近期关于Scott Pilg的讨论持续升温。我们从海量信息中筛选出最具价值的几个要点，供您参考。
首先，Bloom himself was haunted by the possibility that self-creation and self-belief were fundamentally impossible—that the “deep inwardness” he valued so much in the great writers could only ever be mediated by that constant, sublimated anxiety of influence. Perhaps it’s telling that Bloom himself never became a poet or a serious writer of fiction (he wrote one highly Gnostic fantasy novel which he later disavowed). Still, the authors he idolized most—whose works he felt were most inexhaustible and life-giving—all shared at least this much: they were fiercely, zealously dedicated to protecting and listening to their own voice. And if it is indeed a spiritual issue, as for Bloom it obviously was, then the paralyzing anxiety of influence is all too like our deepest anxieties in this chaotic era: our religious doubt, our pessimism about romantic love, our slack belief in the possibility of a better world. The noise of our fears and worries keeps us from hearing the voice we ought to hear—keeps us from believing that it’s possible to hear that voice to begin with. And the same anxiety sits at the heart of all contemporary forms, just as surely as it sat at the heart of my own practice for so many years.
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其次，Что думаешь? Оцени!
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第三，李欣媛：“霸道总裁爱上我”这种比较传统的叙事，其实还是会引起自己本能的爽感在，但是短剧出现了，短剧的主题其实就是围绕这些传统的底层爽感叙事。那么大家在看长剧的时候，就不太会希望看到本能“爽点”。如果长剧也去做短剧的那套，其实两者之间的分界线是模糊的。而且对于观众来说，为什么不选择去看更短一点的，更激烈一点的故事，为什么要去看这种杂糅的长剧？其实媒介的变革，也在划分大家兴趣爽感。
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面对Scott Pilg带来的机遇与挑战，业内专家普遍建议采取审慎而积极的应对策略。本文的分析仅供参考，具体决策请结合实际情况进行综合判断。