以下文章来源于刘知趣 ，作者刘知趣 刘知趣 . 虎嗅、澎湃新闻认证作者，十年互联网市场搬砖女工。曾任职于百度、知乎，现关注新青年一代如何更好地生活。 来源丨刘知趣（ID： liuzhiqu7788 ） 作者丨 刘知趣 图源丨Midjourney 简单来说，欧美社会的「软件」——制度、文化、心理，有足够的时间匹配经济与技术这些「硬件」的发展。 而东亚三国，走的是「先上车，后补票」的路径。经济一路狂奔，但社会保障与调节机制相对滞后。 2023年，Netflix上线的韩剧《黑暗荣耀》爆火，讲述了一名校园暴力受害者多年以后精心策划复仇的故事。剧情之外，更令观众深思的，是其背后所暗藏 的社会情绪，压抑、隐忍，以及长期积累的愤怒。 而在日本，NHK镜头下的多部纪录片，揭示了深层的社会结构性困境：大量非正式雇员与中年女性在就业歧视、育儿重负与社会保障缺位的夹缝中艰难维 生；与此同时，许多老年人即便一生努力工作， 在养老金微薄、医疗支出高昂的现实下， 仍然难逃「老后破产」的命运。 这些日韩的文化作品，无论风格如何迥异， 似乎都在共同指向同一种社会状态：「努力就能成功」的叙事正在失效。个体在庞大的社会结构中深深的无力 感。年轻 ...

Group 1 - The core viewpoint of the article is that the recent measures announced by the National Radio and Television Administration (NRTA) to promote television content supply are expected to revitalize the domestic film and television industry, similar to the recovery seen in the gaming sector after the lifting of game license restrictions [1][3] - The measures include promoting the introduction and broadcasting of high-quality foreign programs, which will increase content supply and encourage domestic creators to produce high-quality works [3][4] - The film and television sector experienced a significant market reaction, with stocks of companies like Huace Film & TV and Ciwon Media reaching their daily limit [1][3] Group 2 - The introduction of foreign dramas has been limited for the past decade, and the current global content landscape has changed significantly, with concerns that the quality of foreign content may not impact domestic productions as severely as before [4][6] - The audience for high-quality foreign dramas is primarily young, educated individuals, raising questions about the ongoing appeal of such content to the Z generation [6][7] - The article highlights the historical context of foreign drama imports in China, noting that they were once a significant source of content but have seen a decline due to regulatory restrictions [8][10][11] Group 3 - The article discusses the evolution of the competition among video platforms, emphasizing that the focus has shifted from acquiring foreign content to creating differentiated offerings to attract viewers [5][32] - The rise of domestic web dramas and adaptations of online literature has become the mainstream, as platforms pivot away from foreign dramas due to regulatory challenges and changing audience preferences [31][32] - The article suggests that the return of foreign dramas could serve as a necessary supplement to the declining production of domestic dramas, which has raised concerns within the industry [33][36]