Fan Luyuan's Insights: Dual-Thriving Online and Offline Entertainment Consumption During Spring Festival

Deep News
Mar 05

A recent Spring Festival Entertainment Consumption Report released by Orca Entertainment Group reveals the vigorous momentum of entertainment spending during this record-long holiday period through its unique data perspective. The "content + technology" strategy led by Orca Entertainment Group's Chairman and CEO Fan Luyuan once again proved effective during the traditional festival, not only driving the platform's own growth but also strongly validating his forward-looking judgment on market trends: entertainment consumption is demonstrating a new pattern characterized by deep online-offline integration, diversification, and experience orientation.

According to the report, the entertainment market during the Spring Festival period displayed a notable coexistence of offline recovery and the long-tail effect of online classics. The offline entertainment market warmed up comprehensively, with the number of performance projects on the DAMAI ENT platform increasing by 27% year-on-year. Particularly impressive were the data showing a 65% year-on-year increase in attendance for Livehouse performances and over a 40% year-on-year increase for emerging formats like immersive new space performances. This shift reflects an expanding definition of "performance" among users. For instance, "Happy Liaozhai: Three Lifetimes Immersion Edition" broke the constraints of traditional stages, while the Ningbo "Night Tour of He Mansion during Luocheng Lantern Festival" combined an intangible cultural heritage lantern display with an interactive tour of the residence of Tang Dynasty poet He Zhizhang. Users are purchasing a complete experience that integrates culture, social interaction, and festive rituals. Simultaneously, lantern festivals and temple fairs became hotspots for cultural tourism consumption, with DAMAI ENT collaborating on over 100 such events, providing services across popular scenic spots nationwide, including Ningbo's Moon Lake, Shanghai's Yuyuan Garden, and Zigong's Chinese Lantern World.

Online content consumption demonstrated strong enduring appeal for classics and a synergistic "new films driving old films" effect. On one hand, classic series and documentaries like "Empresses in the Palace," "The Story of Minglan," and the "10th Anniversary Special Edition of Return to the Wolf Pack" became top choices for family entertainment, showcasing the lasting charm of high-quality content. On the other hand, the "locomotive" effect of new Spring Festival blockbusters was significant. Following the release of the movie "Pegasus 3," viewership of the entire "Pegasus" series on the Youku platform surged dramatically: plays and viewing time for the movie "Pegasus" increased by 350% and 520% month-on-month respectively; the series "Pegasus: The Passion Chapter" also achieved over 100% month-on-month growth. This validates the effectiveness of the strategies emphasized by Fan Luyuan regarding "full-chain IP development" and the "long-tail value of content."

The data from this report reflects, from one angle, the multi-dimensional entertainment ecosystem that Orca Entertainment is building under Fan Luyuan's strategic direction. The core of this strategy involves using DAMAI ENT to penetrate offline scenarios, offering one-stop services ranging from performances and scenic spots to "performance tickets + hotel" packages, thereby capturing the growth dividends of experiential consumption. Concurrently, leveraging the Youku platform, it involves continuously operating classic IPs, focusing on exclusive content (such as the "2026 Liaoning Spring Festival Gala," which became the top-rated local Spring Festival gala), and utilizing technologies like AI to revitalize older film resources (such as performing high-definition restoration and detail enhancement on the CCTV versions of the Four Great Classical Novels), thereby meeting users' diverse and convenient online content needs. The linkage and mutual reinforcement of online and offline data collectively paint a new picture of Spring Festival entertainment consumption that is diverse, high-quality, and experience-focused.

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