Group 1 - The core issue highlighted is the growing tension between artists and their management companies, reflecting a crisis in the entertainment industry as companies struggle with resource allocation and support for artist development [3][4][7] - Many management companies are shifting their strategies to focus on signing younger artists to build a sustainable talent pipeline, recognizing the risks of relying solely on a few top artists [4][9] - The traditional model of artist management is becoming outdated, as companies face challenges in nurturing new talent due to increased production costs and a shrinking market for new projects [20][24] Group 2 - The departure of prominent artists from management companies can significantly impact the companies' revenues and overall business health, as seen with the cases of various artists leaving their agencies [7][10] - The entertainment industry is witnessing a shift towards direct collaborations between platforms and artists, bypassing traditional management companies, which diminishes the latter's role as resource intermediaries [22][24] - The industry's future may depend on companies evolving from resource controllers to value creators, fostering partnerships with artists that emphasize mutual growth and professional development [24][25]

Core Viewpoint - The article discusses the significant shift in China's film and television industry from the north to the south, particularly focusing on the Yangtze River Delta region, highlighting the reasons behind this migration and the implications for the industry [3][4][5]. Group 1: Historical Context - For a long time, the film and television industry in China maintained a balance between the north and south, with northern cities like Beijing and Changchun being central to the industry [5]. - The transformation in the location of film projects began around 2010, coinciding with the rapid growth of the Chinese film market, which became the second largest globally by surpassing Japan [5][6]. - The emergence of numerous local film and television industrial parks across the country was a result of increased demand during the industry's peak years [6][7]. Group 2: Current Trends - The northern film industry, particularly in cities like Qingdao, has seen a decline post-pandemic, with fewer large projects and a shift towards short dramas [7][9]. - Qingdao's Oriental Movie Metropolis, once a hub for major productions, is now struggling with low occupancy rates and high operational costs due to its expensive rental prices [11][12]. - In contrast, the southern region, especially the Yangtze River Delta, is experiencing a boom in new industrial parks and projects, with cities like Wuxi and Suzhou becoming popular filming locations [16][18]. Group 3: Factors Influencing Migration - The shift towards the south is attributed to several factors, including better weather conditions for filming, more convenient transportation networks, and supportive government policies in the southern regions [12][13][18]. - The Yangtze River Delta offers a more mature industrial chain, allowing for easier resource mobilization and collaboration among production teams [17][18]. - The financial incentives and subsidies provided by local governments in the south are significantly more attractive compared to those in the north, encouraging production companies to relocate [18][19]. Group 4: Future Outlook - The article suggests that the future of film and television production may lean towards "light asset" models, focusing on smaller, more flexible production facilities that can adapt to changing industry demands [21][22]. - The survival of film and television bases will depend on their ability to offer competitive pricing and comprehensive support services to production teams [21][23]. - The ongoing evolution of the industry indicates that adaptability and resourcefulness will be key for both northern and southern regions as they navigate the changing landscape of film and television production in China [23].

Core Viewpoint - The article discusses the decline of the idol selection era in the Chinese entertainment industry, highlighting the end of a vibrant chapter characterized by intense competition and the rise of idol groups through reality shows. The narrative reflects on the journeys of various idols and the challenges faced in sustaining their careers post-selection [1][5][10]. Group 1: Rise of Idol Selection Era - The year 2018 marked the beginning of the idol selection era in China with the launch of "Idol Producer," which followed the successful Korean model of "PRODUCE101" [2][4]. - The success of shows like "Idol Producer" and "Produce 101" created a new idol economy, leading to the emergence of popular groups and a significant cultural impact [4][5]. - The idol selection programs were initially well-received, with high engagement from fans and a sense of community among viewers [2][4]. Group 2: Decline of Idol Selection Era - The idol era lasted only four years, culminating in the cancellation of "Youth With You 3" due to the "milk-spilling incident," which symbolized the absurdity and challenges within the industry [5][8]. - Issues such as fan circle chaos, malicious marketing, and the lack of a complete idol industry chain contributed to the decline, revealing the fragility of the idol economy [6][8]. - The comparison between the rise of NINEPERCENT and the subsequent failure of NexT1DE illustrates the stark contrast in popularity and market reception, marking the end of the idol selection era [11]. Group 3: Future of Idol Selection - Despite the decline, there remains a possibility for new idol selection programs to emerge, as the demand for such entertainment persists among audiences [14][15]. - The article suggests that future idol programs may not replicate the previous model of intense fan engagement and financial backing, indicating a shift in how idol economies will operate [14][15]. - The historical context of idol selection shows that while the current era may have ended, the potential for reinvention exists, depending on how the industry adapts to changing audience preferences [14][15].