the self-media space, making it more challenging for new entrants [8] - The article reflects on the emotional and psychological aspects of leaving established career paths, indicating a shift in mindset among finance professionals [5][6][8]

Group 1 - The self-media industry is set to undergo a significant transformation starting in 2025, with AI tools enhancing efficiency and enabling mass content production [1][3] - Virtual anchors are becoming commonplace in live streaming, with software capable of accurately replicating human expressions and generating personalized scripts, leading to substantial increases in sales and reduced marketing costs [3][5] - The rise of digital humans is expected to reshape the cost structure of the live streaming industry, allowing for the creation of live streaming matrices at a fraction of the cost of human hosts [3][5] Group 2 - Major platforms are restructuring traffic rules, with various social media and content platforms competing for creators and offering diverse monetization options [5][7] - The emergence of new content formats, such as comic videos generated from text using AI tools, is streamlining production times significantly [5][7] - The future of content creation will focus on emotional resonance rather than mere information transmission, emphasizing the importance of understanding user psychology [5][7] Group 3 - The self-media sector is entering an era of human-machine collaboration, where AI becomes an essential tool for creators, providing unprecedented opportunities for ordinary individuals [7] - Emphasis is placed on the need for creators to master tools, understand platforms, and gain insights into human behavior to succeed in the evolving landscape [7] - As marginal costs approach zero, even small individuals can create substantial business opportunities, highlighting the importance of adapting to future trends [7]

Group 1 - The article discusses the pitfalls of buying fake followers and engagement, highlighting that such practices can permanently damage account credibility and lead to account bans by platforms [1] - It emphasizes the misconception that frequent posting guarantees success, revealing that 72% of content may go unnoticed, with only 8% generating revenue [1] - The article suggests that individuals should focus on unique content niches and avoid common pitfalls in self-media entrepreneurship [2][4] Group 2 - It outlines methods for ordinary individuals to break through in self-media, including finding a unique niche and leveraging existing trends [2] - The article warns against scams related to AI-driven content creation, where individuals are misled into believing they can easily generate viral content [4] - It stresses the importance of data analysis and strategic planning in self-media entrepreneurship, advocating for a shift from content labor to digital asset management [5][6] Group 3 - The article encourages creators to document their ideas and establish a content library for efficient production [6] - It highlights the need to identify and address unmet needs in the market by analyzing successful content [7] - The piece concludes that the future of self-media entrepreneurship will reward genuine and professional content over mere algorithmic manipulation [9]