0:00 / 1:55 介绍，今年以来全国海关拦截183万件假LABUBU。同时还特别强调，中国海关的知识产权保护不仅服 务强国建设，更体现大国担当：对内对外一视同仁，既保护自主知识产权，也保护国外企业在我国的合 法权益，既阻止境外侵权产品流入国内，也打击国内侵权产品流向境外。 从点的突破到面的铺开，从"新三样"到"更多样"，中国经济的创新脉搏，在这样的迭代中愈发强 劲。由此带来的创新力量，也让我们有更充足的底气和自信去战胜困难挑战，让高质量发展成色更足、 底色更亮。 晶采观察，下期见！ 编审：伍刚 统筹：王薇 赵净 刘娜 记者：王晶 拍摄：沈杰辉 剪辑：罗懿薇（实习） 设计：李自然 8月25日，国新办举行"高质量完成'十四五'规划系列主题新闻发布会"，介绍"十四五"时期海关守护 国门安全、促进高质量发展成就。海关总署相关负责人介绍，"十四五"以来，出口"含新量"更足，2024 年"新三样"出口比2020年增长2.6倍。这一组数字意味着什么？ 外贸是观察经济的重要窗口。过去，我国在海外市场走俏的主要是服装、家具、家电这些"老三 样"，如今"新旧交替"，以电动载人汽车、锂电池、太阳能电池等为代表的"新三样"在出 ...

Core Viewpoint - The article discusses the phenomenon of a non-existent short drama titled "Trump Falls in Love with the White House Cleaner," which allegedly generated $150 million in revenue, highlighting the absurdity of media reporting on fabricated stories without verification [5][25][70]. Group 1: The Non-Existent Drama - The short drama claimed to have made $150 million in the U.S., which translates to over 1 billion RMB, a figure that is unrealistic for any single production [5][27]. - The supposed drama is based on a satirical premise involving a fictional relationship between Trump and a cleaner, which resonated with audiences despite its absurdity [8][14]. - The media frenzy surrounding the drama was fueled by a combination of a fictional web novel and misleading social media posts, leading to widespread misinformation [37][46]. Group 2: Media Dynamics - The article critiques the media's failure to fact-check and verify the existence of the drama, suggesting that the rapid production of news content has led to a lack of accountability [50][56]. - It highlights a shift in news production where quantity is prioritized over quality, resulting in the dissemination of sensationalized and often false information [51][52]. - The phenomenon reflects a broader trend where audiences are entertained by absurd news stories, leading to a cycle of misinformation that is accepted without scrutiny [57][73].

Group 1 - The new consumption models are emerging, with self-indulgent, emotional, and cultural entertainment consumption gaining popularity, leading to accelerated growth in quality consumption [1] - In the first half of the year, Zhejiang's total retail sales of consumer goods increased, with a growth rate that accelerated by 1.8 and 1.3 percentage points compared to the second half of last year and the entire last year, respectively [1] - Retail sales of sports and entertainment goods in Zhejiang increased by 57.6% year-on-year, while jewelry sales grew by 22.2% [1] Group 2 - The province hosted numerous large-scale concerts, attracting over 1.5 million attendees, which significantly boosted box office revenue and overall consumption [2] - The retail sales of new energy vehicles and energy-saving appliances in Zhejiang increased by 15.7% and 79.5%, respectively, in the first half of the year [2] - The holiday economy showed a notable impact, with tourism numbers during the "May Day" and "Dragon Boat" holidays increasing by 13.7% and 8.3% year-on-year, respectively, driving rapid growth in leisure and transportation services [2]

Core Insights - The article emphasizes the significant impact of the global political and economic environment on cultural trade, highlighting the need for China to enhance its international competitiveness in cultural trade and to develop digital cultural trade as outlined in the "14th Five-Year Plan" [1] Group 1: Cultural Trade Overview - In 2023, China's total cultural product import and export volume reached $166.36 billion, with digital cultural new formats like online dramas, online literature, and online games showing an upward trend [1] - Traditional cultural trade is facing challenges, with traditional cultural product exports declining by 9.3% to $148.40 billion, while imports increased by 9.4% to $17.37 billion, resulting in a reduced trade surplus of $131.03 billion [2] Group 2: Market Dynamics - China's cultural exports are heavily reliant on the US, Europe, and Japan, which have seen a contribution decline of 8.7% over the past five years, while emerging markets in Southeast Asia and the Middle East are becoming increasingly important for future growth [3] - The digital cultural new formats are experiencing explosive growth, with 16 digital technology-driven cultural industries achieving revenue of $5.91 trillion in 2024, a year-on-year increase of 9.8% [4] Group 3: Digital Cultural Growth - The overseas revenue from online literature reached $4.35 billion in 2023, growing by 7.06%, with North America accounting for 38% of total revenue [4] - The overseas sales revenue of self-developed online games exceeded $18.56 billion in 2024, marking a 13.39% increase, with a broad player base across various regions [5] Group 4: Cultural Services Trade - The government is actively promoting the development of cultural services trade, with a focus on enhancing competitiveness through policy measures and international cooperation, particularly with Belt and Road Initiative countries [6] - Cultural services trade is transitioning from traditional sectors to knowledge-intensive areas, with personal cultural and entertainment services exports growing by 39.3% in 2024 [6] Group 5: Challenges in Cultural Trade - The traditional cultural industry is slow to transform, leading to an imbalanced import-export structure characterized by high-end imports and low-end exports [7] - Local adaptation capabilities are lacking, and compliance issues are becoming more prominent, increasing operational costs for companies [8] - There is insufficient collaboration within the industry, leading to inefficiencies, particularly in the translation processes for online literature [9] Group 6: Strategic Recommendations - Recommendations include upgrading traditional industries through technology, establishing a global certification system, and enhancing talent development in digital cultural industries [10] - A "technology + rules" digital trade model is suggested to support core technology development in new formats and to ensure compliance with international regulations [11] - Financial support mechanisms are proposed to mitigate risks associated with cultural trade, including the establishment of a cultural export insurance pool [11]

Group 1 - The forum highlighted the transformative impact of digital intelligence on the cultural industry, promoting its prosperity and providing vast development space for cultural trade [3] - Innovation is fundamental to cultural trade, encompassing literary, artistic, technological, and operational innovations [3] - Chinese companies are shifting from "borrowing boats to go to sea" to "building boats to go to sea," with successful examples in animation, gaming, trendy toys, and theme parks [3][4] Group 2 - Companies like Bubble Mart are focusing on global operations, leveraging IP as a core driver to connect with global consumers [3] - 37 Interactive Entertainment has expanded its business to over 200 countries, integrating Chinese cultural elements into game development and operations [4] - The forum featured discussions on digital cultural trade expansion, revitalizing traditional IPs, and the dual empowerment of brands and culture [5] Group 3 - Online literature has emerged as a global cultural trendsetter, with Chinese online literature entering a new phase of global IP co-creation [5] - Traditional cultural industries are revitalizing through digital technologies, creating new models and immersive experiences [5] - The forum included a policy roundtable discussing the latest measures to support high-quality cultural trade development [6] Group 4 - The forum announced the "2025-2026 National Cultural Export Key Enterprises and Key Projects," with 404 enterprises and 121 projects recognized [8]

Group 1 - The 21st China (Shenzhen) International Cultural Industries Fair is held from May 22 to 26 in Shenzhen, Guangdong, featuring 6,280 exhibitors showcasing over 120,000 cultural products [1] - The fair highlights new products, new business models, new consumption trends, and new developments in the cultural industry [1] Group 2 - The cultural consumption and tourism integration pavilion at the fair has attracted significant attention, showcasing historical sites, cultural districts, and immersive tourism experiences [3] - A notable product is a foldable flying camera developed by a tech company in Zhejiang, which uses AI algorithms for automatic tracking and shooting, appealing to outdoor enthusiasts [4][6] Group 3 - AI-generated travel photos are popular at the fair, allowing visitors to customize images based on different travel destinations and styles, indicating a trend in integrating technology with cultural tourism [8] - The "intangible cultural heritage" and "national trend" themes are gaining popularity among young people, with innovative products combining traditional crafts with modern designs, such as Su embroidery and cultural IPs [10] Group 4 - Cultural exports are evolving from merely going abroad to integrating into global markets, with successful examples including animated films and online games achieving record overseas box office sales [13] - Companies are innovating in cultural exports by customizing content for international markets, utilizing advanced tools for scriptwriting and marketing tailored to different regions [13]

Group 1 - The 21st China (Shenzhen) International Cultural Industries Fair opened with 120,000 cultural products on display and over 4,000 investment and financing projects available for transaction [1] - The fair focuses on exploring effective mechanisms for the integration of culture and technology, emphasizing the exhibition and transaction functions while enhancing internationalization, marketization, professionalism, and digitalization [1][2] - The event features a new artificial intelligence exhibition area with over 60 AI companies participating, showcasing immersive experiences through robotics, drones, and smart devices [2][3] Group 2 - Guangdong Province has been promoting the integration of culture and technology, implementing various policies to support the rapid development of digital cultural technology and new cultural business models [3] - Shenzhen's cultural industry has seen significant growth, with 3,754 cultural enterprises achieving a revenue of 1,287.51 billion yuan in 2024, accounting for 51.5% of the province's total and 9.1% of the national total [3] - Emerging cultural industries such as digital creativity, short dramas, and immersive experiences are rapidly developing, becoming new growth drivers for Shenzhen's cultural sector [3] Group 3 - The fair includes specialized exhibition areas for cultural exports and imports, helping companies with export potential to showcase their products [4] - Notable companies like Pop Mart are using unique IP strategies to promote Chinese brands internationally, while major players like Tencent and NetEase are showcasing their cultural export products [4] - The fair attracted 305 overseas exhibitors from 65 countries and regions, with an expected attendance of 35,000 overseas professionals [5] Group 4 - The fair aims to enhance the "monetization capability" of the cultural industry by creating various "super platforms" for transactions, investment, and cultural product promotion [6] - A total of 22 transaction promotion measures have been implemented to enhance the trading experience for participating companies [6][7] - The event will host nearly 200 activities, including product launches and investment meetings, and has doubled the number of release areas compared to the previous year [7]

Core Insights - The 21st Shenzhen International Cultural Industries Fair (Cultural Fair) has become a significant cultural event in China, serving as a platform for cultural exchange, trade, and high-quality development [1][2] - The fair has accumulated a total transaction volume exceeding 3 trillion yuan, showcasing over 2 million cultural creative products from around the world [2] - The fair emphasizes the integration of culture and technology, attracting over 300 leading brands, including new participants from various countries [2][3] Group 1 - The Cultural Fair serves as a "super trading platform" for cultural products and services, facilitating the optimization of cultural resources and promoting cultural exchange and trade [1][3] - The market-oriented participation in the fair has increased significantly, with the proportion of market-driven exhibitions rising from 50% to 75% [2] - The fair has established itself as a global hub for cultural industry product display, international procurement, and investment promotion, with participation from 108 countries and regions [3] Group 2 - The fair has implemented 22 promotional measures to enhance transaction capabilities, focusing on upgrading scenarios, channels, and services [3] - The event has become a vital platform for the circulation of innovative cultural products and services, contributing to the overall prosperity of the national cultural industry [3] - The fair supports the internationalization of Chinese cultural products, facilitating their entry into global markets and fostering cooperation between domestic and foreign enterprises [3]

晚上看了一眼昨天评论席里的互动投票，果然和我想的差不多。我的读者主流画像是30-45岁的一二线城市精英，男多女少。无论是年龄、收入、性别都 有一定的倾斜，这样的人群很容易在价值观上右倾，也就是常说的保守主义。 很多人一听到保守两字就觉得是愚昧的，落后的，比如昨晚那个骂我草包的，说要是都你们这些草包，中国还是封建社会。我看了觉得好笑，这哥们是典 型的书读的不多，但情绪却十分炽热的那类网民。话说大家觉得马斯克是草包吗，马斯克愚昧落后吗？ 支持保守主义的人大都是上了年纪，有大量的社会阅历，开始倾向于尊重成熟的秩序。有人说这是因为成功的中年男性大都是既得利益者，所以屁股决定 脑袋，不愿意保持改变。 我觉得有一定道理，但年轻人也通常会犯一个常见的幼稚病，觉得这个世界各种不公都可以通过改革来纠正，但历史证明社会不是每一次都能越变越好， 越变越糟糕的情况很多。 总的来说人类社会既需要年轻人的锐意进取，也需要中年人的沉稳持重，这两者的关系是互补，而非矛盾。 这两天社交媒体上都在热议美国大选，想想也挺好笑的，我们这些一票没有的中国人偏偏代入感和参与感都很强烈，美国应该增加一个"网络州"，美国平 时全世界的闲事都要管，那他们的总 ...