Millennium director

Wu Yuan's worries are not groundless.

In recent years, although Guangying Times still maintains its leading position in the film industry, the company's TV drama industry has been basically abandoned.

Back then, in the first few years after Guangying Times was established, it was still walking on two legs of film and TV drama. At that time, it also poached the entire crew of "The Sky of Eighteen Years Old" and became the company's TV drama department. Later, it continued to produce Taiwanese idol dramas and made some of the best-selling TV dramas in the future given by Wu Yuan. Until around 2010, the company's TV drama department had high revenue.

But after 2012, Guangying Times' TV drama department gradually declined and no longer became the company's main business. Guangying Times' TV drama production was gradually replaced by Guangying Kuaibo. Some employees of the company simply moved to Guangying Kuaibo as a whole and became a member of Guangying Kuaibo's self-made drama department.

Later, Guangying Times' variety show production department also moved to Guangying Kuaibo. Up to now, Guangying Times has basically become a pure film production company and agency company, and no longer participates in the production of variety shows and TV dramas.

Even so, the film industry in the era of light and shadow is also facing constant challenges from latecomers.

Yes, I am talking about the three big companies, Wanda Pictures, Penguin Pictures and Alibaba Pictures.

The three big companies, which started to develop with all their strength around 2014, have now become the most important giants in the Chinese film industry. They have even surpassed the old film companies such as Huayi, Bona, Xiaoma Pentium and Emperor Entertainment Group.

Well, although these old film companies are not that old.

But under the impact of Internet companies, these traditional film production companies are really unable to withstand it.

For example, Huayi has basically gone to film, and the agency has basically given up. Emperor Entertainment Group has become lonely with the decline of the Hong Kong film industry, and Xiaoma Pentium has fallen apart due to the death of its boss. Only Bona is still strong, and it is lucky to have found the company's "new main theme film" development direction.

As for the industry leader, Guangying Times, although its development in recent years is still very good, and the expansion of the Xianxia movie universe is also very smooth, the average box office of each movie universe can reach more than 1.5 billion, plus other movies, and the cooperation with Zhang Yimou, it can still sit firmly in the top spot, but facing the step-by-step pressure of the three major video websites, it is somewhat urgent.

Not only Guangying Times, but also Guangying Kuaibo is also facing the threat of the three major video websites. Among the four major video platforms, if we only count the mainland market, it has now fallen to the third place in market share, competing with Youku for the lower level.

In this case, Guangying Kuaibo and Guangying Times have to actively seek change.

And Guangying Kuaibo's choice of "seeking change" is naturally to join if you can't beat it.

Now Guangying Kuaibo's operation mode in the mainland is almost completely different from that in overseas. It is no problem to say that they are two companies.

In terms of overseas, Guangying Kuaibo's operation mode is more like Netflix. Although it also has self-made dramas, it mainly relies on cooperation with local production companies in various countries to purchase the online copyright of TV series and cooperate in producing dramas together.

For example, in Korea, it cooperates with well-known screenwriters and film and television companies to become an exclusive online broadcasting platform.

In Japan, it cooperates with TV stations and becomes a network broadcasting partner of TV stations. Sometimes, Guangying Kuaibo will even bear the production costs of TV series.

But in terms of artists and actors, Guangying Kuaibo is completely uninvolved. Japanese and Korean production companies find cooperative agencies and brokerage companies to conduct various insider transactions. Guangying Kuaibo is still separated from them by a layer, and is more like a simple broadcasting platform.

But in China, Guangying Kuaibo has fully aligned with the three major Internet companies.

How to align?

Of course, it is to learn the so-called "industry closed loop" and "commercial moat" strategies of their Internet companies. From variety shows to TV series, they are all self-made, from shooting teams to artists and actors to scripts and broadcasting platforms. Everything is in hand, from the upstream to the downstream of the industry, everything is tightly in hand, and no outsiders are needed to intervene!

For example, Guangying Kuaibo currently has eight filming teams signed, and this year's self-produced dramas are expected to have 20 scripts, and there are 5 brokerage companies that have cooperated and invested. It can completely complete all the links of a web drama from preparation to broadcast without relying on any outsiders!

This is unimaginable in any country overseas. In most countries with TV drama industries, it is impossible for a company to take care of all the links from preparation to broadcast, and even the artists and actors are their own.

This extreme "industrial closed loop" can only be achieved by the Chinese web drama industry that has been invaded by the three major Internet companies.

Of course, the three major Internet companies plus Guangying Kuaibo can complete all the links from TV drama preparation and production to broadcasting in a self-sufficient manner, which does not mean that there is no room for other independent film and television drama production companies to survive.

Excellent film and television companies like Noon Sunshine still exist, but because the three major Internet companies and Guangying Kuaibo have their own complete industrial system, this leads to production companies like Noon Sunshine that can only produce TV dramas but do not control any broadcasting platforms being severely suppressed when selling dramas.

Yusanjia and Guangying Kuaibo have a tacit understanding to suppress these "foreign businessmen". When they outsource TV series, they will give a very low price, so low that the producer can only make back the original investment. It cost 50 million to produce. The final selling price of the TV series may only be reduced to 60 million, and it will not be sold for any more.

Because the seller's market is firmly controlled by Yu Sanjia and Guangying Kuaibo, these TV drama production companies have no choice but to sell their dramas at low prices or not be able to broadcast them.

As for selling it only to TV stations?

In this era, TV series that are only broadcast on TV stations and cannot be broadcast online have almost zero influence. The effect of broadcasting is the same as not broadcasting. For the production company, it is even worse than not broadcasting it.

Under such circumstances, in recent years, well-known screenwriters and excellent TV drama production companies in the industry have often criticized the monopoly and suppression behavior of Yu Sanjia and Guangying Kuaibo in the media, which has also contributed to the increasingly poor quality of domestic TV dramas. It is heavily placed on these online broadcast platforms.

It is precisely because these online broadcast platforms have a tacit agreement to only promote online dramas launched with their own capital and suppress high-quality TV dramas produced by normal film and television companies that the market is flooded with all kinds of feminine and artificial ancient puppet dramas, poisoning the new generation of young people.

Occasionally, Wu Yuan would see similar comments and complaints when browsing Weibo, but he would always laugh them off.

There is a saying.

"It's your choice, idol!"

The market has become like this, and bad money drives out good money. It is not all the audience's choice, at least the choice of most viewers.

Otherwise, if most Chinese people really don’t like to watch the online dramas produced by Yusanjia, they won’t become more and more popular, the data will get better and better, and they will become mainstream.

Those idol stars who have been promoted by capital will not be so happy cutting leeks.

It can only be said that the current market is like this. The new generation of young people just love to watch this kind of ancient puppet show, so what should we do? (End of chapter)