Core Summary
In an effort to overcome their survival crisis, traditional media have launched a "star-making movement" that encourages journalists to develop their own personal brands as IP. However, due to conflicts between institutional rules and the personal image these journalists create, financial disputes once the IPs gain popularity, and the media's own anxiety about transformation, this initiative is essentially a form of "performative self-rescue." It may seem lively on the surface, but it fails to nurture genuine IP and address the media's fundamental survival issues. Instead, it turns frontline journalists into overworked "all-rounders."
I. The Paradox of Star-Making: Institutions Seek "Safety," While IPs Need "Individuality"
The essence of a personal IP lies in its distinct personality—something unique, even somewhat radical or "wild"—to attract and retain fans. Yet, the core values of institutional media are "safety" and "objectivity," requiring every piece of content to be meticulously reviewed and approved. This is like asking someone in a suit and tie to dance street dance: they urge journalists to show their personality to attract viewers, yet they restrict their speech with strict rules.
In the past, Southern newspapers were able to create IPs like "Wu Song Lai Le" because of loose risk control and the nascent短视频 market. But today, with a changed public opinion environment, every word and action of journalists is tied to the media's credibility, leading to lengthy review processes for sharp commentary and in-depth investigations. As a result, journalists are forced to act as mere "figurants," handling all aspects of reporting, filming, and editing on their own. Despite working tirelessly, their content often has low viewership numbers, and they may even have to pay out of their own pockets to promote it; those who don't perform well are eliminated.
II. What Happens When IPs Become Popular?
Even if a journalist is lucky enough to build a million-follower IP, they quickly face a dilemma:
1. Identity Conflict: The media sees the IP as an institutional asset (an opportunity and a means of influence), while fans see the person behind it (one who appeals to their emotions and values, not just a brand).
2. Financial Conflict: Salaries in traditional media are low, compared to the higher earnings from working for external companies or through self-media platforms.
3. Control Conflict: Media want control over content and business activities, while IPs feel that their value is not adequately recognized.
For example, Huang Jianxiang and Liu Jianhong left CCTV, and after the success of Da Peng's "Diao Si Nan Shi," they parted ways with the portal site. When IPs mature, both parties feel aggrieved: the media claims they invested in them, while the IPs argue they deserve better compensation for their hard work.
III. Why Do Media Jump into This Trap?
High-level executives are not foolish; they simply have no other options:
- Algorithms Have Changed: Platforms favor "live" content, and cold institutional accounts cannot compete with engaging personal ones.
- Public Opinion Has Shifted: People now trust content that is genuine and relatable, not just official media outlets.
- The Foundation of Media Is Shaking: Print circulation is plummeting, television has become a mere screen for streaming, and app usage is minimal.
In an era of declining traffic, personal IPs represent the lowest-cost option for survival. Using journalists' faces to attract attention in public spaces and regain lost influence can be a last-ditch effort.
IV. Is This Transformation a "Real Self-Rescue" or Just a Show?
This star-making movement is more like a superficial form of transformation: executives think it shows innovation, middle managers meet their performance targets, but frontline journalists are exhausted with no real benefit for the media's transformation.
Why? The core issue remains unaddressed: the crisis is not a lack of IPs but a lack of content production mechanisms and business models adapted to the new era. Forcing journalists to become internet celebrities may create temporary traffic gains, but it does not solve the underlying problems. In the end, IPs may leave, journalists may burn out, and the media will still be stuck in a dead end.
V. The Dilemma of Frontline Journalists
Journalists are forced to transition from "writers" to "all-rounders":
As described in the article, one journalist had to switch from writing to creating short videos, handling all aspects of production, and editing until they collapsed from exhaustion. Why do they continue? "If I don't do this, it's hard to find a new job." This reflects the powerlessness of media workers in the face of change: they must either join the media's IP-driven efforts or risk losing their jobs.
They are not unwilling to resist, but they have no choice. The cost of this star-making movement falls on the time, energy, and professional dignity of frontline staff.
Conclusion: Traditional media's star-making movement is a desperate attempt to adapt to the new era. It exposes the deep contradictions in their transformation: they want to embrace the logic of personal IPs while adhering to traditional safety rules, and they hope to attract new audiences with IPs but struggle to retain them once they become successful. In reality, true transformation requires changes in mechanisms and business models, not just superficial efforts.