And open recruitment for the company, saying that this is an interesting startup company, hoping to find people who are dissatisfied with the existing mobile phones. The name sounds mysterious, so it is called "mysterious technology".
Wang Zijian has received $30 million in Series A investment, and the mobile phone will be made by HTC. At present, Laughter Culture has 65,438+03 shareholders, excluding Wang Zijian. Wang Zijian just works in the laughter culture. Li Dan used to be his screenwriter, but now he is the boss.
Wang Zijian is not a shareholder in Laughter Culture. According to the public data of Qixinbao, Smile Culture currently has 13 shareholders, namely Ye Feng, Zexi Equity Investment Partnership (Limited Partnership) in Ningbo Meishan Bonded Port Area, Chinese Culture Co., Ltd. and Smile (Shanghai) Cultural Media Center (Limited Partnership).
He Xiaoxi, Li Ruichao (Li Dan), Zhang Yingjie, Suzhou Junci Equity Investment Center (limited partnership) (also an equity investment fund under Chinese culture).
Suzhou Industrial Park Nanshan Yao Xing Venture Capital Partnership (Limited Partnership) (which is an equity investment fund under Nanshan Capital), Chengdu Tiantu Tiantou Dongfeng Equity Investment Fund Center (Limited Partnership) and Shenzhen Tiantu Dongfeng Small and Micro Enterprise Equity Investment Fund Partnership (Limited Partnership) (all Tiantu Capital).
Wang Sicong's Shanghai Pusi Investment and Nanshan Lanyue Asset Management (Tianjin) Partnership (Limited Partnership).
Laughing fruit culture:
Shanghai Xiaoguo Culture Media Co., Ltd. was established in Shanghai on 20 14. Committed to creating a closed-loop consumption of cultural products in the category of China comedy talk show. The company aims at cultivating new talk show artists, incubating new comedy talk shows with more potential, activating comedy talk show consumption life scenes and creating greater value.
Build a complete content industry chain from talent mining to creative incubation to production, delivery and integrated marketing, deepen and polish the performance mode offline, continuously expand the content categories online, gradually explore the production process of young comedies, and formulate industry standards.