Draft budget of the federal government Cabinet approves of high New debt

Status: 23.06.2021 12:18 p.m.

The federal government will also take on massive debts in the coming year. The cabinet approved the draft budget, which provides for new borrowing of almost 100 billion euros for 2022. The debt brake will be suspended again for this. The federal cabinet has approved the government draft for the federal budget for 2022. Once again, the approved budget is shaped by the consequences of the Corona crisis. According to the draft, the federal government wants to incur more new debts in the coming year than previously planned. A net borrowing of 99.7 billion euros is planned, as can be seen from a cabinet proposal. The high level of new borrowing is justified with additional spending as a result of the corona pandemic, for example for corporate aid and to stabilize social contributions.

Debts grow to 470 billion euros

In the benchmarks presented in March, the Ministry of Finance had expected a net borrowing of 81.5 billion euros for 2022. Tax revenues remain below pre-crisis levels. This would mean that the mountain of debt accumulated by the corona pandemic between 2020 and 2022 would grow to around 470 billion euros. However, there are now plans to increase spending on climate protection and health, for example. The federal government had already taken on billions in new debts in 2020 and 2021. The budget plans are, so to speak, subject to change, because the new Bundestag elected in autumn has to pass the budget. There could therefore still be significant changes.

Debt brake suspended again

According to the draft, the debt brake anchored in the Basic Law will also be suspended in the coming year against the background of the Corona crisis. It stipulates that the federal government may only take out new loans to a very small extent – a maximum of 0.35 percent of economic output. According to the draft, the federal government no longer wants to make use of the exemption from 2023. In the afternoon, Federal Finance Minister Olaf Scholz wants to present his budget plan

Author｜Song Wanxin

Edit｜Yang Jin

After exploring for a period of time, at the beginning of this year, Chen Ning’s company gave up the short drama business. The reasons behind it are complicated. He feels that since the skit has become an outlet, the market is still speculating on the concept, and no one has run through the commercialization path. This somewhat illustrates a certain problem.

If you trace the origin of the skit, you may have to start with “Unexpectedly” in 2013. At that time, Douyin had not yet been born, and Kuaishou had not been out of the circle. “Unexpectedly” is defined as a mini comedy, but from the perspective of the content of the series, “Unexpectedly” also has the characteristics of today’s “mini-short drama”: 15 episodes per season, 5 minutes per episode, compact plot , The net is full, the pain points and the laugh points are intensive.

The early short dramas were mainly played in the horizontal screen mode of UAT. In the past two years, with the development of short videos, the short dramas have naturally grown in the short video ecology.

According to the “2020 China Internet Audiovisual Development Research Report” released on October 12 last year, short video users have reached 818 million, and the average daily short video product use time is 110 minutes. When the short video traffic dividend is about to peak, the content mode of short dramas has become a new direction for platforms to compete for user duration.

From mid-2019 to the present, Chen Ning has felt the tremendous changes in the skit industry, “No matter whether it is the production system or the budget, it is no longer the same.” At the same time, after a period of barbaric growth, regulatory forces also began to intervene.

At the end of last year, the State Administration of Radio, Film and Television added the category of “Internet short dramas” to the key online film and television drama information filing system. This category stipulates that the web short drama is a web drama with a single episode of no more than 10 minutes. This means that the “micro short drama” has been named and qualitative, and the market has formed a larger scale and has been brought into supervision.

A few days ago, Kuaishou and Douyin have held short play press conferences, and each published their transcripts. Douyin said that during the “New Fan Project 1.0” period, 110 MCN agencies and more than 1,400 Douyin creators participated, and a total of short play works have been registered. There are more than 5,000 units. Kuaishou announced that more than 20,000 skits have been included, of which over 12.5 percent of the episodes are over 100 million. Kuaishou users watch more than 210 million skits per day, and the total user viewing time has reached 35 million hours.

Various dimensions of data are prosperous, but behind the data, the skit is still in the early stage of being “defined”. Whether the platform, producers, and actors can achieve unification of interests in this process determines how big the entire industry can ultimately be. .

“Kaishou Little Theater” page “I want it to fire, but I also want it not to fire” The most obvious advantage of the skit is undoubtedly the “short and fast”. Compared with TV series and movies with high investment and unstable income, the lower cost and faster feedback of skits are the main reasons why traditional film and television companies favor it. At first, many companies made their first pot of gold in this blue ocean, but they were quickly hit. “When we started to do it in mid-2019, the cycle was very short, because it only needed to be reviewed by the platform, the production budget was also very cheap, and one episode could be controlled at 10,000 yuan.” Chen Ning told Sohu Technology, with the help of Douyin and Kuaishou. With the intervention of traditional video platforms, the budget of each video soared to 500,000 yuan in just two years. Costs are rising, but the business path is still immature, and many companies that enter the game later have begun to wait and see. At present, the business models of short dramas explored by all parties in the industry are mainly divided into three types: accounting, advertising and e-commerce. Let’s first look at the relatively popular split-accounting model in recent years. Before the short drama, in 2015, iQiyi first launched the “net big share account”. At present, long video platforms have generally begun to use this commercialization method. Different platforms have different accounting rules. iQiyi adopts content sharing, marketing sharing and advertising sharing, while Tencent Video and Youku only adopt content sharing. According to the effective viewing time of paying users, it is a kind of benign income model to make the big works of online drama and network directly face the C-end users, which will force the film party to be responsible for the quality of the content. There have been many high-income cases in online drama splitting. In 2016, “The Demon Out of Changan” with a production cost of only 4.5 million made more than 20 million in revenue, and the return on investment ratio reached 1:4.5; in 2017, the revenue of “The Chef of the Flower Pot” has exceeded 72 million in two years. Of course, as the industry passes through the initial stage of volume, the good days of relying on platform subsidies and account splitting will not last long. The producers of the skits asked by Sohu Technology all stated that “you can’t make much money by splitting the accounts.” At present, both Kuaishou and Douyin have avoided discussing the proportion of revenue sharing. Previously, the person in charge of Kuaishou short drama pointed out to the media, “Because of the lack of subsequent monetization channels, long dramas can only rely on a mode of sharing accounts. The special form of the video allows it to be monetized even if there is no account split. The monetization mode other than the account split is rapidly completing the video, and the follow-up will become heavier and heavier.” From the attitude of the platform, it is difficult for the account split to become the main film party. Source of income. The so-called “special form of short video” enables advertising customization and e-commerce to be applied more flexibly in the ecosystem. For example, in terms of advertising, Kuaishou and Wanglaoji’s “Auspicious Theater” have launched two short dramas “Niu XIII” and “My Contract Boyfriend” with over 100 million broadcasts. However, due to the unclear prospects of the short dramas, many advertisers are still cautious about the placement of most of the short dramas. “Everything depends on whether there are customers who want to place an order.” An insider of Happy Twist told Sohu Technology that although the short drama is a new direction for Happy Twist, the internal promotion is very slow. On the one hand, the current production process of the short drama It’s not much easier than a long drama. On the other hand, it’s not easy to find content that meets customer needs. “Of course we want to make our own IP, but there is no content at the moment.” Wang Yaou, general manager of Happy Twist Marketing Center, once said in an interview with Dongxi Cultural Entertainment: “The short play is very short, but how to balance the quality of the content and the commercial value of the brand is not easy at all. Moreover, this is a new field. How the content party and the platform party sign a commercial contract, how to determine the terms, how to sign, how to commercialize, how to share profits, there is no mature template, everything needs to be explored.” From advertisers to producers, everyone is still experimenting on their own. Although there have been many excellent cases of customized advertising dramas, it remains to be seen whether advertisers will continue to launch them. In addition to commercialization, film producers are also facing more and more difficulties in the production process. The first to bear the brunt is the gradual lengthening of the cycle. “Timeliness is the number one advantage of the short drama. It was originally possible to make two dramas a month, but now that the supervision is involved, the time period from production to launch is hard to say.” Chen Ning said, when the short drama is the biggest After the time advantage is gradually compressed, the future space will not be particularly large. Secondly, the “short, flat and fast” feature of the short drama has its own advantages, but correspondingly, this has also increased the pressure on the filmmakers to grasp the time window. “When we were making a short drama, we wanted it to be popular but also not to be popular,” Chen Ning described the mentality of the film party in this way, “If it is not popular, we can make new ones, but if it is popular, according to The time for the flow of the skit to ferment, you must keep up with the second one within half a month to take advantage of the heat, otherwise it will be cold after a month. Can this time-sensitive production team keep up?” Finally, compared to web dramas and movies, short dramas are more centered on actors, that is, dramas serve people rather than people support dramas. From this perspective, Douyin Kuaishou’s skits are not based on “content” and rely on “content” to do business, but more for the purpose of “establishing people.” “One of the problems that this brings is that if the sequel is filmed, the core male and female actors must not be changed, and the actors may sit on the floor and raise the price.” Chen Ning said. “Personal” business The effect of “Establishing People” through the skit is remarkable. Take “Yuer” as an example. Its masterpiece “This Lord I Want to Return” has accumulated 350 million views in Kuaishou, and a single drama has gained more than 2 million fans; while Kuaishou’s first major short drama “This Male Lead Is A Little Cold” The heroine of “A Great Friend of Lu” also gained 5 million fans through the show. The super strong ability to attract fans in a short period of time has made the skit more possibilities on the commercial link. “The Kuaishou skit itself still relies on the business model of the Kuaishou platform, so we will be more based on the commercialization of the entire platform to empower. We monitored part of the more interesting link is that the 5 million fans of “Yi Lu” directly In order to become a trusted fan of her e-commerce, her GMV conversion of her e-commerce has increased by about 60 times. This is a very surprising number. Therefore, our important direction in the second half of this year is to deeply integrate the short drama with the e-commerce.” Kuaishou The person in charge of the skit said. Chen Ning also believes that e-commerce will most likely become the main monetization method for skits in the future. “In fact, if MCN or individuals want to do Douyin or Kuaishou accounts, the initial investment in maintaining accounts is mainly to buy traffic and increase fans. The short drama is a way to reduce the initial investment time. For example, a drama is rated as A-level, and the platform gives 3000 With more than 10,000 traffic support, it may increase by 1 million fans in a short period of time, but if you raise your account to 1 million, it will take at least half a year to a year.” In other words, the skit is more like a “medium” to increase fans. Through the story of the skit, users can follow the core actors to increase their stickiness. After the skit ends, the actors return to the anchor status and use private domain traffic to bring goods. This can also explain why Kuaishou, which has stronger private domain traffic and a more complete e-commerce ecology, can be ahead of Douyin in the field of skits. But hidden dangers also exist. From the perspective of content, the essence of skits is “net-sensing cool dramas”. This type of content has limited reputation and influence, and the quality of the content is directly proportional to the life cycle. This makes the skits have a short life cycle and requires continuous delivery of new points and new ideas. Stories to satisfy users. Therefore, the realization of the IP of a short drama itself cannot be extended into an ecology like a long film and television drama. In response to this, the person in charge of the Kuaishou skit responded, “Under the environment of trial and error, the influence of a hit can last for a year. It is considered good. After all, it is related to the input-output ratio. The cost of brainpower is definitely not comparable to a short drama, and the influence of the former’s subsequent IP ecology will inevitably last for more than ten years.” According to Kuaishou’s thinking, the skit is more suitable for tapping people’s IP value and people’s e-commerce. In addition, for the artists, the short drama does provide them with a way out. For example, the vast majority of trainees who have not debuted on domestic talent shows, due to the lack of a comprehensive audition system in China, a large number of trainees lack opportunities to show up, and short plays provide them with a low-cost stage. Faced with such a big cake, many traditional artist agency companies have come to an end one after another. For example, Jiaxing Media, which participated in the production of “Sansheng III Shili Peach Blossom”, launched its self-made short drama “The Other Half of Me and You” on Youku for the first time; Yin United produced a short drama “Don’t be afraid, fall in love!” “; Happy Twist has also reached cooperation with Kuaishou and Haojiao at the same time, and has output multiple skits. Many people in the industry believe that although the number of micro-short dramas is often hundreds of millions, there are still no real works out of the circle, and there is no short video version of “Unexpectedly”. However, “whether or not it is out of the circle” seems to be irrelevant now. The role played by the film and television works incubated in the short video era has been rewritten, the tool attribute has come to the front, and the content itself has retreated to the second line. This may be the short drama in the present. The biggest change brought to the industry. (At the request of the interviewee, Chen Ning is a pseudonym)

“Kaishou Little Theater” page “I want it to fire, but I also want it not to fire” The most obvious advantage of the skit is undoubtedly the “short and fast”. Compared with TV series and movies with high investment and unstable income, the lower cost and faster feedback of skits are the main reasons why traditional film and television companies favor it. At first, many companies made their first pot of gold in this blue ocean, but they were quickly hit. “When we started to do it in mid-2019, the cycle was very short, because it only needed to be reviewed by the platform, the production budget was also very cheap, and one episode could be controlled at 10,000 yuan.” Chen Ning told Sohu Technology, with the help of Douyin and Kuaishou. With the intervention of traditional video platforms, the budget of each video soared to 500,000 yuan in just two years. Costs are rising, but the business path is still immature, and many companies that enter the game later have begun to wait and see. At present, the business models of short dramas explored by all parties in the industry are mainly divided into three types: accounting, advertising and e-commerce. Let’s first look at the relatively popular split-accounting model in recent years. Before the short drama, in 2015, iQiyi first launched the “net big share account”. At present, long video platforms have generally begun to use this commercialization method. Different platforms have different accounting rules. iQiyi adopts content sharing, marketing sharing and advertising sharing, while Tencent Video and Youku only adopt content sharing. According to the effective viewing time of paying users, it is a kind of benign income model to make the big works of online drama and network directly face the C-end users, which will force the film party to be responsible for the quality of the content. There have been many high-income cases in online drama splitting. In 2016, “The Demon Out of Changan” with a production cost of only 4.5 million made more than 20 million in revenue, and the return on investment ratio reached 1:4.5; in 2017, the revenue of “The Chef of the Flower Pot” has exceeded 72 million in two years. Of course, as the industry passes through the initial stage of volume, the good days of relying on platform subsidies and account sharing will not last long. The producers of the skits asked by Sohu Technology all stated that “you can’t make much money by splitting the accounts.” At present, both Kuaishou and Douyin have avoided discussing the proportion of revenue sharing. Previously, the person in charge of Kuaishou short drama pointed out to the media, “Because of the lack of subsequent monetization channels, long dramas can only rely on a mode of sharing accounts. The special form of the video allows it to be monetized even if there is no account split. The monetization mode other than the account split is rapidly completing the video, and the follow-up will become heavier and heavier.” From the attitude of the platform, it is difficult for the account split to become the main film party. Source of income. The so-called “special form of short video” enables advertising customization and e-commerce to be applied more flexibly in the ecosystem. For example, in terms of advertising, Kuaishou and Wanglaoji’s “Auspicious Theater” have launched two short dramas “Niu XIII” and “My Contract Boyfriend” with over 100 million broadcasts. However, due to the unclear prospects of the short dramas, many advertisers are still cautious about the placement of most of the short dramas. “Everything depends on whether there are customers who want to place an order.” An insider of Happy Twist told Sohu Technology that although the short drama is a new direction for Happy Twist, the internal promotion is very slow. On the one hand, the current production process of the short drama It’s not much easier than a long drama. On the other hand, it’s not easy to find content that meets customer needs. “Of course we want to make our own IP, but there is no content at the moment.” Wang Yaou, general manager of Happy Twist Marketing Center, once said in an interview with Dongxi Cultural Entertainment: “The short play is very short, but how to balance the quality of the content and the commercial value of the brand is not easy at all. Moreover, this is a new field. How the content party and the platform party sign a commercial contract, how to determine the terms, how to sign, how to commercialize, how to share profits, there is no mature template, everything needs to be explored.” From advertisers to producers, everyone is still experimenting on their own. Although there have been many excellent cases of customized advertising dramas, it remains to be seen whether advertisers will continue to launch them. In addition to commercialization, film producers are also facing more and more difficulties in the production process. The first to bear the brunt is the gradual lengthening of the cycle. “Timeliness is the number one advantage of the short drama. It was originally possible to make two dramas a month, but now that the supervision is involved, the time period from production to launch is hard to say.” Chen Ning said, when the short drama is the biggest After the time advantage is gradually compressed, the future space will not be particularly large. Secondly, the “short, flat and fast” feature of the short drama has its own advantages, but correspondingly, this has also increased the pressure on the filmmakers to grasp the time window. “When we were making a short drama, we wanted it to be popular but also not to be popular,” Chen Ning described the mentality of the film party in this way, “If it is not popular, we can make new ones, but if it is popular, according to The time for the flow of the skit to ferment, you must keep up with the second one within half a month to take advantage of the heat, otherwise it will be cold after a month. Can this time-sensitive production team keep up?” Finally, compared to web dramas and movies, short dramas are more centered on actors, that is, dramas serve people rather than people support dramas. From this perspective, Douyin Kuaishou’s skits are not based on “content” and rely on “content” to do business, but more for the purpose of “establishing people.” “One of the problems this brings is that if the sequel is filmed, the core male and female actors must not be changed, and the actors may sit down and raise prices.” Chen Ning said. “Personal” business The effect of “Establishing People” through the skit is remarkable. Take “Yuer” as an example. Its masterpiece “This Lord I Want to Return” has accumulated 350 million views in Kuaishou, and a single drama has gained more than 2 million fans; while Kuaishou’s first major short drama “This Male Lead Is A Little Cold” The heroine of “A Great Friend of Lu” also gained 5 million fans through the show. The super strong ability to attract fans in a short period of time has made the skit more possibilities on the commercial link. “The Kuaishou skit itself still relies on the business model of the Kuaishou platform, so we will be more based on the commercialization of the entire platform to empower. We monitored part of the more interesting link is that the 5 million fans of “Yi Lu” directly In order to become a trusted fan of her e-commerce business, her GMV conversion of her e-commerce company has increased by about 60 times. This is a very surprising number. Therefore, our important direction in the second half of this year is to deeply integrate the short drama with the e-commerce company.” Kuaishou The person in charge of the skit said. Chen Ning also believes that e-commerce will most likely become the main monetization method for skits in the future. “In fact, if MCN or individuals want to do Douyin or Kuaishou accounts, the initial investment in maintaining accounts is mainly to buy traffic and increase fans. The short drama is a way to reduce the initial investment time. For example, a drama is rated as A-level, and the platform gives 3000 With more than 10,000 traffic support, it may increase by 1 million fans in a short period of time, but if you raise your account to 1 million, it will take at least half a year to a year.” In other words, the skit is more like a “medium” to increase fans. Through the story of the skit, users can follow the core actors to increase their stickiness. After the skit ends, the actors return to the anchor status and use private domain traffic to bring goods. This can also explain why Kuaishou, which has stronger private domain traffic and a more complete e-commerce ecology, can be ahead of Douyin in the field of skits. But hidden dangers also exist. From the perspective of content, the essence of skits is “net-sensing cool dramas”. This type of content has limited reputation and influence, and the quality of the content is directly proportional to the life cycle. This makes the skits have a short life cycle and requires continuous delivery of new points and new ideas. Stories to satisfy users. Therefore, the realization of the IP of a short drama itself cannot be extended into an ecology like a long film and television drama. In response to this, the person in charge of the Kuaishou skit responded, “Under the environment of trial and error, the influence of a hit can last for a year. It is considered good. After all, it is related to the input-output ratio. The cost of brainpower is definitely not comparable to a short drama, and the influence of the former’s subsequent IP ecology will inevitably last for more than ten years.” According to Kuaishou’s thinking, the skit is more suitable for tapping people’s IP value and people’s e-commerce. In addition, for the artists, the short drama does provide them with a way out. For example, the vast majority of trainees who have not debuted on domestic talent shows, due to the lack of a comprehensive audition system in China, a large number of trainees lack opportunities to show up, and short plays provide them with a low-cost stage. Faced with such a big cake, many traditional artist agency companies have come to an end one after another. For example, Jiaxing Media, which participated in the production of “Sansheng III Shili Peach Blossom”, launched its self-made short drama “The Other Half of Me and You” on Youku for the first time; Yin United produced a short drama “Don’t be afraid, fall in love!” “; Happy Twist has also reached cooperation with Kuaishou and Haojiao at the same time, and has output multiple skits. Many people in the industry believe that although the number of micro-short dramas is often hundreds of millions, there are still no real works out of the circle, and there is no short video version of “Unexpectedly”. However, “whether or not it is out of the circle” seems to be irrelevant now. The role played by the film and television works incubated in the short video era has been rewritten, the tool attribute has come to the front, and the content itself has retreated to the second line. This may be the short drama in the present. The biggest change brought to the industry. (At the request of the interviewee, Chen Ning is a pseudonym)

“Kaishou Little Theater” page “I want it to fire, but I also want it not to fire” The most obvious advantage of the skit is undoubtedly the “short and fast”. Compared with TV series and movies with high investment and unstable income, the lower cost and faster feedback of skits are the main reasons why traditional film and television companies favor it. At first, many companies made their first pot of gold in this blue ocean, but they were quickly hit. “When we started to do it in mid-2019, the cycle was very short, because it only needed to be reviewed by the platform, the production budget was also very cheap, and one episode could be controlled at 10,000 yuan.” Chen Ning told Sohu Technology, with the help of Douyin and Kuaishou. With the intervention of traditional video platforms, the budget of each video soared to 500,000 yuan in just two years. Costs are rising, but the business path is still immature, and many companies that enter the game later have begun to wait and see. At present, the business models of short dramas explored by all parties in the industry are mainly divided into three types: accounting, advertising and e-commerce. Let’s first look at the relatively popular split-accounting model in recent years. Before the short drama, in 2015, iQiyi first launched the “net big share account”. At present, long video platforms have generally begun to use this commercialization method. Different platforms have different accounting rules. iQiyi adopts content sharing, marketing sharing and advertising sharing, while Tencent Video and Youku only adopt content sharing. According to the effective viewing time of paying users, it is a kind of benign income model to make the big works of online drama and network directly face the C-end users, which will force the film party to be responsible for the quality of the content. There have been many high-income cases in online drama splitting. In 2016, “The Demon Out of Changan” with a production cost of only 4.5 million made more than 20 million in revenue, and the return on investment ratio reached 1:4.5; in 2017, the revenue of “The Chef of the Flower Pot” has exceeded 72 million in two years. Of course, as the industry passes through the initial stage of volume, the good days of relying on platform subsidies and account sharing will not last long. The producers of the skits asked by Sohu Technology all stated that “you can’t make much money by splitting the accounts.” At present, both Kuaishou and Douyin have avoided discussing the proportion of revenue sharing. Previously, the person in charge of Kuaishou short drama pointed out to the media, “Because of the lack of subsequent monetization channels, long dramas can only rely on a mode of sharing accounts. The special form of the video allows it to be monetized even if there is no account split. The monetization mode other than the account split is rapidly completing the video, and the follow-up will become heavier and heavier.” From the attitude of the platform, it is difficult for the account split to become the main film party. Source of income. The so-called “special form of short video” enables advertising customization and e-commerce to be applied more flexibly in the ecosystem. For example, in terms of advertising, Kuaishou and Wanglaoji’s “Auspicious Theater” have launched two short dramas “Niu XIII” and “My Contract Boyfriend” with over 100 million broadcasts. However, due to the unclear prospects of the short dramas, many advertisers are still cautious about the placement of most of the short dramas. “Everything depends on whether there are customers who want to place an order.” An insider of Happy Twist told Sohu Technology that although the short drama is a new direction for Happy Twist, the internal promotion is very slow. On the one hand, the current production process of the short drama It’s not much easier than a long drama. On the other hand, it’s not easy to find content that meets customer needs. “Of course we want to make our own IP, but there is no content at the moment.” Wang Yaou, general manager of Happy Twist Marketing Center, once said in an interview with Dongxi Cultural Entertainment: “The short play is very short, but how to balance the quality of the content and the commercial value of the brand is not easy at all. Moreover, this is a new field. How the content party and the platform party sign a commercial contract, how to determine the terms, how to sign, how to commercialize, how to share profits, there is no mature template, everything needs to be explored.” From advertisers to producers, everyone is still experimenting on their own. Although there have been many excellent cases of customized advertising dramas, it remains to be seen whether advertisers will continue to launch them. In addition to commercialization, film producers are also facing more and more difficulties in the production process. The first to bear the brunt is the gradual lengthening of the cycle. “Timeliness is the number one advantage of the short drama. It was originally possible to make two dramas a month, but now that the supervision is involved, the time period from production to launch is hard to say.” Chen Ning said, when the short drama is the biggest After the time advantage is gradually compressed, the future space will not be particularly large. Secondly, the “short, flat and fast” feature of the short drama has its own advantages, but correspondingly, this has also increased the pressure on the filmmakers to grasp the time window. “When we were making a short drama, we wanted it to be popular but also not to be popular,” Chen Ning described the mentality of the film party in this way, “If it is not popular, we can make new ones, but if it is popular, according to The time for the flow of the skit to ferment, you must keep up with the second one within half a month to take advantage of the heat, otherwise it will be cold after a month. Can this time-sensitive production team keep up?” Finally, compared to web dramas and movies, short dramas are more centered on actors, that is, dramas serve people rather than people support dramas. From this perspective, Douyin Kuaishou’s skits are not based on “content” and rely on “content” to do business, but more for the purpose of “establishing people.” “One of the problems this brings is that if the sequel is filmed, the core male and female actors must not be changed, and the actors may sit down and raise prices.” Chen Ning said. “Personal” business The effect of “Establishing People” through the skit is remarkable. Take “Yuer” as an example. Its masterpiece “This Lord I Want to Return” has accumulated 350 million views in Kuaishou, and a single drama has gained more than 2 million fans; while Kuaishou’s first major short drama “This Male Lead Is A Little Cold” The heroine of “A Great Friend of Lu” also gained 5 million fans through the show. The super strong ability to attract fans in a short period of time has made the skit more possibilities on the commercial link. “The Kuaishou skit itself still relies on the business model of the Kuaishou platform, so we will be more based on the commercialization of the entire platform to empower. We monitored part of the more interesting link is that the 5 million fans of “Yi Lu” directly In order to become a trusted fan of her e-commerce business, her GMV conversion of her e-commerce company has increased by about 60 times. This is a very surprising number. Therefore, our important direction in the second half of this year is to deeply integrate the short drama with the e-commerce company.” Kuaishou The person in charge of the skit said. Chen Ning also believes that e-commerce will most likely become the main monetization method for skits in the future. “In fact, if MCN or individuals want to do Douyin or Kuaishou accounts, the initial investment in maintaining accounts is mainly to buy traffic and increase fans. The short drama is a way to reduce the initial investment time. For example, a drama is rated as A-level, and the platform gives 3000 With more than 10,000 traffic support, it may increase by 1 million fans in a short period of time, but if you raise your account to 1 million, it will take at least half a year to a year.” In other words, the skit is more like a “medium” to increase fans. Through the story of the skit, users can follow the core actors to increase their stickiness. After the skit ends, the actors return to the anchor status and use private domain traffic to bring goods. This can also explain why Kuaishou, which has stronger private domain traffic and a more complete e-commerce ecology, can be ahead of Douyin in the field of skits. But hidden dangers also exist. From the perspective of content, the essence of skits is “net-sensing cool dramas”. This type of content has limited reputation and influence, and the quality of the content is directly proportional to the life cycle. This makes the skits have a short life cycle and requires continuous delivery of new points and new ideas. Stories to satisfy users. Therefore, the realization of the IP of a short drama itself cannot be extended into an ecology like a long film and television drama. In response to this, the person in charge of the Kuaishou skit responded, “Under the environment of trial and error, the influence of a hit can last for a year. It is considered good. After all, it is related to the input-output ratio. The cost of brainpower is definitely not comparable to a short drama, and the influence of the former’s subsequent IP ecology will inevitably last for more than ten years.” According to Kuaishou’s thinking, the skit is more suitable for tapping people’s IP value and people’s e-commerce. In addition, for the artists, the short drama does provide them with a way out. For example, the vast majority of trainees who have not debuted on domestic talent shows, due to the lack of a comprehensive audition system in China, a large number of trainees lack opportunities to show up, and short plays provide them with a low-cost stage. Faced with such a big cake, many traditional artist agency companies have come to an end one after another. For example, Jiaxing Media, which participated in the production of “Sansheng III Shili Peach Blossom”, launched its self-made short drama “The Other Half of Me and You” on Youku for the first time; Yin United produced a short drama “Don’t be afraid, fall in love!” “; Happy Twist has also reached cooperation with Kuaishou and Haojiao at the same time, and has output multiple skits. Many people in the industry believe that although the number of micro-short dramas is often hundreds of millions, there are still no real works out of the circle, and there is no short video version of “Unexpectedly”. However, “whether or not it is out of the circle” seems to be irrelevant now. The role played by the film and television works incubated in the short video era has been rewritten, the tool attribute has come to the front, and the content itself has retreated to the second line. This may be the short drama in the present. The biggest change brought to the industry. (At the request of the interviewee, Chen Ning is a pseudonym)

“Kaishou Little Theater” page “I want it to fire, but I also want it not to fire” The most obvious advantage of the skit is undoubtedly the “short and fast”. Compared with TV series and movies with high investment and unstable income, the lower cost and faster feedback of skits are the main reasons why traditional film and television companies favor it. At first, many companies made their first pot of gold in this blue ocean, but they were quickly hit. “When we started to do it in mid-2019, the cycle was very short, because it only needed to be reviewed by the platform, the production budget was also very cheap, and one episode could be controlled at 10,000 yuan.” Chen Ning told Sohu Technology, with the help of Douyin and Kuaishou. With the intervention of traditional video platforms, the budget of each video soared to 500,000 yuan in just two years. Costs are rising, but the business path is still immature, and many companies that enter the game later have begun to wait and see. At present, the business models of short dramas explored by all parties in the industry are mainly divided into three types: accounting, advertising and e-commerce. Let’s first look at the relatively popular split-accounting model in recent years. Before the short drama, in 2015, iQiyi first launched the “net big share account”. At present, long video platforms have generally begun to use this commercialization method. Different platforms have different accounting rules. iQiyi adopts content sharing, marketing sharing and advertising sharing, while Tencent Video and Youku only adopt content sharing. According to the effective viewing time of paying users, it is a kind of benign income model to make the big works of online drama and network directly face the C-end users, which will force the film party to be responsible for the quality of the content. There have been many high-income cases in online drama splitting. In 2016, “The Demon Out of Changan” with a production cost of only 4.5 million made more than 20 million in revenue, and the return on investment ratio reached 1:4.5; in 2017, the revenue of “The Chef of the Flower Pot” has exceeded 72 million in two years. Of course, as the industry passes through the initial stage of volume, the good days of relying on platform subsidies and account sharing will not last long. The producers of the skits asked by Sohu Technology all stated that “you can’t make much money by splitting the accounts.” At present, both Kuaishou and Douyin have avoided discussing the proportion of revenue sharing. Previously, the person in charge of Kuaishou short drama pointed out to the media, “Because of the lack of subsequent monetization channels, long dramas can only rely on a mode of sharing accounts. The special form of the video allows it to be monetized even if there is no account split. The monetization mode other than the account split is rapidly completing the video, and the follow-up will become heavier and heavier.” From the attitude of the platform, it is difficult for the account split to become the main film party. Source of income. The so-called “special form of short video” enables advertising customization and e-commerce to be applied more flexibly in the ecosystem. For example, in terms of advertising, Kuaishou and Wanglaoji’s “Auspicious Theater” have launched two short dramas “Niu XIII” and “My Contract Boyfriend” with over 100 million broadcasts. However, due to the unclear prospects of the short dramas, many advertisers are still cautious about the placement of most of the short dramas. “Everything depends on whether there are customers who want to place an order.” An insider of Happy Twist told Sohu Technology that although the short drama is a new direction for Happy Twist, the internal promotion is very slow. On the one hand, the current production process of the short drama It’s not much easier than a long drama. On the other hand, it’s not easy to find content that meets customer needs. “Of course we want to make our own IP, but there is no content at the moment.” Wang Yaou, general manager of Happy Twist Marketing Center, once said in an interview with Dongxi Cultural Entertainment: “The short play is very short, but how to balance the quality of the content and the commercial value of the brand is not easy at all. Moreover, this is a new field. How the content party and the platform party sign a commercial contract, how to determine the terms, how to sign, how to commercialize, how to share profits, there is no mature template, everything needs to be explored.” From advertisers to producers, everyone is still experimenting on their own. Although there have been many excellent cases of customized advertising dramas, it remains to be seen whether advertisers will continue to launch them. In addition to commercialization, film producers are also facing more and more difficulties in the production process. The first to bear the brunt is the gradual lengthening of the cycle. “Timeliness is the number one advantage of the short drama. It was originally possible to make two dramas a month, but now that the supervision is involved, the time period from production to launch is hard to say.” Chen Ning said, when the short drama is the biggest After the time advantage is gradually compressed, the future space will not be particularly large. Secondly, the “short, flat and fast” feature of the short drama has its own advantages, but correspondingly, this has also increased the pressure on the filmmakers to grasp the time window. “When we were making a short drama, we wanted it to be popular but also not to be popular,” Chen Ning described the mentality of the film party in this way, “If it is not popular, we can make new ones, but if it is popular, according to The time for the flow of the skit to ferment, you must keep up with the second one within half a month to take advantage of the heat, otherwise it will be cold after a month. Can this time-sensitive production team keep up?” Finally, compared to web dramas and movies, short dramas are more centered on actors, that is, dramas serve people rather than people support dramas. From this perspective, Douyin Kuaishou’s skits are not based on “content” and rely on “content” to do business, but more for the purpose of “establishing people.” “One of the problems this brings is that if the sequel is filmed, the core male and female actors must not be changed, and the actors may sit down and raise prices.” Chen Ning said. “Personal” business The effect of “Establishing People” through the skit is remarkable. Take “Yuer” as an example. Its masterpiece “This Lord I Want to Return” has accumulated 350 million views in Kuaishou, and a single drama has gained more than 2 million fans; while Kuaishou’s first major short drama “This Male Lead Is A Little Cold” The heroine of “A Great Friend of Lu” also gained 5 million fans through the show. The super strong ability to attract fans in a short period of time has made the skit more possibilities on the commercial link. “The Kuaishou skit itself still relies on the business model of the Kuaishou platform, so we will be more based on the commercialization of the entire platform to empower. We monitored part of the more interesting link is that the 5 million fans of “Yi Lu” directly In order to become a trusted fan of her e-commerce business, her GMV conversion of her e-commerce company has increased by about 60 times. This is a very surprising number. Therefore, our important direction in the second half of this year is to deeply integrate the short drama with the e-commerce company.” Kuaishou The person in charge of the skit said. Chen Ning also believes that e-commerce will most likely become the main monetization method for skits in the future. “In fact, if MCN or individuals want to do Douyin or Kuaishou accounts, the initial investment in maintaining accounts is mainly to buy traffic and increase fans. The short drama is a way to reduce the initial investment time. For example, a drama is rated as A-level, and the platform gives 3000 With more than 10,000 traffic support, it may increase by 1 million fans in a short period of time, but if you raise your account to 1 million, it will take at least half a year to a year.” In other words, the skit is more like a “medium” to increase fans. Through the story of the skit, users can follow the core actors to increase their stickiness. After the skit ends, the actors return to the anchor status and use private domain traffic to bring goods. This can also explain why Kuaishou, which has stronger private domain traffic and a more complete e-commerce ecology, can be ahead of Douyin in the field of skits. But hidden dangers also exist. From the perspective of content, the essence of skits is “net-sensing cool dramas”. This type of content has limited reputation and influence, and the quality of the content is directly proportional to the life cycle. This makes the skits have a short life cycle and requires continuous delivery of new points and new ideas. Stories to satisfy users. Therefore, the realization of the IP of a short drama itself cannot be extended into an ecology like a long film and television drama. In response to this, the person in charge of the Kuaishou skit responded, “Under the environment of trial and error, the influence of a hit can last for a year. It is considered good. After all, it is related to the input-output ratio. The cost of brainpower is definitely not comparable to a short drama, and the influence of the former’s subsequent IP ecology will inevitably last for more than ten years.” According to Kuaishou’s thinking, the skit is more suitable for tapping people’s IP value and people’s e-commerce. In addition, for the artists, the short drama does provide them with a way out. For example, the vast majority of trainees who have not debuted on domestic talent shows, due to the lack of a comprehensive audition system in China, a large number of trainees lack opportunities to show up, and short plays provide them with a low-cost stage. Faced with such a big cake, many traditional artist agency companies have come to an end one after another. For example, Jiaxing Media, which participated in the production of “Sansheng III Shili Peach Blossom”, launched its self-made short drama “The Other Half of Me and You” on Youku for the first time; Yin United produced a short drama “Don’t be afraid, fall in love!” “; Happy Twist has also reached cooperation with Kuaishou and Haojiao at the same time, and has output multiple skits. Many people in the industry believe that although the number of micro-short dramas is often hundreds of millions, there are still no real works out of the circle, and there is no short video version of “Unexpectedly”. However, “whether or not it is out of the circle” seems to be irrelevant now. The role played by the film and television works incubated in the short video era has been rewritten, the tool attribute has come to the front, and the content itself has retreated to the second line. This may be the short drama in the present. The biggest change brought to the industry. (At the request of the interviewee, Chen Ning is a pseudonym)

Produced｜Sohu Technology

Author｜Song Wanxin

Edit｜Yang Jin

After exploring for a period of time, at the beginning of this year, Chen Ning’s company gave up the short drama business. The reasons behind it are complicated. He feels that since the skit has become an outlet, the market is still speculating on the concept, and no one has run through the commercialization path. This somewhat illustrates a certain problem.

If you trace the origin of the skit, you may have to start with “Unexpectedly” in 2013. At that time, Douyin had not yet been born, and Kuaishou had not been out of the circle. “Unexpectedly” is defined as a mini comedy, but from the perspective of the content of the series, “Unexpectedly” also has the characteristics of today’s “mini-short drama”: 15 episodes per season, 5 minutes per episode, compact plot , The net is full, the pain points and the laugh points are intensive.

The early short dramas were mainly played in the horizontal screen mode of UAT. In the past two years, with the development of short videos, the short dramas have naturally grown in the short video ecology.

According to the “2020 China Internet Audiovisual Development Research Report” released on October 12 last year, short video users have reached 818 million, and the average daily short video product use time is 110 minutes. When the short video traffic dividend is about to peak, the content mode of short dramas has become a new direction for platforms to compete for user duration.

From mid-2019 to the present, Chen Ning has felt the tremendous changes in the skit industry, “No matter whether it is the production system or the budget, it is no longer the same.” At the same time, after a period of barbaric growth, regulatory forces also began to intervene.

At the end of last year, the State Administration of Radio, Film and Television added the category of “Internet short dramas” to the key online film and television drama information filing system. This category stipulates that the web short drama is a web drama with a single episode of no more than 10 minutes. This means that the “micro short drama” has been named and qualitative, and the market has formed a larger scale and has been brought into supervision.

A few days ago, Kuaishou and Douyin have held short play press conferences, and each published their transcripts. Douyin said that during the “New Fan Project 1.0” period, 110 MCN agencies and more than 1,400 Douyin creators participated, and a total of short play works have been registered. There are more than 5,000 units. Kuaishou announced that more than 20,000 skits have been included, of which over 12.5 percent of the episodes are over 100 million. Kuaishou users watch more than 210 million skits per day, and the total user viewing time has reached 35 million hours.

Various dimensions of data are prosperous, but behind the data, the skit is still in the early stage of being “defined”. Whether the platform, producers, and actors can achieve unification of interests in this process determines how big the entire industry can ultimately be. .

“Kaishou Little Theater” page

“I want it to fire, but I also want it not to fire”

The most obvious advantage of the skit is undoubtedly the “short and fast”. Compared with TV series and movies with high investment and unstable income, the lower cost and faster feedback of skits are the main reasons why traditional film and television companies favor it.

At first, many companies made their first pot of gold in this blue ocean, but they were quickly hit. “When we started to do it in mid-2019, the cycle was very short, because it only needed to be reviewed by the platform, the production budget was also very cheap, and one episode could be controlled at 10,000 yuan.” Chen Ning told Sohu Technology, with the help of Douyin and Kuaishou. With the intervention of traditional video platforms, the budget of each video soared to 500,000 yuan in just two years.

Costs are rising, but the business path is still immature, and many companies that enter the game later have begun to wait and see.

At present, the business models of short dramas explored by all parties in the industry are mainly divided into three types: accounting, advertising and e-commerce.

First, let’s look at the relatively popular split-accounting model in recent years. Before the short drama, in 2015, iQiyi first launched the “net big share account”. At present, long video platforms have generally begun to use this commercialization method.

Different platforms have different accounting rules. iQiyi adopts content sharing, marketing sharing and advertising sharing, while Tencent Video and Youku only adopt content sharing. According to the effective viewing time of paying users, it is a kind of benign income model to make the big works of online drama and network directly face the C-end users, which will force the film party to be responsible for the quality of the content.

There have been many high-income cases in online drama splitting. In 2016, “The Demon Out of Changan” with a production cost of only 4.5 million made more than 20 million in revenue, and the return on investment ratio reached 1:4.5; in 2017, the revenue of “The Chef of the Flower Pot” has exceeded 72 million in two years.

Of course, as the industry passes through the initial stage of volume, the good days of relying on platform subsidies and account splitting will not last long. The producers of the skits asked by Sohu Technology all stated that “you can’t make much money by splitting the accounts.”

At present, both Kuaishou and Douyin have avoided discussing the proportion of revenue sharing. Previously, the person in charge of Kuaishou short drama pointed out to the media, “Because of the lack of subsequent monetization channels, long dramas can only rely on a mode of sharing accounts. The special form of the video allows it to be monetized even if there is no account split. The monetization mode other than the account split is rapidly completing the video, and the follow-up will become heavier and heavier.” From the attitude of the platform, it is difficult for the account split to become the main film party. Source of income.

The so-called “special form of short video” enables advertising customization and e-commerce to be applied more flexibly in the ecosystem.

For example, in terms of advertising, Kuaishou and Wanglaoji’s “Auspicious Theater” have launched two short dramas “Niu XIII” and “My Contract Boyfriend” with over 100 million broadcasts.

However, due to the unclear prospects of the short dramas, many advertisers are still cautious about the placement of most of the short dramas.

“Everything depends on whether there are customers who want to place an order.” An insider of Happy Twist told Sohu Technology that although the short drama is a new direction for Happy Twist, the internal promotion is very slow. On the one hand, the current production process of the short drama It’s not much easier than a long drama. On the other hand, it’s not easy to find content that meets customer needs. “Of course we want to make our own IP, but there is no content at the moment.”

Wang Yaou, general manager of Happy Twist Marketing Center, once said in an interview with Dongxi Cultural Entertainment: “The short play is very short, but how to balance the quality of the content and the commercial value of the brand is not easy at all. Moreover, this is a new field. How the content party and the platform party sign a commercial contract, how to determine the terms, how to sign, how to commercialize, how to share profits, there is no mature template, everything needs to be explored.”

From advertisers to producers, everyone is still experimenting on their own. Although there have been many excellent cases of customized advertising dramas, it remains to be seen whether advertisers will continue to launch them.

In addition to commercialization, film producers are also facing more and more difficulties in the production process.

The first to bear the brunt is the gradual lengthening of the cycle. “Timeliness is the number one advantage of the short drama. It was originally possible to make two dramas a month, but now that the supervision is involved, the time period from production to launch is hard to say.” Chen Ning said, when the short drama is the biggest After the time advantage is gradually compressed, the future space will not be particularly large.

Secondly, the “short, flat and fast” feature of the short drama has its own advantages, but correspondingly, this has also increased the pressure on the filmmakers to grasp the time window. “When we were making a short drama, we wanted it to be popular but also not to be popular,” Chen Ning described the mentality of the film party in this way, “If it is not popular, we can make new ones, but if it is popular, according to The time for the flow of the skit to ferment, you must keep up with the second one within half a month to take advantage of the heat, otherwise it will be cold after a month. Can this time-sensitive production team keep up?”

Finally, compared to web dramas and movies, short dramas are more centered on actors, that is, dramas serve people rather than people support dramas. From this perspective, Douyin Kuaishou’s skits are not based on “content” and rely on “content” to do business, but more for the purpose of “establishing people.” “One of the problems that this brings is that if the sequel is filmed, the core male and female actors must not be changed, and the actors may sit on the floor and raise the price.” Chen Ning said.

“Personal” business

The effect of “Establishing People” through the skit is remarkable. Take “Yuer” as an example. Its masterpiece “This Lord I Want to Return” has accumulated 350 million views in Kuaishou, and a single drama has gained more than 2 million fans; while Kuaishou’s first major short drama “This Male Lead Is A Little Cold” The heroine of “A Great Friend of Lu” also gained 5 million fans through the show.

The super strong ability to attract fans in a short period of time has made the skit more possibilities on the commercial link. “The Kuaishou skit itself still relies on the business model of the Kuaishou platform, so we will be more based on the commercialization of the entire platform to empower. We monitored part of the more interesting link is that the 5 million fans of “Yi Lu” directly In order to become a trusted fan of her e-commerce business, her GMV conversion of her e-commerce company has increased by about 60 times. This is a very surprising number. Therefore, our important direction in the second half of this year is to deeply integrate the short drama with the e-commerce company.” Kuaishou The person in charge of the skit said.

Chen Ning also believes that e-commerce will most likely become the main monetization method for skits in the future. “In fact, if MCN or individuals want to do Douyin or Kuaishou accounts, the initial investment in maintaining accounts is mainly to buy traffic and increase fans. The short drama is a way to reduce the initial investment time. For example, a drama is rated as A-level, and the platform gives 3000 With more than 10,000 traffic support, it may increase by 1 million fans in a short period of time, but if you raise your account to 1 million, it will take at least half a year to a year.”

In other words, the skit is more like a “medium” to increase fans. Through the story of the skit, users can follow the core actors to increase their stickiness. After the skit ends, the actors return to the anchor status and use private domain traffic to bring goods.

This can also explain why Kuaishou, which has stronger private domain traffic and a more complete e-commerce ecology, can be ahead of Douyin in the field of skits.

But hidden dangers also exist. From the perspective of content, the essence of skits is “net-sensing cool dramas”. This type of content has limited reputation and influence, and the quality of the content is directly proportional to the life cycle. This makes the skits have a short life cycle and requires continuous delivery of new points and new ideas. Stories to satisfy users. Therefore, the realization of the IP of a short drama itself cannot be extended into an ecology like a long film and television drama.

In response to this, the person in charge of the Kuaishou skit responded, “Under the environment of trial and error, the influence of a hit can last for a year. It is considered good. After all, it is related to the input-output ratio. The cost of brainpower is definitely not comparable to a short drama, and the influence of the former’s subsequent IP ecology will inevitably last for more than ten years.”

According to Kuaishou’s thinking, the skit is more suitable for tapping people’s IP value and people’s e-commerce.

In addition, for the artists, the short drama does provide them with a way out. For example, the vast majority of trainees who have not debuted on domestic talent shows, due to the lack of a comprehensive audition system in China, a large number of trainees lack opportunities to show up, and short plays provide them with a low-cost stage.

Faced with such a big cake, many traditional artist agency companies have come to an end one after another. For example, Jiaxing Media, which participated in the production of “Sansheng III Shili Peach Blossom”, launched its self-made short drama “The Other Half of Me and You” on Youku for the first time; Yin United produced a short drama “Don’t be afraid, fall in love!” “; Happy Twist has also reached cooperation with Kuaishou and Haojiao at the same time, and has output multiple skits.

Many people in the industry believe that although the number of micro-short dramas is often hundreds of millions, there are still no real works out of the circle, and there is no short video version of “Unexpectedly”. However, “whether or not it is out of the circle” seems to be irrelevant now. The role played by the film and television works incubated in the short video era has been rewritten, the tool attribute has come to the front, and the content itself has retreated to the second line. This may be the short drama in the present. The biggest change brought to the industry.

(At the request of the interviewee, Chen Ning is a pseudonym)

overview Economic forecasts for Germany

Status: 06/18/2021 5:34 p.m. Regardless of whether it is a recession or an upswing: predictions of economic development that are as accurate as possible form the basis for many state plans such as the budget. The current estimates of important institutions for Germany at a glance. How the economy will develop in the near future can only be estimated. Governments, international organizations and economic researchers regularly try to predict economic developments as precisely as possible using various assumptions. Among other things, forecasts form the basis for tax estimates and budget planning by the state. The forecasts for economic growth fluctuate very strongly and are regularly revised up or down over the course of a year. The current forecasts for the development of the German gross domestic product (GDP) at a glance.

The move comes nearly two months after the submarine KRI Nanggala sank off the island of Bali during training and China increased its activity near the Natunas. According to analysts, the frigate deal with Italy highlights Jakarta’s concerns after being “intruded into its territorial waters” by Beijing’s ships. An Indonesian navy ship leaves to rescue the sunken submarine Kri Nanggala. Photo: Xinhua News Agency SCMP cited a leaked document revealing that the Indonesian Defense Ministry is expected to propose a budget of 124 billion USD, to be divided over 5 years. This is three times more than five years earlier ($38.8 billion). At the same time, the website of Fincantieri Shipbuilding Company (Italy) confirmed that Jakarta has signed a contract to buy 6 new FREMM multi-purpose frigates and 2 used Italian MaStrale frigates. The two MaStrale ships will be delivered after the Italian navy retires them. “The agreement underscores the importance of strengthening cooperation between the two countries in the strategic Pacific region,” Fincantieri said. “The destroyer agreement shows that European countries are increasing their engagement in the Indo-Pacific region,” said Muhamad Haripin, a researcher at the Political Research Center of the Indonesian Academy of Sciences. European countries increasingly respond to the foreign policies of US President Joe Biden, against the rise of China in the region. According to Mr. Haripin, Indonesia is in need of more patrol boats to monitor the 54,000 km long coastline and vast waters. “Indonesia is concerned about China’s growing assertiveness in the Indo-Pacific region. It realizes that the rivalry between China and the US can affect regional stability but does not want to interfere. attend directly,” said Mr. Haripin. China claims to have fishing rights in the North Natuna waters and sends fishing boats and coast guard to the area, but Indonesia objected.

Reduce more than 270,000 civil servants and public employees Outlining the results achieved in the past 5 years, the Minister of Home Affairs said that the building and perfecting of the State administrative institutions have achieved very important results. The arrangement of the administrative apparatus from central to local level has gradually clearly defined tasks and powers, basically overcoming the situation of overlap, omitting functions, tasks, scope and objects of management; There has been a clear distinction between state management agencies and public non-business units within the internal structure. The implementation of Central Resolutions 18 and 19 has created new awareness, new thinking and drastic action in the entire political system. Up to now, there have been many focal points reduced within ministries, branches and localities, especially over 25% reduction of non-business units; reduce 8 administrative units at district level and 557 administrative units at commune level. Interior Minister Pham Thi Thanh Tra said the implementation of the Resolution 18 and 19 of the Central Government has created new awareness, new thinking and drastic action in the entire political system. Photo: Hoang Ha. The head of the interior industry said that in streamlining the payroll associated with the organizational apparatus arrangement, the agencies and units had reduced over 27,500 civil servant payrolls; reducing nearly 243,000 staff payrolls – exceeding the 10% reduction target set by the Politburo’s Resolution 39 by 2021. In addition, civil servants from the district level down 40,000 people; reducing nearly 148,000 communal cadres, civil servants and part-time workers in villages, hamlets, street population groups; labor contracts decreased by nearly 7,000 people. These numbers have created a clear economic effect. According to the Interior Minister, the Ministry of Finance calculated that in 2019, the proportion of recurrent expenditure will decrease by 0.85% compared to 2017, equivalent to 10,000 billion. Accumulated from 2017 to 2019, the State budget expenditure has decreased by over 15,000 billion VND from streamlining the apparatus, staffing downsizing and renovating the public non-business sector. The Minister of the Interior also said that from the beginning of the term to mid-2020, the Government has reduced and simplified nearly 4,000 administrative procedures, more than 6,700 lists of goods subject to specialized inspection and 30 administrative procedures. related to specialized testing. The total social costs saved from the reduction and simplification are about 18 million working days / year, equivalent to more than 6,300 billion VND / year. Total cost savings when implementing online public services from the opening of the National Public Service Portal at the end of 2019 to the end of 2020 is VND 8,000 billion. “This is not only a huge savings, but also brings many profound social meanings: Save time and effort of the whole society, make transparent processes and procedures, promote practice. democracy, enhancing the confidence of people and businesses, promoting innovation and preventing and combating corruption ”, emphasized the Minister of Home Affairs. 6 decreases and 6 increases According to the head of the Ministry of Home Affairs, the results of the implementation of Resolutions 18 and 19 have helped “6 decrease” and “6 increase”. Specifically, “6 reduction” is: Reduce the clue; intermediate level reduction; reduce the number of leaders; reduce payroll; reduce administrative procedures; reduce spending on the political system apparatus. “6 increases” include: Increase in organizational science; increase in staff quality; increase the effectiveness and efficiency of the political system; increased spending on development investment and increased social consensus. Despite achieving many results, the Minister of the Interior frankly said that the implementation of the above guidelines still has some limitations, the organizational apparatus has not completely overcome the overlaps and interference in functions and tasks. among ministries, ministerial-level agencies; the principle of one task, only one agency in charge of implementation and main responsibility has not been promoted strongly. Some localities have not properly implemented regulations on organizational structure; The review and streamlining of payrolls have not really been associated with quality improvement and restructuring of the contingent of cadres, civil servants and public employees; not actively proposing and proposing to the Central Government to amend and supplement documents and regulations inconsistent with reality. To overcome the limitations, the Ministry of Home Affairs set out 5 key tasks, including promoting decentralization and decentralization, clearly defining the responsibilities between the Government and ministries and branches; overcome the overlap in functions, tasks and powers. At the same time, the Ministry clearly defines the collective responsibility and individual responsibility, ensuring a unified, transparent and effective State management. Along with promoting the arrangement of administrative units at district and commune levels, the Ministry of Home Affairs set a target of pilot study of the organization at the provincial level; promote reform of civil service regimes, civil servants, adopt mechanisms to encourage and arouse the spirit of dedication for the country, create motivation and pressure for all cadres, civil servants and public employees to best fulfill their tasks assigned. Especially, there is a mechanism to protect employees who are innovative, creative, dare to think, dare to do, dare to break through, dare to take responsibility for the common good.

It will not be easy for US President Joe Biden to “revolutionize the electric car” The electrification of the US transport industry is one of the commitments of President Joe Biden when running in November 2020. And a $ 2.3 trillion infrastructure plan, of which $ 174 billion is spent on electric cars and charging infrastructure, which the White House boss recently launched is considered the answer for the American people. But is that investment enough to change the shipping picture in the United States? Investment, stimulus, support With a newly announced $ 174 billion budget, President Joe Biden wants to invest and encourage Americans to switch to electric cars and trucks (EV), eliminate diesel or gasoline cars. . However, the New York Times quoted many experts as saying that although this is a large investment, it is not enough to change American perceptions about electric cars. Joe Biden’s team plans to subsidize electric car prices for individuals, businesses, and governments with tax exemptions, discounts and some other subsidies. On the other hand, US leaders set a target to build millions of charging stations by 2030. The White House owner also “opens a budget”, encourages manufacturers to participate in building electric vehicles and fuel cells at America. Bob Perciasepe, president of the US Center for Climate and Energy Solutions, said: “The United States is in a torrid time when most businesses and the state government look forward to a zero-emission future. carbon but admittedly, infrastructure is the biggest obstacle. The $ 174 billion investment alone will not be able to solve the climate problem or improve the US infrastructure, but it will be a powerful boost. The automakers have filled in their names on the list of greener trendy automakers like General Motors, Volkswagen or Ford Motor that are promising the future of EVs, but they insist they still need federal support. A representative group of manufacturers, suppliers and workers in the auto industry sent a letter to President Joe Biden saying: “The American transport revolution is not limited to one policy, it is dependent on a branch or rank in government or industry. It requires holistic strategy with a wide range of policies from legislators and regulators across economic, social, environmental, and cultural sectors. The group also calls on the government to subsidize, provide loans, and tax exemptions / reductions to stimulate electric vehicle production / research. Cognitive obstacles, technological breakthroughs are required Besides strong investment, the US government also has a big task to determine the success of the transition, which is to convince and change the perception of American people about the benefits of electric cars. According to statistics from Forbes Magazine in 2019, most Americans are not interested in electric cars. And the people’s awareness shift has not changed much despite many programs and strategies on environmental and climate protection that have been implemented during the past time. The demand for EV cars in the US has grown very fast, but in terms of overall premises is still low, accounting for only about 2% of the new car market and 1% of the total number of cars, sport utility vehicles, trucks … moving on the US road. Although the researchers point out that the full cost of owning and operating an EV vehicle will be cheaper after purchasing (fuel cost, lower maintenance frequency than vehicles using internal combustion engines) but perceptions of It is still difficult for people to change because the original electric car price is very high. The cost of buying an electric car is about $ 10,000 higher than the price of conventional trucks and cars in the same segment. The most expensive part of an electric vehicle is the battery. The average price of a battery system in a mid-range sedan is $ 15,000. Although the cost of batteries is on the decline, is expected to continue to drop deeply thanks to improvements in manufacturing and engineering, some scholars believe that, to really help electric cars lower prices to affordable prices, it takes a hit. Deep forays in technology. Most new car buyers in the US have to wait until the gas car breaks down to buy a new car. While, according to calculations from economic prediction firm IHS Markit, the average age of cars and pickups in the US has improved up to 12 years. Inadequacies about the charging station Another worrying problem hampering the U.S. transition to electric vehicles is charging. Currently in the US there are only more than 100,000 gas stations with additional charging equipment for EV vehicles. The Americans with garages will easily add chargers that allow overnight refueling, but this number is not much. Most people living in apartment buildings do not have enough dedicated chargers, or have to drive long distances to public charging stations to refuel their cars. “This is one of the top three reasons that customers often give when not choosing EV cars”, Mr. Sam Abuelsamid, an analyst at Guidehouse Insights magazine pointed out and emphasized, this is what the US administration need to solve. “We need to cover charging stations in areas where ordinary people do not have their own garages, have to park their cars outside like in narrow urban areas and big cities. If we solve that problem well, there will definitely be many people buying electric cars, ”said Sam Abuelsamid. The lesson of stimulating the demand for electric vehicles from China, the biggest rival to the US, shows that increasing the charging infrastructure is the decisive factor that helps Beijing rise to the top of the world in the proportion of electric vehicle users. However, according to experts, when all factors from supporting manufacturers, expanding fast charging systems and changing people’s perceptions converge, the transition to electric vehicles in the US still takes. a decade to come true.

The Ministry of Transport confirmed that the allocation of budget estimates for the maintenance of the national railway system to the Vietnam Railway Administration is in compliance with the provisions of the State Budget Law 2020. Photo: VNA

Regarding the document No. 803 / BC-ĐS of the Vietnam Railway Corporation (VNR), make an urgent petition to the Prime Minister about problems in the management and maintenance of national railway infrastructure; In which, VNR emphasized that the difficulty of funding maintenance of railway infrastructure makes it difficult for the railway industry to stand by the end of April 2021, talking to the Vietnam News Agency on the morning of April 16, Mr. Le Hoang Minh, Director of the Department of Transport Infrastructure affirmed that the Ministry of Transport assigning the budget estimate for the maintenance of the national railway system to the Vietnam Railway Administration is in compliance with regulations. the current Law on State Budget 2020.

Specifically, Mr. Le Hoang Minh said that the Ministry of Transport cannot arbitrarily do any problems if it does not base on the current law provisions. The Ministry of Transport does not have to voluntarily assign it to the Vietnam Railway Administration because in the past (before 2018) when the Vietnam Railways Corporation was under the Ministry of Transport, according to the Law on State Budget, It is normal for the Ministry of Transport to assign the maintenance capital of VNR.

“However, when the State Budget Law 2020 came into existence to replace the old State Budget Law, and at the same time VNR moved to be under the State Capital Management Committee in Enterprises, the Ministry of Transport was only assigned capital to affiliated units. On the other hand, state budget capital is only allocated to specialized management units that the railway sector is assigned to the Vietnam Railway Administration ”, said Mr. Le Hoang Minh.

The Director of the Department of Transport Infrastructure affirmed that the Ministry of Transport is implementing the basis of Clause 5, Article 9; Clause 8 of Article 44 and Clause 1 of Article 49 of the 2020 Law on State Budget to allocate capital to the Vietnam Railway Administration. The Vietnam Railway Administration will then sign a contract to order the maintenance of the national railway infrastructure system with the maintenance units of VNR.

Mr. Le Minh Hoang added that in 2020, the above problem was also encountered when the Ministry of Transport could not hand over maintenance capital to VNR, so the Ministry of Transport and Vietnam Railway Corporation must have a written document. a report to the Government, then to the National Assembly resolutions on this issue; including the content of the Ministry of Transport assigning budget estimates to VNR as 2019 and earlier. In implementing the resolution of the National Assembly, the Government also issued Resolution No. 41 / NQ-CP dated April 9, 2020; including the implementation of the Resolution of the National Assembly. After this resolution, the Ministry of Transport has just assigned the 2020 budget estimate for national railway infrastructure maintenance to the VNR.

“Thus, the key is that if it wants to assign a budget that is different from the current State Budget Law, the agency that promulgates the law must issue a resolution on that matter and the Government must issue a resolution. decided to guide the implementation of the contents of the National Assembly’s resolutions ”, Mr. Le Hoang Minh emphasized.

Regarding the content of maintenance companies that are facing difficulties because they do not have maintenance funds, they have to borrow money from banks to pay workers’ salaries, Mr. Le Hoang Minh once again affirmed that the Ministry of Transport attended The budget estimate for the maintenance of the national railway structure system for the Vietnam Railway Administration is in accordance with the Law on State Budget and if the allocation of this budget estimate to the Vietnam Railway Corporation is inconsistent with the regulations. of the State Budget Law.

Returning to the story of the difficulties that 20 maintenance units of Vietnam Railway Corporation are facing, Mr. Le Hoang Minh said that before December 31, 2020, the Ministry of Transport issued a plan. general maintenance for the whole industry; including the railway industry. At the same time, at this time, the Ministry of Transport has also assigned a budget estimate to the Vietnam Railway Administration.

To implement this estimate, the Vietnam Railway Administration has invited 20 railway maintenance units to negotiate and sign an order contract, but so far these units do not sign a contract with the Vietnam Railway Administration. Male. The important reason that these 20 units cannot sign order contracts with the Vietnam Railway Administration is because the Vietnam Railways Corporation currently accounts for more than 50% of the equity in these companies. a member unit signing a contract with the Vietnam Railway Administration. This is the reason why the contract negotiation has been delayed up to this point.

“Thus, the information that the Ministry of Transport and the Vietnam Railway Administration do not assign the budget estimates to the VNR and its member units is not the correct nature. Currently budget estimates and maintenance plans have been built, funding for the maintenance of national railway infrastructure in 2021 is also under the management of the Ministry of Transport, which means money is ready to transport any. When is the time?

Sharing more, Mr. Le Minh Hoang said that the VNR gave the reason that the 2017 Railway Law stipulates a number of powers for the Vietnam Railway Corporation; including the authority to manage the maintenance of national railway infrastructure. However, it must be confirmed that before November 2018, when the VNR was still under the Ministry of Transport. However, when the VNR is no longer under the Ministry but transferred to the State Capital Management Committee in enterprises, and at the same time the State Budget Law in 2020 comes into being, then the new law must be complied with. Although the 2017 Railway Law is still in effect, the budget and financial matters must comply with the State Budget Law (general law) and the Railway Law 2017 is a specialized law.

Before December 31, 2020, the Ministry of Transport issued a general maintenance plan for the whole industry; including the railway industry. Photo: VNA

Previously, Vietnam Railway Corporation issued document No. 803 / BC-ĐS on April 12, 2021, making an urgent petition to the Prime Minister regarding problems in the management and maintenance of infrastructure. national railway.

According to the above document, VNR said that 3,143 km of railway nationwide are currently assigned to the Vietnam Railway Corporation to directly organize the operation, the collected funds are deducted from the state budget 20%, 80 The remaining% is the Corporation’s revenue which is used to spend on operations for the exploitation organization (labor costs, asset maintenance and maintenance …). The maintenance of railway infrastructure assets must always be associated with train operation because the plan for maintenance and maintenance of railway infrastructure assets depends on the train run chart (both running train and exam. railway infrastructure maintenance).

Document No. 803 / BC-ĐS of VNR also said that the project on management and use of national railway infrastructure assets, submitted by the Ministry of Transport to the Prime Minister up to now, still created a lot. intermediate management level, many administrative procedures in the management, maintenance and exploitation of assets. Especially, to increase licensing and approving subprojects (sub-permits) when proposing a mechanism for assigning maintenance cost estimates to the Vietnam Railway Administration. Because VNR said that the Vietnam Railway Administration is currently only performing the function of advising the Ministry of Transport, not managing the railway infrastructure, if the capital is allocated to this unit before allocating it to the VNR, it will slow down. Late maintenance, congestion.

Representative of the Vietnam Railway Corporation said that according to the annual estimate, the budget capital for railway maintenance is VND 2,800 billion, but so far it has not been assigned. Currently, 20 railway maintenance companies under the Vietnam National Railways Corporation, which are responsible for the maintenance of railway infrastructure systems, owe wages to workers for many months, and have not yet had funds to buy maintenance materials. maintenance …

This is not the first time that Vietnam Railway Corporation has called for help because of the slow allocation of maintenance capital. Before that, in early 2020, the railway industry also had to face the same situation when by the end of February 2020, the Ministry of Transport had not yet been assigned funding for railway maintenance. Then, to resolve this situation, the Ministry of Transport had to temporarily hand over the capital to the Railway Corporation after the Resolution of the National Assembly and the Government to place public service orders with 20 companies. under VNR to promptly ensure the safety of train operation such as maintenance, maintenance, patrol, guarding, signal information system … However, by 2021, the plan to allocate capital to any unit has not been remove.

According to the Vietnam Railway Corporation, the industry currently has 11,315 employees. In which, there are 1,241 workers in bridge week, road patrol, tunnel week; 915 workers indirectly perform the task of planning and cost estimating the maintenance of the works …; 6,278 maintenance work and quality management of maintenance work; 2,881 workers on duty guarding the crossroads to ensure the safety of the train./.