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Today (12th) Disney Plus has landed in the domestic online video streaming service, OTT market, where Netflix has dominated, following Apple TV Plus.



It means that global OTT companies are in a three-way battle in Korea, and reporter Kim Min-pyo pointed out the meaning and prospects.



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Disney Plus official service started at 0 am in Korea.



As a content kingdom, the biggest weapon is the abundance of so-called killer content such as Disney, Marvel, and Star Wars.



Earlier, on the 4th, Apple TV Plus landed.



As a result, the domestic OTT market, which was dominated by Netflix, was reorganized into a three-way battle.



Competition not only to attract subscribers but also to secure K content has become inevitable.




To win the competition, there must be a lot of so-called original content that can only be viewed on its own platform, because there is no market like Korea to secure such content.



[Jeong Deok-hyun / Cultural Critic: Major American companies raised the unit price too high, so they raised the unit price for content production too much. You have to find a place with a low production cost and high content quality, which is Korea.]



[Nanai/Professor, University of Antwerp, Belgium: It is important that not only 'Squid Game' but overall Korean content is gaining popularity worldwide. The 'squid game' is part of a broader phenomenon] When



global OTT companies buy original content, they take almost all the rights and make a contract in the form of monopolizing the profits.



Still, why do domestic producers stand in line for collaboration?



[Bae Dae-sik / Director General of Drama Producers Association: ((If) I have a good plan. Which way do producers go?) Of course, now it is Netflix. They say they are still lining up for Netflix with plans... .]



[Hwang Dong-hyeok/Director of 'Squid Game': It has the advantage of getting a stable production cost and being able to try something without the fear of failure.] As



the competitiveness of K-content has been verified, it is necessary to expand revenue distribution or rights. Efforts are needed to change the terms of the contract towards



[Yoon Seong / Film Critic: Profitability, revenue generation, secondary and tertiary works, and the rights that creators have, seem to need to be discussed a little more in the future.]



Protecting cultural sovereignty against global OTT Of course, in order to strengthen the domestic content industry ecosystem, we need to seriously explore the path of native OTT.



[Lee Hee-joo/Director of 'Wave' Policy Planning: It is a fearful existence, especially from a cultural point of view, and not when we just say thank you to Netflix and applaud.] As



global OTT is taking over the content market, domestic companies are experiencing a growing sense of crisis.



The paradoxical lesson of the success of the squid game is that, as the media plays a major role in culture, it should be used as an opportunity to newly build the entire domestic content ecosystem, including production and distribution.



(Video coverage: Park Seung-won, screen provided: Disney Plus/Netflix)