The significant similarity between both is the difficult decisions made by creators (in this case, Gene a newbie director, and the Ashirogi Muto manga duo) to make a better product and consistent vision. I won't get into detail further than its synopses but for Gene acquiring his first directorial credit is a hard task as he has to work against a deadline and a heavy amount of workload unless he delays the project which could trample over the production, same with Bakuman. where the artist/author duo have to adjust to a weekly schedule to get the story, paneling, and art sorted out just to be
thrown into another labor-filled week beset with the underlying dread of getting their series canceled, that is if they even make it as far as a one-shot story published in the magazine.
Both have what you'd consider rivals but they're mostly sources of inspiration for the main characters as they are genius in their respective industries. For Pompo: The Cinéphile, well, who else but Pompo herself! A director who apparently only shoots B-grade flicks but created a magnificent script that she hands over for Gene to adapt. For Bakuman. there's Eiji Niizuma, a gifted mangaka that has no problems with his deadlines, almost like the story and art come naturally to him, and rises to the top ranking of the magazine.
Still, remember they both have a somewhat idealized look at their corresponding industries even if they can be harsh and demonstrate the tense environment creators live in sometimes characters will do specific things that should create a massive stir-up with their peers and audience, that you can't visualize their superiors/higher-ups letting slide, yet get away with (albeit not unscathed mind you). I'd say Bakuman. is far more realistic with the kind of penalty you'd get if you pull a risky decision and ends up getting a fitting development all the way through (s1-3) while Pompo hastens over to a specific point by its ending. read more 
