As a mage, I just want to pursue the truth

Chapter 346 Netflix is ​​not a concern
"It is also a major boon for the audience. Before, you only had a dozen or so choices, and were forced to be fed shit by capital. Actors and themes you didn't want to see were all over the screen.

The greatest resistance you can make is to not watch TV or movies, and not contribute a penny or a little bit of traffic to this garbage produced by capital.

However, with the emergence of real idols, all kinds of film and television works will emerge in an endless stream, and because of the low cost of trial and error, many new streaming platforms will also emerge.

Users can vote with their feet and eliminate bad works.

The logic behind this is very simple. Because everyone was unable to grasp the scale of supervision before, the cost of any film or TV series was over 100 million yuan. In order to ensure the safety of the investment, they could only shoot various romantic works.

Qing Dynasty palace dramas are also romantic works, ranging from ancient romance to modern romance, and then to fantasy romance, science fiction romance and fairy tale romance.

Anyway, romance dramas can't go wrong and people will buy them, but as for other genres, they are afraid that the audience will find some metaphors, maliciously associate them together, and then they will be banned.

All the investment was wasted.

Real idols are a huge negative for Netflix. Even if we have real idols, there are still standards for entertainment works, but there are no such standards abroad.

There will definitely be countless streaming media platforms emerging abroad, which will 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 previously built, that is, their powerful industrialized production capabilities, has lost its effectiveness in the new era.

I thought the moat was deep enough, but it was shattered by the flying fairy from Kechuang Biology.

Our company has already planned to select its best and brightest talents to go overseas to engage in streaming media. This decision was just made at the meeting.

In addition, for ordinary people, this is an excellent entrepreneurial opportunity.

As long as you are creative and can move some cool writing routines to Bilibili and Youtube in advance, you can directly seize this wave of the market.

After all, there are many Chinese-speaking audiences overseas.

YouTube’s incentive plan is much stronger than Bilibili’s.

This is a rare window of opportunity for content creators, and those who have ideas can seize it.”

Not only the big Internet companies have realized the business opportunities here, but some individual creators have also realized the business opportunities here.

Especially for screenwriters, the original works of the screenwriters may be arbitrarily tampered with by the director and the capital party.

Now, we can directly use real idols to make film and television works that are closest to the original intention.

Domestic screenwriters with some experience have already started to produce the first one or two episodes and put them on Bilibili to test the waters.

After all, film and television works need to be reviewed if they want to be on apps or TV stations.

On Bilibili, only internal review is required.

The same is true for some online writers, especially those who originally had no chance of being adapted.

Female-oriented literature is mainly romance, so the risk of remaking it is lower and it is easier to be remade.

Men's literature is either fantasy, which requires high special effects and is too costly, so only the top works are eligible for film and television adaptation.

Either because it is about the harem or it is too close to reality, harem novels with modern backgrounds are simply impossible to be adapted into film or television.

Now, authors can directly produce TV series adapted from their own works without having to worry about them being changed beyond recognition.

“Mr. Ren, I think this is a good thing for us.

We have the most script resources in the entire market, and Yuewen’s vast library of materials is our best weapon.

We can even enter overseas markets and compete with Netflix in the global market by relying on real idols.”

Tencent Pictures was previously restructured from the Interactive Entertainment Business Group to the Corporate Development Business Group.

The previous president of Tencent’s corporate development group was a quantum physicist, Dr. Ge Ling.

She was first the head of Tencent's quantum laboratory, and later served as president of the corporate development group, mainly responsible for Tencent's acquisitions and mergers in the European market.

Whether in terms of academic background or resume, there is no intersection with entertainment media.

Therefore, Tencent Pictures was later adjusted from the corporate development group back to the interactive entertainment group, and went out to play alone.

“For us, the biggest problem that restricted our overseas expansion was that our content was not rich enough.

There is no good content ecosystem.

We have no advantages compared with other overseas manufacturers, whether it is Netflix, Disney, or HBO.

Their reputation in the global market and the overall level of large-scale production in the film and television industry are both higher than ours.

But things are different now. First of all, we have tested the cost internally. Excluding the cost of the plot, the cost of a twelve-episode film or television work 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 screenwriters 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 be exported.

China has provided a lot of support at the policy level, sparing no effort whether it is tax reductions or resource support.

For enterprises, they also want to enter this market. Seeing that Goryeo is making a lot of money in the global film and television market, who wouldn’t be tempted?
Compared with China's self-developed games that are doing well in overseas markets, the film and television industry is somewhat lackluster.

The revenue of China's self-developed games in overseas markets has maintained a steady growth of more than 15% every year.

In fact, China's cultural export capabilities can be seen from the media. Compared with the media in other countries, China's media only reprints foreign news, and its ability to construct its own agenda is almost zero.

Never mind, 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 the present, Tencent's main competitor in the third decade of the st century has been ByteDance.

ByteDance’s influence is not limited to China, but is also very influential around the world.

The average monthly usage time of Tik Tok users exceeded that of YouTube a long time ago, and it is now the app with the longest usage time on mobile phones.

Compared with ByteDance, Tencent's influence on the user side is limited to places where there are Chinese people.

Generally, senior leaders speak last. After everyone has finished speaking, Ren Yu begins to express his own views.

He is now the second most important person in Tencent after Pony Ma.

Ren Yu should be the first executive in Tencent to recognize Zheng Li’s power. He was just shocked but not shocked by Ke Chuang Bio’s new product - Real Idol.

Compared to virtual reality, this is nothing.

But even if they are real idols, the impact is still huge for a company of Tencent's size.

Because Tencent's basic foundation is traffic and content. QQ and WeChat bring them traffic, and the content retains the traffic, which can generate derivative revenue.

Traffic itself has no value.

Whether it is Moments or official accounts, the essence is to retain users. Only by retaining users can there be advertising revenue, paid content, etc.

Real idols will subvert the entire content ecosystem of Tencent.

“I want to say, don’t be so optimistic, you always think that real idols are a blow to Netflix.

Have you ever thought that this is also a shock to us? And why are you so sure that we can grab Netflix's overseas market?
We have been exporting Chinese online literature over the years, and we have also been operating overseas online literature platforms.

Abroad, Chinese online literature attracts a limited audience, and only a few online literature articles are 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 defeat Netflix after going overseas?
I am not pessimistic about everyone here, but I hope everyone can calm down.

If anyone could convince Mr. Zheng of Ke Chuang Biotechnology to license their technology only to Tencent.

I will give you a great reward and even let you sit in my seat.

I celebrate with everyone.

If the real idols only authorize us, let alone Netflix, YouTube will be the right choice.

I am confident that I can make Tencent Video the number one app in the world, both in terms of market share and average usage time per person.

I have this confidence.

But the problem now is that the technology of Ke Chuang Bio is not only authorized to us, but is open to the world.

It is also open to individual users.

In this context, where does everyone get the confidence to defend China's homeland while seizing Netflix's global market?

I hope everyone can think about this issue calmly.

With the support of real idols, Netflix will face global competitors.

Similarly, Tencent 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.

How can we hold on to the Chinese market?"

While the executives were excited, Ren Yu was very calm.

He doesn't think that real idols are bad for Netflix. On the contrary, he thinks that real idols are good for Netflix.

“In my opinion, real idols are a huge boon to Netflix.

Everyone here knows that long video is a content-driven industry. It requires good content to attract more users. With more users, there will be enough revenue 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 on 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 content creators, Netflix can only rely on corporate content production.

In terms of cost, YouTube has a clear advantage.

This is even more true for Tik Tok, which does not even need to buy film and television copyrights, and relies entirely on individual bloggers.

But with real idols, Netflix's biggest problem disappeared, and they were able to produce high-quality long videos continuously.

The other party has a clear first-mover advantage, with more than 200 million subscribers. We are now setting up a department, and I estimate that it will take two months at the earliest to go online globally.

In these two months, Netflix may have started broadcasting more than a thousand movies and TV series.

How to attract users? "

Ren Yu deliberately paused and waited for his subordinate's answer.

“Netflix is ​​a paid streaming service, and we can attract viewers by offering free services.

In addition, we need a film or TV 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 there is any film or television production that has captured a greater global audience than Infinite Horror.

This chapter-by-chapter structure is also very suitable for the tastes of foreign audiences.

As for authorization, we can talk while shooting.

It will be released at this pace, with two worlds as one part and two worlds as one part.”

“I also think we need to have a core of film and television productions.

This film or TV work attracts the audience, and then other works keep them there.

For example, the infinite horror that Mr. Chen just mentioned, since the film and television works of infinite horror attract foreign audiences to watch.

Then can other types of film and television works keep them here?
Works like "Lord of Mysteries" and "Gu Master" that have attracted attention overseas in recent years can keep users watching.

Qidian’s works are enough for us to slowly adapt them into film and television works.

There is no need to make too many adaptations, just make the plot more compact and modify the dialogue to make it more in line with the real situation. "

Pony's daughter also works at Tencent and is now a senior executive in the interactive entertainment business group. She can speak more freely:
“Mr. Ren, I think Netflix’s user base seems huge.

But it is very empty.

I agree with the views of the two executives just mentioned.

But we don’t just need one iconic film or TV work, we need to have iconic film or TV works in every period.

It can attract users continuously.

Netflix was founded in 1997 and started streaming in 2007, which it continues to do today.

They now have over 2.5 million paid viewers, which looks huge.

There is another set of data. Disney’s streaming platform Disney+ was only launched at the end of 2019.

The number of registered users on that day exceeded 2022 million. By 1.37, the number of subscribers had reached million, exceeding % of Netflix's paying users at the time.

At that time, in addition to Disney+, Disney also had Hulu with 4560 million subscribers and ESPN+ with 2230 million subscribers.

That is to say, 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 flagship product, the number of users will grow very fast in the early stages of streaming media.

What we need to do is not to beat Netflix so quickly.

Instead, we should go out first, occupy a certain market share globally, become the second in market share first, and then consider becoming the first.

The most important thing now is to create a streaming app and launch it globally.

Then let the strategic research department produce a report as soon as possible to determine our core product series."

She had already thought about how to defeat Netflix before the meeting, and at the meeting she just happened to bring out the data she had prepared.

(End of this chapter)