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

Friday, October 15th.

The ninth day of the first lunar month.

In the morning, Tong Yan, whose company went bankrupt and who was looking for another way to make a living, came to report for duty.

In the afternoon, the legal loli Jeon Boram and the slovenly child Park Jiyeon checked into their dormitory accompanied by their parents.

She became roommates with Lee Ji-hyun, Park So-yeon, and Ham Eun-jung.

The next day, Park Sun-young, who had been admitted to Sungkyunkwan University and was about to enter a women's college, came to the company to prepare to earn tuition fees by opening an online store.

Unparalleled accommodations, a promising trainee label, and the endorsement of DSP Entertainment successfully changed the course of her life.

"Your real name is a bit of a mouthful, how about your stage name 'Hyomin'? Those are the two Chinese characters."

"no problem."

Sexy class monitor Park Hyo-min is born, radiant and beautiful.

This is the end.

The six members of T-ara have assembled.

compare to.

The recruitment of the two actor trainees was somewhat bumpy.

Kim Ji-won received an offer from another company.

Fortunately, after Lee Joong-seok repeatedly sent people to persuade them and invited Kim Ji-won's family to visit the company and dormitory twice, Kim Ji-won's family was finally convinced and chose Star Entertainment.

Kim Ji-won has great potential for future growth and development.

His later masterpieces were numerous.

Among the most popular works are, but are not limited to, "The Heirs," "Descendants of the Sun," "Fight for My Way," "My Liberation Diary," and "Queen of Tears."

Whether it's a cold and aloof noblewoman, a haughty young lady, a sweet girl, or even a humble office worker, she can perfectly embody them all.

She also created two classic characters that became wildly popular throughout Asia: Liu Rachel and Hong Hai-ren.

Both are played by heiresses.

She perfectly embodied the noble and haughty temperament of a chaebol heiress.

It's really exciting.

They once transformed the role of a chaebol into their own domain.

She has both acting skills and popularity, and she doesn't cause trouble.

She is one of the core actresses that Han Shuo planned for the acting department.

As for Cao Bao'er...

His future status is somewhere between second-tier and third-tier, which seems a bit awkward.

His acting skills are often criticized, with many saying he only knows how to stare.

However, in his previous life, she had helped their group out of a predicament at an event, and now he was happy to repay that kindness and lend her a hand.

Her father is a dentist, and her family is well-off.

They have a relatively clear career plan.

He said he admires flight attendants.

It's obvious that they haven't been tempered by society yet.

Perhaps if she were given a week-long internship on a flight crew to experience firsthand the eccentric and demanding nature of the "gods," she should abandon this naive career path.

Her ideal of flight attendants: glamorous, with angelic faces and devilish figures.

The reality of flight attendants: They're incredibly busy and constantly put up with bad attitudes from both above and below.

Perhaps Cao Bao'er simply longed for the flight attendant's uniform.

Korean Air's sky-blue flight attendant uniforms have a moderate saturation, excellent fabric quality, and a slim fit, giving them a sophisticated look.

The flight attendant, with her outstanding looks and great figure, looks stunning and eye-catching in this outfit, which is both exquisite and fashionable.

If he simply likes uniforms, he said he might be willing to put in some effort.

We hope to own a private business jet as soon as possible so that Cao Bao'er can experience being a flight attendant every day.

Now it all depends on Li Zhongshuo's abilities.

Fortunately, Lee Jong-seok's motivation was quite reliable.

He tirelessly went to Daejeon to negotiate with the Cao family and successfully persuaded Cao Bao'er to temporarily experience three months of training as an aspiring actress.

The recruitment of trainees has come to a temporary end.

The entire company focused all its efforts on the album "Love Trap".

DSP Entertainment took the lead in projects such as album concept art, page design, and music video preparation, while Star Entertainment provided support.

Subsequent promotional activities, makeup and styling design, costume customization and modification, etc., were led by Star Entertainment, with DSP Entertainment providing consulting services.

Everything was done in a step-by-step and orderly manner.

The progress in contacting the television station is equally encouraging.

In the initial contact over the past week.

The three major ground stations are all showing increasing enthusiasm.

This is not hard to understand.

Korean dramas have long lost their former popularity in Asia, and overseas copyright revenue has been declining. Relying solely on the domestic market is no longer sufficient for Korean dramas to be self-sufficient.

On the contrary, they also face persistently high and ever-increasing production costs.

at the same time.

Artists who have long resented being exploited are still clamoring for higher performance fees.

The three terrestrial TV stations are under great pressure to generate revenue.

State-run broadcaster KBS, for example, is still operating at a revenue deficit.

We must seize any opportunity to meet clients who come to discuss online copyright issues, as this is a new channel.

From this perspective, Bilibili is still the client.

Among the three major networks, SBS, the only privately owned television station, showed the most positive performance.

We arranged a friendly meeting with him at a Japanese restaurant on Sunday, at the management level.

The TV station is determined to sell the rights to Korean dramas and variety shows.

I have concerns about whether Bilibili will buy out the online rights to certain TV dramas and variety shows in mainland China, Taiwan, and Hong Kong in one go.

Or rather, they're pulling each other up and asking for a higher price.

Based on cooperation with television stations in mainland China, Taiwan, and Hong Kong, it is said that when negotiating the television rights of Korean dramas, the domestic television market is generally divided into four regions.

That is, Mainland China, Hong Kong, Macau, and Taiwan.

Han Shuo knew that what the other party said was true.

Hong Kong, Macau, and Taiwan have relatively high economic levels and more autonomy in the authority to import and broadcast foreign dramas.

Its position in the overseas television rights market for Korean dramas is even slightly higher than that in mainland China.

Based solely on a single market region, Taiwan's television stations have the second-highest purchasing power for Korean dramas, second only to those of island nations.

In the past two years, Korean dramas have faded across Asia, and the three major local TV stations no longer frequently announce transaction prices.

In 2005 alone, Taiwan paid US$1.5 per episode for the television rights of Korean dramas.

For top stars like Bae Yong-joon, the price for a single episode could be as high as $3.

During the same period.

The mainland Hunan TV paid less than $10,000 per episode for the hit Korean drama "Dae Jang Geum".

This can be seen.

But those are television copyright rules, what does that have to do with his online copyright?

It is precisely because Korean dramas have a certain audience base in Hong Kong, Taiwan, and mainland China that Bilibili wants to acquire the online rights to the target Korean dramas in mainland China, Taiwan, and mainland China all at once.

His attitude was firm, indicating that he would not budge an inch.

They would rather spend more on copyright fees than not adopt an exclusive buyout approach.

Permanently buy out the online copyrights of all pre-purchased dramas and variety shows in mainland China, Taiwan, and Hong Kong.

The deputy director of SBS appeared to be in a difficult position.

He complained, "The satellite TV stations, local TV stations, and three regional TV stations in mainland China contribute a considerable amount of copyright revenue, which is the overseas market that our station values ​​most."

The purchasing power of a single Chinese television station for Korean dramas is not as strong as that of a Japanese television station.

However, the sheer number of television stations across mainland China, Taiwan, and Hong Kong, which rely on sheer volume to win over audiences, makes Korean dramas a market that cannot be ignored in terms of the long tail effect.

"If your website exclusively buys the online rights to all these TV dramas and variety shows, and Chinese viewers are already watching them online, who would still go to watch them on TV?"

Developing a completely new copyright channel can indeed bring in a long-term source of income.

However, it would be a loss to jeopardize cooperation with a vast number of television stations across mainland China, Taiwan, and Hong Kong just for a small amount of online copyright fees.

You're overthinking it.

Han Shuo was somewhat prepared for this.

He had several documents distributed to people at SBS television station, which were research reports on the domestic online video market share and television station size.

In short:

The online video industry is still in its infancy and cannot shake the dominant position of television stations.

"Due to limitations in infrastructure and terminal equipment, Chinese online video websites lag far behind television stations in terms of both user coverage and revenue."

"The impact of online streaming channels on the viewership of traditional television broadcasting channels is negligible."

"On the contrary, the positive word-of-mouth generated by our platform after broadcasting certain Korean dramas and variety shows will encourage domestic TV stations and audio-visual companies to purchase your corresponding dramas and variety shows."

"You should be aware that in recent years, the popularity of Korean dramas and variety shows in China has declined significantly."

"If our website helps with promotion, it can actually help you attract the right customers."

"There are hundreds or even thousands of satellite TV stations, city TV stations, and county TV stations in China. As long as your station's Korean dramas become famous, many TV stations will buy your dramas."

This is an undeniable fact.

The reach of Korean dramas in China has long since diminished.

Previously, the broadcasting channel was CCTV, but now it is mostly concentrated on local satellite TV channels.

Korean variety shows lack stable distribution channels, relying mainly on pirated self-distribution in China, with DVDs as a secondary option. The number of copyright transactions in China is practically nonexistent.

The emergence of Bilibili will concentrate the domestic audience for Korean dramas and variety shows, expanding their reach among specific groups.

Therefore, Bilibili will not only not impact the sales volume of Korean dramas through TV channels in the short term, but will actually improve the sales efficiency of some Korean dramas.

As for whether this will significantly increase the transaction volume of Korean drama television rights.

There might be a little.

However, its influence is limited.

Domestic TV stations aren't stupid. Their broadcasting model involves censorship before airing, giving them plenty of time to gauge the ratings and local reviews of Korean dramas to avoid making mistakes.

In other words, some popular dramas will still be purchased, while some bad dramas will not be watched much.

The core factors affecting the sales volume of Korean dramas are ultimately the rise of domestic dramas and the outdated format of Korean dramas, which leads to a decline in their competitiveness.

The other party is still hesitant in their attitude.

Han Shuo decided to add a bargaining chip and carry out a strategic deception: "How about this, this year we will purchase three to five dramas and variety shows from you, and next year we will add another three to five."

"Following this pattern, once the platform is initially established and perfected, around 2011, our procurement targets will reach at least double digits."

Despite the fact that Korean dramas frequently become hits and receive widespread acclaim in the fashion idol drama market, they are not immune to the challenges of popularity.

In reality, quite a few bad dramas are produced every year.

A bad drama is almost equivalent to a bad debt; no one is willing to pay for a bad drama, so the TV station and production company have to absorb it themselves.

This is a major reason why the revenue figures of the three major terrestrial stations are not very good.

Bilibili has promised to place a purchase contract with SBS for more than a dozen Korean dramas and variety shows every year. This will not only bring SBS a stable source of revenue, but may also help them get rid of some bad dramas.

But will it really be digested?

will not.

Next year, China will launch a special campaign to crack down on piracy, and domestic video websites will then enter an era of legal content.

They've all gone to great lengths to fight over the copyrights of domestically produced dramas.

Gradually, many of our peers will turn their attention to overseas dramas.

Then these competitors will foot the bill.

There's nothing we can do; he's just kind-hearted.

"really?"

The vice president of SBS was somewhat excited.

As data provided by Han Shuo shows, the impact of online streaming channels on traditional television broadcasting channels in China is limited in the short term.

Selling the online rights to the station's dramas and variety shows to Han Shuo will most likely not affect the station's ability to sell Korean dramas to television stations in mainland China, Taiwan, and Hong Kong.

On the contrary, it may help spread Korean dramas and variety shows in China and boost sales of Korean dramas and variety shows through Chinese television channels.

Second.

If Hanshuo can consistently purchase a dozen or so Korean dramas and variety shows every year, it can provide the TV station with a stable revenue stream.

Perhaps it can also help to process the next series of bad debts.

why not?

Han Shuo smiled and said, "We can sign a memorandum of understanding or similar documents to ensure the smooth progress of future cooperation between the two parties."

He definitely wouldn't package up too many bad shows.

However, his domestic counterparts will foot the bill for him.

We're all buddies.

Does it matter who buys it?

next year.

Under the special campaign by relevant departments to crack down on piracy, the domestic video website industry has entered the copyright era, fiercely competing for copyrights and frequently launching copyright lawsuits against competitors.

This sparked a copyright war.

This has caused the price of online copyrights for domestically produced dramas to skyrocket.

This has become an unbearable burden for each platform.

As 2010 approached, online video platforms began to focus on foreign dramas.

Especially Korean dramas that were once very popular.

In 2010, Uku bought out the rights to SBS's Korean dramas for the next three years.

In 2011, PPTV directly acquired the online rights to Korean dramas and variety shows from the three major South Korean terrestrial TV stations for the next three years, monopolizing more than 90% of the Korean drama and variety show resources.

These two companies are both incredibly wealthy and gullible.

They're still willing to be taken advantage of.

It costs a huge amount of money, but only requires a three-year authorization.

At that time.

The three major TV stations will definitely flirt with the two platforms and ditch him to start their own businesses.

This allowed him to escape unscathed.

This wave is called:

Bitterly enjoy Youku and PPTV.

The three major television stations bore the brunt of the criticism.

As for him...

Let's just reluctantly play the role of the victim.

To occupy the moral high ground.

Now we can legitimately and fully enter the field of Korean drama production.

This marks the beginning of a direct confrontation with the three major terrestrial television stations.

And there's no need to worry about the South Korean government taking sides.

The three major TV stations breached their contracts first, cutting off his film supply.

If he doesn't go the self-manufacturing route, does that mean he's going to close down?

Furthermore.

Even if there is initial suppression, the crucial opportune moment will soon arrive:

Landing on the island.

This major event caused Korean dramas to disappear completely from the Japanese television market in a very short period of time, resulting in the loss of its most important overseas market.

Even the wildly popular Asian drama "My Love from the Star" couldn't get into the Japanese market.

It wasn't until several years later that Korean dramas were able to return to the island nation's market.

In order to survive, Korean content, especially Korean dramas, has shifted its focus from overseas markets to the domestic market.

The three major terrestrial television stations are all trying to find ways to please the mainland market.

In the future, relevant domestic departments will require online dramas to be reviewed before they are broadcast.

In order to make money from domestic film and television capital and to pass censorship smoothly, the three major local TV stations have successively abandoned the tradition of filming and broadcasting simultaneously and started filming first and then broadcasting.

This shows that they really have no other options.

How could they possibly dare to block Chinese online video platforms and engage in a confrontational approach?

……

All-blue

咸恩静

朴孝敏

Park Ji-yeon

Cao Bao'er

Kim Ji Won