上次写《 下一代核心商业媒体，应该是视频播客 》更偏平台和传播视角，这篇从创作者视角来说，为什么部分主播需要考虑来做视频播客。 一、 所谓视频播客，本质是场show 衣鹏今年去海外跑了一圈，带回来一个很有意思的观察：在伦敦和美国的创作者论坛上，80%的主播在介绍自己时，不再说自己做的是 "Podcast"（播客），而是说自己做的是一个 "Show"（节目）。 为什么会有这种称呼上的集体叛逃？ 因为大家都在做 YouTube。 一旦你涉足了视频，一旦你的内容同时出现在 Spotify 的耳机里和 YouTube 的屏幕上，再死磕"Podcast"这个词就显得非常累赘。你还得费劲去跟 别人掰扯：我这到底是 Audio Podcast 还是 Video Podcast？是纯听的还是带画面的？是读稿的还是聊天的？ 太麻烦了。"Show"（节目），才是今天所有内容平台的最大公约数。 媒介融合已经是事实，看看现在的环境： 而且在今天，你会发现一个非常有趣的现象：腾讯视频、B站、微博、微信、小红书、抖音，这些性质不同的平台都在视频播客这件事上产生了 交集。 Google 已经把 Google Podcasts 这个 App ...

当技术褪去，让每一个个体被看见。 撰文｜杨柳 图片来源｜鸿蒙 一种被珍视的感觉，让无数年轻的创造者奔向这片新大陆。 有人还没起床，就已经在屏幕里把一天拆解成待办事项；有人在通勤路上，把世界调成播客频道；还有人每天记录日出日落、饮咖数量，甚至排便次数。 这些看似零散、私密的瞬间，拼接成高度个人化的赛博日常。 当数字生活被不断细分，新的需求便自然涌现。一个小众兴趣、一个被忽略的使用场景，都可能生长出新的应用形态，甚至引发一场产品风暴。 近几年，这样的故事开始频繁出现在鸿蒙生态里。 越来越多抓住机会的年轻人，在这里不断创造——播客创作、视觉表达、旅行规划、生活记录……作为一个面向多终端全场景的操作系统，鸿蒙正在成为 开发者争相涌入的一片广阔海洋。 近日，作为鸿蒙体验官的陈鲁豫与多位年轻开发者展开生动的对话，他们的讲述，让人们看到了一种久违的氛围——每个人的需求都被关照，每个人的创 造都被珍视。 信的最后，她留下了一句话："我现在用的是鸿蒙手机，但我真的不能没有小宇宙。" 这句话深深触动了小宇宙 联合创始人 李会洋。他将信分享给团队后，给自己立下"军令状"：这件事非做不可。 "从心出发的选择自有它的力量"，上线鸿蒙后 ...

当技术褪去，让每一个个体被看见。 撰文｜ 杨柳 图片来源｜鸿蒙 一种被珍视的感觉，让无数年轻的创造者奔向这片新大陆。 有人还没起床，就已经在屏幕里把一天拆解成待办事项；有人在通勤路上，把世界调成播客频道；还有人每天记录日出日落、饮 咖数量，甚至排便次数。这些看似零散、私密的瞬间，拼接成高度个人化的赛博日常。 当数字生活被不断细分，新的需求便自然涌现。一个小众兴趣、一个被忽略的使用场景，都可能生长出新的应用形态，甚至引发 一场产品风暴。 年初，小宇宙团队收到了一封"万字长文"。一位已经怀孕的用户在信中回顾了自己人生的重要阶段——考研、工作、结婚、生 育，而小宇宙几乎贯穿其中。 信的最后，她留下了一句话： "我现在用的是鸿蒙手机，但我真的不能没有小宇宙。" 近几年，这样的故事开始频繁出现在鸿蒙生态里。 越来越多抓住机会的年轻人，在这里不断创造——播客创作、视觉表达、旅行规划、生活记录……作为一个面向多终端全场景的 操作系统，鸿蒙正在成为开发者争相涌入的一片广阔海洋。 近日，作为鸿蒙体验官的陈鲁豫与多位年轻开发者展开生动的对话，他们的讲述，让人们看到了一种久违的氛围—— 每个人的需 求都被关照，每个人的创造都被珍视 ...

Core Insights - The report indicates that the Chinese podcast industry is in a "revival period," with the audience size reaching 120-140 million in 2023 and expected to exceed 170 million by 2025, with a market size projected to surpass 5 billion RMB [11][12][13]. Group 1: Market Overview - The podcast market in China is characterized by a unique positioning within the "ear economy," capturing a high-value audience that is well-educated and affluent [11][12]. - The audience demographics show that over 80% are from Generation Z and Millennials, with more than 60% located in first-tier and new first-tier cities [11][12]. - The listening scenarios are primarily commuting (65.8%), household chores (48.2%), and before sleep (42.5%), with an average listening duration exceeding 30 minutes and a completion rate of 60%-80% [11][12]. Group 2: Industry Structure - The podcast ecosystem is thriving, with active podcast programs increasing from less than 10,000 in 2019 to over 50,000 in 2023, supported by MCNs like JustPod and PodFest China [11][12]. - The distribution platforms are characterized by a "one strong, many strong" model, with platforms like Ximalaya holding significant traffic advantages, while niche platforms like Xiaoyuzhou create high-engagement communities [11][12]. - The content categories have expanded from general culture and talk shows to include technology, finance, psychology, and podcast dramas, with talk shows accounting for 30.5% of listening time [11][12]. Group 3: Commercialization and Revenue - Advertising is the primary revenue model, accounting for over 70% of income, with host-read ads showing high conversion rates due to trust [11][12]. - The podcast market's total revenue was approximately 1-1.5 billion RMB in 2021, with expectations to exceed 5 billion RMB by 2025, driven mainly by advertising revenue [11][12]. - The industry faces challenges in monetization, including the "data black box" issue, balancing creator commercialization with content quality, and platform revenue-sharing disputes [11][12]. Group 4: Future Trends - The report predicts four major trends: AIGC technology will enhance content production and distribution; video podcasts will lower listening barriers; smart devices will create new listening scenarios; and improved data monitoring standards will accelerate commercialization [11][12][13].

Group 1 - The article reflects on the increasing frequency of farewells and separations experienced over time, particularly in the context of changing jobs and friendships [1][2][9] - It discusses the transient nature of workplace relationships, highlighting the lack of deep connections due to high employee turnover and shifting interests [2][10] - The author contrasts this with stable friendships formed outside of work, emphasizing the comfort of long-term connections and shared experiences [3][4] Group 2 - The narrative includes a personal anecdote about a farewell ceremony in the Arctic, illustrating the joy of unexpected connections and shared moments with new acquaintances [12][14] - The article emphasizes the significance of casual encounters and the beauty of serendipitous experiences during travel [20][21] - It reflects on the importance of maintaining a relaxed attitude towards farewells, suggesting that not all separations need to be viewed negatively [25][22] Group 3 - The author critiques the cultural tendency to avoid discussing death and negative topics, suggesting that this avoidance can hinder genuine expression in creative work [27][28] - The article highlights a story about a friend with bipolar disorder, showcasing the contrast between cultural taboos and a more relaxed approach to difficult subjects [32][30] - It concludes with reflections on the philosophical insights of Han Shan, a poet known for addressing themes of death and detachment in a relaxed manner [40][49]

Core Viewpoint - Tencent Music Entertainment Group (TME) has officially announced the acquisition of long audio platform Ximalaya for approximately $2.4 billion, marking it as the largest merger in China's internet audio sector in recent years and indicating a new ecological integration and value reassessment in the Chinese audio marketing market [1][2]. Group 1: Acquisition Details - The acquisition will be executed through a cash and equity mix, with Tencent Music paying $1.26 billion in cash, issuing up to 5.2% of Class A common stock, and an additional 0.37% in incentive equity to fully acquire Ximalaya [2]. - Post-acquisition, Ximalaya will operate as a wholly-owned subsidiary of Tencent Music, maintaining its brand and team independence [2]. Group 2: Strategic Implications for Tencent Music - This acquisition represents a strategic upgrade for Tencent Music, which has faced challenges such as slowing growth in subscription users and diminishing streaming benefits [3]. - By acquiring Ximalaya, Tencent Music aims to fill its gap in the long audio sector and achieve a comprehensive content layout of "music + long audio" [3]. - The content distribution and monetization logic of Ximalaya complements Tencent Music's user system, allowing for precise recommendations and multi-platform exposure, which can drive cross-member growth and deepen content commercialization [3]. Group 3: Ximalaya's Positioning - For Ximalaya, being acquired by Tencent is both a strategic retreat and an opportunity for transformation, as it has struggled with weak profitability and user growth in recent years [4]. - Integration into Tencent's ecosystem provides Ximalaya with capital, technology, and opportunities for upgrading creator resources, copyright cooperation, distribution networks, and IP linkage while maintaining brand independence [4]. Group 4: Changes in Audio Marketing Landscape - The acquisition is expected to significantly impact the audio marketing industry, as long audio has become a key trend in content consumption, especially among Gen Z and users in lower-tier markets [5]. - The integration of Tencent Music and Ximalaya will lead to three key changes in audio marketing: 1. Creation of a "sound economy" closed loop through comprehensive content reach [5]. 2. Acceleration of content recommendation and commercialization driven by AI, enhancing ROI for advertisers [7]. 3. Optimization of monetization paths for creators, fostering closer brand collaborations through new models like custom podcasts and IP co-creation [8]. Group 5: Industry Outlook - The merger will accelerate industry reshuffling, posing stronger competition for platforms like NetEase Cloud Music and Tomato Listening [9]. - The ability of a sound platform to provide a complete chain of "content breadth + distribution depth + commercial tools" will become a crucial reference for brand investment decisions [9]. - This acquisition is seen as a systemic test of the integration capabilities of "content + technology + commerce," redefining marketing boundaries in the audio sector [9].

Core Insights - The introduction of audio features by major short video platforms like Douyin and WeChat Video indicates that the average time spent on short videos has reached a peak, suggesting a shift towards audio consumption as a means to extend user engagement [3][8]. User Engagement and Consumption Patterns - As of the end of 2024, the average daily usage time for short video applications in China is 156 minutes, marking a 3.1% year-on-year increase, which positions it as the leading internet application in terms of user engagement [3]. - The average weekly internet usage time for Chinese netizens is reported to be 28.7 hours, reflecting a 2.6-hour increase compared to the previous year, indicating that while short video consumption is high, overall internet engagement continues to grow [3]. Health and Usage Recommendations - The Chinese CDC recommends that adults take breaks every 40-60 minutes of screen time and limit total screen time to no more than 4 hours per day for non-work purposes [5]. - The World Health Organization suggests that adults should limit all screen entertainment time to no more than 2 hours per day, with many users likely exceeding this recommendation [6]. Audio vs. Video Consumption - The audio feature allows users to consume content without visual engagement, which may help platforms retain users who have reached their visual limits, thereby increasing platform stickiness and advertising revenue potential [8]. - Research indicates that while audio consumption is growing, the user base and revenue scale for audio platforms remain smaller compared to video platforms, although user engagement levels are comparable [8][10]. User Overlap and Market Dynamics - There is a 25-35% overlap in users between short video and audio platforms, but the overlap among deep users (those spending over 1 hour daily) drops to 10-15%, indicating distinct user bases for each type of content [10]. - In the U.S., about 65% of podcast listeners also use platforms like YouTube and TikTok, but the overlap among heavy users is less than 20%, suggesting that short video and podcast audiences are largely separate [10]. Cultural and Cognitive Considerations - The concept of "cultural stamina" is highlighted, indicating that users have limited time and attention for content consumption, leading to a stabilization in daily usage times for both short videos and podcasts after a period of rapid growth [12]. - A significant portion of users (over 60%) report that their time spent on short videos and podcasts has reached its limit due to a lack of available free time [12].