"This is also a major benefit for the audience. Previously, you only had about ten choices and were forced to be fed shit by capital. The screen was filled with actors and themes that you didn't want to watch."

The biggest form of resistance you can take is to stop watching TV and movies, and to contribute even a penny or a tiny bit of data to this garbage produced by capital.

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

Users can vote with their feet and eliminate bad works.

The underlying logic is simple: because people couldn't grasp the regulatory standards before, and the cost of a single film or television drama was hundreds of millions, they could only produce various romance works for the sake of safe investment.

Qing Dynasty dramas also fall under the category of romance works, ranging from ancient romance to modern romance, and then to fantasy romance, magical romance, and Xianxia romance.

Romance dramas are unlikely to go wrong and will always find audiences willing to pay for them. As for other genres, they're afraid that viewers will find some hidden meanings, maliciously associate them, and then they'll be banned.

The entire investment went down the drain.

Real-life idols are a huge blow to Netflix. Even though we have real-life idols, there are still limits to what's acceptable in entertainment works, but not abroad.

Numerous streaming platforms will inevitably emerge overseas, posing a challenge to Netflix.

Even domestic internet giants are venturing overseas in the streaming media field, competing with Netflix in the international market.

Netflix's previous moat, namely its powerful industrialized production capabilities, has lost its effectiveness in the new era.

They thought their moat was deep enough, but Kechuang Bio's unexpected attack shattered it.

Our company is planning to send our best personnel overseas to develop streaming media; this decision was made at the meeting just now.

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

If you have creativity, you can bring some of the typical plot devices from popular web novels to Bilibili and YouTube in advance and directly seize this wave of market share.

After all, there are quite a few Chinese speakers overseas.

YouTube's incentive program is much stronger than Bilibili's.

This is a rare window of opportunity for content creators; those with ideas should seize it.

It's not just major internet companies that have recognized the business opportunities here; some individual creators have also recognized them.

Especially for screenwriters, their original works may be arbitrarily altered by directors and investors.

Now, we can directly use real idols to create film and television works that are closest to our original intentions.

Some established screenwriters in China have already started producing the first one or two episodes and releasing them on Bilibili as a trial.

After all, film and television works need to pass censorship before they can be uploaded to apps or television stations.

On Bilibili, only internal review is required.

The same applies to some online novel authors, especially those whose works originally had no chance of being adapted into novels.

Female-oriented novels are mainly romance novels, so they are less risky to adapt and are more likely to be adapted.

Male-oriented novels are either fantasy, which requires high-quality special effects and has a high cost, so only the most outstanding works are eligible for film and television adaptation.

Either because of the harem or because it's too realistic, harem novels with modern settings simply cannot be adapted into film or television.

Now, authors can directly produce TV series adapted from their own works without worrying about them being completely altered.

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

We have access to the most script resources in the entire market, and Yuewen's vast resource library is our best weapon.

"We can even leverage real-life idols to enter overseas markets and compete with Netflix globally."

Tencent Pictures was initially relocated from the Interactive Entertainment Business Group to the Corporate Development Business Group.

Previously, the president of Tencent's Corporate Development Group was a quantum physicist named Dr. Ge Ling.

She was initially the head of Tencent's Quantum Lab, and later became the president of the Corporate Development Group, primarily responsible for Tencent's acquisitions and mergers in the European market.

Neither his educational background nor his resume has any connection with entertainment and media.

Therefore, Tencent Pictures was later moved back from the Corporate Development Group to the Interactive Entertainment Group, and ended up going on a fruitless trip.

"For us, the biggest problem that previously hindered our overseas expansion was that our content was not rich enough."

There is no healthy content ecosystem.

We have no advantage over other overseas companies, whether it's Netflix, Disney, or HBO.

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

But things are different now. First of all, after internal testing, we found that, excluding the cost of the plot, the cost of a twelve-episode film or 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 talent and top-notch translators.

In recent years, both the Chinese government and film and television companies have hoped that Chinese films and television works could be exported overseas.

China has provided a lot of policy support, sparing no effort in terms of tax rate reductions and resource assistance.

For businesses, they also want to enter this market. Seeing how much money Korea is making in the global film and television market, who wouldn't be tempted?

Compared to the success of Chinese self-developed games in overseas markets, the film and television industry is somewhat lacking.

The revenue of Chinese self-developed games in overseas markets has maintained a stable growth of over 15% annually.

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