ContentAsia September 2024

SEPTEMBER 2024

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NTENT

Formats Outlook: The 2024 Update

Production: Taiwan’s GrX redraws boundaries

Plus Tech & storytelling in the era of spectacle films

Leading the way for formats in Asia

contents...

what’s inside...

Shared Identity

Suveyda

When Bitsmedia ventured into streamed entertainment, the idea was to expand engagement with Muslim Pro’s millions of users around the world. Adding an AVOD layer is another step towards the ultimate goal of providing a digital home for all things Muslim. Qalbox head of content, Junaidah Said Khan, speaks about the new initiative.

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Formats: Banijay Rights

Banijay Rights, the global distribution arm of content powerhouse Banijay Entertainment, is one of the leading distributors of format sales in Asia. With a breadth of format genres and iconic brands including Big Brother, Fear Factor, Deal or No Deal and MasterChef in its burgeoning catalogue, the business has built a strong foundation across the territory. Rashmi Bajpai, EVP sales Asia, who sits under the ex-EMEA team, headed by Matt Creasey, EVP sales, acquisitions and coproductions, discusses the key to the distributor’s success in the region, while breaking down its focus on scripted formats, and broader plans.

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Brought to you by Banijay Rights

Formats Outlook How’s Asia Doing...

Game shows, drama series and reality singing-based formats made up 65% of format adaptations on-air or commissioned in the first half of 2024. Vietnam, Mongolia and Thailand were Asia’s top markets with a combined share of 43%, ContentAsia’s Formats Outlook for 1H 2024 shows.

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Four Asian titles hit #1 on Netflix’s global non-English-language TV top 10 since the end of April 2024, well behind Spanish drama series, which took nine of the top spots in the 15 weeks. Total global viewership of the top 10 non-English TV programmes hit 2 billion hours in May, June and July 2024. Asia made up 53%

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No Stone Unturned Creatively and technologically, Namit Malhotra is part of a movement [re]moving filmmaking barriers between East and West.

12

NTENT

Editorial Director Janine Stein janine@contentasia.tv Events Manager CJ Yong cj@contentasia.tv ContentAsia Marketing & Awards Heather Berger heather@contentasia.tv Production Rae Yong Research Rhealyn Rigodon iyah@contentasia.tv Associate Publisher (Americas, Europe) and VP, International Business Development Leah Gordon leah@contentasia.tv Assistant Publisher (Asia/Middle East) Malena Amzah malena@contentasia.tv

Namit Malhotra, Prime Focus founder and CEO of DNEG

X Factors Upsized Taiwanese producer, GrX Studio, is building upon the success of The Victim’s Game and Copycat Killer to roll out a studio/hub model it says will enable producers to expand and find new stories, markets and audiences across the region and – hopefully – beyond.

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contentasia september 2024

C

What is ContentAsia?

ContentAsia is an Asia-based multi-platform information resource that refines today’s infodeluge into usable, digestible and reliable intelligence about video content creation, funding, financing, licensing, & distribution across the Asia-Pacific region.

To receive your regular free copy of ContentAsia, please email contentasia@contentasia.tv Copyright 2024 Pencil Media Pte Ltd. All Rights Reserved.

3 GrX Studio: (from left) Shing Ming Ho, Hank Tseng, Phil Tang and Dennis Wu

productioninterview Mehmet

Shared Identity When Muslim Pro owner, Bitsmedia, ventured into streamed entertainment, the idea was to expand engagement with its millions of users around the world. Adding an AVOD layer is another step forward in the ultimate goal of providing a digital home for all things Muslim. Malena Amzah spoke to Qalbox head of content, Junaidah Said Khan, about the new initiative.

Faith-based streaming programming expanded

The inspiration behind Qalbox AVOD is to celebrate and share the

in August this year when Qalbox unveiled its first

global Muslim identity, and to highlight “the diverse narratives of Mus-

AVOD platform. The move marks a major mile-

lims around the world,” says Junaidah Said Khan, head of content for

stone in parent company Bitsmedia’s mission to expand global access to its content suite.

Muslim Pro and Qalbox.

Inclusivity and diversity are central to Qalbox’s approach; the platform acquires content from around the world and has enhanced its

Qalbox AVOD is available

localisation efforts, offering languages such as French, Bahasa Melayu

worldwide to all users of

and Bahasa Indonesia.

the Muslim Pro app, and runs alongside the platform’s ongoing SVOD subscription, priced by

“Our goal is to further these efforts to create a comfortable and enriching user experience for everyone, regardless of their background,” Khan says.

The AVOD content focus is morals-driven movies, historical AI productions and Quran readings, catering to all ages.

Special attention is being given to raising the profile of women.

location. In

Khan speaks about curating special content rails, producing and

Singapore,

acquiring titles that champion women in Islam. “Recognising that most

the annual

clerics in the industry are male, we take positive action to collaborate

SVOD price is SG$34.99/US$26.

with and feature female scholars and experts,” she says.

Qalbox also addresses mental health from an Islamic perspective to help remove social stigmas.

“We believe this approach will benefit our users greatly, providing con-

Junaidah Said Khan, Head of Content, Muslim Pro and Qalbox

4

contentasia september 2024

productioninterview Tay 2

Recognising that most clerics in the industry are male, we take positive action to collaborate with and feature female scholars and experts.”

The series is 2018 Turkish action/war drama, Mehmed the Conqueror season one (18x45/48 mins), about a man who, after his father’s death, faces fierce obstacles to conquer Constantinople.

Suveyda

The platform will include approximately 30% original content, produced in collaboration with global content suppliers from Turkey, the U.S., Egypt, the U.K. and Malaysia, among

others.

“Through AVOD, we aim to penetrate new markets and increase user engagement within the app. Additionally, the ad-based service

Junaidah Said Khan, Head of Content, Muslim Pro and Qalbox

provides more options for our customers, balancing cost and content variety,” she adds.

User feedback plays a critical role in shaping the content on Qalbox

sumers with a deeper understanding of mental well-being,” Khan says.

AVOD. The platform relies on data analytics and direct user input from

At launch on 1 August, the Qalbox AVOD line up was led by two

surveys and polls to refine its offerings. This feedback has been instru-

movies and a drama series from Turkey, with aims to add five new high-

mental in curating a large selection of trusted children’s content and

lights every month by the end of the year. These will include features,

deeper faith-based programming, particularly during free promotional

series and children’s programming.

weekends, where the full platform is opened to all users, and seasonal

One of the two AVOD movies kicking off the ad-supported initiative

campaigns.

is Turkish animated feature Tay 2 (2024) from Istanbul-based Siyahmarti

“Parents’ feedback on educational content is valuable, leading us

Animation Studios. The film is about a colt, Riyah, as he journeys from

to offer a large selection of safe and trusted kids’ content on AVOD, al-

Quds to Mecca, inspired by his mother’s legacy, to become a messen-

lowing parents to trust the content their children consume on Qalbox,”

ger horse.

Khan says.

The second is 2021 Turkish film Suveyda, written and directed by Mesut

Qalbox plans to expand its reach within the global Muslim community

Uçakan, about an 11-year-old boy who dreams of becoming a hafiz of

through partnerships and by leveraging technology. Khan says the in-

the Quran and learning the language of birds as he navigates adoles-

troduction of features like “Livestream” underscores the platform’s com-

cence amid social and political turmoil of the 1930s.

mitment to growth and engagement.

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contentasia september 2024

Banijay Rights: Leading the Way for Formats in Asia Banijay Rights, the global distribution arm of content powerhouse Banijay Entertainment, is one of the leading distributors of format sales in Asia. With a breadth of format genres and iconic brands including Big Brother, Fear Factor, Deal or No Deal and MasterChef in its burgeoning catalogue, the business has built a strong foundation across the territory. Rashmi Bajpai, EVP Sales Asia, who sits under the ex-EMEA team, headed by Matt Creasey, EVP Sales, Acquisitions and Coproductions, discusses the key to the distributor’s success in the region, while breaking down its focus on scripted formats, and broader plans.

Over the past five years, Banijay Rights has worked with more than

being developed in China and South Korea. “We have formats to

50 broadcasters across 16 Asian countries to produce more than 110

offer every client and territory, and being a well-established, reputable

seasons of 33 different formats, an even stronger number when you

player, the added experience from our production companies and

consider territories such as Vietnam and China experienced extensive

consultants is invaluable,” explains Bajpai. “In 2024 we further increased

covid delays with the return of production. This is in addition to Banijay

our regional production presence via the launch of CreAsia Studio by

Asia and Endemol Shine India, who collectively produce 85-90 scripted

Banijay Asia, led by Jessica Kam. Bolstering Banijay Entertainment’s

and unscripted shows in India every year. To achieve these numbers is

regional stronghold, we now benefit by having additional production

no small feat, and recent successes, such as competition reality format

counterparts, and cross-territory creative strength. In both sales and

LEGO® Masters, which launched in Japan on TBS last year; celebrated

production Banijay Entertainment is persistent in its approach, along

talent show Your Face Sounds Familiar on Edutainment TV in Mongolia;

with a “can do” attitude which is crucial in localising ideas and offering

Puzzle Masters in China; and MasterChef in Thailand, continue to drive

flexibility within the brands’ guardrails,” she adds. “We are specialised

this pipeline of enviable deals. The company has also seen real success

in working with our partners to respectfully customise formats to serve

in exploiting catalogue formats such as First and Last Thailand, and

local needs, maintaining the strong cultural identity of each territory

Minute to Win It Philippines. “These are just some examples of how we

in which we operate. From an emerging territory like Sri Lanka to an

mine the markets and catalogue to offer a variety of entertainment

evolved market like Thailand, we leave no stone unturned to service our

and reality formats,” says Bajpai, adding: “We not only pitch an idea

clients’ needs, while maintaining the strong pillars on which our formats

but also ensure we work closely with all stakeholders to produce top

were built.”

quality, engaging content that meets the clients’ programming and budgetary requirements.”

Banijay Rights has an extensive catalogue of over 5,000 formats,

Banijay Entertainment has long had a significant presence in India.

Banijay Asia and Endemol Shine India, both led by Deepak Dhar, work with nearly every partner to produce originals, and Banijay

which includes superbrands MasterChef, Big Brother, Survivor, and

Entertainment-owned or represented IP. “India is a dynamic TV market,

LEGO Masters, as well as scripted titles like Younger. The comedy-

multi-lingual and presents a lot of opportunities,” Bajpai says. “The

drama based on the hit Darren Star (Sex and the City) US series is

business has seen a lot of success in scripted format adaptations such

8

contentasia september 2024

We not only pitch an idea but also ensure we work closely with all stakeholders to produce top quality, engaging content that meets the clients’ programming and budgetary requirements.”

as crime-thriller drama Aarya (Disney+ Hotstar), which has been adapted from Penoza, and unscripted formats like Big Brother (Asianet, Disney+ Hotstar), Fear Factor (Viacom), Temptation Island (JioCinema), Survivor (Zee5), MasterChef (SonyLIV), Deal or No Deal (&TV), Wipeout (Imagine TV), and Minute to Win It (Colours TV) in India. And, despite commissioning shifts and economic challenges, demand here remains high.”

To date, Thailand has been one

Rashmi Bajpai EVP Sales Asia, Banijay Rights

of the company’s most successful territories in terms of the number of formats adapted. This is partially due to support from Thai producers who acquire formats rather than only relying on local

this means we are mindful in our approach

broadcasters to do so. “Producers underwrite the costs and monetise the project by blocking a timeslot from the free-to-air broadcasters,” Bajpai says.

with international format structures, suggesting upwards of one-hour run-times. MasterChef has been going strong for 11 seasons and we will have another iteration

“This business model puts more revenue in the hands of independent

coming next year. We consider Indonesia to be a key growing market,

producers, and in doing so, strengthens their affinity with the IP, and

and you will soon see more Banijay Entertainment adaptations, inclusive

heightens their inclination to deliver on quality and creativity to hook

of scripted formats.”

local audiences.”

Banijay Rights is also seeing a lot of brands land well in Thailand and

“Across the region, Philippines has always been an important market for us with Pinoy Big Brother being a grand success, and currently

MasterChef and its various adaptations have always resonated via

on-air with its 11th season. The Filipino audience is an early adopter of

its partnership with Heliconia. Other successful commissions include

good formats no matter the genre, which is how we have delivered six

The Face with Kantana, and studio-based gameshow First and Last, a

seasons of Deal or No Deal, and four seasons of Minute to Win It, with

recurring property that does well for Workpoint TV.

both making much-anticipated comebacks next year,“ Bajpai says.

“Indonesia is a territory that historically has not been well-associated

In discussing Asia at-large, it would be an oversight not to mention

with formats,” explains Bajpai. “Classic superbrands tend to perform

South Korea. “We are always looking to strengthen our ties in the

with extended slots, but primarily, it is a region which enjoys long form-

territory, simply because it offers so much opportunity. Not only have

content, so episodes tend to run longer than 60 minutes. Naturally,

we licensed our scripted format Younger to SLL studios and are eagerly

Brought to you by Banijay Rights

9

waiting for the production to begin, but we have also licensed one of our fastest-moving, family entertainment formats, LEGO Masters, to JTBC. At Banijay Entertainment, we are always keen to explore new and innovative ideas and collaborations, that are complementary to our in-house creations, so we have multi-territory format acquisitions from our Korean partners like CJ and JTBC. Most recently we acquired the UK format rights from CJ for Genius Game, and the local adaptation will be produced by Remarkable Entertainment (part of Banijay UK) for ITV. Interestingly, our scripted formats are also gaining a lot of traction there, so we continue to explore suitable partners with

Our focus remains on developing our key titles for markets that are receptive to scripted formats across Asia, while keeping a close eye on format renewal opportunities.”

Rashmi Bajpai EVP Sales Asia, Banijay Rights

whom we can expand our moves further, given South Korea’s leading

and helping them with creative solutions to finding sponsors and brand

position in the scripted charts both locally and on the global stage,”

associations. “An idea will open a dialogue with the client but to sign

Bajpai says.

on the dotted line, must find financial solutions to convince the client

And it doesn’t stop here… Banijay Rights has seen real ambition from

on the feasibility,” explains Bajpai, who adds: “the company is focusing

other South Asian territories. “Bangladesh is a fast-growing market, and

on building our scripted formats business by finding suitable stories

we are confident it will become an adaptor of international formats

for each country.” Indeed, different stories resonate with different

in the near future. The signing of MasterChef, set to be produced

audiences, so a sensitive, tailor-led approach is key. For instance, some

next year, is an early indication of this.” Bajpai says. “We had licensed

territories prefer women-led protagonists, whilst others prefer action

MasterChef in Pakistan many years ago and are trying against all

and male-skewing stories. The key is in developing deep-rooted client

odds to revive our format business there, and with Sri Lanka, while also

partnerships, listening to our own producers, and remaining adaptable

an important territory, its production costs have been a significant

to market and societal shifts. “Our focus remains on developing our key

roadblock. In order to open up these territories, our current tactic is to

titles for markets that are receptive to scripted formats across Asia, while

get some of our sponsor-friendly brands adapted there. Money Drop is

keeping a close eye on format renewal opportunities.” In addition, as

already popular in Sri Lanka; and Cambodia has done a remarkable

production budgets seem prohibitive with marketers tightening their

job with its return season of MasterChef this year, so hopefully we will see

budgets, Bajpai says “we are open to co-production and co-financing

more to come from there as well. In Myanmar, despite the civil unrest,

opportunities, where they make sense in the sharing of costs and rights.”

the broadcasters have done a great job in ensuring TV audiences do

Bajpai concludes: “Like most territories, Asia comes with its challenges

not lose hope and are continually served with uplifting entertainment.

and opportunities. We are now seeing incredible growth in certain

Don’t Forget the Lyrics for instance has been produced and broadcast

markets but also a proliferation of South Korean, Chinese and Thai

in the territory, and we hope the situation returns to normality soon.”

content gaining traction. It is important to stay relevant, ahead of the

Banijay Rights’ strategy has always been to forge close partnerships with clients - not just on the creative adaptation - but also in ideating 10

Brought to you by Banijay Rights

curve, and above all, have operational flexibility to provide complete solutions to our clients.”

contentasia september 2024

Season 2 coming soon

Glamour, opulence and deception…

8 x 60’ / FORMAT AVAILABLE

productioninterview

No stone unturned

Dune: Part Two

Creatively and technologically, Namit Malhotra is part of a movement [re]moving filmmaking barriers between East and West.

Namit Malhotra is part of a movement that will, if it succeeds, create

in the world, which is what Prime Focus/DNEG is

Indian films with global aesthetics and narrative forms. “Whether

today. It is in terms of revenue (US$508 million),

we succeed or fail, the jury is out. But we are leaving no stone

headcount (10,000), number of Oscar awards (7) in

unturned to reach there,” says the Prime Focus founder and

the last 10 years, global locations (London, India,

CEO of DNEG, which has won seven Academy

Canada, etc) the most diversified.

Awards for, among others, Dune and Tenet.

Vanita Kohli-Khandekar spoke to him

What part did DNEG play in the success of say

about the relationship between tech-

Dune or Kalki 2898 AD? In Interstellar, the director’s

nology and storytelling in the era of

(Christopher Nolan) vision is that we show the world

spectacle films, and India’s filmmak-

what happens when you travel through time and

ing evolution as budgets rise with

space through the wormhole or blackhole. There is no

consumers’ growing appetites.

evidence of what that means in the real world, no imagery. We worked with Nobel prize winning theo-

Where in the global film/

retical physicist, Kip Thorne, and used his scientific

media ecosystem

formulae to render something that scientific jour-

does DNEG/Prime

nals said was ‘as accurate as it gets’. A filmmaker

Focus sit? For the last

of the ilk of Chris Nolan, his vision has always been

25-30 years, our focus

about doing something unique. It cannot just be

has been the building

great, snazzy images. He wants to make the audi-

of the largest and most

ence experience that reality on the big screen.

integrated company

We work closely with these filmmakers (like Denis

12

contentasia september 2024

Oppenheimer

No technology, no tool, no superstar means anything. What people care about ultimately is the story they are being told.”

Namit Malhotra

The Garfield Movie

Villeneuve of

ing they want to achieve. You have to think of us as designers, we are

Dune or No-

custom creative creators. Ultimately even if I think it too much, if that is

lan) to make that

what they want, then that is what they will get.

impact. That is where our technology and creative skill set comes into action.

If Dune and Interstellar are the pinnacle of the high-end work, is there middle and lower end, bread and butter stuff that is different? We don’t call it bread and butter. Just because we win an Oscar, doesn’t make

Does it ever stop becoming about the story and more about the visual

it everything. We have done films like First Man or Ex Machina, which

effects? Does VFX overpower the story at times? No technology, no

are very small budget but Oscar-worthy movies. But these are not big

tool, no superstar means anything. What people care about ultimately

enough to keep a company of our size fed. So we will still do some of

is the story they are being told. That is the crux of what we do. If the

the biggest visual effects extravaganzas that are made. Ultimately, an

director wants to tell you a story about going into time and space

Oscar is a qualitative call by the Academy. But whether we are do-

through the blackhole and wormhole, he cannot tell that story if he

ing Fast and Furious or Dark Knight, for us sometimes the other work is

does not use the tool to show you that. It is servicing the need of the

harder, more complex. Ex Machina is the lowest budget Oscar-winning

story and not the other way round. There are instances in world of film-

(for visual effects) movie in the history of the business.

making where people think it is cool, that young people will love it, let us style it, design it so that people get the wow impact. That happens.

You are getting into production now with Garfield and Ramayana. Does

At that point we put on that hat to deliver that part of the storytell-

it create conflict with clients? We have produced films but in a more

13

productioninterview

Furiosa: A Mad Max Saga

fragmented manner. We started an

revenue outcome for a Brahmastra,

animation division seven to eight years

which gets the bulk of its revenue from

ago and made Garfield (released in

India, versus Oppenheimer, which gets

2024) and Angry Birds 3 (in production).

roughly half its revenues from the U.S.,

We co-produced Brahmastra – part

are different…. It is a bit of a chicken

one, Shiva (the first of an Indian trilogy,

and egg. Unless you make that breakthrough the world can consume, you will

2022). The idea now is do it in a more

never get there. It is time for Indian film-

structured manner. How do we become a source where filmmakers can say ‘hey let me

makers and filmmaking to get to a place we

go to Prime Focus, they can help me bring my

present something aesthetically and at a scale

project to life’. Ramayana is funded and created by us, it will be directed by Nitesh Tiwari (the director of Dangal, the biggest Indian blockbuster of all time). The vision, scale

NYAD

and in a narrative form that the world can consume.

Whether we succeed or fail, the jury is out. But we are leaving no stone unturned to reach there.

and ambition of making it happen comes from me. I believe that the world should sit up and watch it. It is the biggest production currently in

Indian cinema is a wonderful space. But does it offer enough oppor-

the world with two parts going back-to-back.

tunities to do the kind of work you do in Hollywood? Everything that we price is based on how much time and effort is going to be applied

How did Brahmastra happen? Ayan (Mukherji, the director) was clear

to doing the work. So Brahmastra or Kalki will be priced based on the

‘I want you not just as a VFX company telling me how to do it but take

complexity of what is being asked. And how much use of the talent

some responsibility in delivering that’. I came on board more as a cre-

needs to be made internationally; we do know talent in the West is

ative producer to fit the director’s vision. Then, we also take a financial

going to be more expensive than talent in East. We are upfront with the

position because we were going beyond the scope of just being a

filmmaker on how much time and resources are going to be applied

vendor. That is why the idea of becoming more invested is interesting.

based on the budget they have. The world of filmmaking in India or

With Ramayana, which we are producing, we are trying to tell an In-

the West is becoming similar. The reason to go to a cinema today is for

dian subject but for the world. Why would this be anything less than say

to a big event – like Kalki. Munjya (a horror comedy), which is doing so

Lord of the Rings or Avatar. Am also trying to build parity – different films

well is also a Prime Focus delivery. You can see the transition; budgets in

perform differently, audiences have different tastes. But creatively and

India are growing as the appetite of our consumers becomes similar to

technologically we are removing the barriers between East and West.

the rest of the world. Kids today consume a Marvel movie or a Western movie in the same way that they consume an Indian movie. The games

Isn’t that imperative given the audience is homogenised. We are all

they play, the clothes they wear, everything is becoming much more

exposed to the same level of storytelling thanks to streaming. But the

homogenised. That is the customer we are servicing.

14

contentasia september 2024

2024 TAIWAN CREATIVE CONTENT FEST Taipei｜11.05 TUE - 11.08 FRI A major annual event in the Asian creative content industry featuring three main sections:

PITCHING, MARKET, and FORUM

A platform to showcase promising content proposals Connect buyers and investors with exciting new audiovisual projects and original story IPs that have strong potential for screen-adaptation Select 40 projects and 20 story IPs from 50 countries

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MARKET

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FORUM

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2023 TCCF Key Statistics

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250+ buyers and professionals from over 29 countries

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TCCF Professional Badge Sales Will Be Available In Mid-September. Stay Tuned!

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formatsoutlook

Suits Mongolia, NBCUniversal Formats

Formats Outlook 1H 2024 Game shows, drama series and reality singingbased formats made up 65% of format adaptations on-air or commissioned in the first half of 2024. Vietnam, Mongolia and Thailand were Asia’s top markets with a combined share of 43%, ContentAsia’s Formats Outlook for 1H 2024 shows.

Asia’s formats business continued to contract in the first half of this year as broadcasters and platforms region-wide battled with shrinking advertising revenues and, with some high-profile exceptions, lower production output.

Overall, volume was down 32% to 91 adaptations on-air/newly commissioned in 16 markets from January to June 2024, compared to a total of 133 titles in the same period in 2023.

The decline continues the downward trend tracked over seven years

MasterChef Junior Thailand S3, Banijay Rights

from a high of 285 in the first half of 2017.

The ongoing ContentAsia’s Formats Outlook research tracks formats adaptations commissioned/on air in 18 countries and territories across

FORMATS BY GENRE....

the region, including Hong Kong, which reported no new adaptations

Reality formats were the dominant category, representing 47% (43 titles)

in the first half of this year.

of the total 91 titles.

For the first time since 2020, Vietnam topped Asia’s volume charts, beating frequent formats leader, India.

Vietnam took 18% of the region’s share, followed by Mongolia at 13% and Thailand at 12%. India and the Philippines tied at fourth spot with 10% each.

16

Delving deeper into the subcategories within reality formats, singingbased titles lead with the highest count, totaling 18 out of the 43 titles.

ITV Studios was the key distributor of reality-singing based formats, accounting for 10 of the 18 titles.

These were multiple versions/seasons of The Voice format in five coun-

contentasia september 2024

formatsoutlook

golia, Thailand and Vietnam, each of which featured four titles.

tries: Mongolia (The Voice Kids Mongolia S1), Nepal (The Voice Kids Nepal S3, The Voice of Nepal S5), Philippines (The Voice Kids Philippines

This included three titles from All3Media International: Cash At Your

S6/S7, The Voice Teens Philippines S3), Sri Lanka (The Voice Generations

Door Mongolia season 4, Cash Cab Mongolia, and Beat The Internet

Sri Lanka S2, The Voice Kids Sri Lanka S1, The Voice of Sri Lanka S3) and

Vietnam.

Drama formats ranked third by volume, comprising 15% of the

Vietnam (The Voice Kids Vietnam S8).

total 91 titles, highlighting a sustained interest in scripted content.

Reality sub-genres in the first half of the year involved six cooking

This demand is particularly strong in India, the Philippines, and

shows, four social experiment titles and three dating formats.

Thailand, each of which reported three scripted titles.

Banijay Rights was responsible for three of the six cooking shows, featuring adaptations of the MasterChef format in Cambodia (MasterChef

Korea’s KBS Media led the scripted format segment with

Cambodia season 3), Thailand (MasterChef Junior Thailand season 3),

three titles, including two versions of medical drama series,

and Myanmar (MasterChef Myanmar season 4).

Good Doctor, for the Philippines and Thailand: Good Doctor Philippines, commissioned by CreaZion

Game shows were the second-largest genre by volume, making up

Studios, and Good

30% of the total titles, with 27 entries.

Doctor Thailand

Fremantle played a significant role in this category, driving game show formats across six countries.

These consisted of various versions of classic favourite, Family Feud, with adaptations in Malaysia (Family Feud Malaysia in both Chinese and Malay), Mongolia (Family Feud Mongolia), the Philippines (Family Feud Philippines season 8), Indonesia (Family 100 aka Super Family 100), and Thailand (Family Feud Thailand).

By country, game show for-

Game shows 30%

mats are most prevalent in Mon-

Drama 15%

RealitySinging 20% The Voice Kids Vietnam, ITV Studios

RealityOthers 13%

RealityCooking 7%

Source: Distributors/rights holders, titles/seasons either on air or commissioned in Jan-June 2024 by broadcasters/platforms/ companies in 18 countries in Asia, as of August 2024, ContentAsia’s Formats Outlook 1H 2024

18

RealityTalent 2%

RealityDating 3%

RealityFashion/ beauty 2%

Music 2%

Variety 5.5%

contentasia september 2024

C

Who Wants To Be A Millionaire?, Sony Pictures Television

M

Y

CM

MY

CY

(หมอใจพิเศษ), commissioned

by Thai/Korean joint venture,

CMY

K

True CJ Creations.

1H 2024 FORMATS IN VIETNAM For the first half of 2024, Vietnam surpassed its volume from the previous three years (1H 2021: 22, 1H 2022: 31, 1H 2023: 22) to lead this year’s 1H chart with 16 titles, accounting for 18% of the total 91.

Vietnam previously ranked #1 twice: with 16 titles in 1H 2017 and 22 titles in 1H 2020, according to ContentAsia’s Formats Outlook reports.

Reality formats dominated Vietnam’s format landscape during the six months, with eight titles.

Half of these were singing-based reality formats, including The Voice Kids Vietnam season 8 from ITV Studios, Beautiful Sisters Riding Waves (Chị đẹp đạp gió rẽ sóng) from China’s Mango TV, and two versions of NBC Universal’s Singer Auction, known locally as Sàn Chiến Giọng Hát Mùa 5/6. All four were commissioned by government-backed national broadcaster, Vietnam Television (VTV).

Game shows ranked second in volume, with four titles.

These included My Boyfriend is Better, a CJ ENM Korea format where

ROMINA IS HERE TO MAKE JUSTICE, BUT HER HEART WILL TAKE THE WHEEL

girlfriends showcase their boyfriends’ singing talents, commissioned by FPT Play; Beat the Internet Vietnam from All3Media International, commissioned by VTV; Who Wants To Be A Millionaire? season 12 from Sony

AVAILABLE FOR YOUR SCREEN

Pictures Television, also commissioned by VTV; and Lightning Quiz season 4 from Thailand’s Workpoint TV, commissioned by Ho Chi Minh City Television (HTV).

@caracolTvIntl sales@caracoltv.com.co

19

formatsoutlook

Drama 6%

Music 6%

RealityCooking 6%

RealitySinging 25%

Variety 13%

Drama 27% Game Show 36%

Formats by genre Vietnam 1H 2024

Formats by genre Thailand 1H 2024

Reality-Talent 6%

Game Show 25%

Reality-Dating 9%

Reality-other 13%

Drama 17%

Reality-Cooking 27%

Reality-Factual 8%

Game Show 10%

RealitySinging 25%

Formats by genre Mongolia 1H 2024

Drama 40%

Reality-Social experiment 40%

Formats by genre India 1H 2024

Game Show 33% Reality-other 17%

Reality-other 10%

Game Show 22%

Reality-Singing 33%

Formats by genre Philippines 1H 2024

Drama 33%

20

RealityFashion/Beauty 11%

RealitySinging 29% Game Show 43%

Formats by genre Indonesia 1H 2024

Reality-Dating 14% Reality-Improv comedy 14%

contentasia september 2024

FORMATS IN MONGOLIA Mongolia was a rising formats market in the

Reality-cooking formats included MasterChef Junior Thailand season

first half of the year. Traditionally ranked 4th-9th with an average of 12

3, commissioned by Heliconia from Banijay Rights for BBTV Channel 7;

formats over the past seven years, Mongolia secured second spot in the

and Hell’s Kitchen Thailand season 1, also commissioned by Heliconia

1H 2024 rankings, albeit with the same number of titles.

from ITV Studios for BBTV Channel 7.

Much like Vietnam, reality-singing formats are thriving in Mongolia,

The remaining Thai format was dating show, Take Me Out Thailand

with six titles in the first half of this year. These included two formats from

season 18, commissioned by Creatist Media for BEC World’s free-TV

Banijay Rights: Killer Karaoke Mongolia season 1, commissioned by Cen-

Channel 3.

tral TV, and Your Face Sounds Familiar Mongolia season 7 (Яг түүн шиг), commissioned by Edu TV. Mongolia also featured four game shows. Two of these were from All3Media International –Cash At Your Door Mongolia season 4 (commissioned by Edu TV) and Cash Cab Mongolia (commissioned by NTV).

Other game shows were Family Feud Mongolia from Fremantle (com-

FORMATS BY DISTRIBUTOR Banijay Rights was a clear formats leader in the first half of this year, with 16 of the total 91 titles, representing 18% of the total. Fremantle followed with 13 titles, accounting for 14%.

India was Banijay’s strongest market, featuring five titles commissioned or on air, including several versions of the reality-social experiment

missioned by Star TV) and That’s My Jam Mongolia from NBCUniversal

format Big Brother for Viacom 18/Colors, Star Vijay, and JioCinema.

Format (commissioned by Central TV).

Thailand also emerged as a key market for Banijay, with three titles,

The other two titles were drama series – Suits Mongolia, commissioned

by Mongol TV, and the Japanese format, Mother Mongolia (Ээж), commissioned by Green Show Production for Mongol TV.

including cooking format MasterChef Junior Thailand season 3 for BBTV Channel 7.

Fremantle’s strongest market was Indonesia, with six titles commissioned or on air in the first half of 2024. This included big-budget reality

FORMATS IN THAILAND In the first half of this year, Thailand ranked third,

singing format Indonesian Idol season 13 for RCTI, game show Family

following Vietnam and Mongolia, with 11 titles, representing 12% of the

Feud for MNCTV, and improvised comedy format, Thank God You’re

total 91 titles. This position is consistent with previous years: third in 1H

Here, known locally as Akhirnya Datang Juga for GTV.

2023 with 16 titles, third in 1H 2022 with 18 titles, and also third in 1H 2021 with 15 titles.

Of Thailand’s 18 titles in the first half of this year, eight were split evenly between reality and game shows.

Game shows included two seasons of Banijay Rights’ First And Last Thailand (seasons 7 & 8), where contestants must avoid finishing first or last to

ITV Studios and NBCUniversal Formats tied for third place by volume, each with 11 titles. ITV Studios’ strongest markets were the Philippines and Sri Lanka, with three titles each.

These included multiple versions/seasons of The Voice, such as The Voice Kids Philippines seasons 6 and 7 for GMA Network and The Voice Generations Sri Lanka season 2 for Maharaj TV.

stay in the game, commissioned by free-TV station BBTV Channel 7.

NEW SEASON!

21

formatsoutlook

Philippines 10% Vietnam 18%

Drag Race Philippines S3, HBO Go

Thailand 12%

Mongolia 13% Indonesia 8% India 10% Cambodia 3% China 3%

Sri Lanka 6%

Nepal 2%

Myanmar Malaysia 4% 3%

Japan 1%

Korea 4%

Singapore 1%

Bangladesh 1% Source: Distributors/rights holders, titles/seasons either on air or commissioned in Jan-June 2024 by broadcasters/platforms/companies in 18 countries in Asia, as of August 2024, ContentAsia’s Formats Outlook 1H 2024

LOOKING TO THE REST OF 2024 The second half of 2024 started well. In Japan, TV Asahi premiered in July a local remake of Korean 2018 blockbuster, Sky Castle (JTBC/SLL) directed by Naomi Tamura, Yuji Nakamae and Kazunari Hoshino.

In August, Malaysia’s Astro premiered its first local adaptation of Japanese scripted format, Daun Hijau Di Angin Lalu, a coming-of-age romcom based on a manga about social minorities. This is one of two Nippon TV formats acquired by Astro; the second, Kelas Tahanan Cikgu Hiragi (a remake of Homeroom), premieres on 25 September on Astro Ria/sooka.

In India, Disney+ renewed Paramount Global’s legal drama, The Good Wife (The Trial: Pyaar, Kanoon, Dhoka), for a second season. The eight-episode first Shark Tank India, Sony Pictures Television

22

season aired in July 2023. contentasia september 2024

Mehmet

How’s Asia doing...

Four Asian titles made #1 spot on Netflix’s global non-English-language TV top 10 since the end of April 2024, well behind Spanish drama series, which took nine of the top spots in the 15 weeks.

Total global viewership of the top 10 TV programmes hit 2 billion hours in May, June and July 2024.

Asian programming, led by Korea and Japan, made up 53% of the combined hours.

Total non-Eng hours viewed Total Asia hours viewed

Total non-Eng hours viewed and Total Asia hours viewed 250,000,000 200,000,000 150,000,000 100,000,000 50,000,000

A 11

ug

ug

5-

A 4

ly Ju l

29

27

Source: Netflix weekly global Non-English TV Top 10

y-

Ju 8

ly 22

-2

Ju 1

ly

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15

8-

14

Ju

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7

ne

1-

Ju 0

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Ju 3

ne 17

-2

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10

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Ju 9

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ay M

ay -

M 6

ay 20

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9

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ay

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numbersnetflix

Date

Total hours of top 10 non-English-language TV titles viewed globally during the week

Total hours of Asian TV titles on Netflix non-English TV top 10 viewed globally during the week

Netflix #1 global non-English-language TV titles...

Week of...

Title

Weeks on Top 10

# of hours viewed

Series length

Views (#of hours / length)

Country of origin

Genre

29 April 2024

The Asunta Case

2

64,700,000

5:25

11,900,000

Spain

True crime

6 May 2024

The Asunta Case

3

28,600,000

5:25

5,300,000

Spain

True crime

13 May 2024

Demon Slayer: Kimetsu no Yaiba: Hashira Training Arc

1

4,400,000

0:49

5,400,000

Japan

Anime

20 May 2024

The 8 Show

2

33,200,000

6:59

4,800,000

Korea

Thriller

27 May 2024

Raising Voices: S1

1

29,200,000

6:03

4,800,000

Spain

Crime

3 June 2024

Raising Voices: S1

2

65,100,000

6:03

10,800,000

Spain

Crime

10 June 2024

Hierarchy

2

48,000,000

7:38

6,300,000

Korea

High school thriller

17 June 2023

Gangs of Galicia: S1

1

15,400,000

5:21

2,900,000

Spain

Crime

24 June 2024

Gangs of Galicia: S1

2

32,300,000

5:21

6,000,000

Spain

Crime

1 July 2024

Gangs of Galicia: S1

3

13,000,000

5:21

2,400,000

Spain

Crime

8 July 2024

Desperate Lies: S1

2

78,500,000

13:33

5,800,000

Brazil

Romantic drama

15 July 2024

Desperate Lies: S1

3

50,900,000

13:33

3,800,000

Brazil

Romantic drama

22 July 2024

Master of the House: S1

2

28,800,000

5:56

4,900,000

Thailand

29 July 2024

Elite: S8

2

25,400,000

6:26

3,900,000

Spain

High school crime

5 August 2024

Elite: S8

3

12,500,000

6:26

1,900,000

Spain

High school crime

Crime

Source: Netflix Non-English-language Global Top 10 GrX Studio: (from left) Shing Ming HO, Hank TSENG, Phil TANG and Dennis WU

24

contentasia september 2024

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productioninterview Mehmet

X factors Upsized Taiwanese producer, GrX Studio, is building upon the success of The Victim’s Game and Copycat Killer to roll out a studio/hub model it says will enable producers to expand and find new stories, markets and audiences across the region and – if all goes according to plan – beyond.

The Victim’s Game was a turning point for Taiwan’s GrX Studio – in more

regional as well as international distribution networks. Countries on GrX’s

ways than one.

radar are Vietnam, Japan, New Zealand, Singapore and Indonesia.

The series, about a forensic detective with Asperger’s syndrome and

In July this year, GrX appointed veteran entertainment execs Dennis

a bloodthirsty reporter turned public relations rep, was Netflix’s first

Wu as strategy and chief investment officer and writer Shing Ming Ho as

Chinese-language renewal. Season two, which premiered in June four

chief creative director. Ho talks about the “new industrial revolution” of

years after season one ended, drew the original 2020 season back into

AI, and finding solutions to this challenge in developing creative talent,

the top 10 in the show’s top four markets – Taiwan, Hong Kong, Singa-

“crossing borders and breaking boundaries”.

pore and Vietnam. The series return didn’t expand its footprint beyond

This was already evident in The Victim’s Game season two, which,

those four markets, according to Netflix’s published data. But fans nev-

along with returning cast members, starred Japanese actor Dean Fu-

ertheless say the season two ending paves the way for a third season

jioka and Hong Kong’s Lau Chun-him Terrance.

(no confirmation as of mid-August) to follow other stand-out made-in-

Whatever its current shifts and cutbacks, streaming has irrevocably

Taiwan shows, like GrX’s Copycat Killer, which hit Netflix’s global non-

changed viewing habits and tastes. Tang talks about cross-regional

English top 10 for two weeks, and, soon, The Outlaw Doctor.

strategic co-operation, injecting different cultural elements, and using

While The Victim’s Game and Copycat Killer drove eyes on Taiwan,

multiple languages in series such as upcoming medical crime drama,

the shows have also paved the way for GrX’s pro-active outreach

The Outlaw Doctor (化外之醫), starring Taiwan’s Janine Chang (The Psy-

across the region.

chologist) and Vietnam’s Lien Binh Pha (Running Man Vietnam).

Now, founder Hank Tseng and CEO Phil Tang are positioning GrX,

The Outlaw Doctor in an alliance with Taiwanese public broadcaster,

which incorporates Greener Grass Productions, for bigger things, led by

Public Television Service (PTS), with investment from Taiwan’s Chunghwa

a studio structure and a “hub” model that connects creators, investors,

Telecom. The 10-episode drama was filmed in Vietnam with a cast

distributors across languages and geography.

drawn from the Philippines, Malaysia, Thailand and India.

To this end, the two have expanded the leadership team, forged re-

Tang says 60% of the series is in English. “In future, we will produce all

gional alliances, and are building on initiatives such as the biennial Wild

English works. It’ll be starting from Taiwan and forward to challenging

Grass Project, where feature film Marry My Dead Body was pitched.

the international market,” he says.

“Everyone wants

something new,” Tang says. “We

know that.”

As they move from production house to studio, Tseng and Tang also speak about broadening the stories they tell, a focus on mainstream drama and narratives, taking note

The full interview is at www.contentasia.tv

of global trends, and building out

26

GrX Studio: (from left) Shing Ming Ho, Hank Tseng, Phil Tangseptember and Dennis2024 Wu contentasia

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