Operator
大家好,感谢参加ICE 2025年第二季度财报电话会议。公司业绩已于今日早些时候发布,可在公司投资者关系网站ir.ike.com查阅。今天出席电话会议的有:创始人、董事兼首席执行官龚先生,首席财务官王军先生,首席内容官王小布先生,会员业务高级副总裁刘乔转先生,以及电影与海外业务高级副总裁尚凯阳先生。龚先生将简要概述公司业务运营和亮点,随后王军先生将介绍财务数据。在准备好的发言结束后,管理层将参与问答环节。在开始之前,请注意今天的讨论将包含根据1995年美国私人证券诉讼改革法案安全港条款所作的前瞻性陈述。前瞻性陈述存在风险和不确定性,可能导致实际结果与我们当前的预期存在重大差异。潜在风险和不确定性包括但不限于我们在SEC公开文件中概述的内容。除非适用法律要求,ICE不承担更新任何前瞻性陈述的义务。现在请龚先生发言。
Operator
Hello, everyone, and thank you for joining ICE's second quarter 2025 earnings conference call. The company's results were released earlier today and are available on the company's Investor Relations website at ir.ike.com. On the call today are Mr. Lu Gong, our Founder, Director and CEO, Mr. Jun Wang, our CFO, Mr. Xiaobui Wang, our CCO, Chief Content Officer, Mr. Liu Qiao Zhuan, Senior Vice President of our Membership Business, and Mr. Shang Kai Yang, Senior Vice President of Movies and Overseas Business. Mr. Gong will give a brief overview of the company's business operations and highlights, followed by Jun Wang, who will go through the financials. After the prepared remarks, the management team will participate in the Q&A session. Before we proceed, please note that the discussion today will contain forward-looking statements made under the safe harbor provisions of The U.S. Private Securities Litigation Reform Act of 1995. Forward-looking statements are subject to risks and uncertainties that may cause actual results to differ materially from our current expectations. Potential risks and uncertainties include, but are not limited to, those outlined in our public filings with the SEC. ICE does not undertake any obligation to update any forward-looking statements except as required under applicable law. I will now hand over to Mr. Gong. Please go ahead.
Lu Gong
翻译中...
Lu Gong
Hello, everyone, and thank you for joining us today. Throughout the second quarter and the summer season, we delivered a diverse lineup of content, the current leadership in total drama viewership market share according to Enlightened. Our robust offerings were highlighted by three original blockbuster dramas that generated IG popularity index scores of over 10,000, namely Field, Bingjianxian, Coroner's Theory, Caoxilu, and the Thriving Land, Shiwanwu. Among them, Field and the Coroner's Diary resonated especially well with female viewers, while the Thriving Land captured the hearts of audiences of all ages and genders. These blockbusters further solidified our dominance in both the female and realistic genres. The performance of our variety shows was equally impressive. In the summer season, iQIYI accounted for four of the top five spots in our Enlightened total viewership list. The highly anticipated return of our flagship IP, The King of Stand Up Comedy Season two, and the season and the wrap of China 2025, Xinhua Chang, generated impressive viewership with The King of Stand Up Comedy Season two commanding the industry's highest viewership market share in its category in the summer. The strong performance of our premium content drove our key operating metrics in the summer, reflecting our commitment to delivering high-quality, diverse stories while continuing the user experience across our platform. Building on the strong momentum of our content ecosystem, we are proactively exploring new opportunities to foster sustainable long-term value creation and achieve meaningful progress in our experience business and overseas business. Let me begin with our experience business. We are focusing on two key areas: IP-based consumer products and offline experiences. We are leveraging our extensive and unique IP collection to enhance our competitive edge and tap into the booming IP merchandising market. In the first half of the year, our self-operated live table trading cards achieved over RMB100 million in GMV with popular IPs such as lobbying prevailing, Huai Ruuding Field setting new sales records. We will also bring our IPs to offline experiences like IT land and immersive centers following an asset-light strategy. Currently, two IT labs in Yongzhou and Kaibong are in development, while over 50 immersive shelters are already operating in around 30 cities nationwide. Our business outside Mainland China continues to show strong growth momentum. In the second quarter, both subscriber base and revenue from the membership services reached record highs. We have now established four major operating regions: Southeast Asia, North America, Japan and Korea, and The Middle East and North Africa. We have meaningfully enhanced our brand influence and expanded our global recognition by combining premium C-pop content with targeted localized operations, unlocking exciting opportunities for further growth. Now let's dive into the details of our business performance in Q2, starting with content, which serves as a foundation of our business. We maintained our leadership of the core long-form drama category, securing the top spot in total viewership market share for four consecutive quarters according to Enlightened data. Our performance in the second quarter was driven by our diverse content offering highlighted by an enhanced lineup of female-oriented dramas. Notably, Field achieved an IT popularity index score of over 10,000, topping the Enlightened list. Our original series Demon Hunter's Romance, Wiltu, is an in-house production that achieved a peak IGA popularity index score of over 9,800 thanks to its perfect blend of traditional Chinese tales and arts. Other standout titles include Dream with a Dream, Wishing a Dream, Shuju and Yemeng, and the lobbying pavilion from our Roma theme heartbeat shelter, Ganjingqiu Chang, which scored over 9,600 and 8,900 for popularity index respectively. We also broadened our appeal with multiple suspense and realistic scenarios including The Secret Path, Jamie Zhao Leong, and two dramas from our suspense shelter, Breaking the Shadow, and Life for Life. The Secret Path and Breaking the Shadow were especially well received by large screen viewers, ranking among the top five most-watched titles on TVs. Our premium content has won high recognition from the industry and the latest Magnolia Award, one of the most prestigious honors of Chinese dramas. Thirteen titles produced by or broadcasted on iQIYI received an impressive total of 29 nominations with four titles winning a combined eight awards. Notably, our original drama To the Wonder With Other Time from our microcosm shelter, Mission Yucha, received the highest honor, the Best TV Series Award, along with the International Communication Award and Best Cinematography Award. Additionally, City of the City, Chengdu Cheong, won the special award and We Are Criminal Police, Xinjiang, received both the Grand Prix and the Best Original Screenplay Award. Moving on to micro dramas, a valuable complement to our content ecosystem. More people are tuning into iQIYI to watch micro dramas. In the second quarter, gross average daily viewing time and unique visitors have shown double-digit sequential growth. Our library boasts a diverse collection of about 15,000 titles forming a strong portfolio of micro dramas. Since the second quarter, we have shifted our strategy focus on consistently delivering premium micro dramas through original production and licensing, aiming to drive user growth and accelerate revenue expansion. Our internal data indicates that premium micro dramas can consistently outperform across key metrics, including subscriber conversion, viewing time, user engagement, and retention. Developing premium content is our core strength. Built upon years of experience in producing long-term video blockbusters, our expertise in content production and advanced technology can be seen as applied to premium micro dramas. Additionally, our expansive IP collection provides us with a unique resource for successful IP adaptation. In Q2, we made great strides with original micro dramas and launched multiple titles that performed exceptionally well with audiences including In Is Capable, A Scrouching Love, How Dare You, Chong Le Kitong, For My Dearest Xiaocheng Zhu. Notably, How Dare You, our first IP-adapted micro drama, hit a new milestone by reaching a peak iQIYI popularity index score of 5,500, a historical high for our platform and even outperformed the licensed hit My Sweet Home in both average daily unique visitors and the revenue from new subscriptions in the first week of release. Its success extended beyond numbers, it broadened the typical micro drama audience attracting a younger and more diverse demographic. It's a great example of how we are successfully developing IP across multiple formats. The strong reception of this micro drama drove reservations for the long-form generation and the second season of the animation based on the same IP. It also increased rewatch of the animation's first season showing the power of strategic IP development to drive engagement across formats. Turning to movies, we have dominated this category in viewership market share for fourteen consecutive quarters according to Enlightened data. In the second quarter, we launched over 10 major titles catering to a diverse range of audiences with a variety of genres, including crime, female realistic, martial arts, comedy, and action. Standout titles included the licensed movie Detective Chinatown 1900 and the original movie The Only Way in Chinese New. We have been actively innovating our movie business model to drive long-term industry growth. This quarter, we were the first in the industry to use the revenue-sharing model typically seen with online films for newly released theatrical movies. This approach includes revenue potential for titles with limited box office performance. A great example is our pilot project Trapped Daften Shop, which generated over RMB28 million in revenue-sharing income on our platform, the highest for any movie title this year. Remarkably, this amount even surpassed its box office revenue share showcasing the potential of this model to amplify returns. For variety shows, our focus on delivering top titles has yielded great results. According to Enlightened data, iQIYI released five S-plus rated variety shows in the first half of the year, the highest among all long-form video platforms with four of them being original productions. Our flagship IP, Five Plus Season five, made a strong comeback with a record high IT popularity score surpassing member revenue expansion and its current status as a nationally renowned IP. Additionally, the competition formats in the latest season of the wrap of China 2025 strongly connected with the audience, driving the popularity index score to over 9,500 and setting a new record for the show. For animations, we continue to improve our original production capabilities, revenue from Over the Divide Reals, Shenguochesha, has consistently ranked as our top-performing Chinese animation during the same period on our platform. Moving on to our content strategy and pipeline. For long-form dramas, we focus on crafting top-notch premium stories that balance high commercial value with innovation and artistic excellence. At the same time, we are committed to delivering a steady diverse slate of content that resonates with our broad audience to elevate engagement. We are also reducing episode counts for a tighter, more compelling viewer experience for the summer season. We introduced female-oriented key titles such as Coroner's Diary and The Wanted Detective Improvoke. Among them, Coroner's Story stood out as another in-house produced original that delivered exceptional performance surpassing the IT Popularity Index score of 10,000. Its attractive growth generated a strong word-of-mouth buzz further cementing its success. In addition, we also prepared a variety of new titles and our drama shelter brands, notably the Thriving Land, a realistic theme drama from our masterpiece shelter, Zaja Quchang, which exceeded our IGA popularity index score of 10,000 within just four days of its release, driven by its compelling storyline that resonated with a broad audience. Its popularity also extended beyond our platform, topping both the industry's Enlightened data and traditional TV station charts. Other highlights from our suspense filter include Justifiable Defense and That App Shuyunbigu. In our upcoming fourth quarter, we are excited about our lineup of anticipated titles, including 8,000 Miles of Clouds and More, Legend of the Magnet, Born with Luck, Fox's Spirits, Matchmaker, Swallow and Beloved, A Strange Tale of Tang Dynasty, and Speed and Last Runway. For micro dramas, we are focused on premium titles. We released two to three premium titles each week during the summer season, including Sorbet of the Ruoxigua, Moment of Romance, The Wars, Revenge, Story of Zhao Yue, Zhao Yue Fei, and others. Shifting to movies, we are aiming to build a vibrant ecosystem for original production with three key projects. First, our blockbuster project, where we team up with top filmmakers to deliver standout theatrical hits. Second, the Sleeper Hit Projects for Tianjinhua, where we partnered with rising directors to create bold, so article films that blend commercial appeal with fresh ideas. And third, the Emerging Film Projects, is an innovative collaborative approach for original online movies and as a minimum guarantee and a revenue-sharing model designed to spark creativity. Looking ahead, our original production pipeline features several titles for theatrical release including crime, action movie, The Shadow's Edge, action comedy, Enough is Enough Get Now Measure, The Shadow's Edge and Buffon Zhui, and The Skin Pinot, notably The Shadow's Edge, Buffon Zhui recently premiered in shelters achieving an impressive initial box office of over RMB300 million within just five days. For online original productions, we launched Ultimate Mission and Never a Safe QiDong with upcoming titles such as Heroes of War Cable, Replacement, Wiguo, Wings of Dread, WeiQi, Wanmi, Weiqi, and others. Additionally, we have enriched our lineup by bringing licensed theatrical movies to our platform as the second window such as Mega Heat Neutra two and highly anticipated upcoming titles like Amalice, She's Got No Name, Jiangyuanong, and Li Qingro, Chang Li Zhi. Notably, Ne Zhi too has extended its success from to the online domain, becoming the first movie to exceed our popularity index score of 10,000 on our platform. For variety shows, we are committed to delivering top-tier content, enhancing the value of our multiple season IPs. In the summer season, our eagerly awaited show, The Drag of China 2025, and the team of Santa Comedy Season two made a strong return. In addition, our new observation-related show, Her Prime, Zhejiang Jia, resonated positively with audiences entering the fourth quarter. We are thrilled to bring forth new seasons of our acclaimed IP such as the Blooming Journey Season two, Yoruba Park, and High Young Summer Season, along with the company of 18 new IP from Get Together. For animations, we are committed to elevating our original projects, key original animations launched during summer include Over the Divine Realms, Shengbo Zishan, Embers, Yujin, Xingzhou, Demons Accession, Mo Yinji, our highly acclaimed original production Love Between Fairy and Devil, Challenge has returned with a second season in July and received positive feedback. For children's content, we are dedicated to turning beloved IP into a fully immersive ecosystem, delivering experiences that grow with families and offer something special for every stage of the parent-child journey. For the second half of the year, we will launch a number of key original productions including a new season of our classical IP Girl Squad Season four and a brand new IP, Carmen and Birds for the track. Moving on to membership services, we are focused on building a membership experience that connects with our broad audience, powered by a vibrant content ecosystem and the best-in-class services. By constantly enhancing the ads and variety of what we offer, we are delivering even more value to our members. One notable highlight is our family-oriented ice diamond plan, which integrates an Express package that grants early access to show finals as part of its exclusive privilege. This approach has proven to be a key catalyst in driving new subscriptions and upgrades to the premium channel. In Q4, 78% of new Star Diamond subscription revenues come from upgrades. Additionally, our ad-supported basic membership plan provided an attractive option for price-sensitive viewers to further enhance the member experience. We have launched over 10 bundled membership plans to foster a stronger connection within the member community and support revenue growth. Looking ahead, we are focused on expanding these bundled membership initiatives to reach even more audiences. We also made meaningful strides in improving perceived membership value. A highlight of the quarter is our country's experience programs. This program enables content lovers, brand advertisers, and more to get virtual seats essentially granting membership access for binge-watching content. This feature has driven higher engagement and amplified the popularity of key titles on our platform so far in 2025. Seed purchases have already tripled the total from 2024 with show lovers accounting for the majority. Beyond that, we made membership even more rewarding this quarter by allowing members to gift the express package to friends and launching a dedicated channel for members to redeem points for projects. On top of that, we hosted 12 VIP-only events, including fun meetups, advanced screenings, and live variety show recordings. Moving on to the advertising business. In the second quarter, brand ads benefited from enhanced premium variety shows offering and seasonality. Our flagship content continued to be highly attractive to advertisers during the first half of the year. Our premium market shows led the industry in both the total and average number of advertisers attracted in Q2. Other revenue from key advertisers delivered double-digit growth annually and sequentially. Notably, several key industries are showing positive recovery trends with food and beverage and communication services achieving double-digit annual and sequential growth in Q2. Looking ahead, we will sharpen our focus on maximizing ad sales from premium variety shows, dramas, and our drama sales rep brands. We see exciting potential in multiple season variety shows. For example, ad revenue from the King of Thunder, our comedy season two doubled compared to its first season. Additionally, we are capitalizing on new budgets for micro and short dramas, micro shows, and customized programs. Early sales of micro shows are encouraging, opening new marketing opportunities. We have also introduced product placements within micro dramas and are preparing to launch dedicated ad products for our micro drama shelter. Additionally, we are boosting monetization on smart TVs and expanding ad inventory with innovative formats. For performance ads, strengthening relationships with existing clients while capturing budgets from high-growth sectors is our focus. In Internet services, we expanded our advertiser base by bringing in new partners for e-commerce, we utilized programmatic advertising to maximize opportunities during the June eighteen shopping festival. In the education sector, we expanded our advertiser base to include wellness management services and other industries driving year-over-year doubling in revenue. Moving forward, we will harness AI to optimize both advertising materials and placement strategies, unlocking even greater budget opportunities. In fact, AI-powered video ads saw a 20% increase in click-through rates compared to those created without AI. Moving on to technology and products, we are committed to harnessing AI to transform entertainment experiences, amplifying content value, and enhancing user engagement. In the second quarter, we introduced the industry's first AI-powered iJump Talkout feature, redefining viewer engagement with long-form video by offering faster-paced micro drama-like experiences. With a simple swipe up or down on a mobile phone, users can effortlessly skip between key plots without missing any captivating moments. This feature is now available for over 2,300 dramas and variety shows on our main iQIYI mobile app and has quickly become a popular feature for binge-watching and rewatching favorite shows, clearly boosting user engagement. Another pioneering example is Touhou World, launched in early 2024 as an industry-first AI agent-based NPC data platform, realizing our vision of AI-powered human-machine interaction, featuring over 102,000 NPC agents from our most popular content. It engaged fans 24/7 in new and exciting ways. As I know, it's total an AI agent acting as a personal assistant offering support like video search, recommendation, and cloud insights. These innovations are transforming fan engagement and creating new value for our content. Beyond that, we harness AI to upgrade content production, a good example is our application of AI to streamline digital asset production. On the set of the Great Nobody two, Dao Wanbei Huang Zhao, AI boosted the efficiency of digital asset generation by over 10 fold cutting costs and shortening production time. For the pre-production for romance dramas, we achieved a breakthrough in qualitative script analysis and are now supporting in-depth evaluation of the leading characters, dramatic relationships, and interactions. In addition to that, AI also helps in identifying unneeded plans. Moving on to our business performance in reaching outside of Mainland China. Overseas business continues its strong growth momentum with membership revenue and membership scale expanding for eight consecutive quarters. In Q2, membership revenue grew by around 35% annually driven by standout performances in markets like Brazil, Mexico, Indonesia, and the five Spanish-speaking regions, all reporting annual growth over 80%. Average daily subscribers reached an all-time high during the quarter. The outstanding performance is anchored in our exceptional content lineup, especially as C drama popularity continues to grow globally. The original C drama Field topped popularity charts in 15 overseas markets on premiere day. The winner Nimis doubled version of our dream, missing our dream set a new record for the highest daily revenue in its language segment on release day. Corona's Diary achieved the highest popularity ranking in 13 overseas markets and led Google Trends in five markets within its first week, expanding its domestic success internationally. On top of the long-form video, we have been expanding our offering by introducing micro dramas overseas since March and have gained strong momentum. Membership revenue attributed to micro dramas surged month by month during the second quarter. By June, micro dramas ranked as the second largest category attracting new subscriptions in Indonesia, Korea, and Brazil. Our original micro drama In Is Capable Squelching Love gathered widespread international acclaim, expanding the reach and influence of our micro dramas beyond the domestic market. Building on the initial success, we plan to ramp up original micro drama production overseas in the second half of the year. Expanding beyond content, we continue to amplify the global influence of C-pop through offline marketing events such as fan meetings and media conferences that spotlight Chinese celebrities. In the second quarter alone, we hosted three events that drew widespread engagement from users, media partners, and advertisers. Looking ahead, we are gearing up to scale these events internationally, further driving the reach of Chinese content globally. In summary, we are committed to building a beloved national brand and strengthening our market leadership with exceptional user experiences and a wide brand company ecosystem. At the same time, we are focusing on innovation and investing in key growth areas such as AI applications, micro dramas, experience business, and global expansion, all with the goal of driving sustainable long-term success.
Jun Wang
感谢龚先生,大家好。让我为大家介绍第二季度的关键数据。第二季度,总收入为66亿元人民币。会员服务收入达到41亿元人民币,同比下降9%,主要原因是与去年同期相比,我们的内容排期较为清淡。在线广告收入为3亿美元,同比下降13%。本季度,部分广告主因宏观压力调整了广告和推广策略。账户与分发收入达到4.366亿元人民币,同比下降37%,主要由于其他交易减少。其他收入同比增长6%至8.293亿元人民币。接下来看成本和费用。我们保持了严格的成本和费用管理。内容成本为38亿元人民币,同比节省8%,主要原因是本季度内容排期较为清淡。总运营费用为14亿元人民币,同比节省3%。再看利润和现金流。非GAAP运营收入为5.87亿元人民币。非GAAP运营利润率为1%。截至第二季度末,我们拥有现金、现金等价物、受限现金、短期投资以及计入预付款和其他资产的长期受限现金,总计51亿元人民币。此外,公司有一笔5.225亿美元贷款记入应收关联方款项。我们持续改善资本结构。第二季度,我们以现金回购了总计8500万美元的2028年票据本金,截至第二季度末,2028年票据的剩余未偿还本金余额为2.08亿美元。随着我们持续优化债务结构,净利息支出较去年同期下降33%。详细财务数据请参阅我们投资者关系网站上的新闻稿。现在我们将开放问答环节。
Jun Wang
Thanks, Mr. Gong, and hello, everyone. Let me walk you through the key numbers for the second quarter. In the second quarter, the total revenues were RMB6.6 billion. The membership services revenue reached RMB4.1 billion, down 9% annually, primarily due to our lighter content slate compared to the same period last year. The online advertising revenue was $300 million, decreased by 13% annually. During the quarter, some advertisers adjusted their advertising and promotion strategies in response to macro pressures. The accounts and distribution revenue reached RMB436.6 million, down 37% annually, primarily due to the decrease in other transactions. Other revenues increased by 6% annually to RMB829.3 million. Moving on to costs and expenses. We have maintained a disciplined cost and expense management. The accounting cost was RMB3.8 billion, representing a saving of 8% annually, primarily due to a lighter accounted slate in the quarter. And the total operating expenses were RMB1.4 billion, representing a saving of 3% annually. Turning to profits and cash flows. The non-GAAP operating income was RMB58.7 million. The non-GAAP operating income margin was 1%. As of the end of the second quarter, we had cash, cash equivalents, restricted cash, short-term investments, and long-term restricted cash included in prepayment and other assets, totaling RMB5.1 billion. In addition, the company had a loan of $522.5 million to PAG recorded under amount due from rogue parties. We continue to improve our capital structure. In the second quarter, we repurchased a total principal amount of $85 million of the 2028 notes for cash and the outstanding principal balance remaining for the 2028 notes is $208 million as of the end of the second quarter. As we continue to optimize our debt structure, our net interest expense decreased by 33% compared to the same period last year. For detailed financial data, please refer to our press release on our IR website. Now we will open the floor for Q&A.
Operator
谢谢。第一个问题来自CLSA的Maggie Yeh。
Operator
Thank you. Your first question comes from Maggie Yeh with CLSA.
Maggie Yeh
关于中国长视频行业最近的政策变化,管理层能否分享您对公司潜在影响的看法?谢谢。
Maggie Yeh
Regarding the recent change of policy in China's long-form video industry, could management share with us your thoughts on the potential impact on the company? Thank you.
Xiaobui Wang
新政策的出台对整个长视频行业来说是一个重大的积极发展,我们和整个行业都欢迎并全力支持。这些政策在多个方面带来益处。首先,从内容制作、审核到播出的时间周期可以有效缩短,让内容更快触达观众。这不仅提高了排播稳定性,也确保内容更贴合当前社会情绪,与观众产生共鸣。此外,这也提升了公司资金使用效率。其次,这些政策增强了内容创作的灵活性,为创作者提供了更大的创作自由。这反过来能显著提升内容吸引力,促进内容多样性。第三,政策可以加强在线视频平台与传统电视台的协同效应。更多内容可以受益于线上线下同步播出,扩大优质内容的发行渠道,稳定内容发行价格,并提升内容的覆盖面和影响力。这对在线视频平台和传统广播机构都有利。最后但同样重要的是,新政策发布后,它发出了强烈的信号,这个信号可以吸引更多人才和资本进入内容制作领域,推动整个行业健康蓬勃发展。谢谢。
Xiaobui Wang
The introduction of the new policies represents a significant positive development for the overall long-form video industry, which we and the entire industry welcome and fully support. These policies bring benefits across multiple aspects. First, the time cycle from content production and review to broadcast can be effectively shortened, allowing content to reach audiences more quickly. This not only improves scheduling stability but also ensures that the content aligns more closely with current social sentiment and resonates with the audience. Additionally, it also enhances the efficiency of the company's capital utilization. Second, these policies enhance the flexibility of content creation, providing creators with greater creative freedom. This, in turn, can significantly boost the content appeal and promote greater content diversity. Third, the policies could strengthen the synergy between online video platforms and traditional TV networks. More content can benefit from simultaneous online and linear TV broadcasting, expanding distribution channels for quality production, stabilizing content distribution prices, and enhancing the reach and influence of content. This is beneficial for both online video platforms and traditional broadcasters. Last but not least, after the release of these new policies, it is sending a strong signal and that signal can attract more talent and capital into content production, driving the healthy and vigorous development of the entire industry. Thank you.
Operator
您的下一个问题来自中金公司的Zhiking Zhang。
Operator
Your next question comes from Zhiking Zhang with CICC.
Zhiking Zhang
谢谢管理层回答我的问题。您在准备好的发言中提到了夏季档大量热门剧集和综艺节目。我们也注意到最近Austin Stone的ICT人气指数超过10%并获得了极佳评价。管理层能否概述一下今年夏季的内容表现?此外,考虑到新规的影响,您未来的内容策略是什么?谢谢。
Zhiking Zhang
Thanks, management, for taking my question. You mentioned a great number of hit dramas and variety shows during the summer seasons in your prepared remarks. We have also noticed that recently, Austin Stone has achieved the ICT popularity index of over 10% and received excellent reviews. Could the management provide an overview of the content performance this summer? Additionally, considering the impact of the new regulations, what's your future content strategy? Thank you.
Operator
CEO正在回答问题的第一部分。他正在评论新政策。政策发布后,我认为从公司角度来看,我们将在内容制作的不同方面推动创新。例如,未来可以制作成熟的多季内容和不同形式的创新剧集。接下来,我们将邀请我们的首席内容官Xiaobui Wang回答剩余部分。
Operator
The CEO is taking the first part of the question. He is commenting on the new policies. After the release of the policies, I think from the company standpoint, we will promote innovation in different aspects of content production. For example, seasoned multi-season content and also different formats of innovative dramas can be produced in the future. And then next, we'll invite our Chief Content Officer, Xiaobui Wang, to take the rest.
Xiaobui Wang
在今年6月至8月的夏季档期,我们在剧集、综艺、电影和微短剧领域均取得了出色表现。三部原创剧集大作《田野》、《法医日记》和《台词描述》的ITE热度指数均突破10,000点。微短剧方面,《你敢吗》创下了ITE热度指数的新里程碑。综艺节目方面,《脱口秀之王》第二季和《中国说唱2025》等回归的旗舰节目引领市场。最后,在电影领域,院线影片《影之边缘》近期票房突破3亿元人民币,第三方市场预测其总票房将超过10亿元。未来,受益于行业新政策,我们将加强各品类的内容策略。对于长视频剧集,我们将继续专注于具有高商业价值的精品制作。正如陆工CEO此前提到的,我们不仅将专注于长视频剧集的创新,也将提升短剧的创新水平。对于长视频剧集,我们将依托五大剧场全面覆盖悬疑、爱情、现实主义和喜剧等关键内容类型。在制作方面,我们将聚焦创作节奏更紧凑、更具观众吸引力的创新当代故事线。在内容推广方面,我们将更加强调创意性、话题性和情感共鸣,采用更能吸引年轻观众的策略。对于微短剧,我们的精品化制作策略有望吸引更多此前不看微短剧的用户接触这一内容类型。我们将继续运用长视频剧集的开发经验,扩大与顶尖创作者的合作,制作更多旗舰作品,同时探索系列化形式。在商业化方面,除了现有的会员和免费模式,我们将积极探索内容分发、品牌内容植入和IP衍生品开发等机会。除了剧集,我们也在其他品类寻求突破。综艺节目方面,我们仍将聚焦旗舰多季IP,同时继续探索创新内容形式。电影方面,我们正在构建一个全面的框架,通过三大战略举措——爆款项目、黑马项目和沉浸式电影项目——来加强原创电影项目。这些努力将扩大我们在在线视频电影流媒体市场的份额,增强我们在院线发行方面的影响力,并加强IT线上线下平台的协同效应。动画和儿童内容方面,我们将继续提升原创制作能力,专注于高质量国产动画,同时加强儿童内容的商业化。谢谢。
Xiaobui Wang
During this year's summer season from June to August, we delivered outstanding performances across drama, variety shows, film, and micro dramas. Three of our original drama blockbusters, namely Field, Coroner's Diary, and Describing Lines, all achieved ITE popularity index scores of over 10,000. For micro drama, How Dare You hit a new milestone for ITE Popularity Index score. And for variety shows, returning flagship titles such as The King of Stand Up Comedy Season two and The Wrap of China 2025 led the market. Last but not least, on the film front, the theatrical release, The Shadow's Edge recently surpassed RMB300 million in box office revenue and the third-party market forecast predicted total box office revenues to exceed RMB1 billion. In the future, benefiting from the new policies for the industry, we aim to strengthen our content strategies across different categories. For the long-form dramas, we will continue to focus on premium productions with high commercial value. And like CEO Lu Gong mentioned earlier, not only will we focus on innovations for long-form video dramas, but we will also improve our innovations for short dramas as well. And also for long-form video dramas, we will leverage our five major drama theaters to comprehensively cover key content genres such as suspense, romance, realistic, and comedy. For the production side, we'll focus on creating innovative contemporary storylines with tighter pacing and greater viewer appeal. In terms of content promotion, we'll place a stronger emphasis on creativity, buzzworthiness, and emotional resonance, adopting strategies that better engage younger audiences. For micro drama, our approach for premium quality production is expected to attract more users who previously did not watch micro dramas to the content genre. We'll continue to apply our long-form drama development expertise, expand collaborations with top creators, and produce more flagship titles while exploring serialized formats. On the monetization side, beyond our existing membership and free models, we will actively explore opportunities such as content distribution, branded content integration, and IT merchandising development. Beyond dramas, we're also striving for breakthroughs across different other categories. For variety shows, our focus remains on the flagship multi-season IPs, while continuing to explore innovative content formats. For films, we're working on a comprehensive framework to strengthen our original film projects through our three strategic initiatives, namely blockbuster project, Sleeper hit project, and an immersion film project. These efforts will expand our market share in online video online movie streaming, enhancing our influence in theatrical releases, and strengthen synergies between IT's online and offline platforms. And for animation and children's content, we will continue to improve our original production capabilities, focusing on high-quality domestic animations while enhancing the monetization of children's content. Thank you.
Operator
您的下一个问题来自朱继杰。
Operator
Your next question comes from Jijie Zhu.
Jijie Zhu
我将自己翻译这个问题。今年我们看到爱奇艺正在筹备线下主题公园,同时在部分头部关键剧集播出期间销售相关的爱奇艺产品。您能否分享一下这些未来的策略?以及您如何看待这个市场规模?谢谢。
Jijie Zhu
I will translate the question myself. This year, we have seen that iQIYI is preparing for the offline theme park, at the same time selling related iQIYI products during the broadcasting of some top key dramas. Could you share about these strategies in the future? And how do you think of this market size? Thank you.
Lu Gong
对于爱奇艺的体验业务,我们有两个关键领域:基于IP的消费品和线下体验。对于爱奇艺消费品,过去我们完全采用授权模式运营,但在整个市场中GMV占比较低。因此从今年开始,我们正在向自营模式转型,建立一个包括规划与设计、制造和销售的消费品体系。目前,我们正从收藏卡开始试水。同时我们也在测试不同的销售渠道。未来我们将扩大这些努力。对于线下体验,总体而言,我们采取轻资产策略。主要包括两部分:沉浸式剧场,目前采用授权模式与不同门店合作运营,现已覆盖30多个城市,拥有50多家门店。对于爱奇艺活动,我们也采取轻资产模式,在内容管理和技术方面提供支持。对于爱奇艺乐园,除了基于我们IP的游戏和体验外,我们还有衍生品,即将在门店销售的爱奇艺消费品。因此,整体上将为我们的体验业务创造协同效应。目前,扬州和奥托、泰丰等地正在开发中。到今年年底,可能会有更多地点公布。谢谢。
Lu Gong
For IT's experience business, we have two key areas: IP-based consumer products and offline experiences. For IT consumer products, in the past, we fully operated in IT licensing, but the percentage of GMV is relatively low in the whole market. So starting this year, we're now transitioning to a self-operation, building a consumer product system that includes planning and design, manufacturing, and sales. Right now, we're starting to test the waters starting from the collectible cards. And then also we're testing the waters for different sales channels. So we will expand those efforts in the future. And for the offline experiences, overall, we take an asset-light approach to this strategy. It mainly has two parts: the immersive theaters, which now is a licensed model that we operate with different stores, now has over 30 cities, have more than 50 stores. And also for IG events, we also take the asset-light approach and we support in terms of content management and technology. For IT land, in addition to the games and experiences based on our IPs, we also have the derivative products, the IT consumer goods that we'll be selling in the stores. So collectively, it will create synergy for our overall experience business. Right now, we have the Yangzhou and Otto, Taifeng locations are in development. And by the end of this year, probably we'll have more locations to be announced. Thank you.
Operator
您的下一个问题来自Jefferies的Thomas Chong。
Operator
Your next question comes from Thomas Chong with Jefferies.
Thomas Chong
晚上好,管理层。我的问题是关于我们的债务管理计划。管理层能否分享更多细节?谢谢。
Thomas Chong
Good evening, management. My question is about our debt management plan. Can management share more color about this? Thank you.
Jun Wang
谢谢。您可能已经注意到,我们的债务分为两部分:海外美元债务和国内人民币债务。截至第二季度末,您会注意到2028年可转换票据的未偿还余额仅为2.08亿美元。目前,如果可转换票据持有人决定行权,公司有足够的现金来履行债务义务。就人民币计价的国内债务而言,您可能注意到过去几个季度,长期贷款与短期贷款的比例已显著改善。目前,我们整体未偿还贷款的比例大约是五五开。因此总体而言,目前的资本结构相当健康,足以支持我们的日常运营以及未来的长期发展和增长。谢谢。
Jun Wang
Thanks. As you probably noticed, for our debt, we have two parts: overseas U.S. Dollars and domestic RMB. And as of the end of the second quarter, you will notice that the outstanding balance for the 2028 convertible notes is only $208 million. And currently, the company has sufficient cash to meet the debt obligation if the CP holders decide to provide to us. In terms of the domestic debt denominated in RMB, you probably noticed in the past few quarters, the long-term loan versus short-term loan has significantly improved. Currently, the portion is like fifty-fifty in terms of our outstanding loans as a whole. And so overall speaking, the capital structure now is pretty healthy enough to support our daily operations and also the long-term development and growth in the future. Thank you.
Operator
目前没有更多问题。现在我将交还给余女士进行结束语。
Operator
There are no further questions at this time. I'll now hand back to Ms. Yu for closing remarks.
Cheng Yu
感谢大家今天参加电话会议。如果您有任何问题,请随时联系我们。下个季度再见。谢谢。再见。
Cheng Yu
Thank you everyone for joining the call today. And if you have any questions, do not hesitate to contact us. See you next quarter. Thank you. Bye bye.
Operator
谢谢。
Operator
Thank you.
Jun Wang
谢谢。
Jun Wang
Thank you.
Operator
今天的电话会议到此结束。感谢各位的参与。现在可以挂断电话了。
Operator
That does conclude our conference for today. Thank you for participating. You may now disconnect.