The Korean entertainment industry has encountered major difficulties, the crew has fallen into a state of shutdown, and the actors are facing the risk of losing their jobs, which is no wonder that Lisa, South Korea's top female artist, is bent on entering the European and American markets.
Some people believe that Lisa's participation in the French Crazy Horse show is her "petition" submitted to the European and American entertainment industry, and only by passing the test of Europe and the United States can she truly cross the restrictions of the Korean entertainment industry.
So why did Lisa have to jump to Europe and the United States? Could it be that the Korean entertainment industry can no longer satisfy her ambitions?
In fact, this year's Korean entertainment industry can be said to have plummeted, and many small crews have been forced to stop work due to funding problems. Although it was declared to be a "pause in shooting", the time for resumption became more and more remote.
Why is this happening? The reason is that the Korean entertainment industry has been monopolized by Netflix in the United States.
Do you remember last year's globally popular Korean drama "Squid Game"? The show was actually invested and produced by Netflix. When director Hwang Dong-hyuk searched for investment, only Netflix was willing to support it, and in the end, "Squid Game", which cost $21.4 million to produce, ended up being a huge success, with benefits six times the cost.
However, director Hwang Dong-hyuk said that he only earned enough money to fill his stomach. In many cases, the replay of TV dramas will cause directors, screenwriters and other stakeholders to receive dividends, but Netflix does not agree with this model.
Starting with "Squid Game", Netflix gradually entered the Korean drama market, and with its guarantee of creators' freedom, it attracted many directors and screenwriters to prioritize seeking investment from Netflix. At the same time, the living space of local TV stations in South Korea has also been severely compressed, because Netflix does not provide a share, resulting in the South Korean film and television industry employees becoming "cheap labor".
The Korean dramas that the audience sees while filming are very good, but behind it are countless staff members working day and night, and their quality of life is low. There are even producers who commit suicide because they cannot bear the exploitation, which has prompted South Korean legislation to limit film and television workers to work no more than 50 hours a week.
However, Netflix ignored these laws and regulations and continued to exploit employees in the film and television industry. Writers and directors worked hard in the past and at least got some dividends from it, but now they don't even have them.
Netflix uses the so-called "creative freedom" as an excuse to exploit the Korean film and television industry, obtain global benefits at a very low cost, and turn a deaf ear to the interests of low-level practitioners.
Today, South Korea's local film and television companies have gone bankrupt, which is the result of Netflix's occupation of the market.
At the same time, in Hollywood, writers and directors are also on strike en masse, and the situation is almost the same, and their hard work is not rewarded accordingly.
However, Netflix is not worried about this, because the company has invested more than 150 productions in South Korea in recent years, and they do not need to worry about whether the series will be broadcast smoothly.
While Netflix seized the Korean market and exploited employees, Netflix did not receive much attention.
Some touted Netflix online, calling its presence in South Korea a huge step forward and leap forward. But in fact, there is no need to think so, because Netflix has also destroyed the entire ecological environment of the Korean entertainment industry.
Regardless of the industry, a single monopoly needs to be vigilant, otherwise it is the bottom workers who will eventually suffer.