Peninsula: You've been chosen here for producing girl groups.

The final piece of the map in "The Farm" is:

QQ Space.

Social networking sites like Kaixin001, Xiaonei, and 51.com have as many as eight million monthly active users.

It would be considered one of the best on social networking sites.

however.

Compared to QQ Space, it's completely inadequate.

Because QQ Space has a monthly active user base of up to 100 million!

With QQ Space joining the operation, it is foreseeable that "Farm" will enter its peak period, and the revenue sharing will at least double.

We are one step closer to our goal of "Never underestimate a young man's potential, let's conquer the Yunlan Sect".

at the moment.

The cash cow – the gaming business – is about to take shape.

He regained his freedom.

It's time to launch the next phase of our established strategy ahead of schedule.

Han Shuo's keyboard moves like lightning.

In my previous life, including practice and singing activities, I spent thirteen years going through all that.

After returning to China, he was either live-streaming or filming short dramas.

It can be said that his most familiar field is still the entertainment industry.

Especially the Korean entertainment ecosystem.

As the saying goes, it's better to cook what you know than what you don't.

This time, the foundation of my business will still be in the entertainment industry.

The entry point is long-form video platforms.

On the surface, it appears to be an industry with high investment and low returns.

current.

Eighty percent of online video websites will either die or fade into obscurity in the future.

Or perhaps they were forced to adjust their business and change tracks.

From the perspective of the entire industry's development history, the online video website market is not yet mature.

All online video websites are premature babies.

The only option is to spend a huge amount of money and energy to cultivate user habits.

however.

Such business activities, which involve burning money to expand the market and cultivate user habits, generally do not possess a competitive advantage; rather, they are merely pioneers for becoming king.

To give as a dowry to someone else.

This is why products in the White and Penguin series have not yet been launched.

They are not in a hurry.

Once the market matures, their own platforms can be launched at any time.

In other words, this is an industry where latecomers can actually surpass and even surpass others.

but.

If you change your approach, narrow your business channels, and focus on a specific vertical market segment, there is a vast world of potential for you to explore.

It can reduce costs and increase efficiency, and solidify the first-mover advantage.

The vertical niche he defined for his video platform was:

Music and anime.

This would perfectly complement their entertainment business in South Korea.

Perhaps it can even realize Netflix's ambition ahead of schedule and infiltrate the Korean entertainment industry.

This brings us to the unique national conditions of South Korea.

Korea is a small country with a small population, currently less than 50 million. Its domestic consumer market has limited potential and is insufficient to revitalize the entire cultural and entertainment ecosystem and achieve the goal of self-production and self-sales.

Take Korean dramas as an example.

Kimchi country has three nationwide wireless commercial television stations.

The competition among them is fierce as they vie for viewership.

It is further subdivided into Monday-Tuesday, Wednesday-Thursday, weekend, and daily dramas, resulting in fierce competition for viewership ratings.

among them.

The winner gets the highest share of GG.

Those who lose during the same period will face a sharp decline in GG's revenue.

It seems to be fairly fair.

In reality.

Because the domestic market is too small.

Winners may not necessarily make a fortune, but losers will definitely suffer heavy losses.

at the same time.

South Korea's domestic TV drama production model combines production and broadcasting.

The television station is both the broadcaster and the producer.

He was to lead the entire filming process of the TV series.

A huge amount of money needs to be invested upfront.

now.

The production cost of a single episode of a miniseries has exceeded 3.5 million.

Multiple dramas of different genres will be broadcast in succession each week, including Monday-Tuesday, Wednesday-Thursday, Friday-Saturday, Friday-Day, Sunday, and Weekend. At the same time, multiple new dramas of the same genre may also be in preparation.

It would be difficult for a television station to bear the massive production costs on its own.

Furthermore, if one of the Korean dramas achieves mediocre ratings and fails to recoup its investment, the television station is highly likely to incur substantial bad debts and teeter on the brink of bankruptcy.

So what should we do?

Transferring risk.

In order to improve the TV station's ability to withstand risks, the film and television production companies will have to suffer.

Industry regulations stipulate that television stations only need to pay 10%-30% of the production cost to automatically obtain the copyright of a Korean drama in their cooperation with the production company.

They monopolize revenue from pre- and post-broadcast content, online streaming, and other sources related to TV dramas.

Spend less money, save costs; monopolize revenue from in-app ads and on-demand viewing, secure revenue streams.

This series of measures undoubtedly greatly reduced the risk of TV stations purchasing dramas, transferring most of the risk to the production companies.

So how do production companies generate revenue?

One source of revenue is Google Play, and the other is a share of the overseas copyright revenue.

It's obvious that only when a show becomes a hit can a product placement be secured and overseas rights sold.

This revenue system is clearly designed to force production companies to focus on creating high-quality products.

Just like a donkey blindfolded, smelling carrots and turning the millstone with all its might, the production company has performance pressure and profit motivation, so it puts more effort into the filming.

The TV station alleviated its initial financial pressure and mitigated most of the risk of the series failing to achieve high ratings.

Everyone has a bright future.

We will work together sincerely to expand the market for Korean dramas.

However, ideals are often grand, but reality is often harsh.

The reality is that the television station has a monopoly, wields too much power, and is unchecked.

Not only are they increasingly reluctant to invest, frequently defaulting on production fees, but they also arbitrarily increase their share of the profits by leveraging their bargaining power over overseas copyrights.

Let me make the money, you pay for it.

This made the production company a sucker.

The same applies to the field of folk songs.

Leveraging the exposure advantages of radio programs and variety shows, especially music shows, the three major radio stations firmly control a singer's public exposure, becoming the "supreme rulers" over local music production companies.

The status of ordinary actors, comedians, and other entertainers is roughly the same.

Relying on its dominant position, the television station established a hierarchy for performers, providing them with meager performance fees and ruthlessly exploiting them.

With his left foot he stomped on the production company, and with his right foot he stomped on the entertainers.

The three major TV stations recklessly abused their dominant position in the industry, only caring about their own profits and completely ignoring the lives of those working in the upstream and downstream sectors of the industry.

This has led to several sensational incidents of artists boycotting performances in the industry.

For example, in an effort to increase the performance fees of actors, singers, models, and other entertainers, the artists' union organized a large-scale strike in May of this year.

Another example is the "salary scandal" that occurred two years later, when actors went on strike.

It can be said that this system of Korean Wave, dominated by television stations, has become a shackle restricting the development of Korean entertainment.

All of these factors combined to create the overwhelming welcome that followed Netflix's arrival in South Korea, where it was treated as a "royal army" by the entertainment industry.

Streaming platforms don't care about anything, they don't interfere with creation, they're generous with their money, and they don't delay payments.

Who would turn down money?

As a result, screenwriters, production companies, and entertainers flocked to streaming platforms, and the three major terrestrial television stations gradually became marginalized.

The dominance of Netflix, YouTube, and TikTok in K-pop reflects the collapse of the old system, which was based on television stations, and the emergence of a new system where streaming media dominates everything.

however.

In fact, two years before Netflix launched, Chinese capital had already been pouring into South Korea's entertainment industry.

According to South Korean media statistics, in less than two years from 2014 to 2016, domestic capital invested more than 3 trillion won in South Korea's cultural and entertainment industry.

Almost every link in South Korea's cultural and entertainment industry chain has Chinese capital background.

The intrusion process was interrupted only by a black swan event.

Now that the timeline has been moved forward by seven or eight years, there will be even more extraordinary opportunities that are hard to come by, and he'd like to give it a try.

Can we complete the unfinished business of the Chinese capitalists in our previous life?

This move is called "cutting off the fuel supply from under the pot":

The "Han" in Korean entertainment can be the same as the "Han" in Han Seok.

As for the method of intrusion.

The correct answer is already provided; just copy it.

Streaming media, or more simply, video websites.

Last year, relevant departments introduced new regulations that would significantly raise the entry threshold for audio-visual service websites. He took precautions and preemptively registered a bunch of audio-visual websites (shell websites).

They also spent 100,000 yuan to buy the Bilibili domain name.

This is the perfect time to spin off Bilibili.

With music as the main focus and anime as a supplement, we are fully committed to operating Bilibili.

Regarding the musical content:

It can mainly consist of K-pop idol music videos, practice videos, music shows, and related variety shows, movies, and other K-pop video content.

Nowadays, access to Korean wave video content is relatively inexpensive.

You can get great content for very little money.

Regarding the content of the anime:

We welcome all kinds of comics, including Chinese, Japanese, Korean, and American comics.

Attract the ACG (Anime, Comics, and Games) community with high-quality animation.

The anime and manga fandom naturally feels closer to their idols.

Especially girl idol groups that emphasize a quirky or innocent style.

It can interact and merge with the fan base.

At the same time, using anime content to attract the anime/manga fandom can dilute the presence of the existing fan base.

To prevent Bilibili from becoming a battleground for pure fan groups.

By using anime and K-pop related video content to attract domestic fans, the music content will gradually expand from K-pop to C-pop, J-pop, etc.

The goal is to transform Bilibili into the largest video platform in China where music fans gather.

This is the first step: attracting users and building an ecosystem.

Secondly, they interpret, deconstruct, and redefine idol groups through weekly entertainment news, variety concerts, annual summaries, award ceremonies, and other formats.

To make Bilibili the most influential idol platform in China.

This is to differentiate and digest these fan groups.

By gradually eliminating extreme fans, Bilibili aims to mold its fanbase into the shape it desires.

Ultimately, operating Kpop content isn't really about promoting Kpop; it's about using it as a stepping stone.

This is all information that can be shared publicly.

Once Bilibili has a large enough user base and a voice, it can become the dominant force and firewall in China's idol market.

Inside, they can decide who will become famous.

Externally, it determines who can become popular in China.

at the same time.

Bilibili can gradually penetrate the Korean entertainment industry through streaming media.

However, this process needs to be done carefully and cautiously.

South Korea does not have any aggregated video websites; the distribution channels for video content are entirely concentrated in the hands of television stations. They will not allow large streaming media platforms to emerge in the country.

When Netflix launches in South Korea, it won't be a massive success from the start.

It took a lot of tuition fees and hard work to establish credibility and gradually gain a foothold.

In order to avoid attracting the attention of the three major local TV stations, Bilibili's core business in South Korea will temporarily be concealed in the form of "crossing the river in white".

We'll start with music videos and practice room videos from idol groups.

Subsequently, we will gradually integrate self-produced micro-variety shows and online short dramas, as well as content such as artists' vlogs and live streams.

They recruit and train screenwriters, producers, and other production teams through online short dramas and micro-variety shows.

They secretly undermined the three major TV stations, slowly accumulating their own strength.

In the future, we will gradually cooperate with several emerging cable TV stations to shift to producing regular Korean variety shows and dramas, showcasing our true brand.

Like a frog being slowly boiled in warm water, this is gradually impacting the system dominated by "television stations"...

In this process, it is also necessary to gradually cultivate our own idol artists and groups.

It complements streaming media platforms.

Let's start with him.

In South Korea, she has over thirteen years of singing and dancing experience and five years of stage experience, as well as extensive experience appearing on variety shows and radio programs.

After returning to China, she conducted live singing and dancing performances and acted in short dramas.

She engaged in performing arts activities for a total of twenty-one years.

Now that I have a large sum of money and enough good ideas in my head, I would be letting down all the hard work I've put in over the years if I didn't give myself a boost.

Previously, they were exploited and dragged down by small companies, so the group's popularity was always limited and their career activities were lukewarm.

Now he is fully capable of supporting himself to become a true top influencer, and in turn, he can empower many of his businesses.

The debut album was planned a long time ago, and the recording was completed last month.

There are nine songs in total, and the album is called "Love Trap".

It symbolizes a love trap, focusing on themes such as heartbreak, angst, and painful love.

We used Henry's "Trap" and Big Bowl Wide Noodles' "July" as the introduction.

The title track is Beast's breakout hit: the dance track "Fiction".

Following closely behind are two dynamic and rhythmic hits: "Pain Like Death" and "Insomnia," which will become fond memories for many racing game players in China.

Then there are the representative ballads of the boy group Beast: "Rainy Day" and "12:30".

The last lyrical piece is "Take Me Hand," a famous work by the French harpist.

It was also a good opportunity to have this female harpist take on the female part of "Pain Like Death," infusing the song with soul through her ethereal voice.

Finally, the English version of "Insomnia" was included.

perfect.

"Knock knock knock, may I come in?"

A clear, crisp female voice came from outside the door.

Before he could reply, the person pushed the door open a crack.

A delicate, small face peeked in.

Two shallow dimples appeared at the corners of her mouth, and her bright eyes blinked: "So, I'll really come in?"

"..."