Core Viewpoint - The article discusses the plight of young women in Japan, focusing on how their choices are being restricted and how they are increasingly drawn into cycles of debt and emotional dependency through consumerism and entertainment [4][12][22]. Group 1: Social Issues and Trends - A notable increase in young women engaging in illegal activities, such as sex work, is linked to their emotional needs and desires for entertainment rather than just poverty [4][9]. - The phenomenon of "Higashi-Yoko Children" in Tokyo highlights the loneliness and social isolation faced by many young people, leading them to seek solace in shared interests, which can sometimes lead to harmful behaviors [9][10]. - The rise of "Oni-Kan" (male hosts) in nightlife has created a toxic environment where women are encouraged to spend beyond their means, often leading to debt and exploitation [12][13]. Group 2: Economic and Cultural Context - The economic stagnation in Japan has resulted in a shrinking consumer base of financially stable women, while the number of men seeking quick money through nightlife has increased, leading to fierce competition among male hosts [12][14]. - The traditional gender roles in Japan continue to persist, with women often being socialized to prioritize family over career, which limits their economic independence [17][22]. - The entertainment industry has capitalized on the emotional needs of women, creating a culture where they are encouraged to indulge in fantasies and consumerism, often at the expense of their financial stability [20][22]. Group 3: Psychological and Emotional Impacts - The article emphasizes that the emotional value derived from entertainment and consumerism can lead to addiction-like behaviors, where the initial joy diminishes over time, resulting in a cycle of dependency [4][28]. - Young women are often caught between conservative societal expectations and progressive ideals, leading to confusion about their roles and desires, which can exacerbate their struggles [25][26]. - The lack of attention to the mental and emotional well-being of lower-class women in Japan reflects a broader societal neglect, leaving them vulnerable to exploitation [18][19].

Core Viewpoint - The article discusses the decline of the idol economy in the Chinese entertainment industry, exemplified by the transition of idol冯若航 from a traditional female idol to participating in male-oriented interactive content, highlighting the challenges faced by lesser-known idols in finding new opportunities [3][10][14]. Group 1: Idol Economy Decline - The idol economy is experiencing a collapse, with many idols, especially those in the middle tier, struggling to find viable career paths [10][14]. - The transition of冯若航 to male-oriented content reflects a broader trend where idols are forced to seek alternative avenues for income as traditional idol roles diminish [3][14]. - The market for female idols is particularly challenging, as they face difficulties in attracting and retaining fans compared to their male counterparts [14][15]. Group 2: Shift in Content and Audience - The interactive work《美女，请别影响我成仙》 represents a significant shift in content, targeting a male audience and incorporating sexual innuendos, contrasting sharply with the traditional female idol image [5][7]. - The emergence of "完蛋like" content signifies a growing trend where idols are commodified in a way that reduces their status from admired performers to objects of male gaze [13][15]. - The audience for traditional female idols and "完蛋like" content is fundamentally different, with the former appealing to female fans and the latter catering to male gamers [5][8]. Group 3: Individual Idol Experiences -冯若航's career trajectory illustrates the plight of many idols who, despite initial success, find themselves in precarious positions as the idol market contracts [11][14]. - The article notes that冯若航's previous backing from a major entertainment company did not guarantee her continued success in the evolving market [11]. - Other idols, like王涵 and孙千予, are also entering the "完蛋like" space, indicating a trend among lesser-known idols to pursue this type of content as a means of survival [11][14].