Movie < Bird Box (Chinese name: blindfold you]
Text|Investment angle of incidence
Marginalized film criticism
At the end of 2018, Bird Box, (Chinese name: cover your eyes) appeared on the billboards of all major European and American streets.
The episode of the last episode, starred by Oscar-winning Sandra Bullock, has not appeared in any movie theater, but it can still be said to be popular all over the world. In just one week, 45 million Netflix users opened and watched at least 70% of the entire movie. This is a terrible number, because if there are 45 million people going to the movies, the box office has already exceeded at least 450 million US dollars. The traditional channels require the audience to actually go to the cinema to watch, it is difficult to cover 45 million people in a week. In the streaming age, you need to do much easier than going to the cinema: you just need to open your phone, tablet, or computer.
Film critics, however, do not seem to show the same heat.
The famous movie review site has only 63% of the rotten tomato heat rate, and the audience rating is only 62%, which indicates that the film is very "unpredictable."
Look at the more professional film reviews Metascore integrated mainstream media, the film rating score is lower, only 51 points.
Take a look at the lowest score comment in the San Francisco Chronicle: the effort behind Birdbox is to make a better movie than a standard horror movie, but it turns out to be boring. It is not serious enough, not important enough to transcend the type of terror, but both are not intrinsic enough to support a normative horror film. Film critics always set a very high standard for film evaluation, whether it is entertainment, connotation, or shooting new ideas, all with high standards.
The film was also compared to A Quiet Place because the concepts of the two are too similar.
A Quiet Place, which cost about $20 million to produce and eventually earned $340 million at the global box office, is a truly lucrative film.
A Quiet Place is a better film for film critics than for Bird Box. There is no doubt that its box office also shows that the audience is buying all this.
Even if the film critics ridicule the latter, it does not seem to affect the registered users to watch the "Bird Box", at least the number published by Netflix illustrates this.
Traditional Hollywood producers, however, remain sceptical of this number. "I was a loyal user of Nafite, but you told me that Bird Box got over a third of registered users in the first week of its release, and watched at least 70 percent of the entire movie, which was incredible to me. I want to believe it's true, but I can't. After all, it's a horror movie. " Said one producer who asked not to be named.
A week after the release of Bird Box, many fans who watched the movie followed the protagonist in the movie and started the so-called "eye-catching challenge." You need to blindfold to complete a task and then point to the next person. Whether this is a viral marketing initiated by Netflix, this challenge is undoubtedly successful. Countless people are paying attention to this challenge online and paying attention to Bird Box. The Bird Box has gained more attention than the Internet. Any movie released during the same period.
This is not the first time that the audience's behavior is clearly out of proportion to the ratings of most reviews.
The history of film criticism has gradually transitioned from writing to the scoring model of the Internet age. In the past, as a columnist and as a driving force for film development, people have been marginalized as part-time jobs. Career Review, which may no longer exist, has been replaced by more entertaining online content and the Internet.
In the Internet age, word of mouth is still very important, cinema and film manufacturers still care about scoring. This has led many filmmakers to complain that Internet media with ratings systems, such as Douban and Cat's Eye, are Internet thugs with the ability to control box office and incite crowds.
At least in the domestic situation, film review is still very important. Although the role of the film review has been weakened, the film review has become less written, and even the audience has sometimes been too lazy to watch the movie, turning to see the movie for five minutes at Gu Amor, the film review still has the power. Word of mouth can drive people into the cinema to see a movie.
In fact, the initial role of the film review has changed from “promoting film progress” to “promoting box office progress” or “promoting awards”. How many prizes a box office won in a movie is an important element in the past to attract more viewers to watch.
In China, our film industry is still in the early stage, film box office has become one of our focus. Most film critics, some viewers, and even those who haven't seen a movie, are starting to love how many billion a movie can take at the box office.
In foreign countries, film critics have been marginalized, scoring systems have replaced film critics, but now the scoring system has begun to lose its role, because a new generation of media has emerged. People began to ignore ratings and box office, and the success of a movie seems to have other indicators: network influence (everyone is a film review)
In a generation born on the Internet that has long been brainwashed by social media, scoring systems have become too complex when everything is just like it or not.
As a generation accustomed to resisting authority, film critics often put themselves at the highest point of art standards to examine everything, which makes it easy for them to lose the attention of a new generation. Who wants to listen to a bunch of uncles and uncles, how can a movie be good? I just want to know that it's fun and not fun.
Nafe canceled its 5-star rating system in 2017 and replaced it with a button: like. You either like a movie or you don't like a movie. The impact of this change is enormous.
In the past, when the audience used the 5-point scoring system, this continued the practice of IMDB and rotten tomatoes. The audience, like the film critic, scored a movie.
After watching, people often score the movies unrealistically. They often give high scores, but they look at "bad films." (At least Netfair’s internal data reflects this fact)
In 2017, Naifei's "Bright" was released online, and the surreal fantasy police and bandit film starring will Smith took off on the Nafite platform.
But the film was in the eye of the critics. Rotten tomatoes score 25, but the audience scores as high as 84.
Significant deviations between film reviews and audience behavior are not only in Europe and America, but even in the Far East.
"Warcraft", "Speed and passion series", "Transformers 3", "King Kong: skull Island", "Pirates of the Caribbean 5" and other Hollywood action blockbusters in the United States are not only very poor scoring, but also extremely ugly box office. But the Chinese audience is very buying, have to go into the courtyard for feelings and special effects pay.
The audience is always eager for certain plots, such as gun battles, chasing cars, and dazzling special effects. The artistic attainments of the film itself are not within the audience's first consideration.
Nefe, as a global distribution platform, is fully aware of the wide cognitive bias of the scoring system. A movie may not be popular in America, but it may be popular in China. It was inappropriate to give a low score to the film at this time, so the scoring system failed. As a streaming media platform, no matter whether the audience has watched the movie review or not, they are paying for all the movies on the platform.
At the same time, as a commercial body, Netflix does not need to pay special attention to the film reviews, especially those films released on the Netflix platform. Netflix does not need to care about what the film reviews say or how many points for the box office. What Neifei needs most is to push the work that it thinks a large number of subscribers like to the user's device.
In the era of film review failure, Nefe may still want to eat the cinema
Nefe is moving further and further on the path of killing film critics, at least they have found a way to completely ignore film critics.
As a company that still runs users around the world, Netflix has the advantage that it doesn't need to worry about box office problems, it only needs to capture users. The effect of a large-scale publicity of a movie released on the Internet far exceeds expectations, and a movie that exists only on the internal network of Netfair does not need to worry about the criticism of the film review. In the independent system of Netflix, the rules of Netflix , Naifei's gameplay.
Let the hospital line feel a bit chilly is, the Nafe's "Bird Box" hot and the courtyard line a dime of money also has no relation. Those in the cinema and film critics in the eyes of the seemingly "mediocre" film, but became the focus of hot online debate. The Logo. of streaming slowly appeared in the original award-winning movie that had only been broadcast in the theater.
The streaming media departments such as Netflix and Amazon have invested in the production of orthodox art films and independent films early. This means that if these films can be reinvested from streaming media in the future, some of them may consider simultaneously issuing in Neifei. Although the theaters believe that the threat of streaming media to them is not too big, I am afraid it is a fantasy of warm boiled frogs.
Cinemas still have huge box-office appeal, due to physical attributes such as location, acousto-optic effects, crowd sociability, and so on. But we saw a situation in which young people nestled in groups on a sofa and used a shared Nafite account to watch Nafite's original shows and movies, and read and forward comments and ideas about the show. Don't worry about the broadcast time or if someone else is there to keep them quiet.
Disney's Paradise business is one of the most stable of all departmental businesses. Why? This is largely because Disneyland is both a channel and a content itself, its fate is in its own hands, and no matter how the world evolves, it cannot be abandoned for the foreseeable future. Disney is also investing in AR and VR to prepare for any possible technological disruption.
Although the cinema can also be involved in the level of film investment, but as a content provider, it is clearly too bad, especially many are not large chain, there is no bargaining power.
In the hospital line, "the whole line collapse" before, the first to die is the DVD market.
In 2018, the rental DVD is still present, but has fallen from the market to the lowest point. In the United States, the sale of DVDs still has a larger share, but in a year-on-year basis, all non-digital-mode businesses are down, likely to accelerate.
Another reason why the challenge isn't alarmist is that Netflix is squeezing out the wallets of young people who go to the movies.
PwC predicts that by the next decade services such as Netflix and Amazon-which charge 7.99 a month and 79 a year respectively-will account for nearly two-thirds of the on-demand subscription market. The rest of the market will be accounted for by viewers paying for one-off programmes, sports events, films or sports events through services such as Sky's box office or store and Apple's iTunes store.
PWC predicts that in 2020, Nafite will be at least 7.99 euros a month. Nafe and Amazon together account for at least two thirds of the streaming market. The figures come from the 2017 PricewaterhouseCoopers report, which is obviously too conservative.
In January 2019, Netflix had raised the minimum membership price to $11, and Hulu also followed up to raise the membership price. When the movie theater raises the price, the audience may complain that the fare is too expensive, and the big deal will not be seen. However, when Naifei raises the price, most people don’t feel it. First, because there are more and more episodes of Naifei, there is always one that will attract you to pay. Second, the increase is always fine-tuned, and it is easy to make consumption. The person is caught in the environment of warm boiled frogs.
But in the long run, the young man’s purse has been handed over to Naifei for at least $100 a year. (So many young people are willing to share accounts, and Netflix does not exclude this for the time being.) The money could have been used to watch at least six cinema films.
Whether you like it or not, Nafite already has the same annual price hikes as Disneyland. And this base gas originates from the rich degree of Nafite content.
Naifei, who is good at grasping the advantages of the long tail content, has long been limited to local production. With 130 million+ users, Netflix can receive at least $1.1 billion in cash flow each month, and this number will increase as users grow and raise prices.
But these revenues are far from enough. It needs faster evolution, faster content possession, and faster killing of competitors and traditional media companies that are not considered dangerous.
Take the Japanese animation industry as an example. In Japan, an animation was produced and finally released, and even broadcasted to the world is a relatively slow process. First of all, in Japan, you have to go through a series of assessments, then set a budget, review it through the TV station, make a period of time, and finally complete the revision and then make a release plan. After the copyright is sold to overseas channels, overseas audiences can see it.
When playing on the Netflix platform, it doesn't seem to exist anymore. You don't have to think about too many budget issues, as long as it is reasonable. On the platform of Netflix, the ethics review and the screen requirements are not high, and there will be no complaints from parents. And the Netflix platform can push content to more than 200 countries overnight, something that Japanese animation companies didn't even think about.
Moreover, Nafite is able to pinpoint the audience that likes it through user tags. At this point, some people must be wondering whether the ability to push accurately on a large scale means that Nafite will be able to recash in other ways in the future. Because accurate push means high conversion rate.
The TV anime "Blade" was adapted from the comic book of the same name created by Hiroshi Hiroshi, and animated news was announced in January 2018. The animation was produced by TMS Entertainment, and Netflix will now push the Japanese region first and launch it on the Japanese TV station.
The first episode of season 1, which aired on July 7, 2017, has a total of four episodes, each lasting 30 minutes. The second season was broadcast in 2018. Evil City got a lot of attention on Netflix.
I boldly speculate: Naifei is already preparing for something similar. The premise is that these means of realisation do not affect the viewer's viewing experience. It is not excluded that it is a kind of online shop that is embedded in Netflix.
Because of the huge global demand for long-tailed content, most of Japan's animation studios have been booked up by Nafayette and channels from all over the world. This is only the vertical field of the film and television industry in a certain country, and we can see some clues from it, which is very similar to the C2B2C model mentioned by Ma Yun.
Viewers subscribe to Nafite, with potential content needs, content providers scouring the world for related resources (or even making them directly), and then via the Internet, the global push to subscribers with related needs.
This is a special service that traditional cinemas cannot provide, and our media entertainment is undergoing a major transformation. Those who ignore this change may be surprised by the development of streaming media in the next five years. With the advent of 5G, faster network speeds and low latency may provide a more diversified way of viewing for Netfair's streaming media platform. (This article is the first titanium media)
[Titanium Media Author: Neo Xin He, WeChat public number: investment angle of incidence]
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