Becoming Rich with Daily Scavenging APP Chapter 574:

After staying in Lin’an for a few days and handling things, Chen Yiyang arrived in the Imperial Capital once again.

This ti, he ca to support Yushu, who would be participating in the World Humanoid Robot Competition.

Another reason was to manage his own company, Yiyang Entertainnt.

Chen Yiyang’s investnts in the entertainnt industry weren’t extensive; previously he had two companies, one responsible for investing in films and TV dramas, and the other for signing artists.

Later, Chen Yiyang rged these two companies and promoted Chen Lin, who had previously managed Yang Jinlu and Song Xi, to manage the company.

The company’s headquarters was moved from Lin’an to the Imperial Capital.

Logically speaking, any company under Chen Yiyang capable of developing in Lin’an should develop in Lin’an.

But unfortunately, in the entertainnt circle, the geographical advantages of the Imperial Capital are too great, making it inconvenient to do anything with the company based in Lin’an.

Of course, Shanghai can also be considered another center of the entertainnt industry.

However, Chen Yiyang’s network in Shanghai was limited, while he knew many people in the entertainnt industry in the Imperial Capital.

So he simply left a branch office in Lin’an for tax purposes, effectively moving the headquarters to the Imperial Capital.

"Mr. Chen." After presenting Chen Yiyang with Yiyang Entertainnt’s recent developnts and investnt plans, Chen Lin continued to speak.

"Recently, there are rumors that the authorities will ease restrictions on long-form TV dramas. Specific asures include canceling the 40-episode limit and the regulation that season dramas must be staggered by a year. Adaptations and remakes of Japan and South Korea dramas will not be restricted. The number of broadcasts for historical dramas will increase. The review cycle will be shortened, allowing for simultaneous review and broadcast, with broadcasts being modified as they air. Complex and special topics can be discussed face-to-face, with imdiate feedback."

"Is that true?" Chen Yiyang turned to look at Chen Lin.

These reform asures could be called bold, essentially removing regulations imposed on long-form TV dramas over the past decade or so.

"It is said that there is a high probability that it’s true." Chen Lin didn’t dare to say much more since the official docunts had not yet been released.

"If these regulations are implented, it would be quite favorable for the production of long dramas. Should we increase our investnt in long dramas in the future?"

"Adapting male-oriented online literature seems worthwhile." Chen Yiyang thought the current predicant in the TV drama market stemd from two major factors.

One being that the film and television industry is currently losing on the attention economy front to Douyin and gas.

Even though the film and television industry is considered the mainstream industry, any high-quality production is easily noticed by the authorities.

But in reality, even a blockbuster film or TV drama often generates economic returns less than a dium-quality ga.

The greatest profits from blockbuster films are usually absorbed by the actors. And the advertising, endorsents, and even live broadcast rewards that actors gain from starring in a hit drama are unrelated to the drama’s production company.

This is why the quality of dostic TV dramas never seems to asure up to those produced in Japan and South Korea, despite the enormous market.

In Japan and South Korea, film companies genuinely squeeze actors and artists, acquiring large profits and motivating them to produce better films and dramas.

anwhile, dostic film industry professionals often have to resort to unspoken rules and interest exchanges to reach agreents with the actors’ managent companies, in order to get a slice of the earnings.

This also results in many dostic TV dramas being made solely to serve the artists, rather than aiming to produce quality films and dramas.

The other constraint in the drama industry derives from the audience demographic.

Since the industry has been catering to artists, and the artists mainly act in dramas to gain notoriety and ultimately earn through advertisents and endorsents,

it naturally follows that the female demographic, which tends to spend more on celebrity endorsents, becos the target audience the artists aim to please, thus dramas are also tailored to appeal to the female demographic.

This has resulted in the dostic TV drama industry focusing more narrowly on female audiences, neglecting a large part of the male audience.

Even a fool knows that the broader the consur demographic of a product, the better its financial prospects.

Yet the film industry in recent years has been continually narrowing its audience base.

Thus, Chen Yiyang felt that if these reforms and asures could be implented, investing in adaptations of male-oriented online literature, bringing previously neglected male viewers into the mainstream clientele of the TV industry, might rejuvenate the current TV drama market.

"Male-oriented online literature adaptations, huh?" Chen Lin thought for a while and said, "There was indeed a male-oriented online literature adaptation drama that contacted us earlier."

"What’s its na?" Chen Yiyang inquired.

"Ordinary People Cultivation."

"Ah, that one." Chen Yiyang was naturally aware of this big online literature IP.

"Tell more about it."

"Here’s the situation," Chen Lin explained. "The animation rights for Ordinary People Cultivation were previously owned by Wanwei Animation. Through producing Ordinary People Cultivation, they earned substantial revenue and attention.

Especially the animation version, it has now beco one of the hottest series in the dostic animation field, with a healthy male-to-female audience ratio.

Hence they plan to partner with Golden Film and Television to produce an Ordinary People Cultivation drama. However, this type of drama requires significant investnt, so they’re hoping to find a film platform to co-produce."

Large-scale dostic TV productions require imnse preliminary investnt and heavily rely on recovering costs through initial broadcast rights, so such dramas typically need collaboration with film platforms to avoid excessive financial losses if the drama fails to perform well.

Currently, there are only a few film platforms in the dostic market.

Bilibili, which Chen Yiyang had previously acquired, is also counted among them. Wanwei Animation and Golden dia naturally sought collaboration with Yiyang Film and Television.

"Alright," Chen Yiyang said, "Arrange to contact the heads of these two companies, let’s have a discussion together."

"Okay." Chen Lin nodded imdiately.

Once Chen Yiyang reached out, a eting ti was promptly scheduled.

In the current film industry, who wouldn’t want to secure an investnt from Chen Yiyang?

To avoid feeling awkward due to unfamiliarity, Chen Yiyang invited Xu Liubai, a familiar face from Liubai Film and Television, who was currently in the Imperial Capital, to accompany him.

"Have you heard about the recent plan to ease restrictions in the film industry?" Chen Yiyang and Xu Liubai arrived early at the arranged place and started chatting.

"I heard about it." Xu Liubai nodded.

"What’s your take on it?" Chen Yiyang wanted to hear an insider’s perspective on the rumor.

"I would consider it wise governance from the new regi," Xu Liubai said. "It’s the new director’s first major move since taking office, and it’s being handled well."

"So it’s because there’s a new director?" Chen Yiyang hadn’t realized this was the reason before.

"Yes," Xu Liubai nodded and explained, "This director’s previous achievents include fostering the growth of online films and micro-short dramas, primarily due to a moderate relaxation in reviews."

"Then it seems to hold so promise," Chen Yiyang pondered and asked, "By the way, how did your recent project, ’The Surge’, turn out?"