This star is going to the moon

Chapter 457 The Humble Nation Embraces the Korean Wave and Goes International; Laos and China Develop Space Industry

Based on Lu Yun's understanding of the future, it's hard to say whether China's own film and television industry is facing a "winter".

In any case, the "film and television winter" in this wretched country is definitely about to begin.

This logo marks the birth of the first season of "The Squid Game"!

With the creation of "The Squid Game," Netflix has achieved a level of international popularity for Korean dramas among Generation Z that rivals K-POP.

Of course, the claim that K-POP is "internationally popular" is a self-proclaimed claim by the country itself.

This also confirms the international status of Korean dramas.

When Netflix introduced the highly industrialized, lavishly produced Korean dramas, it gained a large number of new users in Asia.

An Fangfei was also surprised by the popularity of "Squid Game" and asked Lu Yun for the reason during a break from filming "Dream Record".

"Intuitive! Concrete! Conflicting!"

Based on his understanding from his previous life and his near-level-four directing ability in this life, Lu Yun summarized the charm of "The Squid Game" into these three words.

"It doesn't feel like the script we taught in class at all," An Fangfei said hesitantly.

"It's not based on the classic film and television script structure taught in the classroom; it's more like the format of short videos."

Lu Yun said, "The simple elements in the simple space satisfy the audience's curiosity about a clear result."

"At the same time, the game involves life-and-death issues, and it is not a simple case of the strong preying on the weak, but rather presents the complexity of morality and human nature."

"The combination of the two, similar to 'battle royale + K-pop elements,' has created a global audience appeal for the work."

"Viewers can easily follow the plot without having to rack their brains, and Netflix's global simultaneous release model has propelled this Korean drama to phenomenal heights."

An Fangfei nodded thoughtfully: "Hearing you say that, it feels a bit like getting an adrenaline shot..."

"Yes, your description is very apt!"

As streaming giant Netflix expands the audience of Korean dramas from Asia to the world, it is also reshaping the production ecosystem in South Korea.

The decline of local narratives, the shrinking space for small and medium-sized production companies, and rising costs have led to a backlog of TV dramas that cannot be sold...

Family ethics and romantic idols were the two comfort zones of Korean dramas in the past.

In the traditional viewing experience, what often leaves a deep impression on the audience is the romantic and delicate portrayal of characters and their psychology in Korean dramas.

Since Netflix entered the market, suspense, murder, and social criticism genres have grown rapidly, becoming a powerful tool for capturing audiences worldwide.

Netflix productions are "adrenaline-pumping" works.

Strong stimulation and high sensory appeal have become the key to success.

To some extent, Korean dramas have abandoned the meticulous and ingenious aspects of their past, or rather, the exploration of emotional depth.

These are all essential elements of classic works.

Moreover, not only does Rowan himself think so, Netflix's assertive stance has also attracted attention within the industry in South Korea, with South Korean media experts pointing out that the South Korean television industry has fallen into the "Netflix trap."

Netflix is ​​a double-edged sword. On one hand, it brings global traffic and opportunities to creators in the US; on the other hand, it brings turmoil to the US industry.

Netflix, as a large corporation, produces films and television series, but its core purpose is still to make money.

Once someone makes quick money through "adrenaline," they become incapable of focusing on creating classic literary and artistic works.

After draining the film and television market of this country with labels like "daring" and "explicit," it can then move on to other markets.

However, it's unclear how long it will take for the film and television industry in this shabby country to recover.

Of course, this has nothing to do with Lu Yun. Anyway, what he's doing is revitalizing the film and television industry in Laos and China. The "Dream Record" that he and An Fangfei are currently filming is very culturally rich and is a powerful tool for cultural export from Laos and China.

After all, although the Song Dynasty was somewhat weak militarily, it was quite prosperous in terms of culture and economy.

In particular, Lu Yun and An Fangfei have polished the script of "Dream Record" more in this life, making it much more exciting than the previous life in terms of both cultural core and plot structure!

However, before that, there was the highly anticipated live broadcast of the Shenzhou-16 crew's space classroom program during the Mid-Autumn Festival.

While other families gathered to admire the moon, Lu Yun took leave from the film crew to go to the ground control center of the space station to prepare for a program for the audience.

Yes, besides moon gazing, ordinary people can also watch the space classroom on their own Tiangong space station to learn more about space.

The Tiangong space station has already held several "Tiangong Classroom" sessions, and there is a fixed procedure, so the astronauts just need to follow the procedure.

It's the same this time.

The Shenzhou-16 crew first introduced some of the new equipment on the Tiangong space station, but bypassed the space dock.

Then, it demonstrates the phenomenon of hitting a water ball with a "specially made" ping-pong paddle in a microgravity environment, briefly introducing the surface tension of water and the structural characteristics of hydrophobic materials.

It also demonstrated the collision phenomenon of the centers of mass of steel balls of different masses, and showed and explained the law of conservation of momentum under microgravity.

There's also the classic space-ground interaction segment, where teachers and students on the ground ask questions, and the astronauts answer them.

Finally, the astronauts floated into the spaceport's maintenance and assembly workshop, showing the camera a CubeSat with a diameter of 1.1 meters.

"Dear teachers, students, and audience members, this is a 'local' satellite that we are assembling in this workshop!"

"95% of its parts were transported from the ground, while the remaining 5% were printed by the space 3D printer next to it and in the experimental module, and then the three of us assembled them..."

Space manufacturing can effectively reduce launch costs.

After all, satellite structures manufactured on the ground must not only resist the Earth's gravity, but also the acceleration during spacecraft flight.

In addition, the vibrations during spacecraft flight should also be taken into account.

To cope with these situations, the structural strength requirements for ground-based satellite manufacturing are very high, and a lot of unnecessary weight is wasted on reinforcement structures.

Space assembly, on the other hand, doesn't require these considerations, as the dispersed parts are very easy to transport.

The same applies to manufacturing components directly in space, which can significantly reduce the burden of transporting complete structures from Earth, thereby reducing the rocket's payload and saving on high launch costs.

In addition, space manufacturing can produce on demand and reduce dependence.

Astronauts can manufacture tools and replace parts on-site in space, without having to rely entirely on pre-carried spare parts.

This not only shortens the waiting time for equipment maintenance, but also improves the flexibility of the task.

If the material recycling process can be improved in the future, for example, by utilizing the large amount of debris in Earth's orbit and old, malfunctioning satellites to recycle their materials for space manufacturing, then humanity can reduce its dependence on Earth for supplies and promote sustainable space exploration.

Incidentally, it can also clean up messy space orbits, and after recycling all that space debris, it can ensure the safety of other spacecraft.

After all, with the increasing number of spacecraft in orbit, especially internet constellations with tens of thousands of satellites, uncontrolled space debris becomes a source of danger.

If things go wrong, it could trigger a chain reaction, causing a "ring of stars" made up of space debris to appear on Earth as well.

Moreover, the microgravity environment is a core advantage of space manufacturing.

In orbit, microgravity is only about one millionth of that at Earth's surface, almost eliminating convection and sedimentation effects, which can produce larger, purer semiconductors with fewer defects.

The molecular density is extremely low in a super vacuum environment, which can prevent material oxidation or contamination.

We can manufacture parts and materials that are superior to those on Earth!
(End of this chapter)