"It is also a major benefit for the audience. Before, you only had a dozen or so to choose from, and you were forced to be fed shit by capital. The screen was flooded with actors you didn't want to see and subjects you didn't want to see.
The biggest resistance you can make is not to watch TV or movies, and to contribute a penny or a little bit of traffic to these capital-produced garbage.
But with the emergence of real idols, various film and television works will emerge in endlessly. Because of the low cost of trial and error, many new streaming media platforms will also emerge.
Users can vote with their feet and eliminate bad works.
The logic behind it is very simple, because in the past, everyone was unable to grasp the regulatory standards. The cost of any film and television drama was hundreds of millions. To ensure the safety of investment, we could only shoot various romance works.
Qing palace dramas are also romance works, ranging from ancient romances to modern romances, to fantasy romances, fantasy romances and fairy romances.
Anyway, there is nothing wrong with romantic dramas, and people can still pay for them. As for other genres, I am afraid that the audience will find some metaphor, maliciously associate them together, and then be banned.
All investments were wasted.
Real idols are a huge disadvantage for Netflix. Even if we have real idols, there are still standards for entertainment works, but there are no standards abroad.
Countless streaming media platforms will surely emerge abroad and have an impact on Netflix.
Even domestic Internet giants will go overseas in the field of streaming media to compete with Netflix in the international market.
The moat that Netflix had built previously, that is, their strong industrial production capabilities, has lost its effectiveness in the new era.
We originally thought that the moat we built was deep enough, but the moat was completely destroyed by the flying immortals from Science and Technology Creation.
Our company has already planned to mobilize its best troops to go overseas to develop streaming media. The decision was made at the meeting just now.
In addition, this is an excellent entrepreneurial opportunity for ordinary people.
As long as you are creative, you can move some cool writing routines to Bilibili and Youtube in advance to directly seize this wave of the market.
After all, there are also many overseas Chinese-speaking audiences.
YouTube’s incentive program is much stronger than that of Bilibili.
This is a rare window period for content creators, and anyone with ideas can seize it. "
Not only major Internet companies are aware of the business opportunities in this, but some individual creators are also aware of the business opportunities in this.
Especially for screenwriters, the original works of screenwriters may be arbitrarily tampered with by directors and capital parties.
Now, let’s use real idols directly to create film and television works that are closest to the original intention.
Domestic screenwriters with a little experience have already begun to produce the first one or two episodes and put them on station B to test the waters.
Because after all, if film and television works want to be published on apps or TV stations, they need to be reviewed.
On station B, only internal review is required.
The same is true for some online article authors. Especially some online articles that had no chance of adaptation.
Female videos are mainly about romance, so there is less risk in remaking them and they are more likely to be remade.
Men's videos are either fantasy, require high special effects, and cost too much. Only the top works are eligible for film and television adaptation.
Either because of the harem or because it is too close to reality, it is impossible for harem stories with a modern background to be adapted into films.
Now, authors can directly produce TV series adapted from their own works without worrying about being altered beyond recognition.
"Mr. Ren, I think this is a good thing for us.
We hold the largest number of script resources in the entire market, and China Literature’s huge material library is our best weapon.
Even relying on real idols, we can enter overseas markets and compete with Netflix in the global market. "
Echang Pictures previously adjusted from the interactive entertainment business group to the enterprise development business group.
The former president of the corporate development business group of Goose Factory was a quantum physicist, Dr. Ge Ling.
She was first the head of the Quantum Laboratory of Goose Factory, and later served as the president of the corporate development business group, mainly responsible for Goose Factory’s acquisitions and mergers in the Europa market.
Regardless of his academic background or resume, he has no connection with the entertainment media.
Therefore, Echang Pictures later adjusted its business group from the corporate development business group back to the interactive entertainment business group, and went out to have a lonely time.
“For us, the biggest problem that restricted us from going overseas was that our content was not rich enough.
There is no good content ecology.
Compared with other overseas manufacturers, whether it is Netflix, Disney, or HBO, we have no advantage.
Their reputation in the global market and their overall level of large-scale production in the film and television industry are higher than ours.
But things are different now. First of all, we have conducted internal cost testing. Excluding plot costs, the cost of a twelve-episode film and television production will not exceed 50,000 yuan.
We can easily create hundreds of film and television works to impact the entire market.
All we need are local screenwriting talents and first-class translators. "
In recent years, both the Chinese government and companies in the film and television industry have hoped that Chinese film and television works can go overseas.
China has provided a lot of support at the policy level, whether it is tax exemptions or resource support, and has spared no effort.
For enterprises, they also want to enter this market. Seeing the huge profits made by Goryeo in the global film and television market, who is not tempted?
Compared with the success of China's self-developed games in overseas markets, the film and television industry is somewhat underwhelming.
The revenue of Huaguo's self-developed games in overseas markets has maintained a stable growth of more than 15% every year.
In fact, China's cultural output capabilities can be seen from the media. Compared with the media in other countries, China's media only reprint foreign news, and their ability to formulate their own topics is almost zero.
Forget it, it’s zero.
Not to mention the huge task of building a national image.
"In addition, with high-quality content, we can win over some users from Douyin."
From 2021 to now, Goose Factory’s main competitor in the third decade of the 21st century is ByteDance.
Byte's influence is not limited to China, but is also very influential around the world.
The average monthly usage time of TikTok users has long surpassed YouTube, and now it is the app with the longest usage time on mobile phones.
Compared with Byte, Goose Factory’s influence on the user side is limited to places where there are Chinese people.
Generally, the big leaders speak last. After everyone has finished speaking, Ren Yu starts to express his opinions.
He is now the number two person in the goose factory after Pony Ma.
Ren Yu should be the first executive within the Goose Factory to realize Zheng Li's power. He was shocked but not shocked by Kechuang Biotech's new product - Real Idol.
This is nothing compared to virtual reality.
But even if it is a real idol, it still has a great impact on a company the size of Goose Factory.
Because Goose Factory’s fundamentals are traffic and content. QQ and WeChat bring them traffic, and content retains the traffic, so that they can generate derived revenue.
Traffic itself has no value.
Whether it is a circle of friends or a public account, the essence is to retain users. Only by retaining users can there be advertising revenue, paid content, etc.
And real idols will subvert the entire content ecology of Goose Factory.
“I want to say, don’t be so optimistic. You always think that Real Idol is an impact on Netflix.
Have you ever thought about the same impact on us?
And why are you so sure of the overseas Netflix market that we can seize it?
We have been exporting Chinese online articles over the years, and we have also been operating overseas online article platforms.
In foreign countries, the audience attracted by Chinese online articles is limited, and there are only a few online articles that can be liked by the vast majority of readers.
At the same time, the best-selling online articles on overseas platforms are still written by local authors.
Why do people always think that domestic content producers can beat Netflix after going overseas?
It’s not that I’m not optimistic about everyone, but I hope everyone can calm down.
If anyone can convince Director Zheng of Kechuang Biotech to license their technology only to Goose Factory.
I will record great merits for you, and even give you my seat.
I celebrate with everyone.
If real idols only license to us, let alone Netflix, Youtube will do the same.
I am confident that Goosechang Film and Television will become the app with the largest market share in the world, whether in terms of market share or per capita usage time.
I have this confidence.
But the problem now is that Kechuang Biotechnology’s technology is not only licensed to us, but is open to the world.
It is also open to individual users.
In this context, where does everyone have the confidence to seize Netflix's global market while protecting China's homeland?
I hope everyone can think about this issue calmly.
With the support of real-life idols, Netflix will face global competitors.
Similarly, Goose Factory will also face competitors from major companies in China. Countless companies will emerge in the film and television industry, trying to enter this market to get a piece of the pie.
Why should we hold on to the Chinese market? "
When the executives are excited, Ren Yu is calm.
He doesn’t think Real Idol is bad for Netflix. On the contrary, he thinks Real Idol is good for Netflix.
“In my opinion, Real Idol is a huge benefit to Netflix.
Everyone here knows that long video is a content-driven industry. It needs good content to attract more users. With more users, there will be enough income to support more and better works.
It's a snowball effect.
But the same problem is that the production cost of long videos is too high, and there is a ceiling for the number of users you can attract.
This is an unavoidable problem in the long video industry. Netflix, HBO, Disney, and YouTube mentioned just now will all face this problem.
Why has the industry’s valuation of YouTube been more than three times that of Netflix in recent years?
Because YouTube can rely on individual human content producers, Netflix can only rely on corporate content production.
In terms of cost, YouTube has obvious advantages.
This is even more true for TikTok. TikTok doesn’t even need to buy film and television rights, it relies entirely on individual bloggers.
But after having real idols, Netflix's biggest problem disappeared, and they were able to continuously produce high-quality long videos.
The other party has a clear first-mover advantage, with more than 200 million subscribers. We have now established a department, and I estimate that it will take two months to launch globally.
In the past two months, Netflix may have more than a thousand movies and TV series that have started to play.
How to attract users? "
Ren Yu paused deliberately to wait for his subordinate's answer.
"Netflix is a paid streaming media, and we can attract viewers by offering it for free.
In addition, we need to have a film and television work that is appealing enough.
to attract a global audience.
For example, a remake of The Three-Body Problem or Infinite Horror.
I don’t think any film or television production has captured the global audience more than Infinite Horror.
This chapter-like structure is also very suitable for the tastes of foreign audiences.
As for licensing, we can definitely talk and shoot at the same time.
The two worlds are one part, and the two worlds are one part. It is launched in this rhythm. "
“I also think we need to have a core of film and television.
This film and television work attracts the audience, and then other works keep them.
For example, Mr. Chen just mentioned the infinite horror, since infinite horror film and television works attract foreign audiences.
So can other infinite film and television works keep them here?
Works that have attracted attention overseas in recent years, such as "Lord of the Mystery" and "Gu Zhenren", can keep users watching.
The works are enough for us to slowly transform into film and television.
You don’t even need to make too many adaptations, you just need to make the plot more compact and modify the dialogue to make it more consistent with the real situation. "
Pony's daughter also works at the Goose Factory and is now an executive in the interactive entertainment business group. She can speak more freely:
“Mr. Ren, I think Netflix’s user base looks huge.
But it's very empty.
I agree with the views of the two executives just now.
But we don’t just need one iconic film and television work, we need to have iconic film and television works in every period.
It can attract users continuously.
Netflix was founded in 1997, and then started streaming media in 2007, and it continues to this day.
They now have over 250 million paid viewers, which looks huge.
There is also a set of data. Disney’s streaming media platform Disney+ was only launched at the end of 2019.
The number of registered users on that day exceeded 10 million. By 2022, the number of subscribers had reached 137 million, exceeding 50% of Netflix's paid users at that time.
At that time, in addition to Disney+, Disney also had Hulu with 45.6 million subscribers and ESPN+ with 22.3 million subscribers.
In other words, the total number of subscribers to Disney’s streaming media is less than 10 million compared to Netflix’s subscribers.
It took Disney just over two years.
As long as there is a competitive product, in the early days of streaming media, the number of users will grow very fast.
What we need to do is not defeat Netflix so quickly.
Instead, we should first go global and occupy a certain market share on a global scale. We should first achieve the second place in market share and then consider the first place.
The most important thing now is to make a streaming media app and launch it globally.
Then let the strategic research department issue a report as soon as possible to determine our core product sequence. "
She had an idea on how to defeat Netflix before the meeting, and she just had the data she had prepared at her fingertips during the meeting.
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Chapter 356: Netflix is not a worry. Read it for free.
