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 time, he came to support Yushu, who would be participating in the World Humanoid Robot Competition.

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

Chen Yiyang’s investments in the entertainment 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 merged 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 entertainment 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 entertainment industry.

However, Chen Yiyang’s network in Shanghai was limited, while he knew many people in the entertainment 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 Entertainment’s recent developments and investment plans, Chen Lin continued to speak.

"Recently, there are rumors that the authorities will ease restrictions on long-form TV dramas. Specific measures 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 immediate feedback."

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

These reform measures 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 documents had not yet been released.

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

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

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

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 medium-quality game.

The greatest profits from blockbuster films are usually absorbed by the actors. And the advertising, endorsements, 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 domestic TV dramas never seems to measure 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.

Meanwhile, domestic film industry professionals often have to resort to unspoken rules and interest exchanges to reach agreements with the actors’ management companies, in order to get a slice of the earnings.

This also results in many domestic 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 advertisements and endorsements,

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

This has resulted in the domestic 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 consumer 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 measures could be implemented, 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 name?" Chen Yiyang inquired.

"Ordinary People Cultivation."

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

"Tell me 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 become one of the hottest series in the domestic 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 investment, so they’re hoping to find a film platform to co-produce."

Large-scale domestic TV productions require immense preliminary investment 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 domestic market.

Bilibili, which Chen Yiyang had previously acquired, is also counted among them. Wanwei Animation and Golden Media 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 immediately.

Once Chen Yiyang reached out, a meeting time was promptly scheduled.

In the current film industry, who wouldn’t want to secure an investment 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 regime," 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 achievements include fostering the growth of online films and micro-short dramas, primarily due to a moderate relaxation in reviews."

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