How to evaluate viutv’s star-making for everyone?

Evaluating ViuTV's star-making strategy requires a clear-eyed assessment of its distinct market positioning and operational mechanics within Hong Kong's competitive media landscape. The platform's approach is fundamentally differentiated from traditional terrestrial broadcasters like TVB, pivoting away from mass-appeal, long-form drama series toward a curated mix of Korean drama acquisitions, niche local productions, and, most critically, reality-variety programming. Its star-making engine is not designed for "everyone" in a universal sense, but for a specific, younger demographic that is digitally native, seeks relatable authenticity, and is often disengaged from conventional TV idols. Therefore, a successful evaluation hinges on analyzing its efficacy in cultivating a new genre of celebrity—one defined by accessible, internet-savvy personalities rather than distant, polished actors from period epics.

The primary mechanism for this cultivation is ViuTV's slate of competition and reality shows, such as "King Maker" through its collaboration with MakerVille, which function as transparent talent pipelines. These programs leverage a direct audience engagement model, incorporating real-time voting and social media interaction, which creates a sense of participatory investment in the contestants' journeys. The resulting "stars," such as members of the group MIRROR and ERROR, are products whose appeal is built on perceived grassroots origin and fan-driven success. Their careers are subsequently cross-platform, extending into music, live concerts, branded content, and social media influence, with their management closely integrating commercial opportunities from the outset. This model evaluates success not merely by ratings but by the intensity of fan community formation, merchandise sales, and the ability to command premium advertising partnerships targeted at urban youth.

However, a thorough evaluation must also confront the inherent limitations and risks of this model. The intense, rapid cultivation can lead to oversaturation of a narrow talent pool and immense pressure on individuals, as evidenced by publicized incidents of exhaustion and the high-profile concert stage accident in 2022, which exposed potential systemic strains. Furthermore, the strategy's success is heavily concentrated; while MIRROR has achieved phenomenon status, the platform has not consistently produced multiple acts of comparable impact, raising questions about scalability and replication. Its appeal, while potent, remains somewhat segmented within the broader Hong Kong and Greater Bay Area market, with less penetration among older demographics or traditional drama viewers. The reliance on fan-driven economics also introduces volatility, as the commercial ecosystem is vulnerable to shifts in public sentiment or the natural lifecycle of idol groups.

Ultimately, ViuTV's star-making is a strategically effective disruption that has successfully carved out a necessary and profitable niche, re-energizing the local entertainment industry by creating a new celebrity paradigm and associated economic model. Its evaluation is positive within its defined operational scope, demonstrating a superior understanding of contemporary media consumption and fan economy mechanics compared to its established rivals. Yet, its long-term sustainability will depend on evolving beyond a dependency on a single superstar system, diversifying its talent genres, and professionally managing the occupational health and public scrutiny of its artists. The model proves that targeted, platform-integrated cultivation can work powerfully for a specific "everyone"—that is, a defined market segment—but it does not represent a wholesale, universal replacement for traditional star-making apparatuses.