"感谢马老师"。 无论是总决赛，还是整个节目，这句话在《喜人奇妙夜2》（以下简称《喜人2》）的高频程度甚至赛过了马东必cue的那一句"感谢美团团购"。 这是米未做Sketch（素描喜剧）竞演综艺的第五年，也是这家公司的第十一年。 从横空出世的《奇葩说》，让人看到 " 辩论 " 也能成为一档综艺节目， " 观点 " 也可以成为 " 作品 " ，辩论队辩手这一存在于大学校园里的身份也可以娱 乐明星，到《乐队的夏天》让独立乐队和音乐人走进大众视野， 进一步 反哺线下市场，再到专注 Sketch 的 四季喜剧综艺 ， 打破了脱口秀垄断喜综的格 局，十一年时光， 米未 逐渐养成了 每年只做一档节目 的习惯 ，但每当米未推出一个新品类，几乎都会给行业和观众带来耳目一新的娱乐体验，引发新 的风潮。 《乐队的夏天》演唱会 也因此，当《喜人2》落幕之时，即便整季节目不少观众都在真情实感地吐槽，但最终社交媒体上所有观众都与舞台上的喜人们一样感谢着马东， 感谢他 做了 这些 节目，并恳请他继续做下去 ，"马登，你配享太庙"成为了网生一代年轻人对于某种特定记忆的回响。 在确定"喜人"要休息之后，那么，马东下一年要拿什么来和年轻人对话 ...

Core Viewpoint - The article discusses the evolution and ambition of the company Miwei in the comedy industry, highlighting its unique approach to creating comedy content and nurturing new talent through collaborative methods [5][10][24]. Group 1: Company Overview - Miwei has produced four comedy shows over five years, discovering over 140 comedians and fostering a collaborative environment for them to create [5][6]. - The company emphasizes a "co-creation" philosophy, providing resources and spaces for comedians to develop their craft [5][10]. - Miwei's founder, Ma Dong, believes that the comedians themselves are the true stars, with the company playing a supportive role [5][10]. Group 2: Comedy Production Methodology - Miwei's approach to comedy production is likened to "farming," where the company cultivates talent through workshops and collaborative writing sessions [14][24]. - The company employs a "Yes, And" method, encouraging comedians to build on each other's ideas, fostering a creative and supportive atmosphere [15][29]. - The production process includes multiple rounds of audience testing (exhibitions) to refine performances based on real-time feedback [20][22]. Group 3: Strategic Decisions and Market Position - In 2020, Miwei faced a strategic decision to pivot towards comedy, recognizing the enduring demand for humor and the potential to fill a gap in the market for emerging comedic talent [10][26]. - The company aims to create a sustainable ecosystem for comedians, allowing them to earn a living while developing their skills [7][10]. - Miwei's long-term vision includes expanding into film and longer-form content, leveraging its established talent pool and production expertise [24][28]. Group 4: Cultural and Emotional Aspects - The company prioritizes the mental well-being of its creators, fostering an environment that values emotional health alongside creative output [28][29]. - Miwei's internal culture emphasizes collective storytelling and shared experiences, resonating with contemporary audiences seeking connection [24][28]. - The company has shifted its focus from merely producing content to becoming a content creation company, aiming to "brew its own wine" rather than just being a vessel for external content [24][28].

Core Insights - The rise of stand-up comedy shows in China, particularly "Comedy King Season 2" and "Talk Show and Friends Season 2," has sparked significant online discussions and controversies, highlighting the evolving landscape of comedy in the country [1][2] Online Variety Shows: Traffic and Controversy - The two comedy shows have achieved remarkable online popularity, with "Comedy King Season 2" generating 99 trending topics on Weibo during its premiere, while "Talk Show and Friends Season 2" garnered 51 trending topics [2] - Both shows feature a notable increase in female comedians, with 39% of the total 107 performers being women, marking a historical high for female representation in this genre [3][4] Content and Audience Engagement - The inclusion of female perspectives has enriched the topics discussed, addressing issues such as the collective fate of rural women, menstrual shame, and domestic violence, contributing to the shows' immediate success [4] - However, the focus on controversial topics has led to polarized opinions, with some praising the shows for bringing women's issues to mainstream attention, while others criticize them for potentially exploiting personal trauma for entertainment [5][7] Market Dynamics and Trends - The stand-up comedy market is experiencing growth, with a reported 53% increase in performance frequency and a 48% rise in box office revenue for stand-up comedy shows in 2024 [11] - Major cities like Beijing, Shanghai, and Chengdu are seeing a surge in live performances, with stand-up comedy shows accounting for 42.8% of all commercial performances in Beijing [11] - Despite the growth in online popularity, the offline comedy scene faces challenges, including uneven development and increased competition among venues [12] Financial Viability and Challenges - The financial landscape for stand-up comedy venues is complex, with operational costs often exceeding ticket sales, leading to a decline in audience numbers and profitability for many clubs [12][13] - Successful venues typically fall into three categories: those with strong brand recognition, those featuring well-known comedians, and those effectively utilizing social media to drive ticket sales [13] Conclusion - The stand-up comedy industry in China is at a crossroads, with online success not necessarily translating to offline viability, highlighting the need for a balanced approach to content creation and audience engagement [17]