A | 深夜，当主流主播们结束一天的喧嚣，另一类直播间却在寂静中迎来高光时刻。 Tarun Mansukhani recently brought the Kapoor family together in Dining with the Kapoors, a Netflix documentary that offers a glimpse into the lives of one of India's biggest film families. The Dostana and Housefull 5 director served as creative producer on the show, which was created by Armaan Jain. In an exclusive conversation with Filmfare, he talks about how the private family welcomed the cameras into their home. He opens up about the emotional visit to Raj Kapoor's Deonar Cottage and reflects on the different worlds of stardom he has experienced, from working with Shah Rukh Khan, the Bachchans and now, the Kapoors. Excerpts: How did you come on board for Dining with the Kapoors? Armaan and I have known each other for a while. He was supposed to assist me when I was trying to make Dostana 2. The film didn't happen, but we kept in touch. About four years ago, he approached me with the idea that he wanted to do something with his family and food. Back then, I didn't know the family as intimately as I do now to realise how important food was to them. We kept brainstorming over random ideas until Armaan said that he wanted to have one lunch with all the family members coming together and the camera shooting them. My first reaction was, 'Good luck with that,' because I knew the family was very private. They don't like cameras coming into their personal spaces. Even Ranbir and Alia had a very intimate wedding. I wondered how Armaan intends to pull it off, but we decided to give it a shot. That's when the process of speaking to all the family members began. I sometimes accidentally call them actors, but eventually, you realise they are just Armaan's family. They all agreed without hesitation. Was it a logistical challenge deciding who would be present for the shoot? I don't think there was any Kapoor family member who didn't want to be a part of it. In a family that has always done this as a ritual, there was no thought of excluding anyone or avoiding certain members. The challenge was about dates. We asked everyone to give us 10 options and mixed and matched until we found one date that worked for all. After we got the family together, it was then about capturing the moments between them. It has come out well. After a point, they let go of the fact that the cameras were recording them. What was your most surprising discovery about the Kapoor family? I had a perception of what the Kapoor family would be like behind closed doors, and it was completely shattered. You often see them as big actors and stars but in reality, they are just a normal family. Reema Jain feels like multiple aunts of mine and Dabbu uncle (Randhir Kapoor) was like my uncles with his sarcastic remarks. How they interact with each other is how we are with our cousins. What shocked me the most was the normalcy within the family. Nobody was a big star at the table. Everything was just about being together and wasn't anything to do with the film industry. How was the mood during the shoot? It was a bit odd at first with the paparazzi waiting for you, making it feel professional. But you look around and realise it's all family. You are meeting, greeting and talking and suddenly you realise there is a camera. So it stops you in that moment from being yourself. But slowly, you start to go back into being who you are. When Ranbir and others went into the kitchen, that wasn't scripted. Armaan was arranging everything on his own and the family just decided to help. Navya and Shaira were plating, somebody else was putting tadka somewhere or buttering naans. Everything was just moving. They are like a big mad unit together. With the changing definition of stardom, how would you define a star now? Everyone is trying to figure it out. Earlier there were clear markers of stardom such as fan frenzy, brand deals or box office hits. Today, with the way the world has changed, our perception of stardom is gone. There is no metric that has popped up for us to reevaluate. Today, everyone is a star and yet no one will ever be Mr. Bachchan, SRK or Salman Khan. I don't think we will ever see that kind of fan frenzy but there will be a redefinition of stardom. Then there will be a lot of other stars. If you could create a Dining with the Kapoors style show again with another film family, who would you pick? With the other Kapoors - Mr Anil Kapoor and his family. We are in talks for a second season and hopefully, will get to announce something soon. Also Read: Exclusive:Tarun Mansukhani on Unbreakable Bond With Karan Johar & Priyanka Chopra’s Desi Girl Legacy。
B | 镜头前，白发苍苍的老人面容憔悴，诉说着子女不孝、产品滞销、疾病缠身的悲苦故事，声泪俱下；镜头后，订单伴随着“支持爷爷”“买一单帮帮他”的评论汹涌而至，虚拟礼物铺满屏幕。 这并非简单的“人间悲喜剧”，而是一套被高度资本化、标准化的商业模式。在“卖苦”的情感外衣之下，隐藏着一场关于流量、转化与资本回报的精密计算。这是一门将社会同情心进行规模化套利的灰色生意。 “悲情剧本”如何变现 大多深夜“卖苦”直播并非出自于老人们自发的求助行为，而是一套经过精准设计的商业运作体系。从受众定位到利益分配，MCN 机构牢牢掌控着每个环节。这套体系的核心，在于将“苦难”这一概念，进行标准化拆解和批量生产，最终通过精准的渠道将“苦难”转化为可量化的商业利润。 MCN机构对目标受众的画像有着清晰认知：锌财经通过蝉妈妈数据对一批老人主播账号的粉丝构成进行了统计，发现这些账号的平均女性粉丝占比高达69%，18岁～30岁的用户群体超过73%。这一群体普遍具有较强的共情能力，且深夜独处时情感更易脆弱，“下单”等同于“行善”的心理驱动着他们冲动消费。 为契合上述需求，货盘策略的针对性较强。从价格来看，商品客单价主要分布在几元至几十元的范围，且以日用品为核心品类。这一选择既降低消费决策门槛，又精准贴合城市年轻女性的消费偏好。与此同时，部分直播间会特意结合“助农”“非遗”这类概念来提升商品溢价。以被曝光的凉山相关案例为例：涉事团队以助农为宣传名义，先以低价采购非凉山产地的农副产品，随后为这些商品附加大凉山的产地属性，再通过直播形式销售这些假冒的大凉山原生态农特产品。最终该团队通过这种方式实现超3000万元的销售额，非法获取的利润超过1000万元。 而运营层面的时间差策略更显刻意。MCN选择22点至凌晨2点开播，既避开白天直播的流量竞争，又利用平台深夜流量红利。深夜时段用户呈现三高特点：注意力集中度高、情感共鸣需求强、决策疲劳导致冲动消费。为进一步操控情绪，直播间还会安排水军发布“已下单助力”“奶奶加油” 等评论，对质疑“为何深夜直播”“老人怎么还不休息” 的网友直接禁言或踢出，构建封闭的情感诱导环境。
C | 来源：小红书 一些MCN机构嗅到了老人带来的流量，专门去偏远地区寻找合适的老人，与他们签订合作协议，为他们打造人设，并编写直播剧本，甚至安排专人在直播间“控场”。在直播过程中，机构人员会隐藏在评论区，发表引导性评论，例如“爷爷白天有农活，只有晚上有时间”“有能力的看看小黄车，下下单，奶奶好早点下播”，其目的就是激起观众的同情心，让他们打赏和购物。 而在其中，利益分配的失衡是这条链条最刺眼的真相。B站UP主“康哟喂”实地暗访了老人直播的地区，据该UP调查，老年人的分成比例一般只有10%，大部分收入都会被机构拿走。更隐蔽的是其风险转移设计。MCN机构以老人个人名义注册账号，自身仅幕后操控，一旦账号因虚假宣传被封禁，可立即更换其他老人重启，法律风险完全由老年人承担。
D | 来源：B站UP主康哟喂 深夜里，老人们被要求连续直播数小时，直播产生的打赏和商品销售收入，多数流入了自媒体机构手中，那些博同情的剧本，大多是编造出来的假内容。这些情况叠加在一起，很容易让人想到多年前在火车站等人流集中区域常见的“职业乞丐”骗术。
E | 老人们或许真的处境艰难，但讲给观众的悲情故事却是虚构的，甚至背后还存在一双操控的黑手。只不过这次骗术从线下人流多的地方转移到了同样热闹的线上平台。 直播乱象蔓延下的代价 中国互联网络信息中心发布的第50次《中国互联网络发展状况统计报告》显示，截至2022年6月，我国农村网民规模达2.93亿，互联网基础建设全面覆盖，农村地区互联网基础设施建设全面强化，实现“县县通5G、村村通宽带”。推动农村地区互联网普及率较2021年提升1.2个百分点，达58.8%，并且在2022年上半年，农村网络零售和农产品网络零售分别增长2.5%和11.2%。 这本为银发直播经济的规模化发展提供了土壤，但与之相伴的是 “卖苦”乱象的加速扩散。如今这一现象已从早期的个别案例演变为行业隐患，其造成的市场陷阱与社会成本正持续发酵。 司法案例已明确此类行为的违法性质。
F | 江西省南城县人民法院审理的主播焦某某案中，被告焦某某在直播过程中，虚构“继母虐待”“孙子重病”等故事情节，以此获取消费者的同情和爱心，从而达到通过网络销售其产品的目的，构成欺诈，判决“退一赔三”。
G | 在性质上，老人“卖苦”直播与此类案件并无不同。 而“卖苦”直播最主要的危害，体现在对社会信任体系的破坏上。当事件真相被揭露后，消费者会产生被欺骗、被背叛的感受，这种负面情绪不仅局限于对涉事主播的反感，还会扩散为对所有类似求助行为的警惕与不信任。此时，质疑会取代同情，观望会取代主动帮助。这种“狼来了”的效应，会导致真正面临困难、需要帮助的老人陷入求助无门的困境。 此类乱象在治理过程中，面临着识别难度大与违法成本低的双重困境。真假交织让监管标准难以精准界定，平台没有强制核实老人身份与家庭情况的义务，技术筛查也难以区分真实困境与剧本演绎。而违法成本远低于收益：一个“卖苦”账号封禁损失仅数千元，但 MCN 机构通过单个此类账号，每月可实现数十万元的盈利。即便账号被封禁，只需更换老人重新开启直播，就能快速收回成本，最终形成“封了再开、屡禁不止”的恶性循环。 从监管到实践，重建“真实”核心 面对“卖苦”直播的乱象，监管政策正密集落地，平台技术防控持续升级，行业也开始探索合规转型路径，试图将银发直播经济拉回 “真实、可持续”的轨道。 2024年，国家网信办开展“清朗·整治‘自媒体’无底线博流量”专项行动，重点整治编造苦情故事制造卖惨人设，打着助农、慈善等旗号，利用公众同情心理骗取关注，牟取利益的问题。 法规层面的界定也日益清晰。2021年4月施行的《网络直播营销管理办法（试行）》明确规定，直播间运营者、直播营销人员从事网络直播营销活动，不得发布虚假或者引人误解的信息，欺骗、误导用户；中国广告协会发布的《网络直播营销行为规范》要求主播在直播活动中，应当保证信息真实、合法，不得对商品和服务进行虚假宣传，欺骗、误导消费者。 作为内容传播的关键环节，直播平台也开始强化自律措施。
H | 抖音已出台新规，明确提出公益类不得进行直播打赏、电商销售等营利性行为；严禁以公益为由获利；不得交由第三方代为运营。 老年人们也早已开始探索合适的银发直播模式，用“真实供给”替代“悲情人设”。这类直播着重于挖掘老年人的才艺与生活经验，推出手工、生活等多领域的内容，如山东东营由两位农村老人组成的“银发妯娌”组合，通过幽默接地气的语言吸引粉丝。她们带货的老粗布床单售价238元，成为直播间“常驻嘉宾”。直播间更带动了当地的农产品销售，原本滞销的苹果一年内单靠直播就卖了1万多斤。 结语 深夜直播间里的老年人，本应是银发经济中值得关注的群体。他们的生活经验、地域资源，都可成为直播内容的宝贵素材。但“卖苦”直播将“苦难”异化为商业筹码，既透支了社会善意，也让老年人沦为MCN机构的赚钱工具，最终损害的是整个银发经济的长期价值。
I | 而从商业本质来看，“悲情变现”是流量经济的短期投机行为，缺乏可持续的核心竞争力；而真正健康的银发直播经济，应建立在真实需求、优质供给、正向情感的良性循环之上。 未来，唯有强化MCN机构主体责任、完善平台审核机制、提升违法成本，同时为真实困难群体开辟合规的求助与增收渠道，才能让银发经济摆脱“眼泪收割”，回归以人为本的商业初心。
J | 毕竟，消费者愿意为真实买单，却不该为剧本付费。
K | 参考资料 1. 锌财经，《深夜直播间里“卖苦”的老年人：熬夜赚下100块，90块给了MCN》，2023年11月 2. 消费日报官方微博，《老人深夜直播“卖惨”带货 谁在消费善意？》，2025年9月 3. 法治日报，《深夜，一些直播间变成“悲惨世界” 记者调查“卖惨式”直播套路》，2023年11月 4. 潮新闻，《央视曝光卖惨主播骗人流水线 抖音更新相关治理《新规》》，2025年2月 5. 东北新闻网，《记者调查卖惨直播产业链 谁在制造“苦情营销”》，2025年9月 6. 南方周末，《深夜老人直播卖惨：不止是流量闹剧，应彻查有无灰黑产业链丨快评》，2023年12月 7. 大众新闻，《“银发妯娌”直播出圈，让乡村好货走出大山》，2025年9月 本文来自微信公众号：长青研究社，作者：林诗琪，编辑：汪照颖。
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