In fact, China's cultural export capabilities can be seen from its media. Compared with the media of other countries, Chinese media only reprint foreign news and have almost no ability to construct their own topics.
Never mind, it's zero.
Not to mention building the national image, such a massive task.
"In addition, with high-quality content, we were able to attract some users from Douyin."
From 2021 to the present, Tencent's main competitor in the third decade of the 21st century has been ByteDance.
ByteDance's influence is not limited to China; it is also very influential worldwide.
TikTok users' average monthly usage time surpassed YouTube a long time ago, and it is now the app with the longest mobile usage time.
Compared to ByteDance, Tencent's influence on users is limited to areas with Chinese populations.
Generally, senior leaders speak last, and Ren Yu only begins to express his own views after everyone else has finished speaking.
He is now the second most important person in Tencent, after Pony Ma.
Ren Yu was probably one of the first executives within Tencent to recognize Zheng Liwei's power. He was shocked but not impressed by Kechuang Bio's new product, Real Idol.
Compared to virtual reality, this is nothing.
However, even real idols have a significant impact on a company the size of Tencent.
Tencent's core business is traffic and content. QQ and WeChat bring them traffic, and content helps retain that traffic, which in turn generates revenue.
Traffic itself has no value.
Whether it's WeChat Moments or official accounts, the essence is to retain users. Only by retaining users can there be advertising revenue, paid content, and so on.
Real idols, on the other hand, will upend Tencent's entire content ecosystem.
"I want to say, everyone, don't be so optimistic. You all think that real idols are a shock to Netflix."
Have you ever considered that this is also a blow to us?
And why are you so confident that we can take over Netflix's overseas market?
We have been exporting Chinese online literature for years, and we have also been operating overseas online literature platforms.
Abroad, Chinese online novels attract a limited audience, and only a minority of them are popular with the vast majority of readers.
Meanwhile, the best-selling online novels on overseas platforms are still written by local authors.
Why do people always think that domestic content creators can beat Netflix when they go overseas?
It's not that I don't have a positive outlook on you all, but I hope you can all calm down.
If anyone can persuade Chairman Zheng of Kechuang Biotechnology to license their technology exclusively to Tencent.
I'll give you a huge credit, and I might even give you my seat.
I celebrated with everyone.
If real idols only grant us licenses, then we'll definitely take down Netflix and YouTube as well.
I am confident that Tencent Video will become the number one app in the world in terms of market share, both in terms of market share and average usage time per user.
I have that confidence.
However, the problem now is that the technology of Kechuang Biotechnology is not only licensed to us, but is open to the world.
It is also open to individual users.
Against this backdrop, where does everyone get the confidence to defend China's domestic market while seizing Netflix's global market?
I hope everyone will think about this issue calmly.
With the support of real-life idols, Netflix will face global competition.
Similarly, Tencent will also face competition from various companies in China. Countless companies will emerge in the film and television industry, trying to enter this market and get a share of the pie.
What makes us think we can hold onto the Chinese market?
While the executives were excited, Ren Yu remained calm.
He doesn't think real idols are a bad thing for Netflix; on the contrary, he thinks they are a good thing.
"In my opinion, real idols are a huge boon for Netflix."
As everyone here knows, long-form video is a content-driven industry. It needs good content to attract more users. With more users, there will be enough revenue to support more and better works.
This is a snowball effect.
However, the same problem is that the production cost of long videos is too high, and there is a ceiling to the number of users you can attract.
This is an unavoidable problem for the long-form video industry; Netflix, HBO, Disney, and YouTube, which everyone just mentioned, all face this issue.
Why has YouTube been valued at more than three times that of Netflix in recent years?
Because YouTube can rely on individual content creators, while Netflix can only rely on corporate content production.
In terms of cost, YouTube has a clear advantage.
TikTok is the same; it doesn't even need to buy film and television copyrights, relying entirely on individual bloggers.
However, with real idols, Netflix's biggest problem disappeared, and they were able to continuously produce high-quality long videos.
The other party has a clear first-mover advantage, with over 200 million subscribers. We are now setting up a department, and I estimate it will take at least two months to launch globally.
In the past two months, Netflix may have already started airing more than a thousand movies and TV shows.
How do we attract users?
Ren Yu deliberately paused, waiting for his subordinate's reply.
"Netflix is a paid streaming service, so we can attract viewers by offering it for free."
In addition, we need a film or television work with sufficient appeal.
My dear reader, there's more to this chapter! Please click the next page to continue reading—even more exciting content awaits!
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