"讲到这里，差不多也就结束了，我今年的荔枝送到了，请大家笑纳，我到长安了。"在脱口秀演员和在场观众们的一声声冠军中，何广智真成为了《脱友 2》的冠军。 观众们欣喜于他从2020年至今在五档脱口秀节目中的表现和蜕变，并感慨于这是"牛马加冕"的一刻。 今年夏天，主题关于打工人，或明里暗里借用打工人来宣发，以期讨好打工人的影视综数不胜数。 《长安的荔枝》《戏台》《浪浪山小妖怪》……这些电影但凡沾一点边，都会在宣发物料里表示哪位主角是"职场牛马"，哪位配角遭受了怎样的辛酸，企 图用"你去把唐僧师徒除掉"的离谱任务来吸引观众们的共情，就连《心动的信号8》也成为了"二本恋综"，看见了以往被忽视的大多数。 7月18日，何广智段子中提到的《长安的荔枝》上映，第一则预告片便在强调主角要"力争长安户口，当差一丝不苟"，而为了前期剧情的喜感、戏剧化， 并吸引《年会不能停！》的粉丝，大鹏集结了他、白客、庄达菲的三人组，再叠加将官场职场化、现代化的创作理念，他几乎将该片前半部分拍成了古装 版的《荔枝不能停！》。 但站在暑期档结束的节点，不得不说，大鹏在《喜单2》卖力宣传那么久，所获得的节目效果都不如何广智这最后一个段子来得出色，而其它 ...

Core Viewpoint - The article discusses the trend of long video platforms in China focusing on creating content that resonates with the working class, referred to as "牛马" (cattle), by addressing their emotional struggles and workplace challenges in various reality shows and comedy programs [2][10][12]. Group 1: Industry Trends - Long video platforms are increasingly prioritizing "emotional value" in their content, aiming to provide comfort and understanding to the working class [2][10]. - The trend of empathizing with the working class has become a key strategy for variety shows in 2025, with many programs featuring relatable narratives about workplace struggles [3][12]. - Shows like "Tonight No Overtime" and "Chinese Restaurant 9" highlight the real-life challenges faced by ordinary workers, fostering a connection with the audience [3][12]. Group 2: Content Evolution - Comedy variety shows, particularly "喜综" (comedy variety), have been at the forefront of addressing workplace dilemmas and the "牛马" lifestyle, evolving into a mature creative model that resonates with viewers [4][6]. - Recent seasons of shows like "脱友" (Talk Show Friend) have emphasized the importance of storytelling that reflects the struggles of the working class, showcasing a shift from mere criticism of employers to a more nuanced exploration of workplace dynamics [6][7]. - The success of these shows has prompted other genres to adopt similar approaches, focusing on the authentic experiences of ordinary people rather than celebrity-centric narratives [10][13]. Group 3: Audience Engagement - The rise of "共情牛马" (empathizing with the working class) as a dominant theme in variety shows reflects a growing awareness of the collective anxiety faced by modern workers [11][13]. - The ability of these shows to provide both humor and healing has allowed viewers to find their own reflections and dignity within the content, enhancing audience engagement [9][12]. - The industry's shift towards addressing real-life issues faced by the working class is seen as a positive development, indicating a deeper connection between content creators and their audience [13].

Core Viewpoint - The entertainment industry is increasingly favoring content related to middle-aged women, with shows like "Sisters on the Run" and "Sisters in Charge" gaining significant attention and viewership, reflecting a broader societal appreciation for diverse female narratives [1][12][29]. Group 1: Show Highlights - The show "Sisters in Charge" features real-life segments of four women, showcasing their multifaceted roles in family and society, and has sparked discussions on social media, indicating its popularity [7][12]. - The first episode of "Sisters in Charge" achieved over 100 million views within two hours of its release, highlighting its immediate impact [12]. - The show employs innovative filming techniques, such as extended silent moments, to convey deep emotional narratives, resonating with audiences [13][9]. Group 2: Market Trends - The rise of "sister content" reflects a shift in societal values, breaking traditional beauty standards and showcasing women's capabilities across various fields [29][34]. - The primary audience for shows like "Sisters in Charge" and "Sisters on the Run" consists of women aged 35-55, who hold significant consumer decision-making power and are willing to invest in content that resonates emotionally [29][31]. - The overall female user base on online platforms has reached 624 million, indicating a strong market for female-centric content [31][32]. Group 3: Cultural Impact - The portrayal of middle-aged women has evolved from traditional roles to empowered figures, marking a significant cultural shift towards inclusivity and diverse representations of femininity [34]. - The success of shows featuring middle-aged women demonstrates a growing acceptance and appreciation for their stories, contributing to a more inclusive entertainment landscape [29][34].

Core Insights - The competition between Tencent Video's "脱口秀和Ta的朋友们2" (Talk Show and Its Friends 2) and iQIYI's "喜剧之王单口季2" (Comedy King Stand-up Season 2) is intensifying, with both shows aiming to capture audience attention during the summer of 2024 [1][3][18] - iQIYI's "喜剧之王单口季1" (Comedy King Stand-up Season 1) achieved significant success, topping viewership charts and maintaining a high rating of 8.2 on Douban, while Tencent's "脱口秀和Ta的朋友们1" (Talk Show and Its Friends 1) faced mixed reviews despite decent viewership [4][11] - The overall comedy variety show market is experiencing growth, with a 51.3% increase in broadcast index year-on-year, indicating a rising interest in this genre [11] Company Strategies - Tencent Video has established a strong foothold in the comedy variety show sector since 2017, leveraging popular IPs like "吐槽大会" (Roast) and "脱口秀大会" (Stand-up Comedy Contest) [3][4] - iQIYI has differentiated itself by collaborating with 米未传媒 (Miwei Media) and introducing innovative formats like "奇葩说" (Qipa Shuo) and "一年一度喜剧大赛" (Annual Comedy Competition), expanding the comedy genre's boundaries [3][4] - Both companies are focusing on enhancing their advertising partnerships, with "脱口秀和Ta的朋友们2" securing seven brand partnerships, indicating strong commercial potential [15][18] Market Dynamics - The competition is not only between the two shows but also includes other players like 优酷 (Youku) and 芒果TV (Mango TV), which are launching their own comedy and variety shows, intensifying the battle for audience share [13][18] - The overall variety show market is facing challenges, with a decline in viewership for top shows, necessitating a strong content strategy to revitalize interest [18][20] - The success of "喜单2" and "脱友2" is crucial for both platforms to maintain their influence and market share in the evolving entertainment landscape [18][20]