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星二代排队去韩国出道,普通人逆袭更难了
36氪· 2025-09-14 13:43
Core Viewpoint - The article discusses the rise of "second-generation" idols in the entertainment industry, particularly in South Korea, highlighting the shift from grassroots success stories to those with privileged backgrounds, often referred to as "Nepo Babies" [3][26]. Group 1: Rise of Second-Generation Idols - The trend of second-generation idols is becoming more prominent in the entertainment industry, with examples like Shen Jiayun and Annie, who have strong familial connections to wealth and influence [5][22]. - The narrative of struggling, grassroots idols is being overshadowed by those who come from affluent backgrounds, leading to a cultural shift in idol representation [7][31]. Group 2: Training and Industry Dynamics - The rigorous training system for idols, originally modeled after Japan's practices, has evolved into a highly competitive environment where only a small percentage of trainees debut [11][24]. - The K-POP industry is increasingly dominated by large companies that have the resources to promote and train idols, making it difficult for independent trainees and smaller companies to succeed [30][31]. Group 3: Cultural Commentary on Nepotism - The term "Nepo Baby" has gained traction, referring to individuals who benefit from their family's connections in the entertainment industry, leading to discussions about privilege and meritocracy [26][28]. - The public's perception of second-generation idols is complex, with admiration for their talent but also criticism regarding their privileged backgrounds [29][30]. Group 4: Future of K-POP - The article suggests that replicating the success of groups like BTS is becoming increasingly difficult due to the changing dynamics of the industry, where wealth and connections play a significant role in an idol's success [30][31]. - The pandemic has exacerbated inequalities within the K-POP market, making it harder for aspiring idols from less affluent backgrounds to break into the industry [31].
星二代排队去韩国出道,普通人逆袭更难了
Hu Xiu· 2025-09-11 06:12
Core Insights - The article discusses the rising trend of "second-generation" stars in the Korean entertainment industry, highlighting how they are gaining prominence and reshaping the idol culture [1][2][3]. Group 1: Emergence of Second-Generation Stars - Chinese star Shen Jiayun, daughter of Xiao Shenyang, debuted as a solo singer in Korea and gained popularity with her song "Mei Mei Sang Nei," leading to misconceptions about her father's wealth [1]. - The K-POP group Allday Project, considered a top new group, features members from affluent backgrounds, including Annie, the daughter of a conglomerate chairman, who had a significant social media following before debuting [1][10]. - The virtual girl group HUNTR/X, which gained fame from the Netflix film "K-POP: Demon Hunters," is also backed by influential figures from the previous generation of idols [1]. Group 2: Changing Narratives in Idol Culture - The traditional narrative of "grassroots success" in idol culture is shifting towards stories of second-generation idols who face pressure to succeed and avoid returning to family businesses [3][19]. - The rigorous training system for idols, originally inspired by Japan's practices, has become a hallmark of the Korean entertainment industry, with high competition and low success rates for trainees [4][13]. Group 3: The Impact of Wealth and Background - The article notes that many current idols come from wealthy families, referred to as "golden spoon" individuals, contrasting with the "earthen spoon" background of earlier idols who often had to struggle [12][18]. - The success of groups like BTS, which emerged from humble beginnings, is becoming less common as the industry increasingly favors those with financial backing and resources [6][18]. Group 4: Global Trends and Comparisons - The phenomenon of "Nepo Babies" is not limited to Korea, as similar trends are observed in Hollywood, where the offspring of celebrities are gaining attention and success [14][15]. - The article highlights the complex public perception of these second-generation stars, who are both admired and criticized for their privileged backgrounds [16][17].
地下偶像,加速进行时
Hu Xiu· 2025-09-05 02:52
Core Insights - The underground idol (地偶) market in Japan is experiencing a significant growth phase, with domestic capital showing interest in entering the market [1] - The domestic underground idol market is estimated to have a market size of approximately 2 billion, with male and female idols each accounting for half [1] - The number of underground idol groups in China has more than doubled since 2023, with 147 groups reported in the first year [1][4] Group 1: Market Dynamics - The underground idol scene in China has seen a rapid increase in the number of groups, with 101 new female groups in 2023 and an additional 188 in 2024 [4] - The male underground idol market is estimated to be around 100 million, with 60 male groups currently active [5][6] - The competition landscape for female underground idols is becoming increasingly difficult, with many groups struggling to attract audiences and generate revenue [10][12] Group 2: Revenue Generation - Both male and female underground idols rely heavily on "special tickets" (特典券) for revenue, which allow fans to interact with idols [23] - Self-managed groups can retain all earnings from special tickets, while those under agencies share revenue [24] - The emotional connection with fans is crucial for revenue, as idols must provide personalized interactions to maintain support [27][29] Group 3: Industry Trends - The entry of capital into the underground idol market is becoming a trend, with many entertainment companies looking to invest [33][36] - The market is characterized by a low barrier to entry, allowing many amateur groups to form with minimal investment [33] - The lack of original content in the underground idol scene is a significant challenge, with many groups relying on Japanese songs rather than creating original Chinese content [37][38]
B站酷狗乐华集体瞄准,国内地偶加速进行时
3 6 Ke· 2025-09-05 00:18
Core Insights - The underground idol (地偶) market in Japan is experiencing a significant growth phase, with domestic capital showing interest in entering the market [1] - The domestic underground idol market has seen a continuous increase in the number of groups, doubling from 147 groups in 2023 to over 300 [2] - The male underground idol sector is rapidly expanding, with a notable increase in participation from various demographics, including students and professionals [2][4] Market Overview - The underground idol scene in China has evolved from a niche subculture to a more mainstream business, with a significant increase in the number of female and male groups [4][5] - Female underground idols face challenges in monetization due to a saturated market and limited audience, with some groups struggling to attract more than a handful of fans to performances [5][7] - The male underground idol market is characterized by a more diverse audience and less rigid stylistic constraints, allowing for a broader range of performance styles [13][18] Financial Dynamics - Revenue generation for underground idols primarily relies on "special tickets" (特典券), which allow fans to interact with idols, as ticket sales typically go to event organizers [19] - The financial viability of underground idol groups is often precarious, with many new groups failing to sustain operations beyond a few months due to high competition and low audience turnout [7][8] Competitive Landscape - The competition among female underground idols is intensifying, with many groups adopting unconventional strategies to attract audiences [10][11] - In contrast, the male underground idol sector is experiencing a surge in new entrants, with many aspiring idols drawn by the potential for quick returns on investment [11][18] - The market is witnessing a trend where established entertainment companies are beginning to invest in underground idols as a means to capitalize on the growing interest [31] Cultural and Social Factors - The underground idol phenomenon is heavily influenced by cultural factors, with many idols and fans sharing a deep interest in Japanese pop culture [5][28] - The emotional connection between idols and fans is crucial, with idols often engaging in personalized interactions to maintain fan loyalty [24][26] - The concept of "恋营" (romantic engagement) is prevalent in the male underground idol scene, leading to both increased revenue and potential conflicts among fans [26][27] Future Outlook - The underground idol market is expected to continue evolving, with many groups preparing for greater visibility and potential mainstream success [31][33] - The need for original content and unique performances is highlighted as a critical factor for the long-term sustainability of underground idol groups [33]
为什么日本女性宁愿负债也要找牛郎?
虎嗅APP· 2025-07-06 13:23
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].
女爱豆扎堆拍“完蛋like”,腰部偶像的生存之道
3 6 Ke· 2025-04-29 08:43
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].