ContentAsia October/November 2025

OCTOBER/NOVEMBER 2025

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REF: I TV_CA _THE_HAC K _ P RE SS _ A D_ AW 0 2 S IZ E : 2 4 5 m m ( W ) x 26 0 m m ( H ) BLEED: Heigh t 1 0 m m x W i d t h 1 5 M M DAT E : 1 7.0 9. 2 0 25PLUS Inside K-pop Demon Macro view on micro drama with Hunters, Dear Stranger & Microdrama: Money, Morals & the Space Race Bamboo Network’s Dabin Chung The Resurrected

THE H AC K The scandal is only half the story

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Visit us at Croisette 14 © 2025 Paramount Skydance Corporation

contents...

what’s inside...

The long scroll

Vertical virtue

Creators can hold their noses until they die at cheesy scripts and over-the-top drama... but microdramas aren’t going anywhere but mainstream. What started as shock-and-awe growth that dazzled boardrooms is now a full-blown debate across the industry about how to weave bitesized, vertical storytelling into the mainstream production and entertainment business.

No title, theme or storyline seems too salacious in the current microdrama boom. Growing alongside the slate of headline grabbers is a movement with more modest values and still consistent with mobile-first entertainment demands.

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10

Dabin Chung: macro view on micro stories Bamboo Network is a frontrunner in serialised micro-reality, with hits such as The Bedmate Game: Sharehouse and Eluvator. Dabin Chung, CEO of the Seoulbased production house, talks about trends, scale, IP and creating an ecosystem of co-growth.

The making of...

K-pop Demon Hunters

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Maggie Kang, the creator and director of Netflix’s most popular movie ever, talks about Korean culture, mythology, demons, music and the opportunity to create a new kind of female superhero.

Ties that bind Dear Stranger adds film festival acclaim to Taiwanese telco Far EasTone Telecom’s content investment portfolio. Gary Tsai, COO – Digital Entertainment, friDay Video/Far EasTone Telecom, spoke to Janine Stein about what drives content investment decisions; Susan Hornik talked to the film’s writer/ director Tetsuya Mariko.

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ContentAsia Awards 2025 Winners of the 6th annual ContentAsia Awards – the second to be held in Taiwan – were announced along with the winners of the first ContentAsia Viewers’ Choice Awards at a live+live-streamed ceremony in Taipei on 4 September.

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contentasia october/november 2025

Elevating Malaysian storytelling into global hits From record-breaking dramas to award-winning documentaries, Media Prima showcases Malaysian stories that resonate at home and shine abroad.

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Brought to you by Media Prima

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Hell hath no fury

Taiwanese director Leste Chen trades in big ideas for new Netflix series, The Resurrected, about two mothers who bond over shared determination for revenge. But he avoids political fingerpointing, says Patrick Frater

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Associate Publisher (Americas, Europe) and VP, International Business Development Leah Gordon leah@contentasia.tv

Space race The serialised vertical drama boom has set off a race for facilities that can accommodate compact sets, lean budgets and accelerated schedules.

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Editorial Director Janine Stein janine@contentasia.tv Events Manager CJ Yong cj@contentasia.tv ContentAsia Marketing & Awards Heather Berger awardsr@contentasia.tv Production Rae Yong Research Rhealyn Rigodon iyah@contentasia.tv

Assistant Publisher (Asia/Middle East) Malena Amzah malena@contentasia.tv To receive your regular free copy of ContentAsia, email contentasia@contentasia.tv

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The long scroll Creators can hold their noses until they die at cheesy scripts and over-the-top drama... but microdramas aren’t going anywhere but mainstream. What started as shock-and-awe growth that dazzled boardrooms is now a full-blown debate across the industry about how to weave bite-sized, vertical storytelling into the mainstream production and entertainment business.

Global Micro-Drama Monetization (Total Revenue in US$ bil.)

Source: Media Partners Asia (MPA)

The next wave of microdramas could see production budgets esca-

Although not as vibrant as China or the U.S., U.K. producers are ven-

late to US$600,000 per series, driven primarily by Chinese platforms

turing into the vertical space, being paid between £1,500/£2,000 to

accelerating investment into premium content. Right now though,

£3,000/4,000 per episode for a 60-episode series. Brands are boosting

producers in the rest of Asia look, laugh and settle for full-series (60-80

activity, paying between £20,000/US$27,000 and £30,000/£40,000 for

mins) budgets in the US$50,000 to US$75,000 range. In some markets,

20 to 30 episodes of a one-off series built around their product.

this tops out at US$150,000, with most current titles made for between US$75,000 and US$100,000.

There’s also a thriving market for finished scripts, which sell for around US$10,000 each.

In the U.S., series production budgets range from US$150,000 to US$200,000 (max US$300,000) for 80-minutes. U.S.-based analysts, Owl & Co, caps current production budgets at US$250,000.

4

“Money in microdrama is already a subject of heated debate,” says U.K.-based director and format creator, Jonathan Glazier, who just published a three-part deep dive into microdrama as part of his alt.media Substack platform. Glazier is currently developing shows for broadcasters and platforms in the Philippines, Bhutan, India and Singapore, following three recent commissions in the region.

“There is no single route to [microdrama] funding,” Glazier tells fel-

contentasia october/november 2025

A NEW STORY BEGINS. SURVIVAL. SECRETS. AN UNEXPECTED LOVE.

Vertical video platform commissions are “the old television model in new clothes”, where platforms fund production, pay a producer’s fee and take ownership of everything.”.

Jonathan Glazier Director & Format Creators, and Founder, alt.media

low producers, listing a seven-point directory of choices. These include

If producers continue to poke into every nook and cranny of the

self-, brand-, and platform-funded as well as dedicated platform

short-form vertical video environment to see if this is where they really

commissions, which he calls “the old television model in new clothes”,

truly want to be, boardrooms remain unequivocally dizzy over finan-

where platforms fund production, pay a producer’s fee and take

cial projections.

ownership of everything.

In its microdrama report released in September, Media Partners

Glazier outlines four levels of series budgets, beginning with nano of

Asia (MPA) predicted China’s 2025 revenues to exceed US$9.4 billion,

between £500/US$670 and £2,000/US$2,700, shot on phones with friends,

overtaking domestic box office. More than 830 million viewers across

and rising to platform funded budgets of £300,000+/US$400,000+. He

the mainland now consume microdramas, of which nearly 60% pay or

also reports top-end productions at US$600,000 per title.

transact, says “The Microdrama Economy” report.

In between come indie budgets of between £5,000/US$6,700 and

China revenues climbed from US$0.5 billion in 2021 to US$7 billion

£20,000/US$27,000. These involve a small professional team, hired kit,

in 2024 and are expected to exceed US$16.2 billion by 2030 (11.5%

locations and licensed music (In other words, “enough to look pol-

CAGR). By 2030, advertising will contribute 56% of revenues, with sub-

ished,” Glazier says).

scriptions at 39% and commerce at 5%, MPA says.

Studio budgets of above £50,000/US$67,000 are also in the mix.

In Asia, Japan leads with revenues forecast to top US$1.2 billion by

These involve a full production crew, set builds and professional actors,

2030. The rest of Asia remains cost-conscious; still operating at lower

and are often linked to brand or broadcaster support.

budgets, despite growing audience interest.

A sample production budget of around US$220,000 includes

Outside of China, the global microdrama market is forecast to

US$7,000 for a head writer, including script and revisions, and US$5,000

reach US$9.5 billion by 2030 (28.4% CAGR) from 2024’s US$1.4 billion.

for assistant writers and a script editor. The largest total cost is

The revenue mix will remain subscription/IAP-led (74%), but advertising

US$36,000 for actors; this involves six lead actors at US$500 a day for 12

will rise to 25% and commerce to 1% by 2030.

days. Glazier adds US$6,000 for supporting/day players, bringing the

Global markets are led by the U.S., where revenues reached

on-screen talent costs to a total of US$42,000. The budget for a direc-

US$819 million in 2024, and are projected to rise to US$3.8 billion

tor is US$12,000 for 12 days, and the DoP is US$9,000. The post-produc-

by 2030, MPA says. Audience adoption is driven by affluent, urban

tion costs include two editors at US$9,000 each for three weeks’ work.

women aged 30-60.

Glazier urges producers not to think of microdrama as a new genre.

The fact that short drama apps are on track to hit US$3 billion (excl.

“Think of it as a new grammar” that matches “the rhythm of the

China) this year is an important milestone, says Owl & Co founder and

scroll,” he says, adding that this is a “sector that is in need of disrup-

former Fox International Channels’ boss, Hernan Lopez.

tion, and consumers need to be served and not exploited”.

“My opinion is simple,” Glazier says. “If the sector is to thrive it needs

In a LinkedIn post in September, Lopez said while short drama apps’ revenue was small right now compared to Netflix or YouTube, this year’s

to step back from short-term profiteering. Viewers will eventually no-

US$3 billion (excl. China) “marks something we’ve never had before: a

tice how much they are spending. If cancelling an account is difficult

functioning market for short-form scripted storytelling”.

and they feel manipulated, trust will erode. Once trust is gone, the

“Now the glass is no longer empty,” Lopez continues. “If you’re quick

entire sector could take on the taint of mistrust. It is much harder to

to dismiss the short dramas of today as too soapy, too gamified, or

rebuild than to get it right the first time.”

not for you, you risk missing three larger forces at play: Time spent with

In an adjacent Substack, Straight Up, where he reviews new titles

mobile video, where vertical is the default, keeps rising. Production cut-

and their platforms, Glazier points to The Diamond Rose as a series

backs mean more storytellers are embracing new formats. SVODs are

that “shows both the promise of microdrama and the risk: if platforms

fighting not just each other but YouTube, TikTok, Instagram for time spent

cling to gatekeeping, they’ll end up looking more like the broadcast-

and ad dollars. They’re not going to sit idle while a whole new way of

ers they were meant to replace”.

storytelling takes off.”

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contentasia october/november 2025

FA C E D W I T H C H A N G E , R E S I L I E N C E I S E V E R Y T H I N G .

Dracula’s Kiss: Spellbound by a Doppelganger

Vertical virtue No title, theme or storyline seems too salacious in the current microdrama boom. Growing alongside the slate of headline grabbers is a movement with more modest values and still consistent with mobile-first entertainment demands.

If they aren’t exactly enamoured by the recent surge in headline-

Middle East are creating a lively market for scripts – with built-in hooks

hogging porn-adjacent vertical video blockbusters, programmers and

and cliffhangers – to adapt to their own market tastes, says AR Asia

platforms in countries and regions that prioritise modesty are as keen as

Productions’ co-founder and CEO, Anne Chan. Domestic demand for

anyone to embrace the microdrama boom.

locally relevant vertical series has already soared, driving up expecta-

How much less-extreme content is there amid the salacious themes and raunchy titles of mainstream vertical video catalogues? Quite a

tions and forecasts for the first half of 2026, Chan says.

Along with topics such as “The Rise of Ramadan Content: Capturing

bit, it turns out. Plus, as the format takes hold, local producers are fast-

Global Audiences Through Cultural Narratives” and a deep dive into

tracking series of their own with built-in resonance. And one more thing:

Arabic cinema, microdrama is a focus at the upcoming Dubai Interna-

either they haven’t got to it yet, or censors are turning the same blind-

tional Content Market (DICM) from 4-5 November.

ish eye to microdrama apps as they did to streaming platforms.

In addition to testing original series, producers across Asia and the

10

“There’s a misconception that microdramas are all raunchy – that’s not the case,” says COL Group’s Southeast Asia operations GM, Timothy Oh,

contentasia october/november 2025

NEW ARRIVALS

ALSO AVAILABLE AS FORMATS

On The Line, Mediacorp

who will be speaking at DICM. “Microdramas are

FlareFlow title is hidden-identity/revenge series Shoot At My Heart,

evolving beyond romance and gaining traction

about a wealthy man’s daughter who joins the police force after

across a diverse range of genres... We have a

being saved by sniper Evan Wilson. When their paths cross again,

wide range of premium titles across many genres

Evan is down and out and homeless.

There’s also rags to riches culinary show Cooking My Way Back to

that are suitable for these markets,” he says.

A random trawl through five of the most-talked-

Love (ReelShort) about a top chef who falls apart after his wife dies

about microdrama platforms – FlareFlow, ReelShort,

in a car accident, losing everything except his dog Dante, and the restaurant owner who gives him a job, not knowing

DramaBox, Sereal+ and Korean platform

who he is.

Vigloo – shows a wealth of storylines

The Invincible Bodyguard (DramaBox) is a hid-

less likely to raise hackles.

There’s time-travel fantasy

den-identity tale (another favourite microdrama

romance, Dracula’s Kiss: Spell-

theme) about a security guard who unintention-

bound by a Doppelganger

ally offends a billionaire heiress and risks exposing

(Sereal+), for instance. The

his own secret.

series is about a heartbro-

And then there’s period fantasy romance

ken woman who, seeking

Night, an original from Fate, The Servant of the Night

revenge, marries a man who

Korean platform Vigloo. The 48-episode series

turns out to be a vampire –

is about a popular heartthrob who only has

only to find an 80-year-old

space in his heart for a girl in his dreams. When

photograph in his study

thugs kidnap his sister, his attempts to save her

that looks exactly like her.

leads him into a complicated family revenge

The same show has been

plot. Like all Vigloo Original series, Fate, The

made as Let Me Go, Mr.

Servant of the Night is subtitled in Bahasa for

Dracula, with different tal-

Indonesian audiences, who are well used to strict censorship, as well as in Thai, Japanese,

ent and an adjusted script, for FlareFlow, a newer app from the COL Group. Another

12

Loh Woon Woon, VP for Chinese Drama Productions VP for Chinese Drama Productions, Mediacorp

Chinese and Arabic.

Across all the microdrama apps on our radar,

contentasia october/november 2025

My Fake Wedding, SinemArt Indonesia/Vidio

experimentation with different genres is clear.

“We are constantly testing and experimenting with content types, in-

Mediacorp’s 10-episode On The Line hit 12 million views across

cluding series targeting male audiences, sci-fi and more, COL’s Oh says.

platforms – including TikTok – in its first

A priority market is Indonesia, with a population of about 286 million.

four weeks. “There’s a strong appe-

The market already has telco-bundled third-party apps such as Short-

tite for this kind of storytelling,” says

Max and FlexTV, which are packaged with mobile data. The country’s

Loh Woon Woon, Mediacorp’s VP

leading streamer, Vidio, which has five million paying subscribers and

of Chinese Drama Productions, who

20% share of total premium VOD engagement, is also actively looking

describes the micro environment as a new creative playground for fresh

at adding vertical options to its entertainment platform.

voices.

Among the series at the forefront of the Indonesian surge is original

Sharad Sharan, Director/ Writer, Pura Pura Nikah (My Fake Wedding) for SinemArt Indonesia/Vidio

On The Line, released at the end of June, is about a team of young

show Pura Pura Nika (My Fake Wedding), by Sharad Sharan for Sinemart

immigration officers from the Immigration and Checkpoints Authority

Indonesia. The show, for Indonesian streaming platform Vidio, won Con-

(ICA) charged with protecting Singapore’s borders.

tentAsia’s 2025 Award for Best Micro-drama made in Asia.

Pura Pura Nika is about two people – both engaged to be married to

In the microdrama space, the impact of physical borders is not as clear. Many of the current series look American, but are created in

others – paired up against their will in a reality-style draw where the win-

China or Korea, driven by the willingness/ability of U.S. and Latin Ameri-

ners get married on the spot. Against their better judgement, they play

can users to pay something like US$40 a month per app.

along, only to discover that the marriage certificate is real, and they now have to find a way out.

Meanwhile, language customisation is booming, adding to series travelability. Vigloo’s Japanese series The Burden of Beauty, Revenge

In Malaysia, two Media Prima series that have planted a flag in

Runway, is for instance, available with subtitles in eight languages. Mys-

the vertical space are Benci Jadi Cinta (Hate Turns to Love) set in a

tery drama/comedy, Wild Revenge: Lost Connection (a detective is able

creative agency, and Keluarga Antara Insan (Together Like Family),

to solve cases with a special gift – his ability to talk to animals), is offered

about neighbours who consistently butt heads. Keluarga Antara Insan,

in English, Korean, Chinese (traditional and simplified), Spanish, Bahasa

created by Media Prima and Samsung Malaysia is part of the crucial

Indonesia, Thai and Arabic. FlareFlow offers about 10 languages, includ-

conversation around brand integration in mobile-first vertical video.

ing Korean, Chinese, Bahasa Indonesia and Thai, and is the tip of the

Across the causeway, where content codes are also on the stricter side,

spear in the COL Group’s international expansion; including more than 30

Singapore has found success with a lively vertical drama that is driving an

production teams across the world’s major markets. Somewhere in there,

uptick in interest among younger audiences in public service careers.

there’s bound to be space for series that keep their clothes on.

14

contentasia october/november 2025

Dabin Chung: macro view on micro stories Bamboo Network is a frontrunner in serialised micro-reality, with hits such as The Bedmate Game: Sharehouse and Eluvator. Dabin Chung, CEO of the Seoul-based production house, talks about trends, scale, IP and creating an ecosystem of co-growth.

A month ago, Korean micro video series, The Bedmate Game: Sharehouse (해야만 하는 쉐어하우스) hit 10 million cumulative views on Chinese-owned mobile platform DramaBox. The show, originally made for Korean platform Vigloo, is billed as “Korea’s first R-rated scripted reality microdrama”.

Five months earlier, Bamboo Network CEO, Dabin Chung, had celebrated the reality show’s record performance for Korean content in North America.

“Yesterday was a very meaningful day for me,” Chung said in a social media post marking the milestone.

Along with titles such as unscripted dating show Eluvator for PickMore, the performance of The Bedmate Game: Sharehouse puts Chung on the royalty list of a whirlwind sector that shows no sign of abating.

Chung talks about reading market tides and riding waves. “In the content business, what matters most is not building something massive but creating fast connections; not just building powerful structures but designing structures where everyone can win”.

Among the very early adopters of serialised micro-episode video series, the 34-year-old Chung continues to believe short-form is “not just a passing fad but will become a true IP business format... a scalable, repeatable business”.

Today, his conviction in the format is as firm as it was then, with hopes growing that “the market evolves beyond simple production revenues into a recurring revenue share structure – like music, webtoons, and web novels... Not a market where big fish eat little fish, but one where the fastest swimmers win”.

As the seven-year-old Bamboo Network expands its Gen Z-focused entertainment strategy, Chung highlights how the studio is shaping the future of storytelling through both scripted and unscripted short-form formats.

“From 2023, we realised that short-form content – especially microdrama – was not just a passing trend but a completely new format. At that time, the traditional drama market had no real alternatives. Microdramas

16

contentasia october/november 2025

The Bedmate Game: Sharehouse

If this same K-content DNA is applied to microdramas, I believe Korean producers can also take a leading role globally,” he says.

“However, I also believe the real leadership in microdramas will belong to those who can consistently make influential content that wins over the U.S. market, because that is still the ultimate battleground for global entertainment.”

Romance is a genre bedrock. “The core structure of romance never changes. What changes with each generation are only the expressions – how people confess, how they date, and how they show relationships. That’s why romance could be reinterpreted in the short-form format, while still connecting across different generations,” Chung says.

The Bedmate Game: Sharehouse, for instance, became a global number one “not only because of its fun setting, but because it reflected real social issues – like young people’s openness to physical intimacy, the rise of co-living, and the instability of modern relationships”.

Unlike the legacy broadcast industry – where platforms tend to take the majority of revenue – I believe it is essential to create a system where successful production companies can also secure revenue share...

This way, both platforms and creators can achieve sustainable co-growth.”

Dabin Chung, CEO, Bamboo Network

Talking about the current video production ecosystem, Chung says microdramas are way more than simple short videos with 12x accelerated production cycles. “They are creating a new production ecosystem.

They serve as a test bed where new writers, actors and directors can debut quickly, and at the same time, they function as a laboratory for global distributors to observe rapid audience reactions. In other words, if traditional dramas are large-scale projects, microdramas can be defined as a startup-like market that grows quickly and learns through both successes and failures.”

Chung also believes a key point is not to make “cheap” series, “but to deliver the greatest immersion with limited budgets. In fact, the greater the constraints, the more creative solutions emerge – and that becomes the true competitive edge... That said, I don’t believe producing microdramas ‘as cheaply as possible’ is the right approach.

I believe that even within the micro-drama scene, there should be a work with the global impact of something like Squid Game”.

The true power of microdrama IP goes way beyond the screen, he adds. “Microdramas may be short, but they can become the seed of IP. They can expand into OTT series, films, webtoons, novels, merchandise, and even advertising campaigns. I see microdramas as essentially the MVP (Minimum Viable Product) of IP. They may start as small experiments, but they hold limitless potential to grow into global mega IPs... microdramas serve as the starter of IP. While short-form dramas them-

suddenly appeared as a strong solution, with a business model that

selves can generate revenue, I believe their true power comes from the

was structured, profitable and cost-efficient,” he said during the 2025

vast value chain that unfolds afterwards”.

ContentAsia Summit in Taipei.

“Also, platform algorithms supported short and powerful stories, which

The biggest concerns for IP holders are rights management and revenue-sharing structure. “I believe true explosive growth will come only

clearly showed that this format would dominate. That is why we were

when a unique distribution ecosystem is established that is designed

the first in Korea to enter this market in a systematic way”.

specifically for microdramas, rather than simply mirroring traditional

Can Korea compete with China in the microdrama space? Chung

drama models,” Chung says.

believes it can. “It’s true that China has grown the market with speed and

“Unlike the legacy broadcast industry, where platforms tend to take

volume. But global audiences do not only want fast production. What they

the majority of revenue, I believe it is essential to create a system where

want is strong storytelling and emotions that everyone can relate to.”

successful production companies can also secure R/S (Revenue Share)

“Korea has already shown through K-dramas that it can create

or GR (Gross Revenue Share). This way, both platforms and creators can

stories, characters and direction that touch people around the world.

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achieve sustainable co-growth.”

contentasia october/november 2025

The making of...

K-pop Demon Hunters Maggie Kang, the creator and director of Netflix’s most popular movie ever, talks about Korean culture, mythology, demons, music and the opportunity to create a new kind of female superhero.

By our count (based on Netflix’s weekly rankings), K-pop Demon Hunters

research, and for some reason, I landed on demonology”.

was watched for more than half a billion hours around the world in its

Picking through the creatures and images that she grew up with,

first 14 weeks on the global English-language film top 10. The animated

Kang said the idea of demons “naturally led to demon hunters, a group

feature toggled between #1 and #2, averaging just under 40 million

of really incredible women who find demons”.

hours a week from its premiere on 20 June and beating blockbuster

The decision to have them do something in addition to fighting led

titles and A-listers like Liam Neeson, Fan Bingbing, Charlie Sheen, sonic

her to K-pop. “And it really changed everything,” she says. “The movie

hedgehogs and Shrek. By 27 August, the original animated feature had

instantly became larger in scale. It became a musical, and there was

become Netflix’s most popular movie ever, beating its previous record

just more spectacle.”

as the streaming platform’s most popular animated film.

“Something that’s really wonderful about K-pop in the world today...

Speaking at Netflix’s Creative Asia event during the Busan Interna-

it’s the way that it just brings people together, even though people

tional Film Festival (BIFF) in September, K-pop Demon Hunters’ creator

don’t understand the lyrics to a song. You go to a K-pop concert and

and co-director, Maggie Kang, said her proudest moments – and the

everybody’s singing along, and there’s just this really great energy... it’s

culmination of a long-held career wish – were the film’s all-Korean cast,

able to cross cultural barriers.”

its deep immersion in Korean culture, and the opportunity to create a different kind of female superhero.

“I really wanted to work on a Korean project, but I really never came

A “huge” K-pop fan, Kang says she “wanted to create that feeling in the film... and K-pop became this huge selling point for the movie”.

What she didn’t necessarily publicise at the time was her goal to “take

across one,” she said of her dozen or so years in Hollywood’s animation

this concept and make the movie as Korean as possible, to inject as

industry. “So when it came time for me to direct a movie and pitch one,

many Korean elements into it as possible”. Ultimately, these included

I started to think about what I wanted to see in animation, which was

Korea’s national animal – the tiger, which became Derpy – to taekwon-

Korean culture, and so I looked at our mythology. I was doing a lot of

do, locations, landmarks and food.

20

contentasia october/november 2025

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The idea that your secrets and shame can hold you back from people that you love is such a universal theme. ”

be “a really small part of our movie... but for me, being someone who’s Korean, and I’ve heard this from many Korean audiences, it’s very meaningful because we haven’t really seen that representation of our culture from the olden days to modern times. This part of the movie is probably one of the proudest moments for me as a creator,” she says.

Kang says her lead trio are both pop stars and “badass” demon hunters. “We really wanted to represent all sides of our characters... to really explore the personalities and individuality when they are not on stage, and show a more personal and relatable side”.

Maggie Kang

“They’re modern, they work in their own style, with confidence and flair, eating ramyeon and putting on makeup as they fight demons... [another] of my proudest things is that we created Korean women, Korean female lead characters, and we worked really, really hard to make them both appealing and aspirational and unique, but most importantly, Korean. And for the very first time in feature animation, we

Music used to ward off demons is already a part of Korean lore, and Kang explains that Shamanic rituals were in a way “the first concerts of Korea”. These rituals used sound as a barrier “to fight back demon hordes

see a movie with all Korean characters. For me and our industry, this was a really, really, really big deal.”

Kang also saw an opportunity to create a new type of female super-

constantly trying to come and seek us out and eat our human souls”.

hero. “I really wanted to see ones who were messy and silly and funny,

“It felt like kind of a no-brainer to link our fantasy concept to some-

who eat a lot and who are just really real and hate mornings, like all of

thing that actually exists in our culture,” Kang says. As she dug deeper

us, and who also have struggles and flaws, even ones with really, really

into the story, she was “really inspired by the folk dancers who perform

dark pasts and roots, but through friendship and understanding and

these rituals... to protect communities from demons and ward off bad

defeating their inner demons and actual demons... and inspiring others

spirits”. And so K-pop Demon Hunters’ Rumi, Mira and Zoey became

in the process.”

“superheroes with a power to connect people and to create this shield around the world.”

Kang says the tradition passed down through the generations may

22

“The idea that your secrets and shame can hold you back from people that you love is such a universal theme. And there are many, many other themes in our film that are very universal.”

contentasia october/november 2025

One of my proudest things is that we created Korean women, Korean female lead characters and we worked really hard to make them both appealing and aspirational and unique, but most importantly, Korean. And for the very first time in feature animation, we see a movie with all Korean characters.

And you know, for me and our industry, this was a really, really, really big deal.”

Maggie Kang

23

Courtesy of Roji Films, TOEI COMPANY, LTD.

Tetsuya Mariko

Ties that bind

Dear Stranger adds film festival acclaim to Taiwanese telco Far EasTone Telecom’s content investment portfolio. Gary Tsai, COO – Digital Entertainment, friDay Video/Far EasTone Telecom, spoke to Janine Stein about what drives content investment decisions; Susan Hornik talked to the film’s writer/director Tetsuya Mariko.

Tetsuya Mariko’s suspense drama, Dear Stranger, is a poster project for Taiwan’s latest era of international outreach. Part of Taipei-based telco giant Far EasTone’s content investment portfolio, the English-language film opened in Japan in mid-September and premiered internationally at the Busan International Film Festival (BIFF) a few weeks later.

Produced by Roji Films, Dear Stranger follows Far EasTone’s backing for Michihito Fujii’s 18x2 Beyond Youthful Days (2024), which was distributed in more than 10 countries as well globally on Netflix.

Gary Tsai, COO – Digital Entertainment, friDay Video/Far EasTone Telecom, says the main reason behind the decision about two years ago to invest in Dear Stranger was similar to 18x2 – a solid story backed by a strong team.

“We started with a very good story and with a very driven and persistent director and writer,” Tsai told delegates at the ContentAsia Gary Tsai, COO – Digital Entertainment, friDay Video/Far EasTone Telecom

24

contentasia october/november 2025

Hidetoshi Nishijima, Gwei Lun-Mei

I try to keep my feet firmly on the ground, continue making films, and keep challenging myself.”

Tetsuya Mariko

Summit in Taiwan in early September ahead of the film’s release.

with even more care than in Japan.

Tsai calls Dear Stranger a true co-production, with skills, financial

“Most importantly, the staff who gathered for the project worked

backing and filming spread between three countries/partners. The film

hard to understand one another, and thanks to that, we were able to

was shot in New York and post-production was done in Taiwan.

make the film without major obstacles,” he says.

Dear Stranger follows a mixed Japanese/Chinese couple – an as-

The veteran writer/director drew from his own life when writing the

sistant professor of architecture played by Hidetoshi Nishijima (Drive My

script. “From 2019 to 2020, I lived in the U.S. with my family. The many

Car) and puppeteer Gwei Lun-Mei (Black Coal, Thin Ice). When their

experiences I had there had a huge impact on me as a writer. On the

young son goes missing, they are forced to confront unspoken truths

flight back to Japan, I was thinking of setting my next film in America –

and the fragile bonds of family.

when suddenly, a national emergency was declared in the U.S. and the

Notes issued before the film’s release quote Mariko as saying violence often appeared in physical and graphic forms in his earlier works.

world completely changed.”

He kept in touch with friends living in America and asked them to

“With Dear Stranger, I wanted to explore a different kind of violence –

send him video footage of family dinners from around the world. “Out

the silence, distance and unspoken cruelty that emerge inside intimate

of that process, I began focusing on family relationships – the smallest

relationships. This ‘cold violence’ may not draw blood, but it leaves

unit of society – and started writing the script,” he says.

deep scars and erodes the foundations of marriage and trust, like ruins quietly collapsing from within,” he says.

If the investment decision for Far EasTone appears to have been relatively straightforward, Mariko describes Dear Stranger as an “immense challenge for me”, including language and cultural barriers.

Mariko describes his latest project as a “step forward” from his past works – the violent Destruction Babies (2016) and romance From Miyamoto to You (2019).

“In my work so far, I have often confronted violence,” he says. “Destruction Babies depicted the almost catastrophic absurdity of young

In addition, this was his first time shooting abroad after making several

men fighting each other with an animalistic drive, and the society

films in Japan, he tells ContentAsia. “The use of multiple languages and

around them. Miyamoto portrayed the disasters that befall a young

the filmmaking process itself are very different in Japan and America, so

couple and how they struggle to live on.”

I had to return to the basics, working through trial and error to complete the film,” he says.

For Dear Stranger, Mariko turned his focus to an Asian family, examining how they “face and survive” the hardships that strike them.

Mariko says he “wrote down as many visual ideas as possible and

“This film has become very important for me in thinking about what

prepared shot lists to aid communication. Building in time for this prepa-

I will make in the future… I’ve been influenced by the many films I’ve

ration was essential.” He believes the team approached the filmmaking

seen, the ideas I’ve encountered, and the books I’ve read, I feel my

26

contentasia october/november 2025

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cinematic world is gradually expanding. Above all, the question is: how do we face this complicated society? I try to keep my feet firmly on the ground, continue making films, and keep challenging myself.”

Mariko was able to navigate identity and belonging/connecting across borders and languages without falling into stereotypical tropes.

“In America, I myself was the ‘stranger’,” he says. “That is precisely why I tried to talk with local people and understand them. I could never do the same things they do, but I believed there was something that only I could do. With that in mind, I kept experimenting as I wrote the script.”

During his time in the U.S., Mariko became more aware of the ambiguity of identity and the difficulty of integrating into new communities.

Dear Stranger reflects the ambiguity of identity and the difficulty of integrating into new communities... “how words fail, how communication across languages falters and how silence takes on its own meaning in intercultural encounters.”

Tetsuya Mariko

“The film also reflects this condition: how words fail, how communication across languages falters, and how silence takes on its own meaning in intercultural encounters,” he says.

Dear Stranger was shot entirely on location in New York City, which Mariko calls a “stimulating city where many cultures mix”.

“Simply living there is economically demanding, and the fact that

Mariko hopes audiences will “watch this story as if it were their own”.

“Even while I was writing the script, there were many different opinions, and I found that very interesting – within the same family,

Kenji and Jane are raising their family amid that whirlwind is directly

each person has their own way of thinking, and they must respect one

connected to the stresses they face... Just balancing that is already a

another… I believe everyone who sees the film will have something to

tremendous challenge. The fact that they live in New York is deeply tied

think about from their own perspective. If people continue conversa-

to who they are as characters – it plays an essential role in the story.”

tions after watching, the film will gain even more depth.”

30

contentasia october/november 2025

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ContentAsia Awards 2025 Winners of the 6th annual ContentAsia Awards – the second to be held in Taiwan – were announced along with the winners of the first ContentAsia Viewers’ Choice Awards at a live+live-streamed ceremony in Taipei on 4 September. The full list of winners is at www.contentasia.tv.

Winners came from 12 countries/regions – China, Hong Kong, India, Indonesia, Japan, Korea, Malaysia, Philippines, Singapore, Taiwan and Thailand, as well as regional Asia services – representing TV broadcast

and production leaders, streamers and online platforms.

For the first time, microdrama creators were recognised, bringing this fast-rising vertical format into the mainstream fold. Hosted by Taiwan’s Sharon Huang with KC Global Media’s AXN as Red Carpet Host, the 2025 Awards Ceremony & Party was attended by guests from the entertainment industry across Asia, and streamed live on Facebook. AXN is the ContentAsia Awards’ official broadcast partner.

Above (from L to R): Amanda Pe, Sabrina Duguet, All3Media International; Jay Lin, Portico Media; Aticha Tanthanawigrai, director of Thamepo: Heart that Skips a Beat; Sharad Sharan, producer & director of My Fake Wedding/Pura Pura Nikah; Dabin Chung, Bamboo Network Korea Below (from L to R): Annie Lim, Celestial Tiger Entertainment; Anthony Buncio, Screenplay Films Indonesia; Charlie Moon, Coupang Play Korea; Jin Woo Hwang, Something Special Korea; Chen Fang-Chi, screenwriter of Hotel Saltwater

Left: Geoffrey Low, Dolby Laboratories; Shahila Shah, Media Prima Malaysia Below: Sandie Lee, Rewind Networks; Sehee Jang, CJ ENM Korea

Zia Grace Bataan, Best Supporting Actress in a TV Programme/Series

Host Sharon Huang

(From L to R): Theresa Teng, executive producer & Lau Ching Poon, supervising scriptwriter of Mediacorp’s Another Wok Of Life; Makito Sugiyama, BEAJ Japan; Satoshi Shiba, producer of Miracle100; Fotini Paraskakis, Empire of Arkadia (EOA); Nami Komo, Asahi Television Broadcasting Corporation (ABC TV Japan); Marianne Lee, Viu; Itaru Mizuno, director of The Hot Spot

34

contentasia october/november 2025

Above (from L to R): Dennis Yang, Studio76 Taiwan; Indra Suharjono, I.E. Entertainment; May Wah Lwin, Canal+ Myanmar; Shinichiro Yoshikawa, producer of Ants (Nippon TV Japan); Leena Singarajah, CAA Eleven; Mark Francis, Vidio Indonesia

Above (from L to R): Dave Ulmer, Cambodian Broadcasting Service (CBS); Morris Chen, TaiwanPlus; Stephane Lambert, Wishtrend Thailand; Saksith Saiyasombut, Mediacorp/CNA’s Thailand correspondent; May-yi Lee, Warner Bros Discovery; Michael Yu, TaiwanPlus

36

(From L to R): Daphne Lei Du, nominee for Best Supporting Actress at the ContentAsia Awards 2025 (Illuminating Hearts, Taiwan); Hao-Hsiang Hsu, winner of Best Supporting Actor (The Bliss, Taiwan); Jane Oineza, cast member of Drug War: A Conspiracy of Silence (Philippines); Jiwon Oh, producer, Million Volt Animation Studios (Korea); and Wei-en Song, winner of Best Male Lead (A Second Chance of Life, Taiwan)

contentasia october/november 2025

Lee Sinje in The Resurrected

Taiwanese director Leste Chen trades in big ideas for new Netflix series, The Resurrected, about two mothers who bond over shared determination for revenge.

But he avoids political fingerpointing, says Patrick Frater

Hell hath no fury Leste Chen and Hsu Chao-jen, two of Taiwan’s leading directors and frequent collaborators, reunite to deliver a glossy, dark and contemporary take on revenge, romance and superstition in new Netflix series, The Resurrected. In an understated way, the show also critiques contemporary politics in Southeast Asia. Two of the series’ nine episodes debuted in September in the On Screen section of the Busan International Film Festival (BIFF). Netflix debuts the remaining episodes globally on 9 October.

The Resurrected involves two mothers who bond over a shared hatred. Their daughters have both been victims of a notorious online scammer and, when the man is executed, the women seek revenge by employing a voodoo master to bring him back to life for a week. Their plan is to make the man’s little remaining ‘life’ hell.

“In my twenties, I was a very angry young man. For some reason, I wanted unspecific revenge,” Chen says. He has subsequently gone on to have a successful career in both film and TV and on both sides of the Taiwan Strait. He came up with the concept for The Resurrected some 20 years ago. “I needed to use this powerful emotion as a starting point for something,” he says.

The scenario creates meaty roles for two of the most established Chinese-speaking actresses – Taiwan’s Shu Qi and Malaysia’s Lee Sinje. “We only had three episodes written at the time Shu Qi joined. One personality is stronger than the other and initially

In my twenties, I was a very angry young man. For some reason, I wanted unspecific revenge.”

Leste Chen, co-director, The Resurrected 38

contentasia october/november 2025

ln the business of building businesses

Fu Meng-po (left) and Shu Qi in The Resurrected

we thought Shu Qi should be the more aggressive, dynamic character

and our production plan. We’d start with creating the show’s bible. Only

who is obsessed with revenge. But after reading those early episodes

once we had that and Netflix had embraced it did we start scripting

Shu Qi said she had never portrayed a housewife and would prefer to

episode by episode.”

try the more timid role,” Chen says.

“As we completed writing the following episodes, we considered

The series trades in several big ideas, including revenge, the death penalty, motherhood and prevailing East Asian superstitions such as

other actresses and approached Lee Sinje, who brings a careful and

resurrection, karmic justice and the existence of an afterlife. But it is also

precise approach to the role. Hsu and I were very happy with their

resolutely contemporary in describing online scams and casual, cor-

chemistry.”

rosive corruption.

Having worked together previously, the co-directors made a well-

In order to blend these elements, much of The Resurrected is set in

oiled team with heavily overlapping roles. Rather than alternating, they

the bustling fictional metropolis of Benkha, though little effort has been

shared directing duties on each episode and were both always on

made to disguise the Thai capital Bangkok or real locations within it.

set. Before going into production, Chen would take the lead on script

“Bangkok is very lively with a mixture of locals and expats. And it is a

development (in association with other credited writers Shen Yang, Yi

great environment for production. This was my third time shooting there.

Shuai-jie and Luo Hsiao-rui) and focus on elements involving confronta-

But more than those practical aspects, this series covers many differ-

tion, while Hsu focused on the emotional aspects.

ent topics and creates many dramatic confrontations and tensions

The directing pair say that their multi-person screenwriting effort did not amount to a U.S.-style writers’ room and that the role of ‘showrun-

that don’t only belong to Bangkok... [so] we chose to set it in a fictional city,” Chen explains.

ner’ does not formally exist in Taiwan’s production industry. But they told

Thai authorities have little tolerance for overseas film and TV produc-

ContentAsia that they expect it to do so as the island’s industry emerg-

tions that could tarnish the image they like to project in service of the

es as a regional hub for long-form entertainment.

country’s tourism industry. In recent months they have been embar-

As international streamers become dominant players in Asia, they bring other changes to the working environment.

Chen and Hsu appear to enjoy the creative freedom streaming

rassed by organised crimes involving online fraud and human trafficking that were allegedly facilitated in or through Thailand.

Chen sidesteps discussion of those incidents and reframes the choice

affords. “Typically, with filmmaking, you focus on a single genre at a

of the Benkha setting as part of Netflix’s effort to make content that is

time, but a TV series can accommodate several different genres and

both local and has international appeal.

characters. There are some big plot twists coming from episode three onwards,” Chen says.

“Streaming platforms carry stories from around the world, with local contexts and local stories. But setting The Resurrected in a fictional city

“In the past, we’d have to prepare the whole script before we

meant we could avoid restrictions and avoid projecting our imagina-

pitched to other broadcasters or platforms. But when we pitched to

tions about Bangkok onto Bangkok itself. We were able to talk about

Netflix, we focused on the story, what kind of investment we might need

these [difficult] subjects without having to deal in the real world.”

40

contentasia october/november 2025

Hengdian World Studios German Town set

Space race The serialised vertical drama boom has set off a race for facilities that can accommodate compact sets, lean budgets and accelerated schedules.

Office set at Hengdian World Studios

A space race has begun for vertical drama production facilities. As

tion challenges and involves a shared data-driven planning system to

projections for the global serialised vertical video industry balloon to

align scenes, talent and logistics in advance. The idea “is to improve the

US$26 billion by 2030, the race to raise quality, offer the most variety with

overall efficiency of production and reduce mismatches in scheduling or

the least effort, squeeze time to screen, and keep costs at a fraction of

resource allocation”.

traditional TV production is escalating.

In 2024, Hengdian established a dedicated Vertical Drama Production

The top two contenders are Hengdian World Studios – sometimes

Service Center, offering one-stop support for short-form crews – including

called ‘China’s Hollywood’ – and a newcomer backed by China-listed

scene configuration, production process optimisation, talent services and

vertical video powerhouse, the COL Group. Elsewhere across Asia, stu-

policy incentives.

dios are adding features and functions, but nothing so far compares to the muscle behind China set-ups.

Last month, COL announced plans for Hengqin in China’s Greater Bay Area (Hong Kong, Macao and Guangdong). The 10,000-square-

The sprawling 33-million-square-metre complex takes a broad view on supporting low cost/agile production; for example, partnering with 53 hotels to offer 2,500 rooms at preferential rates.

Hengdian World Studios has also signed cooperation agreements with

metre studio is billed as a one-of-a-kind facility designed for international

30 local short drama bases (facilities owned/operated by private com-

productions. Hengqin, which plans to be operational by end-2025, will

panies). These bases are relatively small, each able to accommodate up

have 30 specialised sets and sound stages, with a focus on locations such

to 10 short drama crews at the same time, the studio says.

as New York, L.A. and other cities. The studio will be used for microdrama app FlareFlow’s pipeline.

Meanwhile, a little over four hours’ drive from Shanghai, in China’s

In addition, Hengdian is upgrading existing districts to meet the needs of vertical dramas targeting overseas audiences as well as integrating AI and virtual production into its microdrama solutions.

Zhejiang Province, Hengdian World Studios remains way ahead after

The Actor Village opens this month, with accommodation and modular

spending the past two years advancing its vertical drama strategy.

sets for modern and international interior shoots. By the end of the year, the

As of August 2024, Hengdian World Studios had hosted approx 2,500

new German Town and a modern indoor project will be up and running.

vertical drama crews, more than double the total for the previous year.

Additional American and Western small-town sets are being planned.

“This rapid growth reflects not only strong domestic demand but also a rising level of international interest,” studio execs told ContentAsia.

Initiatives to service the sector include the Hengdian International Short Drama Alliance, which the studio says addresses industry-wide coordina-

42

Efforts don’t stop there. Next up is a Global Vertical Drama Co-Production Hub. The hub, Hengdian execs says, will be “a space where creators, studios and platforms from around the world can co-develop and coproduce short-form vertical content for global audiences”.

contentasia october/november 2025

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