ContentAsia's Issue Seven 2019 by ContentAsia

ISSUE SEVEN 2019

C Acquisitions in Asia: an analysis

NTENT Kids programmers talk priorities

One of the Best Performances Dunst’s ever given.”Rolling Stone

“Distinctive enough to stand out from the premium-TV Pack” CNN

“EMMY-WORTH-GREAT” The Week

“Magnetic” Variety

“Clever, Compelling…A-” Indiewire

LGBTQ+ content in Asia

PLUS: Formats, country profiles, interviews & a whole lot more

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KATE P HILLIP S

editor’snote

G spot If you left your house and could take only one thing, what would it be?

ing gaming market with significant monetisation potential, Ryuji Wolf, J.P.

Easy. Mobile phone. That’s the good news for telcos and anyone deliver-

Morgan’s head of Southeast Asia media investment banking, told del-

ing small-screen entertainment and services. And there’s no reason to

egates at APOS Tech in November.

believe consumers will let much come between them and their phones

The advertising industry is also upbeat about the 5G’s crazy-fat pipe

in the foreseeable future either. If anything, the inseparability will intensify,

capacity. “5G will fast-track innovation,” says Aditya Aima, Southeast

with digital services delivering more, better, faster.

Asia vice president for Pokkt, a smart phone advertising platform for mo-

5G will make all that even better, faster, sexier. And not only on mobile.

bile games.

Anything delivered wirelessly gets the speed gene. A world where wireless

No one knows exactly what this will look like and accurate long-term

networks 10 times the speed of 4G will make the buffering wheel of evil

predictions about 5G usage are impossible. “We cannot predict the end

extinct, where 4K/8K/16K+ quality is ubiquitous, where a BTS concert has a

point,” Goldstein says. He doesn’t see that as the tech industry’s role.

separate feed for every member of the band. Where, maybe, fragrance

“Our job is to give creative people a platform,” he says.

is digitised and your house is filled not only with the sights and sounds but

What stands in the way of delivering that plat-

with the smells of whatever TV show you are engaging with...

form? For one, governments’ ability to manage

Right? Turns out maybe not. Or at least not for everyone. The general

realistic 5G spectrum auctions, well under way in

feeling is that 5G across most of Asia is an expensive exercise with huge

developed Asia, including Korea, Japan, Singa-

potential serving wealthy populations in small areas. That’s because of

pore and Hong Kong. As for the rest of Asia, if they

the pure cost of building out 5G networks, not so much in tiny places like

don’t get it right, “you may get cases where there

Singapore or developed markets like Japan, but in sprawling markets like

are no bidders,” Goldstein says. Or situations

India or Indonesia.

where spectrum payments cripple operators.

There’s also the question of what real value (or not) 5G will have for

There’s another issue – the ability of telcos in

video entertainment creators and distributors – and how today’s players

developing markets to afford the massive in-

should be positioning themselves. “Just to say 5G will bring more of the

vestment. 5G networks need towers something

same is ridiculous,” says David Goldstein, CEO of tech company AP Tow-

like 200 metres apart. Apart from the spectrum

ers. “If it’s more of the same, we should stop talking about tech. Let’s just

costs, the cost of powering up those sites is

make more content, let’s appeal to smaller and smaller niche audiences

prohibitive. Those costs need to be offset with

in an economically viable way.” For 5G to work for video creators, “huge

value creation. Enter a new era of partner-

innovation is needed to leverage the capabilities of 5G for the benefit and

ships. Partners, perhaps Google and others,

entertainment of the viewer,” Goldstein says.

will have to fund a fair portion of 5G or it

Gamers, on the other hand, get immediate benefits in the seamless

won’t come, Goldstein reckons.

experience promised by 5G. Anyone servicing gamers – including virtual

He doesn’t think 5G video entertain-

reality or anything else that requires low latency and high throughput –

ment content will be built by today’s cre-

stands to win in a big way. And that includes Southeast Asia, often seen

ators. “If it’s going to be successful, we

as a second- or third-tier market for, among other challenges, afford-

have to build the environment into which

ability. That could all be changing. Southeast Asia is the fastest grow-

new people can come and do amazing stuff we never dreamed of. If that doesn’t happen, 5G won’t mean anything.”

Editorial Director Janine Stein Assistant Editor Malena Amzah malena@contentasia.tv Research & Production CJ Yong cj@contentasia.tv Editorial Aqilah Yunus aqilah@contentasia.tv Design Rae Yong

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

What is ContentAsia?

ASIA Sales and Marketing Manager Masliana Masron mas@contentasia.tv

To receive your regular free copy of ContentAsia, please email i_want@contentasia.tv

ContentAsia is an Asia-based information resource that refines today’s info-deluge into usable, digestible, and reliable intelligence about entertainment content creation, funding, financing, licensing, distribution, design and branding and technology across the Asia-Pacific region. ContentAsia’s range of products include electronic, print and online publications.

Published by: Pencil Media Pte Ltd l 730A Geylang Road, Singapore 389641 l T: +65 6846 5987 l W: www.contentasia.tv

contentasia issue seven, december 2019

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contents...

what’s in this issue... #Onehope 2020

Buy design

Drama, movies, animation and kids rule buyers’ shopping lists in Asia for 2020, according to ContentAsia’s latest Buyers Poll. 78% of the buyers ticked movies as their top priority, followed by drama at 76% and animation with 58%. These were followed by kids (56%), lifestyle (42%), documentary (42%), sports (40%) and food (38%).

#onehope

As one of the challengers in the reality TV industry, we will keep producing quality reality content. Hopefully we can be the winner in this game in Asia.”

As the lights go down on 2019, media execs with Asian businesses share their single biggest business hope for 2020.

#onehope

Kitikorn Penrote, CEO, Heliconia H Group (Thailand)

page 10

MX signals

Chinese behemoth Tencent’s investment in India’s MX Player ratchets up an already frenzied streaming environment. It also marks a warming in the relationship between two gigantic markets with radically different media environments.

Cheri Domingo, AVP and Head of International Programming, GMA Network (Philippines)

page 10

Karan Bedi, CEO, MX Player

Kids Focus

Kids programmers talk about streaming, discoverability, acquisitions, engagement, monetisation and how the new world of data (or the lack of it) is impacting their businesses.

Aafat, MX Player

Kids funding

The fruition of our hopes & dreams for content distribution will span years, but for 2020, I’d like to be able to complete production of more content that is not only resonant with Filipinos but the global market.”

Girls ﬁrst

Girls haven’t been totally sugar and spice and all things nice on TV for decades. They also haven’t been cool, or silly, or just plain human, which is some of what Warner Bros’ DC Super Hero Girls changes.

Animation tops Asia’s hunt for kids content funding, with China and Korea leading the list of indie kids producers in Asia looking for early stage funding. Mainland China’s kids producers, meanwhile, have by far the biggest eye on international funding and proﬁle for their home-grown shows.

40 6

DC Super Hero Girls, Warner Bros

contentasia issue seven, december 2019

She can hear the soundtrack of your life. Zoeyâ&#x20AC;&#x2122;s Extraordinary Playlist Defining Entertainment Lionsgate

contents...

what’s in this issue...[cont’d] What distributors are thinking

Distributors talk about priorities, whether the Asia market lived up to their expectations in 2019, and what they think will have the biggest impact in 2020.

Sameer Nair CEO, Applause Entertainment

Talking to...

H.B. Naveen, founder of Indonesian production house Falcon Pictures, talks about a market on fire, the rise and rise of local IP creation, and his own streaming ambitions.

INquotes

Video tech, gaming and esports, advertising and the battle around digital bundles and services, new partnerships and telco’s role in the digital ecosystem took centre stage at MPA’s APOS Tech event in Bali in November. Here’s who said what...

86 8

Talking to...

We’re not particularly prescriptive about what we invest in. We just like to know that the creators have a very clear sense of what they want to do, have a very clear sense of the story that they want to tell. We like something that’s very individual, unique.”

all3media International CEO, Louise Pedersen, talks about what’s driving the latest production investment, selecting shows with universal elements, what needs to happen for an indie ecosystem to grow and thrive, and about Asia’s rising international role.

Louise Pedersen CEO, all3media International

page 50

Rounds of Applause

Sameer Nair was around at the dawn of multichannel TV time in India. Now he is leading the vanguard into a premium production era driven by streaming platforms and powered by a deep well of stories. Janine Stein speaks to him about rewriting the domestic playbook for indie production.

Talking to...

The Story Lab’s entertainment EVP, Fotini Paraskakis, talks about deficit funding; brands’ upgraded involvement in IP ownership; the rising focus on value visions such as gender diversity; what happens when the status quo is disrupted; and how experiences in this space could impact Asia.

Fast & furious

It’s early days, but data out of Korea shows that 5G adopters are already consuming double the amount of data than they did in the 4G world, with VR, AR and sports the video entertainment heroes of the moment. The big question: What other value can content creators add?

Gender roll

Jay Lin, the founder of Taipei-based Portico Media, the force behind LGBTQ-focused online streaming service GagaOOlala and the power behind LGBTQ+ film studio GOL Studio, talks about the changing profile and footprint of LGBTQ+ content across Asia.

Handsome Stewardess, Zero Chou/GOL Studios

Formats Outlook

The volume of formats commissions/ productions in Asia continues to drop, there is still strong support for well-loved inexpensive classic titles, and the appetite for scripted series in on the rise with streaming platforms driving demand. In ContentAsia’s Q3 2019 Formats Outlook, Aqilah Yunus tracks titles and trends across the region.

Criminal Justice India, BBC Studios

Criminal Justice India,

Who’s counting The industry by numbers in the last few weeks of 2019...

90 contentasia issue seven, december 2019

DON’T GET TIRED…

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RTV’s ranking moving upward in the Indonesian Industry.”

As one of the challengers in the reality TV industry, we will keep producing quality reality content. Hopefully we can be the winner in this game in Asia.”

Artine Utomo, Chief Executive Officer, Rajawali Televisi (RTV Indonesia)

Kitikorn Penrote, Chief Executive Officer, Heliconia H Group (Thailand)

#Onehope 2020 Media execs with Asian businesses share their single biggest business hope for 2020 Find the co-existence of online and on-air content offerings.” Krissada Trishnananda, Content Acquisition Director, Bangkok Media and Broadcasting Company (Thailand)

Improve OTT subscription numbers.” Nguyen Hanh, President, Q.net (Vietnam)

Video on demand becomes the new normal of media consumption in Thailand.” Kanop Supamanop, Chief Content Business Officer, LINE Company (Thailand)

Huge international success of The Head, which is our first participation in co-production with European parties and in English-language titles.”

Sustainable growth.” Vitto Lazatin, Vice President, Content Acquisition, Cignal TV (Philippines)

Kazufumi Nagasawa, MD/Chief Content Officer, HJ Holdings (Hulu Japan)

Traditional TV viewers going to small screen anytime, anywhere.” Ario B Widyatmiko, Chief Content Officer, Dens.TV (Indonesia) 10

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We will create the next big formats to travel globally.”

Creative Thai formats travel to more territories worldwide.” Dhanasak Hoonarak, Chief Business Development of Workpoint Group (Thailand)

Varavuth Jentanakul, CEO and Chairman, Zense Entertainment (Thailand)

Our government having a serious go at tackling content piracy.” CK Lee, VP Sports Business, Astro (Malaysia)

More creative content that attracts and engages audiences across both traditional and digital media. We are focused on driving up market penetration and audience engagement, and this depends solely on relevant content.” Kou Serey Ratha, Content & Acquisition Manager, Bayon Media High System (Cambodia)

Easier access to screening recent or new productions.”

To evolve and venture in OTT platform and create documentaries on the Brunei cultures for global showcase.”

Shenthil Ranie, SVP, Content Acquisitions, Inflight Inc (Singapore)

Mariani Abdullah, MD/Head of Acquisitions, DM DOM Square Entertainment (Brunei)

More distinct windowing that is first to OTT than legacy windows.”

Hoping that Japanese original programmes will be available in English-language.”

Jil Go, VP – Portfolio Development and Partner Management, Content Business, Globe Telecom (Philippines)

Ody Tolentino, Global Content Acquisition Head, ABS-CBN Global (Philippines)

With so much content out there being consumed at the rate of knots, transparency of data is needed for agility.” Syahrizan Mansor, Vice President, Nickelodeon Brand, Asia, Viacom International Media Networks

Improve creativity without adding more budget.” Gunawan, Acquisition Senior Manager, Antv (Indonesia) 12

More collaborations and partnerships across platforms.”

Looking forward for more in-house produced original series.” Ferdinand Soritan, Senior Manager Programming, PT Telekomunikasi Indonesia

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Create opportunities to merge fast-paced technology into entertainment TV shows in order to develop a seamless world of entertainment.”

2020 is going to be a pivotal year wherein we are going to see the beginning of the surge of premium online video in the lives of consumers in India and globally.”

Tepparit Wongwanichwattana, Vice President of Production, Workpoint Group (Thailand)

Ali Hussein, CEO, Eros Now

Goodbye old school TV, contracts and hidden fees; hello simple and flexible entertainment at better value. Our customers love #HelloChange; better experiences to come next year.”

Uplift and growth in the industry.” Karen Lee, Director, English Content, Singtel (Singapore)

Yann Courqueux, Vice President, Home Product, StarHub (Singapore)

More for animation from Malaysia :)” Airin Zainul, Director of Digital Asset Management Unit (DAMU), IP – Animation and Licensing & Merchandising, Media Prima Berhad (Malaysia)

Have a strong line up of great content to strengthen top of mind that GTV is home of reality, variety and game show.”

RTV to be the main TV choice for families in Indonesia.”

More internet user-friendly original content.”

Yenni Priana, Deputy Director Programming, RTV (Indonesia)

Sharon Zeng, Director, iQiyi (China)

Meeting all the targets set.” Janice Cheng, General Manager, Content, SMG Entertainment (Dimsum)

Agustinus Bagus Abimanyu, Head of Acquisition, Global TV (GTV, Indonesia)

More crossborder coproduction to pool resources and creative opportunities.” J.R. Kwon, Assistant General Manager, D’Live (Korea) 14

That even with the challenges of higher fees and alternative platforms, FTA and pay TV can still sustain the business.” Isabel Enriquez, Content Acquisition Manager, Cignal TV (Philippines)

Regional content to have subtitles available for international content consumption.” Miko Huang, Content Programming Manager, Global Eagle (Singapore) contentasia issue seven, december 2019

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Getting the right price for quality content.”

Monetisation!” Joe Suteestarpon, Chief Executive Officer, Mediaplex International (Thailand)

Continue providing an interesting channel that is relevant and hopefully become everyone’s favourite destination.” Ernie Deviana, Director, PT Sky Media Resources Indonesia

Zihar Zuhair, Independent Buyer (Sri Lanka)

Take on 2020’s opportunities with 2020 vision and build great content partnerships and deals.”

Market growing and increasing the budget.”

To eliminate piracy issues.”

Banardi Rachmad, VP Programming Acquisition, SCTV (Indonesia)

Inghin Hmawe, Head of Content Acquisitions, Canal+ Myanmar

Joy Olby-Tan, Lead, Network Acquisitions, Mediacorp (Singapore)

More countries for Oona.”

Teleportation!” Federico Vargas, Vice President, Distribution, 9 Story Media Group

Dominique Ullmann, Head of Content Partnership Global Account, Oona (Indonesia)

Stricter piracy control, customers paying for premium content and more localised elements cut across all content.” Anna Soon, Chief Content Officer/ Consultant, Trio OTT (Vnow.tv, Malaysia)

Strengthening of overall economy” Masraihan Sulaiman, Manager, Singtel (Singapore)

Continue bringing excitement to audiences in Asia with fresh content from around the world, in the form of high-end series, popular formats and uniquely packaged channels.” Pauline Ick, Vice President Sales, Asia, Dori Media

Earlier known as a production company in Indonesia, MPV will launch our own OTT service in Q1 2020 and hope to monetise it well.” Rieta Fuad, Business Head – Pay TV, Multivision Plus (MPV Indonesia)

Find new, interesting, different content across various genres for children/youth.” Thanh Hang, Project Development Manager, Vietba Media Development JSC (Vietnam) contentasia issue seven, december 2019

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buyerspoll

Buy design Drama, movies, animation and kids rule buyers’ shopping lists in Asia for 2020, according to ContentAsia’s new Buyers Poll ahead of the Asia TV Forum in December. 78% of the buyers ticked movies as their top priority, followed by drama at 76% and animation with 58%. These were followed by kids (56%), lifestyle (42%), documentary (42%), sports (40%) and food (38%) . Online rights are – not surprisingly – part of most conversations, along with on-demand rights. The snap poll was conducted across a range of channels, platforms and content services in 14 countries (Brunei, Cambodia, China, Hong Kong, Indonesia, Japan, Malaysia, Myanmar, Philippines, Singapore, Sri Lanka, Taiwan, Thailand, Vietnam) between 29 October and 5 November.

Types of content buyers are acquiring for 2020 Movies

78%

Drama/Scripted drama

76%

Animation

58%

Kids

56%

Lifestyle

42%

Documentary

42%

Sports

40%

Food

38%

Reality

36%

Formats

36%

No.

Genre

No. of buyers 35

78%

Movies

Drama/Scripted drama

76%

Animation

58%

Kids

56%

Documentary

42%

Lifestyle

42%

Travel

33%

Sports

40%

Variety

33%

Food

38%

33%

Formats

36%

Reality

36%

Game Shows

33%

Variety

33%

Travel

33%

Education

24%

Game Shows Education

24%

Natural History/Wildlife

22%

Science & technology

22%

Telenovela

20%

Science & technology

22%

Short-form programming

20%

Natural History/Wildlife

22%

Music

20%

Music

20%

Short-form programming

20%

Telenovela

20%

Sci-fi

16%

Talk Show

16%

Docu-drama

16%

Religion/Culture/Ethnic

13%

Arts

11%

News

11%

Docu-drama

16%

Talk Show

16%

Sci-fi

16%

Religion/Culture/Ethnic

13%

News

11%

Arts

11% 0%

Source: ContentAsia’s Buyer Poll 2020 (29 Oct-5 Nov 2019)

10%

20%

30%

40%

50%

60%

70%

80%

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buyerspoll

The biggest impact on acquisition/programming for buyers/programmers in the past 12 months…

Who’s buying what rights...

VOD/SVOD/TVOD

62%

Online

The prevalence of new OTT players

33%

51%

Free TV

↑ Cost vs ↓ budget

49%

Pay TV

40%

Mobile

38%

IPTV

38%

All rights

Dynamic viewing trend

21%

Lack of quality content

36%

Cable/Satellite

24%

Political/legal environment

Piracy

27%

Inflight

4% 0%

20%

40%

60%

80%

20%

40%

45 Responses: 29 (62%) of the 45 participants across 14 countries in Asia

33 Responses: Competition arising from emerging streaming services is

say they will buy video-on-demand (VOD), subscription VOD and trans-

the greatest challenge for 11 (33%) buyers/programmers across six coun-

actional VOD rights for 2020. 23 of them will also include online rights in

tries (Cambodia, Indonesia, Myanmar, Philippines, Thailand, Vietnam).

their 2020 acquisitions.

Increasing licensing cost vs limited budget is on top of mind for eight (24%) execs, saying there has been a widening gap between generating profit and acquiring premium content. The rest of the execs list dynamic viewing trends that are changing all the time, the search for quality/relevant content, legal/political situation in China and Indonesia, and piracy.

Has the OTT/streaming environment made a big difference in the way buyers are acquiring and/or programming their services?

29 (64%) of the participants in our survey say the OTT/streaming envi-

Not relevant

ronment has impacted the way they buy/programme content. And they point a finger firmly at streamers for driving up licensing fees. For traditional players, platforms providing B2C services are the new challenge, next to piracy and rising costs. How are acquisitions execs handling the change? Solutions range from securing OTT streaming rights, including VOD and catch-up; giving more variety/choice, including originals and localisation, implementing more robust windowing and accurate rights management processes, closely monitoring market trends/habits and moving beyond traditional practices by operating

27% No

64% Yes

their own streaming/onlines services. For those without their own video platform, partnerships are being forged with VOD service providers. Not everyone is complaining about the evolving environment, saying that the change is good as it forces them to think outside the box.

contentasia issue seven, december 2019

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buyerspoll

Are buyers acquiring more or less content for 2020 compared to 2019?

Are platforms/channels producing more or less of their own content in 2020 compared to 2019? 1% Less

4.4% TBC

36.4% Same as 2019

44.4% More

37.8%

Same as 2019

60.6% More

13.3% Less

45 Responses: Almost all of the 45 participants offer non-domestic program-

33 Responses: 33 of the 45 acquisition executives work for channels/

ming, ranging from sports, drama and movies, to lifestyle and animation

platforms that produce their own content. Asked whether they will be

from regional and international markets, including Korea, Japan, Malaysia,

producing more or less content next year compared to this year, 20 of

the U.S. and U.K. Of the 45 respondents, 20 (44.4%) say they will acquire

the 33 say they will be making more, while one confirms that original

more in 2020 compared to 2019. 17 (37.8%) said acquisitions will remain the

production will drop in 2020. 12 say there will be no change in 2020

same as 2019. Six will buy less while two say they have not decided.

compared to 2019.

Are buyers in Asia spending more or less on original content in 2020 compared to 2019?

How much original production among premium services in Asia is short-form?

39.5% Same as 2019

48.7% Not at the moment

55.3% More

51.3% Yes

5.3% Less

38 Responses: A resounding yes for more original content. Of the 38 re-

39 Responses: Activity here is split almost down the middle. 19 of the 39

spondents to this question, 21 say they will spend more on original pro-

buyers who responded to this question say none of their original pro-

gramming next year compared to this year, while 15 say they will spend

duction is short form. 20 say they are including short-form in their original

the same as this year. Two say they will spend less in 2020.

plans.

NOTES: The information was gathered from 45 acquisition executives from 44 companies, operating across a wide range of genres in 14 countries (Brunei, Cambodia, China, Hong Kong, Indonesia, Japan, Malaysia, Myanmar, Philippines, Singapore, Sri Lanka, Taiwan, Thailand, Vietnam) and as well as regional programmers and operators across video broadcast and streaming platforms in Asia. 13 free-TV broadcasters participated, along with 13 pay-TV platforms, 10 streaming/online/on-demand services, four programming/distributor companies, two inflight services, one pay-TV channel, and one production house that also acquired third-party rights. The survey was conducted between 29 October and 5 November 2019. 22

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countryprofiles

MX signals Mainland Chinese behemoth Tencent’s investment into India’s MX Player ratchets up an already frenzied streaming environment. It also marks a warming in the relationship between two gigantic markets with radically different media environments.

Hey Prabhu, MX Player

Can an investment from a Chinese firm, help an Indian OTT player beat

the biggest internet properties, it is not a video entertainment force in the

its American and Indian competitors?

mould of Hotstar parent Star or Zee5 parent Zee. There was some lifestyle,

In October this year, mainland Chinese giant Tencent Holdings paid

cinema and news content from sister firm, Times Broadcasting, but that

US$110 million for an undisclosed stake in MX Player, an OTT brand owned

was about it. In February 2019, MX Player added originals. By November

by the Times Group, one of India’s largest media firms with estimated

this year, 15 new originals, ranging from Hello Mini to Flames (now in its

annual revenues of US$1.5 billion. The investment, says MX Player’s chief

second season), had premiered.

executive Karan Bedi, will “give us more power to compete with peers”.

So far, about 120 million users have migrated to the ad-supported

At approximately 120 million users, MX Player is one of the three largest

streaming service. MX Player still serves ads to users of both the streaming

OTT players in India, behind Disney’s Hotstar (300 million monthly active

video and the original tool. “The first challenge we managed to over-

users) and YouTube India (275 million, according to Comscore).

come was to get tool-users to become video users,” Bedi says.

Before it began streaming more than 100,000 hours of content in Oc-

The next challenge, which is where Tencent’s investment comes so in

tober 2018, MX Player was just a video player. The Times Group bought

handy, is scaling up in one of the world’s fastest growing streaming video

the platform in June 2018 from Korea’s J2 Interactive for US$140 million,

markets.

primarily because 175 million of its total 350 million users were from India. This makes it the default video player on most Android phones, which dominate India’s billion-plus mobile user market. The challenge was migrating an audience that used the player as a piece of software to download content to using it as a streaming app to watch video entertainment. While the Times Group’s empire spans newspapers, magazines, radio, outdoor, streaming music and some of

The estimated US$1.2-billion OTT market in India is awash with apps – 35 compete for about 600 million broadband users. Tencent brings in not just capital to invest in content but also an understanding of young consumers, video and the internet. The content ramp up has already begun. Twenty more originals are in the pipeline. This will take MX Player’s tally to 35 by March 2020. And user growth continues. About 200 million people now use the MX

contentasia issue seven, december 2019

ORIGINAL CONTENT WITH AN ASIAN PERSPECTIVE

SCRIPTED

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BUSINESS

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Aafat

tool. The next drive involves nudging them onto the streaming service. “There are 500 million people with smartphones in India. So in the short-to-medium term there is huge headroom to grow in the entertainment economy. India is a single-TV home market and demand for streaming continues to grow,” Bedi adds. Then there are the beta steps in the U.S., Canada, Australia and New Zealand, where MX Player is looking beyond the Indian diaspora service option to partner with local firms for local content.

In two years we should be live in 20 to 30 countries... [MX Player] has a real shot at being a large global player in entertainment.” Karan Bedi CEO, MX Player

”In two years, we should be live in 20-30 countries,” Bedi says, adding that MX has “a real shot at being a large global player in enter-

many that refused to pay US$5 million a year for

tainment”.

a transponder. Zee founder Subhash Chandra

There is a third subliminal factor at play. Hong Kong mogul Richard Li launched Star TV using

did, using it to launch Zee TV and changing the course of media history. Zee Group and Star are today India’s largest media firms. More importantly, the power equation changed.

AsiaSat-1, the only satellite

In 1993, when Li sold Star TV to Rupert Murdoch’s

broadcasting over 38 Asian

News Corporation, print’s share in India’s total ad pie

countries, including India and

was 60%. In 2018, this dropped to 18.3% – albeit on a

China, in 1991. In the summer

much bigger base. The Times Group clearly missed the

of 1992 he tried to lease out satellite capacity to several Indian me-

broadcasting bus. MX Player is, arguably, its attempt not to be left behind again. – Vanita Kohli-Khandekar

dia firms; The Times of India was one among

contentasia issue seven, december 2019

ORIGINAL CONTENT WITH AN ASIAN PERSPECTIVE Mediacorp Original Content with an Asian Perspective Daybreak Scripted 20x60 minutes A Medical Journey Documentaries/ Factual 10x60 minutes Secret Delicious Lifestyle 6x30 minutes Visit Us at ATF 2019, Mediacorp Booth G10 contentdistribution.mediacorp.sg content_dist@mediacorp.com.sg

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countryproﬁles

Streaming ﬁt Alif & Soﬁa, Primeworks Studios/Media Prima Malaysia

The amount of time young people spend online is always a good source of high numbers and strong sentiment. In this no-turning-back-the-clock environment, we asked kids programmers about, among other things, their streaming strategies, YouTube and monetisation. Kids online viewing habits are always a rich source of high numbers,

sation environment, and predictions of ﬁnancial catastrophe for kids

strong sentiment and, often, dire warnings. New stats are no different. For

content creators as a result of new requirements by the U.S. Federal

instance, the amount of time kids in the U.S. spend on online video has

Trade Commission designed to protect viewers under 12 years old.

doubled in four years, according to U.S.-based research from Common

Against this backdrop, we asked a range of kids programmers

Sense Media. The average young person between eight and 12 years old

to talk about their streaming strategies: questions included if (and

now spends just under ﬁve hours a day on on-screen entertainment. Teens

how) they’re incorporating YouTube’s ubiquity into their lives, times

average just under seven and a half hours a day, not including time spent

and businesses; whether or not they have YouTube-ﬁrst approach-

for school or homework. In Singapore, a long-term study from 2011 to 2019

es; how they’re trying to spread the risk of sudden policy chang-

under the auspices of the National University Health System (NUHS) found

es in the streaming video environment; and what else they’re do-

that nearly 25% of toddlers aged between two and three spent more than

ing to make sure they are monetising young eyeballs wherever they

four hours a day looking at screens. Like everywhere else, around Asia, the

are. Here’s some of that they said. The full interviews are online at

headlines come fast and frequent: “87% of children spend too much time

www.contentasia.tv

on screens,” Indian daily India Today said in November, citing an international study. “Too much screen time tied to school problems even in little

Linsay Brown, Director, International Sales, Genius Brands International

kids,” said Malaysia’s The Star in May. And on it goes...

“We understand that kids are on YouTube but for our overall business,

While research ﬂows and links made between screen-time and ev-

it is necessary to have a combination of linear, VOD, as well as strong

erything from ﬁrst-time mothers to kiddie body fat deposits, the de-

YouTube strategy. The IP we create always has a consumer products pro-

bate continues to rage on good, bad and recommended amounts of

gramme to support the content, and traditional television and VOD are

screen time for young people, as well as shape-shifting regulations and

still imperative for retailers. That said, we ensure that our properties have

policies, ﬁerce efforts to protect children’s privacy, an unclear moneti-

a presence on YouTube, which is why we create exclusive content for our

contentasia issue seven, december 2019

AllSpark A Hasbro Company Stretch Armstrong and the Flex Fighters Saban’s Power Rangers: Beast Morphers My Little Pony: Friendship is Magic Micronauts Julius Jr. Transformers Cyberverse Hana Zuki: Full of Treasures Transformers: Rescue Bots Academy ATF Booth F28 Allspark.Hasbro.com ©2019 Hasbro. All rights reserved.

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Rainbow Rangers, Genius Brands

dedicated brand channels to help drive awareness for both retailers and

musical movie is in the pipeline for 2021. Ejen Ali was a game-based app

our broadcast partners – a win win.”

back in 2016 before launching the series on TV3. To date we have 6.74 million downloads for the games.”

Solange Attwood, Executive Vice President, Blue Ant International “The emergence of global SVODs has increased the number of buyers.

Marie-Laure Roche, Global Head of Sales, Jetpack Distribution

That increase in buyers has further fueled a very vibrant and competitive

“While we do work with some shows that have been on YouTube first, we

content business. We always approach each series individually and pay

generally see this as a secondary platform for exploiting the series after

tribute to editorial, demographics and where that audience lives.”

its been on linear TV and SVOD.”

Sonia Fleck, Founder and CEO, Bomanbridge

Syahrizan Mansor, Vice President, Nickelodeon Brand, Asia,

“YouTube is a real cornerstone for children and parents’ easy programme

Viacom International Media Networks

access, and it is not to be ignored. But I do not always necessarily feel

“Currently, our YouTube strategy is focused on using the platform as a

that long-form series need to be on YouTube. Thoughtfully created shoul-

consumption and marketing tool vs long-form distribution platforms. For

der- and short-form content can just as easily give the extension visibility

example, we premiered the first episode of Rise of the Teenage Mutant

the brands need to get started. Depending on uptake, we then can

Ninja Turtles on YouTube to create buzz around the show, but ultimately

decide where to go from there.”

drive viewers to catch the subsequent episodes on our linear channel. We also need to protect the interests of our affiliate/streaming partners,

Nuno I, Director of Sales, Asia Pacific, Allspark, Hasbro, Inc

so we don’t premiere everything on YouTube. The YouTube-first strategy

“The simple answer is it depends on the show and the brand strategy.

is something that we are exploring in order to build reach, which is what

We create content for broadcast that can be used for YouTube and You-

advertisers are looking for. There are still questions around YouTube but

Tube content that can stitched for broadcast purposes. For us, YouTube is

we hope it will deliver a service that is a safer place for our kids shows to

always a part of our cross-platform omnichannel storytelling strategy and

be made available.”

is an essential ingredient in our overall approach to launching shows on linear and digital platforms.”

Federico Vargas, VP, Distribution, 9 Story Media Group “When it comes to YouTube, we tend to customise our approach de-

Airin Zainul, Director of Digital Asset Management Unit, IP, Animation and

pending on the property and the platforms. Often, broadcasters are now

Licensing & Merchandising, Media Prima (Malaysia)

turning to YouTube first to help build an audience for series premieres. We

“Our strategy for kids content includes a digital-first policy. Alif & Sofia, a

saw this with PBS Kids for Xavier Riddle and the Secret Museum as well as

pre-school animated short series launched in May this year, is a YouTube-

with Nickelodeon for Top Wing. For us, it is important to make connec-

first policy for us. For festive campaigns, an omnibus is created and a

tions with kids wherever they are watching.”

contentasia issue seven, december 2019

’ 1 1 X 40 Chip and Potato 40x11’ Darrall Macqueen Netflix WildBrain Sales@wildbrain.com ©2018 DHX - CHIP Productions Inc Chip and Potato Production Limited. All rights reserved. Wildbrain™ Wild Brain Entertainment ©DHX

countryprofiles

Pablo, Cake

Do you think it will become easier to monetise kids content in 2020? “We were very successful in 2019 monetising our kids content, but we

continues to re-align with the new streaming era, there will be more and

carry a powerhouse of tried and proven brands, from Oddbods to Care

more stable slots and niche-focused platforms for kids’ content. How-

Bears as well as our Japanese anime Inazuma Eleven and Yokai Watch.

ever, this space has always come with challenges and monetising kids’

It’s not clear what will happen in 2020, as YouTube is changing its moneti-

content will require fresh, creative approaches.”

sation policy and I know this will hurt many IP owners. Broadcasters also

Federico Vargas, Vice President, Distribution, 9 Story Media Group

became more comfortable with sharing those windows with YouTube as the revenues ultimately helped the franchise production budgets. There

“Our shows are well known worldwide, and because of this, platforms

will be again a chaotic truth and tell on where funding will come from for

and broadcasters have been somewhat dependent on us helping them

these brands moving forward.”

drive viewers and awareness to their platforms or channel – so our strat-

Sonia Fleck, Founder and CEO, Bomanbridge

egy in monetising our shows has not changed. And yes, I do think it will become easier to monetise kids content in 2020.”

“The kids business has continued to grow for us year over year, whether

Nuno I, Director of Sales, Asia Pacific, Allspark / Hasbro Inc

it is our edutainment fare or co-viewing family-friendly series. It’s tough to accurately predict the future, but we continue to see growth across our

“If anything, monetising kids content in Asia was easier in 2019 as there

kids and family offering.”

were more players in the market. In 2020, we hope it will become even

Solange Attwood, Executive Vice President, Blue Ant International

easier. Especially if international broadcasters continue to acquire locally... The big players are buying for local audiences which is great. The

“2019 provided more exciting opportunities to be more strategic be-

threat would be if the global market becomes homogenous.”

cause there are more VOD players in the Asian marketplace now. In

Marie-Laure Roche, Global Head of Sales, Jetpack Distribution

2020, with so many new streaming platforms launching (Disney +, HBO Max), there is an increased demand for high-end kid’s content, and we

“With less foreign content in China, platforms have become more selec-

see this as an opportunity to diversify our partnerships.”

tive, as they are unable to acquire as much volume as before. In the rest

Linsay Brown, Director, International Sales, Genius Brands International

of the region, we hope to conclude more VOD deals, especially in India, with the launch of more VOD platforms. We need to be flexible, ensur-

“Monetising kids content globally and specifically in Asia has always

ing our deals maximise revenue and exposure while ensuring we remain

come with its difficulties and challenges, and 2019 has been no excep-

sensitive to different windowing requirements.”

tion. Again, as media consumption habits change so does the monetisa-

Julien Farcat, Sales Manager, Cake

tion of kids content. Our strategy is to focus on more creative approaches to finding new homes and slots for our content. In 2020, as the market

The full interviews with kids programmers are at www.contentasia.tv

contentasia issue seven, december 2019

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programmingkids

Girls ﬁrst Girls haven’t been totally sugar and spice and all things nice on TV for decades. They also haven’t been cool, or silly, or just plain human, which is some of what Warner Bros’ DC Super Hero Girls changes.

Girls get shortchanged in the cool department way too often.”

When DC Super Hero Girls premiered on Cartoon Network in Asia in November, it brought not only a diverse group of kickass teens learning to deal with life and their superpowers, but also another way of portraying girl leads in TV stories. The animated action adventure series, produced by Warner Bros Animation, stars young versions of superheroes Wonder

Lauren Faust, DC Super Hero Girls’ creator

Woman, Supergirl, Bumblebee, Batgirl, Zatanna and Green Lantern, with boy superheroes in supporting roles. “The tone of the show, with the cuteness

Girls, Faust says, are still too often portrayed on TV

and the silliness, sets us apart,” series creator, Lauren Faust, says. It’s not a show for girls alone. “Girls will watch because it features girl characters they know about. Boys will

as “perfect angels all the time”. That’s deﬁnitely not the case here. “Our girls have ﬂaws and they mess up... I don’t know if you see that very often in girls shows, them just being idiots,” she says. They’re also cool, a characteristic Faust says is

tune in for the action and slapstick comedy,” says Leslie Lee, Asia Paciﬁc

in short supply. “Girls get shortchanged in the cool department way too

vice president of kids content for WarnerMedia Entertainment. “They

often,” she says.

come in for different reasons, but stay for the same. It’s super fun, super funny and has lots of action and comedy,” he adds.

“Too many shows for girls are less about inspiring them, less about entertaining them, less about reﬂecting their experiences back to them...

DC Super Hero Girls adds to the TV population of girl-strong stories born

Too often they come across as lectures in how we expect girls to be-

more than two decades ago by the likes of the Power Puff Girls, a ba-

have... they end up being very soft, very nice and everyone is very con-

dass feminist trio who packaged female power in a whole new way and

cerned about everybody else’s feelings all the time,” she says, adding:

tried to upend traditional gender stereotypes. The 2016 reboot returned

“That’s important to a degree but is that really exciting to watch? And

Blossom, Bubbles and Buttercup with a new mission – gender, including

is that something that’s going to follow you as you grow up and go on

transgender, equality – mixed into the entertainment. There’s also Gwen

with your life?”

in Ben 10, a cast of strong girls in Gumball and the diversity built into We Bear Bares. So that’s all good, but there’s still a long way to go.

DC Super Hero Girls is part of a broad global and ongoing trend away from portraying girls as make-up obsessed shopaholics talking on the

contentasia issue seven, december 2019

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programmingkids

We’re seeing female characters across animation and live action that have more depth because we are giving them the gamut of human emotions, not just what we think is exclusive to girls and women.”

Beach, has a strong female lead. Another two (as yet unannounced) originals out of India will also dial up the gender balance. But, Lee stresses, “it’s not about putting girls at the forefront for the sake of it... They have to be real and have a purpose”. Elsewhere in the world of kids TV in Asia, girls, boys and dogs are also being rebalanced as international brands track social changes and reflect these back to their young audiences. Syahrizan Mansor, Viacom International Media Networks’ VP for Nickelodeon in Asia, points to bi-racial princess and knight in Nella The Princess Knight, the karate-extreme-sports-loving Sandie Cheeks in SpongeBob Squarepants, female student entrepreneurs in Game Shakers, a female quarterback in Bella and the Bulldogs and a blue female puppy in Blue’s Clues. The diversity effort is driven globally to represent Nickelodeon’s audiences all over, she says. “We

Lauren Faust

also have very strong female leads, starting

phone a lot. Or smart alecky characters who are the conscience for

way back in shows like Clarissa Explains It

boys. The emerging environment is one where kids programmers, like

All, The Wild Thornberrys, Dora The Explorer,

almost everyone else, are focusing on diversity, a real one where,

and more recently in Rise of the Teenage

Faust says, “girls and boys laugh at the same things”.

Mutant Ninja Turtles and Butterbeans Café,”

Lee highlights the show’s diversity, from ethnicity to body shapes.

she says, adding that the effort is not con-

“Kids come in all shapes and sizes and so should cartoon characters,”

fined to what goes on screen. “Whether it’s

he says, adding that very few animated series can rival DC Super Hero

Syahrizan Mansor, Nickelodeon

Girls in the have wide range of personalities with whom viewers can identify.

hiring writers and crew members from different backgrounds or putting females as leads, we make sure that our stories are authentic, which

There’s a lot more depth to the next generation of TV

we achieve by creating characters that viewers can see

girls, Faust says. “We’re seeing female characters across

themselves in,” she says.

animation and live action that have more depth because we are giving them the gamut of human emotions, not just what we think is exclusive to girls and women.” She adds that the strength of the series is not just in the writing and the pacing. “It’s in the characters themselves... She’s Supergirl. she punches people through the planet...

Girls migrate earlier to live action and general entertainment than boys. But it doesn’t mean that we should ignore girls. A good show will always appeal to both boys and girls.”

Leslie Lee, WarnerMedia

goes for it”. Whatever DC Super Hero Girls does for young female audiences today, the show premieres in a kids animation environment still dominated by shows for boys. The reason, Lee says, is that boys still watch a lot more animated TV than girls do. “Girls migrate earlier to live action and general entertainment than boys,” he says. “But it doesn’t mean that we should ignore girls – a good show will always appeal to both boys and girls,” he says. Lee points out that a more even gender balance is being brought to marketing activation in Asia as well. The Power Puff Girls, for instance, were attached to a themed sub-race of the Spartan Race, with a MMA

Leslie Lee, Vice President, Kids Content, Asia Pacific, WarnerMedia Entertainment

fighter and women racers dressed in Power Puff Girls-inspired race suits. Most important, Lee says, is for “us to look at kids content that reflects

Multiculturalism in Asia plays out in different ways, but will continue to

gender balance without putting off boys. We don’t want to make a

rise, Mansor adds. The licensing agreement with Chinese streaming plat-

show that boys or girls don’t come to. We have to strike a balance, with

form iQiyi, for instance, involved reworking iQiyi’s original IP, Deer Squad,

authenticity... make a show that is real and fun and relevant, not put a

for broadcast in the U.K. with input from China, the U.K., U.S. and Singa-

girl character in there to tick a box.”

pore. Are any kids shows being made in Asia with any kind of gender

A big question is whether the gender re-balance on-screen in other

breakthroughs that are not evident in American programming? None

parts of the world are – or will be – flowing into original kids content being

for now. But, Mansor adds, “that means opportunities for all content cre-

made in Asia. One of Cartoon Network’s few originals in Asia, Monster

ators in Asia”.

contentasia issue seven, december 2019

Airing on 52 x 22’

Genius Brands International Rainbow Rangers Airing on: nickjr. 52x22’ Llama Llama Airing on Netflix 50x11’ Contact Lindsay Brown Director International Sales lbrown@gnusbrands.com Visit us at stand P.14 Llama Llama ©Anna E. Dewdney Literary Trust ©2019 Genius Brands International, Inc. All Rights Reserved.

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productionkids

Animation tops Asia’s hunt for kids content funding: China and Korea topped the list of indie kids producers in Asia looking for early stage funding for kids’ projects at October’s Mip Junior market. According to the official fund-raising line up, shows being developed in Asia are overwhelmingly animation based; of the 23 titles we include in our list (ex Australia), 22 are animated. The sole production house looking for money for a nonanimated project is Korea’s B.I. Group, which is raising funds for art, music

and culture series, Go-Rollas. Chinese productions are pretty much split between animation for pre-schoolers and teens/tweens, while Korean titles are dominated by animation for a broader audiences, including families. Budgets range from US$44,000 for three-minute animated Japanese web special, Thorny Road, to US$10 million for Korean company Enpop’s 90-minute feature Palmong: The Monkey Heroes, about eight mutant monkeys fighting for world peace.

Made-in-Asia kids programmes looking for early stage funding Programme

Budget

What It's about

Genre

Length

Made by...

Country

Beast Haunting

$3m ($11k per min)

After her father vanishes and she is left alone, 16-year-old Violet accidentally enters an AR game, where she receives a message – “Beware of The Beasts”. She discovers that the beasts in the game are real and have a mysterious relationship with her father.

Animation, teens/tweens

18x15 mins (270 mins total)

Qindao Puredraw Cultural and Technology

China

Computer Urban Legend

EUR$6m /$6.6m ($78k pm)

A film about discovering the true self, showing children that they can achieve more than they think with persistence and courage.

Animation, teens/tweens

1x85 mins

Jilin Jai Cultural Arts Group

China

Conablue season 2

$7.2m ($12.6k pm)

Five friends, all with different personalities, form a team and travel the world in an air-sea-land super vehicle Sealander helping animals solve problems and maintaining harmony.

Animation, pre-school

52x11 mins (572 mins)

FZ Entertainment

China

Gogobus: Team Steam

$9.5m ($28k pm)

Living on an island filled with innovative technologies, natural phenomena, and wildlife, an intrepid team is ready to respond to any emergency.

Animation, pre-school

26x13 mins (338 mins)

Guang Dong Winsing

China

Gun Yu Legend

EUR7.7m/ $8.5m ($100k pm)

An ancient story of war and sacrifice, filled with twists of fate.

Animation teens/tweens

1x85 mins

Jilin Jai Cultural Arts Group

China

Legendary Soccer Kid 2

$4.6m (7.7k pm)

An ordinary boy who unremittingly pursues his football dream eventually surprises the whole world with his one of a kind kick.

Animation, kids

40x15 mins (600 mins)

Creative Power Entertaining

China

The Little Sprite Momoli

$4.9m ($9.4k pm)

Sophie, her friends and family discover the magic in everyday life, using the Magic Egg to open up a world of joy and imagination.

Animation, pre-school

104x5 mins (520 mins)

Dachiyijing Media Beijing

China

Duchess

$2.7m ($9.4k pm)

High fashion meets psychedelic spy adventures in this fast paced and stylish girl power adventure series.

Animation, kids

13x22 mins (286 mins)

Greengold Animation

India

Jungle Trouble

$3.6m ($6.3k pm)

Four colourful jungle creatures use whatever crude, gross and disgustingly-hilarious resources nature has to offer them to drive out a greedy land-developing bird and his rhino henchman.

Animation, kids

52x11mins (572 mins)

Greengold Animation

India

Mango Minutes

$1.2m ($4.6K pm)

A humorous non-verbal spin-off of The Adventures of Annie and Ben, following the solo antics of mischievous monkey Mango.

Animation, kids aged 3+

52x5 mins/ 52x1min

Yoboho New Media

India

Small Huntertrip with My Gaian

$285k ($1.9k pm)

11-year old Nana (who believes “people become dirt, then rocks, then earth, then planets”) and 12-year-old Hikaru teach viewers about nature through Hikaru’s creation, Earthman Gaian.

Education, doc, animation

10x15 mins (150 mins)

A Co

Japan

Thorny Road

EUR40K/ $44K ($14.7k pm)

Master and disciple's daily life.

Animation, kids

1x3 mins

Ekachi Epilka

Japan

Hard Boiled

$6m ($10.5k pm)

A fast-paced comedy about hard-boiled super-sleuth Benni Scrambles and her side-kick, Hammond.

Animation, kids

52x11 mins (572 mins)

One Animation

Singapore

Insectibles

$7m ($12.2K pm)

A reboot of Insectibles with a 2cm-tall version of12-year-old Zak, and his super-powered insect friends fighting evil mutant Skorpio and dealing with Zak's Mom and her garden redesign.

Animation, kids

52x11 mins (572 mins)

One Animation

Singapore

Sky Blue Academy

$7m

A group of potential football stars endure a series of tests to get to be part of the Manchester City football team.

Animation, teens/tweens

26x22 mins

August Media

Singapore

B-Family

$2.5m ($12K pm)

Comic animation that depicts everyday lives of characters living in B Villa.

Animation, family

104x2 mins (208 mins)

Studio W.baba

Korea

The Bread Lion

$5.2m ($9.1K pm)

Leon is a baker in a beautiful peaceful valley who works with secret hero friends to save the villagers.

Animation, kids

52x11mins (572 mins)

Neon Creation

Korea

Caro & Vidal’s Adventure

$3.2m ($5.6K pm)

A buddy comedy adventure based on the 12 Asian Zodiac animals and then quest to find true friendship.

Animation, kids

52x11mins (572 mins)

5Bricks

Korea

Go-Rollas

$1.4m ($8.8m pm)

Go-Rollas, the universe’s best juice delivery service, releases songs that are tasty and as fresh as their juice.

Art, music, culture

52x3 mins / 26x6 mins

B.I. Group

Korea

Palmong: The Monkey Heroes

US$10m ($111k pm)

Eight mutant monkeys must unite to fight the menacing Doctor Vandal, who threatens world peace.

Animation, kids

1x90 mins

Enpop

Korea

Romy

US$5m ($35k pm)

A magic microphone and a troupe of doll friends help Romy to fulfill her dream of being a singer.

Animation, kids

13x11 mins

Smart Study Co

Korea

Wonderful Thumthum

$3.2m ($5.6k pm)

Joyful thumb Thumthum comes to Earth from Thumbtopia on an adventure to help humans regain their joy.

Animation, kids

52x11 mins (572 mins)

Electural

Korea

Egg Car

$5m ($8.7k pm)

An adventure about exploring, courage and problem solving following a cast of creatures, led by imperfect egg-shaped car Dash, with wheel-shaped feet living across five islands.

Animation, kids

52x11 mins (572 mins)

Children’s Playground Creative

Taiwan

Source: Mip Junior 2019, companies. Note: Productions with incomplete into were not included in the chartl. $ amounts in USD; per minute (pm) budgets appear in brackets and have been rounded out.

contentasia issue seven, december 2019

Ejen Ali: The Movie Runtime: 90 mins Genre: Action Adventure/ Comedy Esimated Release: End 2019 Also available: Animated series; 2 seasons x 13 episodes (22 mins runtime) Licensing & Merchandising Rights Primeworks Studios MDEC For more info: LYNNAZLINA@MEDIAPRIMA.COM.MY

productionkids

China leads kids programming in-development: Mainland China is, by far, the kids’ video entertainment market in Asia with the biggest eye on international funding and profile for domestic productions, according to projects submitted at this year’s Mip Junior programming market in October. Of the 20 in-development projects with complete info, we counted 12 from China; these range in budget from US$4,600 to US$18,000 per minute. Feature films come in much higher – from US$29,000 to US$91,000 per minute. The three feature-length programmes from China were the only projects on the list this year.

Korea was second to China on this particular stage, presenting four series ranging in budget from US$5,000 to just under US$9,000 per minute, all animated and two of them targeting pre-schoolers. The remaining four projects are split between India, Japan, Malaysia (where government initiatives have long driven activity in the animation space) and Singapore. Plots of the shows presented are thick with magic, legendary characters, animals, evil beings from outer space or mythic kingdoms threatening world peace.

Made-in-Asia kids programmes: In Development Programme

Budget

What It's about

Genre

Length

Who’s making it...

Country

Annie and Lulu

$7m ($78k pm)

An incompetent devil discovers the beauty of human nature after he is ordered to murder a lonely candle seller.

Feature film

1x90 mins

Hangzhou Steamworks Creative

China

Dinosaur School

$5.2m ($10k pm)

In order to avoid extinction, a group of dinosaur babies learns Animation, human knowledge and skills in a magical dinosaur school. pre-school

52x10 mins (520 mins)

Hangzhou Longgong Cultural & Creative

China

Go To Zhongnan Mountain

$10m ($91k pm)

When Young Lv Yan inadvertently releases the legendary golden toad from a Zhongnan Mountain while scattering his master’s ashes, danger closes in.

Feature, animation, tween/teens

1x110 min

Oriental Creative Colour

China

Homie Bear

$2.2m ($8.5k pm)

A bear with the biggest nose in the world is given five schoolbags with different functions and embarks on new adventures every day.

Animation, pre-school

52x5 min (260 mins)

Hangzhou Longgong Cultural & Creative

China

Jungle Agent season 2

$3m ($8.9k pm)

Detective Racoon, Foxmos and Blue Bear solve problems and help those in trouble in a small island community.

Animation. pre-school

26x13 mins (338 mins)

Guangzhou Lotta Animation Design

China

Little Vivi

$5.72m ($10k pm)

To save a city, Vivi and friend Pai fight a monster created by the evil Seven Hair, who is after an emerald Vivi inherited.

Animation, kids

52x11min (572 mins)

Suzhou Hong Ying Animation

China

Mini Mind Warriors

EUR3m /$3.32m ($4.6k pm)

Heroes Taffy and Snug battle the Trouble Monsters, who invade earth and create choas in humans’ lives.

Animation, kids

104x7 mins (728 mins)

Shanghai Leftpocket Animation Studio

China

Monkey King And JJ

$7m ($9.6k pm)

An ancient Chinese superhero meets JJ, a 9-year-old full of energy and wild ideas, after he falls into the modern world and loses 80% of his powers,

Animation, kids

104x7 min (728 mins)

October Media

China

Monsters In The Forbidden City

$4m ($15.4k pm)

A magic gem transports the teenage Rain into the mysterious Shenshou monster world inside the Forbidden City.

Animation, tweens/teens

13x20 mins (260 mins)

Original Force

China

Romi & Dami

$1.4m ($18k pm / $9.3k pm)

Romi’s happy life is turned upside down when space explorer Dami crashes into his house and attracts greedy croc Mark.

Animation, kids

26x3 mins (78 mins) / 30x5 mins (150 mins)

Orange Entertainment

China

Treasure of Dragon

$5.9m ($11.3k pm)

A new generation lays to rest an ancient feud between dragons and monkeys.

Animation, pre-School

52x10 mins (520 mins)

Hangzhou Longgong Cultural & Creative

China

Yao Bai

$2.35m ($28.7k pm)

Wannabe detective Yao Bai comes to the rescue when Tim gets kidnapped.

Feature film

1x82 mins

Qingdao Puredraw Cultural and Technology

China

Kapi and Tiga...

$5m ($2.1k pm)

Happy-go-lucky young animals, Kapi and Tiga, and five friends study, play hard and learn to work together to flourish.

Animation, kids

340x7mins (2,380 mins)

Magical 7 Studios

India

Midnight Crazy Trail

$3.7m ($12.8k pm)

In her search to be normal, 16-year-old witch Makina enlists the help of Shout and Crunch to destroy a book she believes holds her magical powers.

Animation, tweens/teens

12x24 mins (288 mins)

Picona

Japan

Catch Teenieping

$5m ($8.7k pm)

Teenieping are mischievous creatures who love to 'enter' people's minds and hang out. But their playful natures and magical powers can cause havoc in their hosts’ lives.

Animation, kids

52x11mins (572 mins)

Samg Animation

Korea

Cricket Pang

$1.5m ($5.2k pm)

Mini Land is home to finger-sized animal friends who love cricket and spend fun-filled days playing with items that people have thrown away.

Animation, pre-school

26x11mins (286 mins)

You Need Character

Korea

The Curious World of Linda

$4m ($7.3k pm)

With her ability to turn into anything that sparks her imagination, Linda and friend Louie embark on problem-solving adventures.

Animation, pre-school

78x7 mins (546 mins)

Tak Toon Enterprise

Korea

Nineties

$3m ($5k pm)

Short-form content for kids, combining animation, music, singing and narration.

Animation, kids

300x2 mins (600 mins)

Nineties

Korea

Mighty Mechs – "Rescue The World"

$4m ($51k pm / $7k pm)

Jason is the young leader of a team of fearless robots tasked with fixing environmental troubles around the world.

Animation, pre-school

26x3 mins (78 mins) 52x11mins (572 mins)

Animasia Studio

Malaysia

Sherlock Sam

$5.2m ($9k pm)

A 10-year-old detective and his grumpy robot sidekick solve mysteries.

Animation tweens/teens

26x22 mins (572 mins)

August Media

Singapore

Source: Mip Junior 2019, companies. Note: Productions with incomplete info were not included in the chart. $ amounts in USD; per minute (pm) budgets appear in brackets and have been rounded out.

contentasia issue seven, december 2019

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strategydistributors

Spread the word Ahead of this year’s ATF programme market in Singapore, distributors talk about priorities, expectations and influences.... What are your top three priorities in Asia in 2020? Scripted formats: “We have seen increased interest in our scripted formats from previous buyers of finished content in Asia. There is a trend to ac-

Fatmagul, Kanal D International

quire existing IP and develop into local versions. So we will focus on further developing this business in 2020.” Non scripted: “ABS-CBN’s big thing is its focus on international expansion. This means we will be more deliberate in creating content that can cross territories. Specific to this is creation of formats, which was initiated by the launch of Your Moment during Mipcom 2019.” Movies for China and the rest of Asia: “Admittedly we have not been successful in growing our China business in recent years. Hopefully this will start to change through our theatrical business. We have noted growing interest from Asia and China buyers for ABS-CBN movies for theatrical distribution, all rights deals or remake rights.” Macie Imperial, Vice President, Integrated Programme Acquisitions & International Distribution, ABS-CBN Philippines “We are currently operating in a very changeable market for a number of reasons – so rather than name three top priorities I would say our overarching key approach will be to bring creativity to our deal-making, keeping ourselves open to new ideas/conversations and business models. The slowdown of the global/Asian economy, disruptions in the media industry, political instability and growing government control over the media sector means a “one-size-fits-all” approach to any market or genre will not be effective, nor will a simplistic way of carving out media rights to ensure second or third window sales – so in 2020 our approach will be agile and innovative.” Hyeonza Hong, Senior Vice President, Sales, ITV Studios Global Entertainment “We will be focusing on the best of Malaysian content, titles from our own productions and from external Malaysian producers. We are looking at mainly feature films, Malay dramas and animation.” Izham Omar, Chief Executive Officer, Primeworks Studios

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Departures, Red Arrow Studios International

Content: “Firstly, the content, as without it, there is no #2 or #3! In terms

Strengthen relationships: “We do a healthy amount of business with the

of titles, our new raft of star-studded dramas: Total Control, Secret Brides-

key players in Asia. In 2020 a priority will be to further strengthen our re-

maids Business and The Stylist in particular.”

lationships with country-speciﬁc services and also the new VOD

The right content in the right region: “Then focusing the right con-

platforms.” Expand factual business: “In 2019 we saw an increase

tent on the right region: so scripted in India and Japan, and non-scripted to Vietnam, Thailand, and Indonesia.”

in sales of our factual slate, particular to Korea where

Local: “Finally, developing more local content, primarily

titles such as Strike Carrier, Code Red and Man’s First

for the local markets but also for ‘over the Himalayas’

Friend were well received. We are looking to ex-

too.”

pand our factual business further throughout the

Gary Pudney, General Manager, Asia,

rest of the region in 2020.”

Keshet International

Scripted content in Southeast Asia: “Southeast Asia will be a key focus for our scripted content next

Expand reach: “Continue to expand the range of our product reach.”

Izham Omar, Primeworks Studios

year, in particular for our high-end dramas Departure

Work with new platforms: “Work with all the new upcoming

and Vienna Blood.” Joyce Dröse, Sales Manager, Red Arrow Studios International

platforms and services. We are always looking to support the industry with our content to maintain its vibrancy.” Marketing support: “Provide even better marketing support to our

Partnerships, relationships and new

partners as great content paired with great marketing has been a

opportunities: “We are looking for the

proven success formula for us.”

best partners for our series and docu-

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mentaries,

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with our clients and looking for new

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opportunities.” Reach new Asian territories... “with a slate of feature ﬁlms and TV, channels and club channels and performing arts titles.”

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Diana Borbón, Sales Manager, Atresmedia Television

David Bogi, Head of International Distribution & Business Development, Rai Com

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The KIller Bride, ABS-CBN Philippines

Expanding footprint: “We have some of the most-ever-sold Turkish dramas globally in our catalogue... These are among the valuable dramas we will prioritise for Asia, including Fatmagul, which has been sold to 154 countries; love story Price of Passion; and family drama Ruthless City.” Salmi Gambarova, Sales Executive, Asia & CIS, Kanal D International Ready made shows: “For us, the ﬁrst priority is our ready-made shows. We’ve been investing in subti-

Our overarching key approach will be to bring creativity to our deal making, keeping ourselves open to new ideas/conversations and business models.”

tling our series, and are ready to provide our buyers

Hyeonza Hong, Senior Vice President, Sales, ITV Studios Global Entertainment

with English subtitles at the very least... the advantage of our series is their relatively short seasons (8-20 episodes) that are suitable for Asian markets in terms of TV and online line-up’s compatibility.”

Hyeonza Hong, ITV Studios Global Entertainment

Scripted formats: “The second priority is our scripted formats. We offer more than 100 series, with 80% of them completely ready for adaptation... the world is hungry for original stories that convey universal values.” Non-scripted: “The third priority is our non-scripted projects. There is just a handful of them, but they all have excellent marketing potential, that already comes into fruition. For example, our celebrity quiz show, Secret for a Million, will be adapted in three countries in 2020.” Marina Kataya, Deputy General Producer – Sales Director, NTV Broadcasting Company, Russia

“As we go into 2020, we are going to keep championing our award-winning slate of drama content. [We have] over 25 dramas launching in 2020, a mixture of brand new and re-

turners. These include infamous true crime story, White House Farm, and political thriller Roadkill starring Hugh Laurie. While our focus on drama continues we are also pushing our scripted formats... Finally, we want to build even closer relationships with great Asian producers and platforms, across formats, non-scripted and drama, we’re recognising the value of local storytelling and ideas.” Sabrina Duguet, EVP Asia Paciﬁc, all3media international The full interviews are at www.contentasia.tv

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interviewindia

Rights way all3media International chief executive, Louise Pedersen, talks to Janine Stein about authenticity of creative vision, being unique, production investment drivers, selecting shows with universal elements, and the value of IP ownership. Super-indie producer/distributor all3media and its international division,

rely on the production company to sell to a primary broadcaster. And

all3media international, has made signiﬁcant investments in high-end

then what we can do is bring in extra production ﬁnancing in terms of

productions and production houses around the world, driving premium

ﬁnding a co-producer or arranging some pre-sale partnerships and then

global shows, including White Dragon, ﬁlmed in Hong Kong. The com-

go on to exploit that around the world with our buyers.”

pany also has more feet on the ground in Asia than ever, upping drama co-development and leveraging its IP in, among other countries, Japan,

How are you approaching content development in Asia? “We have IP

India and China. all3media International CEO, Louise Pedersen, talks

that we think can travel globally but sometimes the way to bring it to a

about what’s driving the company’s latest production investments, what

market like Asia is to work with local production partners so that our glob-

goes into selecting shows with universal elements, the beneﬁts of a vi-

al IP appeals locally and has a tone that works for the local audiences

brant independent production sector, and the elements that make an

here. A lot of our activity in Asia is having conversations with broadcast-

indie ecosystem ﬂourish.

ers and producers about our scripted formats, like Liar with Voot in India. We’re also producing versions in Italian, German and French.”

What, for all3media, makes a good content investment? “Authenticity of vision. We’re not particularly prescriptive about what we invest in. We just

Who does that IP belong to? “That IP will belong to us, although potentially

like to know that the creators have a very clear sense of the story they

there would be a cut for the local producers/broadcaster, but then we

want to tell. We like something that’s very individual, unique. Fleabag

can take that IP and sell it around the world. SoMiss forFisher example, the Italian China

was a perfect example.”

version of Liar has just sold into Spain and into Latin America, alongside the U.K. version. Then it all comes down to managing rights and windows.”

Is there a perfect point for a distributor to put money on the table? “It depends. The U.K. is a different landscape in terms of the rights owner-

What, if anything, would entice you to invest more in Asian productions

ship model… U.K. producers are protected by U.K. legislation in terms of

or even production houses, like you have elsewhere in the world? “At

being allowed to keep their rights if they want to. So when they develop

a group level, the focus at the moment is on making sure that our pro-

a show they keep the international IP and the broadcaster in the U.K.

duction business in the U.S. is working well. In Asia, we would probably

just takes a licence. That has enabled producers to grow their businesses

get involved as a distributor at this stage. If there was a local project in

and their development pots because they beneﬁt directly from the rev-

development with a broadcaster that we thought ticked all those boxes

enue from the sales of the shows they’ve created. So certain production

– quality, authenticity, global themes, capable of travelling internation-

companies in our group have a development pot and will get shows to

ally – we would of course be happy to look at that.”

a certain level of development themselves. Where they perhaps don’t have the money, or where we’re working with a production company

When you look at acquiring production houses, what’s most important?

outside the all3media group, we will sometimes ﬁnance development,

“An ability to retain rights that can be exploited internationally.”

a treatment, potentially a script... What we can’t do is sell the show to a primary broadcaster. That’s not our job so we’ll fund development. We

The full conversation is at www.contentasia.tv

contentasia issue seven, december 2019

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interviewsameernair

Rounds of Applause

Veteran Indian programmer Sameer Nair was around at the dawn of multichannel television time in India. Now he is leading the vanguard into a premium production era driven by local and global streamers, fast-tracked with a slate of scripted formats, and powered by a deep well of local creativity and stories. Janine Stein speaks to the chief executive of Applause Entertainment about rewriting the domestic playbook for indie production.

contentasia issue seven, december 2019

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interviewsameernair

Mind the Malhotras, Applause Entertainment

As legend goes, Sameer Nair was in the room, at the beginning of the region’s pay-TV history as we know it, when Rupert Murdoch hammered his hand on the table and said he never ever again wanted to see a chart that showed Star trailing. He was also, the story continues, the one who answered Murdoch’s question about a cash prize big enough to make eyes pop, jaws drop and turbo-charge tune-in. And so Kaun Banega Crorepati (India’s chart-busting version of Who Wants to be a Millionaire) happened. Nair went on to steer Star’s entry into Hindi programming and has borne witness to more than two decades of content development in a mammoth market of 1.2 billion people. And so here we are, 20+ years later, at the dawn of an even crazier content age. The 25 million cable homes of the early Kaun Banega Crorepati days have grown to 197 million, the 50-channel environment is now jammed with 600, maybe even 700 channels and there might even

Unlike anywhere else in the world, there’s nothing [for streaming platforms looking for premium drama] to buy in India. So you can’t come with a truckload of cash and throw it at the problem... you still have to make the content.” Sameer Nair CEO, Applause Entertainment

be room for more. Netflix and Amazon Prime Video have prioritised India, changing story-telling culture and jostling hard with homegrown services

Office, Hostages, Criminal Justice, Mayangari – City of Dreams, Mind the

led by the Disney-owned Hotstar.

Malhotras and Avrodh, a homeland security story set in Kashmir and Paki-

Once again, Nair, now at the helm of the Aditya Birla Group-backed

stan about India’s strike back after an Indian army camp is blown up.

Applause Entertainment, is in the eye of the storm. And once again, he is

Looking back, Nair counts the ways the Indian market has grown. And

at the forefront of rewriting the domestic playbook for indie production.

then he lists the one big hole – premium drama for television. “We’ve

In a world of unprecedented opportunity and demand for premium

done fantastic reality and format television. We’ve got all sorts of interna-

stories audiences will pay for and monthly subscriptions they will stick

tional content. We have sports, news... But with regard to entertainment

with, Nair is building value with a mix of scripted formats, original stories

content, we got stuck in a time warp doing daily soap operas, which is

tailor-made for streaming platforms, and a funding model that lets him

the dominating feature of Indian television. And it has done really well, so

retain IP.

no one is complaining. Everyone made their money.”

His latest production is an Indian version of Yes Studios’ Israeli drama,

Applause set out with a deliberate mission: to fill this high-end drama

Fauda. Filming starts in 2020. Fauda, a multi-layered story of conflict and

gap. “With the rise of OTT/streaming platforms, an opportunity opened

struggle against a backdrop of political tension, joins shows such as The

up to tell different stories to India,” Nair says. “There was a big need gap,”

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interviewsameernair

[Premium drama is] a different way of doing things, but it’s still a story. At the end of the day, it’s on a screen, you have to press play. If it interests you, you’re going to watch. If it doesn’t, you drop off.” Sameer Nair, Applause Entertainment

our play and it works quite well,” he adds. Does Applause get to keep the IP every single time? That depends. Either the series is licensed long term to platforms and Applause retains the IP. Sometimes, the IP is sold or transferred. In either case, Applause keeps control over production of subsequent seasons. “That’s how we are building value,” Nair says. The underlying assumption is that every streaming platform will need at least one or two shows a month, which, with eight to 10 big platforms out there, translates to a lot of high-quality content. Nair describes Applause as a “complement” to that business. “We’re really here to help platforms, to work with them to get better, to attract more subscribers and retain them... and hopefully to order subsequent seasons.” All with a reasonable reward. Nair says he’s a big fan of Warren Buffett and has adopted Buffet’s motto – get rich slow. “We’re in no rush at all. If a show succeeds and if we can do many seasons, there will be money to be made for everyone and it will be good for the audience,” he says. In a streaming universe questioning the value of more than three seasons of a title, Nair says there is no right answer on whether there should

he adds. “There’s an audience out there that’s really hungry for new content

be two seasons ... or 15. “A lot of this depends on the kind of stories being told”.

and no one is doing it. And the platforms are rising and they have to

“The big opportunity is to tell more stories of different kinds and put

create this content because, unlike anywhere else in the world, there’s

stuff out there. Some things will go longer, some things shorter... there is

nothing to buy in India. So you can’t come with a truckload of cash and

something to be said for returning to the familiarity of recurring seasons,

throw it at the problem, because you still have to make it.”

and there’s something to be said about desire for change, for interest in

From the beginning, Nair’s aim was to invest in content, “to get things

the new shiny thing. So it goes both ways.”

going, to take a degree of risk in the hope of some reward eventually”.

Applause, too, spans a broad genre spectrum, from the family com-

To fast-track the initiative, Applause decided on an early slate of scripted

edy of Mind the Malhotras, an adaptation of Israeli format La Famiglia, to

formats, kicking off with a local adaptation of The Night Of (aka Crimi-

the darkness of Criminal Justice. And then there’s Indian drama, created

nal Justice). That worked. “These adaptations become not foreign stories

from scratch, like The Scam, an adaptation of a book about stockbroker

being told in India as much as Indian stories because they have universal

Harshad Mehta, who almost brought the stock market down and the In-

themes that travel,” Nair told delegates at the ContentAsia Summit at

dian government with it in 1992. Another from-scratch original is City of

the end of August.

Dreams, a political thriller based in Bombay that streamed on Hotstar, and

The goal is to create what Nair calls “cinematic television”. The effort

Avrodh, based on a true incident where Pakistani terrorists attacked and

is not without its stumbling blocks. “The big learning for us of course is,

Indian army camp and India’s retaliatory strike. Applause’s treatment

first of all, how to write cinematic television, and then how to produce

of Avrodh makes it a story about political conflict, the military, terrorists,

cinematic television”. Story telling, not so much. “India has a very big rich

journalists, media, politics and the whole social fabric of Kashmir. “It lends

history of audio visual storytelling,” Nair says. Telling those stories is not as

itself to lots of great patriotic and heartwarming storytelling,” he says.

much of a challenge as understanding the new medium. “Typically, daily soap operas are stories that start and never end. Movies are stories that have a start middle and end. [Premium drama] involves

Nair is a “big believer” in homeland security stories. “The U.S. made an industry and a fortune out of being perpetually paranoid and scared ... a state of fear translates to a lot of money,” he says.

a more layered, deeper story over 10-12 episodes, and multiple seasons.

“The opportunity to tell different stories is incredible,” Nair adds. Al-

It attracts a different class of writing, a different class of actors. It’s a dif-

though Applause’s activity so far has been India-centric, there’s no geo-

ferent way of doing it, but it’s still a story. At the end of the day it’s on a

graphic limit to the company’s ambition.

screen, you have to press play. If it interests you, you’re going to watch. If it doesn’t, you drop off.” In other words, some of those old rules apply.

“We have focused on India for now because it’s such a big market and there’s such a huge appetite there. So it would be a pity not to

The funding model also turns traditional Indian practice on its head.

do that.” But he’s also looking at regional and international collabora-

Applause invests in creating the shows, a habit Nair is encouraging the

tions. “We don’t delude ourselves by trying to make content that will be

entire industry to adopt. “We have a sense of what the audience wants.

viewed by audiences in 180 countries, because that’s not really the way

We have a sense of what the platforms want. We spend a lot of time and

to make content,” he says, adding that he is exploring collaboration with

effort making these shows. We do all the heavy lifting. We take the risk,”

Israeli and Korean producers.

he says.

“We’re looking to do these partnerships to get stories. Often you can’t

“The most important thing in our model is not really the first season as

make a show that can work in India and Korea. Some things travel, some

much as the show doing well for the platform and for both the platform

things don’t. But there are definitely synergies to be had in production

and the audience to be happy with it. And then the subsequent seasons

investment, in creating formats that can travel both ways. There’s a lot

is where you build scale and that’s where the business kicks in. So that’s

of opportunity”.

contentasia issue seven, december 2019

THEMA A CANAL+ GROUP COMPANY Mezzo live HD Museum Pekinexpress La route des 50 volcans M6 International SVOD offer by Studiocanal Heritage 4Kheritage.tv Flixsnip Canal+ Myanmar Insight TV Stingray Mezzo liveHD Museum M6 International Canal+ Myanmar Heritage 4Kheritage.TV FlixSnip SVOD offer by Studiocanal Insight TV Stingray Luxe.TV4K Meet us at ATF, Singapore 4-6 Dec 2019, THEMA Booth #J20 Alexandre Bac: alexandre@thematv.com www.thematv.com

interviewxxxxxxx

Gender roll

Jay Lin, the founder of Taipei-based Portico Media, the force behind LGBTQ-focused online streaming service GagaOOlala and the power behind LGBTQ+ ďŹ lm studio GOL Studio, talks about the changing proďŹ le and footprint of LGBTQ+ content across Asia.

contentasia issue seven, december 2019

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trendsLGBTQ+

Handsome Stewardess, Zero Chou/GOL Studios

Jay Lin – founder of Asia’s first (and now largest) LGBTQ+ streaming platform GagaOOLala, the force behind LGBTQ+ film studio GOL Studios, one of the founders of Taiwan’s Marriage Equality Coalition and the founder/CEO of Taipei-based Portico Media – is the poster person for LGBTQ+ content in Asia. And he’s nowhere near finished, continuing to drive change, keeping equality and inclusion at the top of industry agendas, and infusing everything he does with advocacy for equal rights. “What was once niche content, let’s say as early as 15 years ago, is now – at least in Hollywood – definitely in the mainstream and there to stay. And Asian directors and producers and production companies and broadcasters and streaming services are following suit to varying degrees,” Lin says. To him, the reason is obvious. “Audiences across the world are looking for creative alternatives, authentic stories and characters that are more reflective and representative of the real world. And the real world is that gays are everywhere, whether it’s in the East or West or everywhere in

Audiences, regardless of gender or race or sexual orientation, are looking for stories that lead them into a fantasy or allow them to see themselves in the screens that they’re looking at for once, or it’s just simply entertaining and emotionally connecting and fulfilling.” Jay Lin, Founder, GagaOOLala & CEO, Portico Media Taiwan

between. And also, audiences regardless of gender or race or sexual orientation, are looking for stories that can lead them into a fantasy or allow themselves to see themselves in the screens that they’re looking

riage equality law. Lin was one of five founders of the Marriage Equal-

at for once, or it’s just simply entertaining and emotionally connecting

ity Coalition, which campaigned hard for three years to push marriage

and fulfilling.”

equality over the line.

All this is happening against what Lin says has been an important year

Lin says the increase in LGBTQ characters on TV screens in the West has

for the LGBTQ+ community worldwide. For one, 2019 was the 50th an-

been massive since 2015, particularly in the streaming space, but also on

niversary of the Stonewall riots in New York; the protests sparked off the

prime-time scripted broadcast TV. In 2018, 8.8% of the characters were

global gay rights movement and the anniversary was celebrated in

on the LGBTQIA spectrum across all genres, from drama and comedy to

Pride festivals all over the world – including Taiwan. Closer to home, Lin

horror and stand-up, animation, variety, reality and kids across film and

says a significant milestone was the passage in Taiwan of Asia’s first mar-

TV. “The increase is just as dramatic if we’re looking at the 110 studio

contentasia issue seven, december 2019

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trendsLGBTQ+

male 50+. Thailand has also been a strong market for the BL wave, and this continues with broadcasters and producers such as GMM, Mello and Mono. Lin also points to the success of Thai movies, Malila: The Farewell Flower and How to Win at Checkers. The Philippines, a frontrunner in putting gay themes on prime-time TV, continues the tradition. India is starting to see a dramatic increase of LGBTQ-related content in both TV and film, underscored by the striking down of the country’s antihomosexuality act in 2018, the fast-growing penetration of 4G phones and broadband, and the rise of foreign and local streaming services. Titles such as Evening Shadows, Made in Heaven, Four More Shots Please, Romil and Jugal and Untag stream on Netflix, Hotstar, Prime Video, Voot and Jio. Gentleman Spa, GOL Studios/GagaOOLala

In Taiwan, the national conversation around what it means to be a minority and inclusion in mainstream society is impacting mainstream media, Lin says. For the first time, gay TV dramas are premiering on broadcast terrestrial primetime channels. Plus, “we have streaming platforms

Audiences across the world are looking for creative alternatives, authentic stories and characters that are more reflective and representative of the real world. And the real world is that gays are everywhere, whether it’s in the East or West or everywhere in between.”

that are investing heavily in BL and LGBT content and we have gay movies or movies with gay characters that do very well in the box office,” he says. These include Dear Ex, which was picked up by Netflix. “The mainstream status and mainstream participation for LGBT storylines and characters are definitely here to stay,” Lin says. And the more support they can get, the better, which is why he set up GOL Studios, “an LGBTQ+ film studio for the mainstream community”. The studio, launched this year to provide production, funding and marketing support, runs alongside streaming platform GagaOOlala. For 2019 and 2020, about nine LGBTQ+ films will be released in Taiwan; GagaOOlala and GOL Studios are involved in four of them. Global projects include Boy Meets Boy in Germany and Spain; Made in Boise, a collaboration with PBS in the U.S.; Present Still Perfect in Thailand; Gentlemen Spa, Killing Love Chronicles and The Teacher in Taiwan; and a third season of Queer Asia across multiple countries. The titles cover

Jay Lin, Portico Media Taiwan

everything from crime thrillers to factual. “We’re doing a lot of different things related to the LGBT space,” Lin says, listing features, web series, shorts, festival films... Eventually, the titles land on GagaOOlala, which

films released in 2018. 20 of them featured LGBT characters – 26 men

now has 270,000 members in 21 countries, 179,000+ unique website users,

and 19 women,” he says, citing GLAAD data. Representation in indie

and 32,000 uniques a month (Oct 2019) on its app.

moviemaking is even more dramatic. “But it’s not just about quantity.

“We needed a way to keep our costs down and find authentic and

It’s also about quality,” Lin says, pointing to the nominations and winners

creative stories from around the world that are more reflective of the cul-

list for this year’s Academy Awards, including Bohemian Rhapsody, The

ture and of the audiences of those territories,” Lin says, talking about the

Favourite, Green Book and Can You Ever Forgive Me. Over 50% of the

crowd-source model behind GOL Studios. “So we created this crowd-

nominations included LGBT characters, some in central roles.

sourcing platform where we openly solicit and we find LGBT projects from

U.S. trends, including more diverse and equal representation behind the camera, is “trickling over” to Asia, Lin says, highlighting the success of BL

around the world that could benefit from our financing, our co-production and from our marketing machine,” he says.

(boys’ love) titles in Japan. With gay-themed soapy story lines, the BL sub-

2020 is very likely to see GagaOOlala go global. The service is currently

genre has for years been a ‘thing’ in Japan, especially among “office la-

in 21 countries, with about 50% of users in Taiwan, 16.6% in Thailand and

dies”. This is no longer the case, Lin says, tracking TV’s expansion to broad

12.9% in the Philippines, plus growing audiences in Malaysia, Hong Kong,

LGBTQ themes targetting mainstream audiences.

Indonesia and Singapore.

All of Japan’s major broadcasters are now including LGBTQ characters

Advocacy will continue to be a core value. “We embed everything we

in prime time shows such as Life as a Girl (NHK), Residential Complex (Fuji

do with an advocacy component,” Lin says. For instance, “we feature a

TV), Meet Me After School (TBS), Half Blue (NHK) and What Did You Eat

lot of films in the free section of GagaOOLala, and use that to encourage

Yesterday? (TV Asahi). Titles such as Ossans Love (2018) on TV Asahi rated

people to share with their neighbours or family members, their classmates,

highest among women 35 to 49 years old. The second highest audience

as a way to encourage them to sympathise and empathise more with

was mixed male-female 13 to 19 years old. And the third category was

LGBT people”.

contentasia issue seven, december 2019

IndiaCast A TV18 Viacom18 Venture Bringing India to the world Choti Sarrdaarni The Brave Hearted (130 hours) Story of a fiercely independent woman who takes on the world to protect her family Vidya The Accidental Teacher (130 hours) A journey of an uneducated English teacher Bahu Begum Web of Love (130 hours) Journey of three individuals whose lives are entwined in one marriage Ram Siya Ke Luv Kush Sons of Lord Ram and Goddess Sita narrated through the lens of their sons, Luv and Kush Syndication Enquiries Debkumar Dasgupta debkumar.dasgupta@indiacast.com +91-9819600032 Keerthana Anand keerthana.anand@indiacast.com +91-8451991552 Amar Trivedi amar.trivedi@indiacast.com +91-9820799091 Meet at: ATF 4th-6th Dec 2019 Booth M18

interviewxxxxxxx

Warkop DKI Reborn, Falcon Pictures

Sachet cache

H.B. Naveen, founder of Indonesia’s Falcon Pictures, talks about a market on ﬁre, the rise and rise of local storytelling and IP creation, and his own streaming reality.

Indonesia’s film industry is on fire, with north of 100 films a year since 2014 across everything from slapstick to teen pregnancy, upwards of 50 million cinema ad-

have their own priorities. “For the last eight years we have been a telco product and service. Now we are selling our movies [direct] for 35 or 40 cents on a weekly subscription basis.”

missions in 2018 and rising fast, and the expec-

His latest approach is powered by digital tech-

tation that theatrical screens will leap from last year’s 1,700 to around 2,500 by 2020. Flowing

nology and built on a sachet principle backed

from there is a treasure trove of domestic rights

by years of theatrical box ofﬁce and marketing

that could, with the right approach in the right

experience. Not only is he not fazed at all by

conditions, power a viable direct-to-consumer

decades-worth of pathetic subscription-TV performance, he’s already proved that people will

streaming business. Some might say it’s already

pay – and has reaped the beneﬁts.

happening.

“There are 100 million people buying movie tick-

Falcon Pictures’ founder/executive producer, H.B. Naveen, says he is as close as anyone. His streaming movie platform, Klikﬁlm, now has 1.5 million paying subs accessing titles from Falcon’s own blockbuster theatrical library as well as acquisitions. In its nine years since entering the ﬁlm busi-

ets in Indonesia a year, paying between US$3-US$5 a time. That’s up to US$500 million a year people are spending, in small amounts. Indonesia is a sachet economy. 80%-90% percent of sachet products do well... the sachet principle is

ness “because we needed content for our technology platform”, Falcon

very very important... if you’re able to pay three to ﬁve dollars to watch a

has released some of the country’s biggest movies, including Warkop DKI.

movie every week, you are able to pay 20 or 30 cents for a movie service

So far, Falcon has produced about 70 movie titles and acquired another 250. The company takes about 30% of the domestic box ofﬁce, with about 12 million to 13 million admissions a year and rising.

subscription,” he says. Evolution, for him, is “not what I want, it’s what the consumers say they want or what they react to”. He talks about HBO doing incredibly well, ini-

Naveen highlights his marketing-led approach built on hard audience

tially by aggregating theatrical ﬁlms. “Then they evolved... we will evolve

data, and says he is dialing up direct access to Indonesian consumers with

too”. Naveen ﬁrmly believes Indonesia has all the stories it needs to con-

ﬁntech partnerships, such as Grab/Ovo, that reduce his reliance on telcos.

tinue to power theatrical and streaming success. “We are not lesser story-

“It’s very very hard to be telco dependent,” he says, citing bundles, low

tellers than Hollywood,” he says. “We have an older culture of storytelling,

prices, being churned out of the system every few months, and telcos that

but we sometimes let Hollywood deﬁne the content business.”

contentasia issue seven, december 2019

TV5MONDE The best of French TV available in more than 110 million homes in Asia Pacific. Find out more on asia.tv5monde.com

interviewfotiniparaskakis

The Sound, Hunan TV/The Story Lab

Join the dots

Dentsu-owned The Story Lab is settling into the sweet spot between brands’ money and entertainment. Fotini Paraskakis, global EVP of entertainment, talks about challenges and gaps in understanding as well as the giant pool of opportunity and ambition behind the campaign to drive value in the content space.

Dentsu’s content development and investment unit, The Story Lab, sits

The Story Lab funding

in the sweet spot between advertising money and entertainment ideas

means

that need funding. Nice theory. In reality, the language may be the

can be developed. One

same, but comprehension remains poles apart.

of the new shows pushes

Charged with creating content that straddles the needs of different

bolder

stories

deeper into interactivity and

Fotini Paraskakis

worlds, The Story Lab’s EVP of entertainment, Fotini Paraskakis, says fun-

viewer participation. There’s also

damental misunderstandings between the ad and entertainment worlds

a drama about an investigation into fair-

need to be cleared up at the same time as she assembles a global team

ies in World War II involving high-proﬁle people. “These are all by young

to create the deep content business able to execute on Dentsu’s goal.

creators and producers who probably wouldn’t be able to access funds

“Both industries have traditionally worked side by side, but not together,” she says. “The ad industry talks about content. But it’s nothing the TV

elsewhere, but we have very strong conversations with big platforms on all of them,” Paraskakis says.

or production industry knows as content”. The desire is the same though.

What would the perfect story out of Asia look like? “There are great

“Everybody wants to make content and create businesses around con-

stories in Asia in the drama space,” she adds. Her end-goal is to surface

tent,” Paraskakis says, adding that there is a signiﬁcant amount of money

creators and storytellers to bring them to life.

and enthusiasm for brands’ movement into the storytelling space. “Brands genuinely want to be involved in deeper storytelling,” she says.

While she’s not revealing exactly how much is in The Story Lab’s content fund, she says it’s comparable to other funds in the market. Like Keshet’s,

The Story Lab’s exposure in Asia so far has been The Sound with Hunan TV

which is around US$60 million. “What I would say is that it’s a strength to

in China and PCCW Media Group’s Viu on No Sleep No Fomo, a format cre-

have Dentsu as a parent company, because they’re in it for the long term.

ated originally by The Story Lab in-house as a ﬁve-minute segment for a You-

So if something comes up that they’re interested in, there’s deﬁnitely a

Tuber. It was then built out into a streaming series, and debuted in Asia on

discussion that can be had”.

Viu. The Story Lab has added the full episode format to its global catalogue.

Further down the line, she speaks of an emerging environment of brand-

Since she joined a year ago after a long career in TV production in Asia

backed content funds. “Brands are looking at the future and it’s not about

and elsewhere, Paraskakis has focused on regions where content is at the

straightforward product integration” into stories, she says. “It’s about being

top of its game and assembled a slate of titles to take to market. Of her

involved in and owning some of the IP,” she says, adding: “They want to be

initial ﬁve original dramas, three are from the U.K. and two from the U.S.

a real part of the value chain”. That said, a common refrain is that there’s

The investment to date is in creators and producers, allowing them to

absolutely no shortage of money sloshing around right now looking for a

develop their shows to a market-ready state. “It’s all about supporting

creative place to land. Paraskakis agrees that the current environment

them to develop whatever they need to develop their projects... to get

is “great for creators”. The shortage, she says, is someone to join all the

the story to a place where we can then go and pitch it,” she says.

dots. Her job in a nutshell.

contentasia issue seven, december 2019

Ludwig Van Beethoven

Ludwig van Beethoven

In the year 2020, the world will be celebrating the 250th birthday of Ludwig van Beethoven. Discover how his music and outlook on life have continued to inspire us over centuries. See you at ATF E18 DW

Made for minds.

Deutsche In the year 2020, the world willWelle be celebrating the meefung.lee@pikfilm.com.my T: +60 (3) 2093-0866 250th birthday of Ludwig van Beethoven. Discover how his music dw.com and outlook on life have continued to inspire us over centuries.

Deutsche Welle | meefung.lee@pikfilm.com.my | T +60 (3) 2093-0866

U SEE YO AT ATF E18

dw.com

formatsQ32019

Criminal Justice India BBC Studios

Formats Outlook The volume of formats commissions/productions in Asia continues to drop, there is still strong support for well-loved inexpensive classic titles, and the appetite for scripted series in on the rise with streaming platforms driving demand. In ContentAsia’s Q3 2019 Formats Outlook, Aqilah Yunus tracks titles and trends across the region.

Format commissions in Asia continue to drop, sliding 7.7% in the three

tributed to a growing conﬁdence among Thai producers that they can

months to end September compared to the same three months last

create and format their own shows.

year. ContentAsia’s ongoing Formats Outlook counted 275 formats on air or commissioned during Q3, compared to 298 in Q3 last year. The Q3 decline follows a grim story for the first half of this year, during which format production/commissions dropped about 11% compared to first half 2018. And first half 2018 was 12% down on the same six months in 2017, for a total drop of 22% over the past two years.

ITV Studios-owned Talpa Media was the biggest winner for the quarter, overtaking Endemol Shine to close September in second place on our leaderboard with 45 titles behind top formats vendor, Fremantle. Endemol Shine fell into third place, with 42 formats. Fremantle maintained its lead position with 50 formats on air or commissioned during the quarter (see page 72 for full rankings). Classic long-

For the three months from July to September, ﬁve of the 16 markets we

running favourites are still a strong performer for Fremantle, which has

tracked were up, ﬁve were level and six were down. The biggest gains

seven versions of Family Feud on air, led by the 23rd season of the prop-

were in Indonesia, which picked up seven titles compared to the same

erty in Indonesia – a Fremantle stronghold.

quarter last year. The biggest falls were in Korea, which dropped from 16 last year to 10 this year, and Malaysia, which went from eight to ﬁve.

Talpa’s stellar rise was driven by multiple seasons and versions of singing talent show, The Voice; at the end of September, 33 different seasons

Although it dropped another six titles, Vietnam was still in the lead for

were either on air or had been commissioned, including 16 seasons of

the three months with 49 formats, followed by Thailand (45), India (36),

ﬂagship show The Voice, 11 seasons of The Voice Kids, two of The Voice

Indonesia (29) and China (24).

Teens and four of The Voice Senior.

Indonesia comes out on tops in acquisitions, increasing by 31.8% com-

A rise in singing formats – led by The Voice as well as strong support

pared to Q3 2018. This is attributed to multiple seasons for long-running

for Mask Singer – runs alongside a continuation of positive sentiment to-

formats such as Fremantle’s Let’s Make A Deal.

wards scripted formats. Scripted was up 2% year on year. Game shows

Although second in to Vietnam in volume for the quarter, Thailand fell the most, dropping 13 titles for a loss of 22.4%. Some of this can be at-

dropped slightly. Reality was also down, from 27.3% of the total last year to 23.6% this year.

contentasia issue seven, december 2019

Singapore Media Festival 21 Nov- 8 Dec 2019 #SGMediaFest ASIA IS NOW Join us at the SIngapore Media Festival as we celebrate the best in Asian storytelling Fat Hope by Encore Films Malam by Mâ&#x20AC;&#x2122;Go Films Number 1 by Mm2 Entertainment Art of Craft by Beach House Pictures Oddbods by One Animation Rhythm Warriors By Sparky Animation Come meet with Singapore companies at the Singapore Pavillion at E08-H08 and join us for networking opportunities at the Singapore Hour (4 Dec, 3pm-4pm & 5 Dec, 4pm-5pm). SGMediaFest www.sgmediafestival.com Singapore Media Festival Hosted by: Infocomm Media Develeopment Authority In Support of: SG:D Empowering possibilities Held in: SG Singapore Passion Made Possible

formatsQ32019

Country

Q3 2019

Q3 2018

+/-

Indonesia

31.8%

India

12.5%

Cambodia

6.3%

Sri Lanka

50%

Bangladesh

100%

Mongolia

Philippines

Japan

Singapore

Regional

Malaysia

-3

-37.5%

Myanmar

-3

-23%

Vietnam

-6

-11%

China

-6

-20%

Korea

-6

-37.5%

Thailand

-13

-22.4%

275

298

-23

-7.7%

Q3 2019 Genre Adventure - Sports 0.7%

Singing contest 21%

Q3 2018 Genre

Dance contest 1.4%

Adventure - Sports 1.3%

Drama 18.5%

Singing contest 16.3%

Dance contest 1.3%

Drama 16.7%

Entertainment 4.7%

Factual 1.3%

Factual 1.1%

Feature Film 0.3%

Reality 27.3%

Reality 23.6%

Game Show 29.7%

Game Show 29%

Health talk show 1% Source: Companies, rights holders, ContentAsia Formats Outlook Q32019

contentasia issue seven, december 2019

The highest-grossing Filipino film of all time Hello, Love, Goodbye Genre: Romance/ Drama TRT: 117 minutes Booth No. N10 ABS-CBN

formatsQ32019

ContentAsia’s Formats Leaderboard Fremantle 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50.

Asia’s Got Talent S3 Cambodian Idol Junior S1 Cambodian Idol Junior S2 The Chart China Confetti India Distraction Bengali India Don’t Stop Me Now China S8 Family Feud Cambodia S1 Family Feud Indonesia S21 Family Feud Indonesia S22 Family Feud Indonesia S23 Family Feud Myanmar S8 Family Feud Thailand S4 Family Feud Thailand S5 Hear Me, Love Me, See Me Indonesia S1 Heaven Or Hell Cambodia S1 Hole in The Wall Vietnam S3 Hot Streak Indonesia S1 Indian Idol Indonesian Idol S10 Killer Karaoke Indonesia S1 Killer Karaoke Indonesia S2 Let’s Make A Deal Indonesia S2 Let’s Make A Deal Indonesia S3 Let’s Make A Deal Indonesia S4 Let’s Make A Deal Indonesia S5 Let’s Make A Deal Indonesia S6 The Lie Detective China Man O Man Vietnam S2 My Mom Cooks Better Than Yours Indonesia S1 My Mum Cooks Better Than Yours Vietnam S4 Myanmar Idol S4 Myanmar X Factor Myanmar’s Got Talent S6 Philippines Got Talent S7 Philippines Idol S1 Philippines Idol S2 Price Is Right Cambodia S1 Price Is Right Thailand S5 Price Is Right Thailand S6 Price Is Right Vietnam S14 Take Me Out Indonesia S1 Take Me Out Thailand S14 Take Me Out Thailand S15 Thank God You’re Here Vietnam S6 Vietnam Idol S1 Vietnam’s Got Talent S1 World’s Got Talent China X Factor Cambodia S1 X Factor Cambodia S2

Talpa 1. 2. 3. 4. 5. 6.

5 Gold Rings Thailand 5 Gold Rings Vietnam Dating in the Dark India S2 Dating in the Dark India S3 Divided Thailand Divided Vietnam

7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45.

Divided Vietnam S2 Human Knowledge Thailand It Takes 2 Vietnam S3 Lies Allowed Vietnam The Next Boy/Girl Band Vietnam The Voice Cambodia S3 The Voice Cambodia S4 The Voice India S3 The Voice India S4 The Voice India S5 The Voice India S6 The Voice Indonesia S3 The Voice Indonesia S4 The Voice Japan S1 The Voice Kids Cambodia S3 The Voice Kids Cambodia S4 The Voice Kids Indonesia S4 The Voice Kids Indonesia S5 The Voice Kids Philippines S4 The Voice Kids Philippines S5 The Voice Kids Philippines S6 The Voice Kids Thailand S6 The Voice Kids Thailand S7 The Voice Kids Vietnam S7 The Voice Kids Vietnam S8 The Voice Mongolia S2 The Voice Myanmar S2 The Voice Myanmar S3 The Voice Senior Cambodia S1 The Voice Senior Cambodia S2 The Voice Senior Thailand The Voice Senior Thailand S2 The Voice Sri Lanka S1 The Voice Teens 2 The Voice Teens S1 The Voice Thailand S7 The Voice Vietnam S6 The Voice Vietnam S7 The Wishing Tree Vietnam

Endemol Shine 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18.

The Band Rules Vietnam S3 Big Brother Hindi 13 Big Brother Kannada S7 Big Brother Marathi S2 Big Brother Philippines S8 Big Brother Tamil India S3 Big Brother Telugu India S3 The Brain Vietnam The Bridge S2 Broadchurch China The Face Men Thailand S3 The Face Thailand S4 The Face Vietnam S4 Family Food Fight China Fear Factor India S10 Fear Factor India S11 Humans China S1 Masterchef All Stars Thailand S1 19. MasterChef Cambodia S1 20. MasterChef Cambodia S2 21. MasterChef Indonesia S5

22. MasterChef Junior Thailand S3 23. MasterChef Myanmar S2 24. MasterChef Singapore (special 2-part charity event) 25. MasterChef Thailand S3 26. Million Dollar Minute Vietnam S4 27. Million Dollar Minute Vietnam S5 28. Minute To Win It Kannada India S4 29. Minute To Win It Philippines S4 30. The Money Drop Myanmar S3 31. Odd One In Vietnam S6 32. Puzzle Masters China S2

33. 34. 35. 36. 37. 38. 39. 40.

Spelling Star Mongolia S1 Spelling Star Mongolia S2 The Money Drop Thailand S3 The Wall Thailand S1 The Wall Vietnam Younger China Younger South Korea S1 Your Face Sounds Familiar Mongolia S4 41. Your Face Sounds Familiar Thailand S4 42. Your Face Sounds Familiar Vietnam S7

NBCUniversal 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16.

Crush Vietnam Hollywood Game Night Thailand S4 Hollywood Game Night Thailand S5 Real Housewives of Bangkok Saturday Night Live China Singer Auction Vietnam Still Standing Mongolia Still Standing Thailand S7 Still Standing Vietnam S2 Suits Japan S2 Top Chef Just Desserts Thailand S1 Top Chef Thailand S3 Top Chef Vietnam S2 Who Is the Real Celebrity Vietnam World Of Dance Philippines World Of Dance Thailand S2

Fuji TV 1. 2. 3. 4.

1 Litre of Tears Korea Confidence Man China Confidence Man Korea Desperate Motherhood China 5. First Class China 6. Ghostwriter China 7. Hirugao—Love Affairs in the Afternoon Korea 8. The Hours of My Life China 9. Legal High Korea 10. Matrimonial Chaos China 11. The Next Iron Chef Thailand 12. Second to Last Love China

Keshet 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11.

Baker and the Beauty India Boom! Philippines S2 Boom! Philippines S3 Boom! Vietnam Deep Crime Unit Japan False Flag India Master Class Vietnam Masters Of Dance Vietnam Rising Star India S3 Rising Star Sri Lanka S2 The Stylist India

Sony Pictures Television 1. 2. 3. 4. 5.

Shark Tank Mongolia S2 Shark Tank Bangladesh S1 Shark Tank Vietnam S3 Shark Tank Thailand S1 Who Wants to be a Millionaire S1 (Kashmiri) 6. Who Wants to be a Millionaire S11 (Hindi) 7. Who Wants to be a Millionaire S2 (Tamil) 8. Who Wants to be a Millionaire S4 (Kannada) 9. Who Wants to be a Millionaire S4 (Marathi) 10. Who Wants to be a Millionaire S5 (Malayalam) 11. Who Wants to be a Millionaire Vietnam S1

BBC Studios 1. 2.

Criminal Justice India Dancing with the Stars Myanmar 3. Doctor Foster Korea 4. The Great Bake Off Thailand 5. Life on Mars China 6. Luther India 7. Luther Korea 8. Mistresses Japan 9. The Office India 10. Stupid Man, Smart Phone Singapore

CJ ENM 1. 2. 3. 4. 5. 6. 7. 8. 9.

Crazy Market Vietnam I Can See Your Voice Thailand S4 Let Me In Thailand S4 Love at First Song Korea Love at First Song Malaysia Shadow Singer Indonesia Tunnel Thailand Voice Japan Voice Thailand

Workpoint Group 1. 2. 3. 4.

Big Box Indonesia Ching Roi Ching Lan Vietnam Drive Me Home Vietnam Gang Of Ghosts Indonesia

contentasia issue seven, december 2019

ASIA TV FORUM 2019

1. 2. 3. 4. 5.

Lightning Quiz Vietnam Little Lightning Vietnam Mic On Debt Off Cambodia Mic On Debt Off Malaysia Super 10 Indonesia

All3media 1. 2. 3. 4. 5. 6. 7.

Cash At Your Door Mongolia Catch Me Out Thailand Face the clock Vietnam Googgle Box Mongolia S8 Liar India Miss Fisher’s Murder Mysteries China Sexy Beasts Vietnam

Bomanbridge 1. 2. 3. 4. 5. 6.

KBS 1. 2. 3. 4. 5. 6.

Chef In Your Ear Mongolia S4 DNA India S8 DNA India S9 DNA Mongolia S1 Doctors VS Internet Mongolia Little Masters Mongolia S1 Descendants of the Sun Philippines Immortal Songs - Singing the Legend Vietnam Live or Die Vietnam My One and Only Vietnam Rebirth Vietnam Singing Battle Indonesia S2

Warner Bros 1. 2. 3. 4. 5.

The Bachelor Japan S3 The Bachelorette Japan S1 The Fugitive Japan Gossip Girl Indonesia Pretty Little Liars Indonesia

Nippon TV 1. 2. 3. 4.

TBS 1. 2. 3. 4.

Abandoned Thailand Block Out Thailand Old Enough! Singapore S1 Old Enough! Singapore S2

3. 4.

Mongolian Ninja Warrior Rush 4 Win Philippines Sasuke Vietnam S5 Takeshi’s Castle Indonesia S3 31 Legged Race Thailand S14 Beat The Champions Mongolia S1 dele Korea (drama) Sweet Kiss Bitter Kiss China

Armoza 1. 2. 3.

1. 2. 3.

Mask Singer Indonesia S4 Mask Singer Line Thailand Ranking Show 123 Thailand

Red Arrow 1. 2. 3.

Anti Social Network India My Man Can Cambodia You Deserve It Vietnam S7

CBS Studios International 1. 2.

Entertainment Tonight Thailand S2 The Good Wife Japan S1

Genre: Documentary Duration: 1 X 90’ Available as Finished Tape Asia TV Forum 2019 The New Normal

Dori Media

Genre: Documentary Duration: 1 X90’ Available as Finished Tape

ITV Studios

New Season On the Case Genre: Crime Duration: 226 X60’ Available as Finished Tape

1. 2. 1. 2.

The Best Of All Thailand S2 It Girls Myanmar Dress To Impress Mongolia Jekyll & Hyde China

Discovery

Say Yes To The Dress China

Entertainment One

Designated Survivor: 60 Days Korea

Fox Networks Group

Genre: Crime New Season Duration: 226 X 60’ Untold Stories of the ER Available as Finished Tape Genre: Factual

Duration: 150 X60’ Available as Finished Tape and Format

Hot Ones Malaysia

Cinderella Bride Genre: Docu-Series Duration: 6 X30’ Available as Finished Tape

MNC TV

grb studios

Heartbeat Malaysia

iflix

Puteri Yang Ditukar Malaysia

SE NE A W SO N

www.grbtv.com l sales@grbtv.com

NHK

Document 72 Hours China

SBS

The Sign Japan

The Story Lab

Genre: Factual Duration: 150 X 60’ Available as Finished Tape and Format

No Sleep No Fomo

TV Asahi 1. 2.

MBC

Dance Smash China Hostages India La Famiglia India

Viacom

Lip Sync Battle Thailand S2 Source: Distributors/rights holders, broadcasters, ContentAsia Notes: Leaderboard includes data for the first nine months of 2019, updated as of 12 November 2019. Titles were on air or premiered in 2019, or were commissioned for broadcast in 2019/20 in Asia. Does not include: re-runs, format options, and shows created by broadcasters/production houses/sponsors for one channel but have not been sold as a format to anyone else. All distributors and formats rights holders were given equal opportunity to participate. For information/ feedback, please contact aqilah@ contentasia.tv

Genre: Docu-Series Duration: 6 X 30’ Available as Finished Tape

w w w. g r b t v . c o m

s a l e s @ g r b t v. c o m

formatsupdate

Title

Rights holder

Country

Shark Tank S1 Bangladesh

Sony Pictures Television

Bangladesh

Cambodian Idol Junior S1/S2

Fremantle/ 19TV

Family Feud Cambodia S1

Broadcaster

Genre

Synopsis

TBC

Reality – business

Aspiring entrepreneur-contestants pitch business ideas to a panel of investors

Cambodia TBC

Hang Meas HDTV

Reality – talent

The talent show with no age limit, no talent restrictions and no cultural boundaries

Fremantle

Cambodia 20 Apr 2019

Hang Meas HDTV

Game show

Contestants have to guess the top answers to a quiz based on surveys

Heaven or Hell Cambodia S1

Fremantle

Cambodia 20 Apr 2019

Hang Meas TV

Game show

Quiz/game show. Contestants choose to be clever in Heaven or risk everything in a journey to Hell & back

MasterChef Cambodia S1

Endemol Shine Group

Cambodia

CTN

Competitive cooking reality show

MasterChef Cambodia S2

ESG

Cambodia Q3/Q4 2020

CTN

Reality – cooking

Mic On Debt Off Cambodia

Workpoint Group

Cambodia 7 Dec 2019

Bayon TV

Singing contest

A weekly singing game show to help contestants pay off their debts

My Man Can Cambodia

Red Arrow Studios Int’l

Cambodia Ongoing

MyTV

Game show

A comedy game show where women gamble on the abilities of their men

Price Is Right Cambodia S1 Fremantle

Cambodia TBC

Hang Meas HDTV

Game show

Contestants compete for cash and prizes by guessing the pricing of merchandise

The Voice Cambodia S3/S4 Talpa

Cambodia TBC

Hang Meas

The Voice Kids Cambodia S3/S4

Talpa

Cambodia 2020; TBC

TBC

The Voice Senior Cambodia S1/S2

Talpa

Cambodia 2020; TBC

X Factor Cambodia S1/S2

Fremantle/ Syco

Cambodia

Broadchurch China

Kudos (Endemol Shine U.K.)

China

TBC

Drama

A small community becomes the focus of a police investigation following the death of an 11-year-old

Confidence Man China

Fuji TV

China

TBC

Drama comedy

A team of con artists resorts to any means necessary to steal from money-mad, insatiable and unscrupulous industries leaders and Mafia heads

Dance Smash China

Armoza Formats

China

5 Oct 2019

Dance contest

A dance competition that uses 360-degree technology to find the best dancer

Desperate Motherhood China

Fuji TV/FCC

China

TBC

Drama

A series of complex relationships form between five mothers and their children’s primary school entrance exams.

Document 72 Hours China S2

NHK

China

1 Aug 2019

Tencent

Factual

Activity is recorded in one place for 72 hours

Don’t Stop Me Now China S8

Fremantle

China

5 Jan 2019-21 Dec 2019

CCTV

Game show

Everyone in the audience thinks they’re a superstar and wants the chance to prove it

Family Food Fight China

ESG

China

TBC

Reality

Home cooking competition

First Class China

Fuji TV

China

TBC

Drama

Women clash in a treacherous fight for power

Ghostwriter China

Fuji TV

China

TBC

Drama

A best-selling novelist becomes dependant on a talented ghost writer, who eventually seeks her own fame

Humans China S1

Matador Film, Sveriges

China

TBC

Drama

What might happen if technology is so advanced it takes over our lives

Jekyll & Hyde China

ITV Studios

China

TBC

Drama

Robert Jekyll finds other people know more about his past than he does

Life on Mars China

BBC Studios

China

TBC

Drama

A retro investigation drama of a principled, intelligent detective from the present and an instinctive detective from the past

Matrimonial Chaos China

Fuji TV

China

TBC

Tencent

Drama – comedy

When you fall in love with your ex-wife all over again, life suddenly becomes very complicated

Puzzle Masters China S2

Endemol Shine Group

China

15 Feb 2019-3 May 2019

Jiangsu Game Broadcasting show – Corp/Vision Quiz

Saturday Night Live China

NBCUniversal Int’l Formats

China

28 Jun 2018, ongoing

Youku

Entertainment

Topical and political subject matter mixes with observational humour and parody

Say Yes To The Dress China

Discovery

Migu

Reality

Brides-to-be search for the perfect wedding dress

Drama

Can new love survive mid life?

Reality

Actors test the line between acting and reality.

Spring 2020

19 Aug 2018-3 Feb 2019

1 Jun 2019-3 Nov 2019; TBC

TBC

Singing competition to find unsigned singing talent Kids version of the singing competition The Voice Singing contest

Hang Meas TV

Hunan TV

Huace

Senior version of the singing competition The Voice Performers compete to become the nation’s next singing sensation

Finding the cleverest, smartest, most complete puzzle solvers and brings them to compete against each other

China

TBC

Second to Last Love China Fuji TV

China

TBC

Sweet Kiss Bitter Kiss China

TV Asahi

China

TBC

The Chart China

Fremantle

China

27 Apr 2019-29 Beijing TV Jun 2019

Reality – music

Singers compete each other with their rank position showing on a Chart board after the performance

The Hours of My Life China

Fuji TV/Kyodo TV

China

TBC

Drama

A young graduate is diagnosed with ALS. How will he choose to spend his remaining days?

The Lie Detective China

Fremantle

China

23 Apr-9 Jul 2019

Xigua digital platform

Reality

Two people in a relationship break with their lies and start telling the truth.

World’s Got Talent China

Fremantle/ Syco

China

19 Apr-12 Jul 2019

Hunan TV

Reality – talent

Contestants from 49 countries compete in China

Youku

contentasia issue seven, december 2019

Younger China

ESG/TV Land

China

TBC

Drama

A 40-year old pretends to be 26 to get a job

Miss Fisher’s Murder Mysteries (Miss S)

Everycloud/ all3media

China

TBC

Tencent

Drama

A lady sleuth in the 1920s solves crimes using charm and wit.

Anti Social Network India

Red Arrow Studios Int’l

India

1 Feb 2019

MTV India

Game show

VJs take over the social media pages of ordinary people and give them a dramatic twist

Baker and the Beauty India

Keshet Int’l

Big Brother Hindi 13 (Bigg Boss Hindi)

Endemol Shine Group

India

TBC

Vuclip

Drama

A romantic comedy about impossible love

India

TBC

Colors

Reality

Strangers live together with cameras/microphones recording every move

Big Brother Kannada S7

Endemol Shine Group

india

TBC

Colors Super

Big Brother Marathi S2 (Big Boss Marathi)

Endemol Shine Group

India

26 May 201901 Sep 2019

Colors Marathi

Big Brother Tamil India S3 (Bigg Boss Tamil)

Endemol Shine Group

Reality

India

23 Jun 2019-6 Oct 2019

Star Vijay

Strangers live together with cameras/microphones recording their every move

Big Brother Telugu India S3 (Bigg Boss Telugu)

Endemol Shine Group

India

21 July-3 Nov 2019

Star Maa

Confetti India

Facebook

India

12 Jun 2019-12 Oct 2019

Facebook Watch

Game show

People answer Bollywood/pop culture questions

Criminal Justice India

BBC Studios

India

5 Apr 2019

Applause Entertainment

Drama – crime

A young man is accused of a murder he doesn’t remember committing

Dating in the Dark S2

Talpa

India

2020

MTV

Reality

Dating in the Dark S3

Talpa

India

TBC

MTV

Reality

Distraction Bengali India

Fremantle

India

9 Sep 2018-10 Feb 2019

Star Jalsa

Game show

Contestants answer questions while being distracted in strange ways

DNA India S8

Bomanbridge

India

30 Aug 2019

Zee5

DNA India S9

Bomanbridge

India

Cont after S8

Zee5

Game show

Contestants have to match parents and children in a family studio game show

False Flag India

Keshet Int’l

India

TBC

Drama

Ensemble thriller

Fear Factor India S10

Endemol Shine Group

India

5 Jan 2019-10 Mar 2019

Colors

Game show

Fear Factor India S11

Endemol Shine Group

Colors

Game show

India

TBC

Men/woman form bonds in total darkness

Participants put aside their biggest fears for the chance to win a cash prize

atv visit us at P-15 The Ottoman Bozdag Film

formatsupdate

Title

Rights holder

Hostages India

Banijay Asia for Applause

Indian Idol

Country

Broadcaster

Genre

Synopsis

India

31 May 2019

Hotstar Special

Drama

A surgeon is forced to choose between her oath to save lives and her family

Fremantle, U.K./19 Entertainment

India

12 Oct 2019

Sony

Singing contest

Contest to find the most outstanding unsigned solo recording artist

La Famiglia India

Born Free for Applause

India

7 Jun 2019

Amazon Prime Video

Drama – comedy

Embarrassing, bizarre & insane moments that are a part of family life

Liar India

all3media

India

TBC

Viacom 18/ Voot

Drama

The story of a night that changes the lives of two individuals forever

Luther India

BBC Studios

India

TBC

Drama

Psychological thriller

Minute To Win It Kannada India S4

Endemol Shine Group

India

29 Sep 2018-13 Colors Jan 2019 Kannada

Game show

Contestants must complete a challenge in 60 secs

Rising Star India S3

Keshet International

India

17 Mar 2019-8 Jun 2019

Colors

Reality – music

Viewers control the talent show’s narrative via an integrated app

The Office India

BBC Studios

India

28 Jun 2019

Hotstar VIP

Drama

Comedy about an Indian boss & a reluctant team

The Stylist India

Keshet Int’l

India

TBC

Vuclip

Drama

A young woman dreams of becoming a big city stylist

Star Channel

Singing contest

Competition to find currently unsigned singing talent

Game show – Quiz

Contestants answer multiple-choice questions to win up to $1 million cash

Game show

Family members take turns to answer a quiz and help each other to win prizes

Game show

Contestants have to guess the top answers to a quiz based on surveys

The Voice India S3/S4

Talpa

India

3 Feb-5 May 2019; 2020

The Voice India S5/S6

Talpa

India

TBC

Star Channel

Who Wants to be a Millionaire S1 (Kashmiri)

India

29 Apr 2019

Doordarshan Kashir

Who Wants to be a Millionaire S11 (Hindi)

India

19 Aug 2019

SET India

India

1 Dec 2019

SET India

India

22 Jun 2019-9 Nov 2019

Colors Kannada

Who Wants to be a Millionaire S4 (Marathi)

India

20 May 201921 Jun 2019

Sony Marathi TV

Who Wants to be a Millionaire S5 (Malayalam)

India

TBC

Who Wants to be a Millionaire S2 (Tamil) Sony Pictures Who Wants to be a Million- Television aire S4 (Kannada)

Big Box Indonesia

Workpoint Group

Indonesia

18 Nov 2019

GTV

Family Feud Indonesia S21 (Super Family100)

Fremantle

Indonesia

25 Feb 2019

GTV

Family Feud Indonesia S22 (Family 100 Indonesia)

Fremantle

Indonesia

20 July 2018-24 GTV June 2019

Family Feud Indonesia S23 (Family 100 Indonesia)

Fremantle

Indonesia

16 Jul 2019-18 Sep 2019

GTV

Gang of Ghosts Indonesia

Workpoint Group

Indonesia

27 Aug 2018-7 Feb 2019

ANTV

Reality

Paranormal reality show focusing on life after death

Gossip Girl Indonesia

Warner Bros Int’l TV Prod

Indonesia

Jan 2020

GoPlay

Drama

Secrets and scandals of the city’s richest kids - a world of privilege, where gossip rules

Hear Me, Love Me, See Me Fremantle Indonesia S1

Indonesia

2-6 September SCTV 2019

Reality – dating

A single girl dates 3 guys in a day, without leaving her room

Hot Streak Indonesia S1

Fremantle

Indonesia

26 Mar 2018-1 Mar 2019

GTV

Game show

A word-based gameshow pitting two teams of five people against each other

Indonesian Idol S10

Fremantle, U.K./19 Entertainment

Indonesia

7 Oct 2019-24 Feb 2020 (Results 2 Mar)

RCTI

Singing contest

Contest to find the most outstanding unsigned solo recording artist

Killer Karaoke Indonesia S1

Fremantle Indonesia

Indonesia

27 Oct 2018-10 Mar 2019

ANTV

Game show

Contestants have to go through some thrilling challenges whilst singing to win the money

Fremantle Killer Karaoke Indonesia S2 Indonesia

Indonesia

24 Jan 2019-17 Feb 2019

Let’s Make A Deal Indonesia S2

Fremantle Indonesia

Indonesia

24 Dec 201827 Feb 2019

Let’s Make A Deal Indonesia S3

Fremantle Indonesia

Indonesia

28 Feb-30 April 2019

Let’s Make A Deal Indonesia S4

Fremantle Indonesia

Indonesia

4 May-14 July 2019

Let's Make A Deal Indonesia S5

Fremantle Indonesia

Indonesia

16 Jul 2019-13 Oct 2019

Let's Make A Deal Indonesia S6

Fremantle Indonesia

Indonesia

14 Oct 2019-28 Dec 2019

Mask Singer Indonesia S4

MBC

Indonesia

18 Jan 2019-8 Mar 2019

Global TV

Singing contest

Masked celebs face off

MasterChef Indonesia S5

Endemol Shine Group

Indonesia

3 Mar 2019-16 Jun 2019

RCTI

Reality – cooking

A competitive cooking reality show

GTV

Game show

An audience participation programme in which members of the studio audience are selected at random to participate in trading items

contentasia issue seven, december 2019

My Mom Cooks Better Than Yours S1

Fremantle

Indonesia

21 Oct 2019-11 GTV Dec 2019

Reality – cooking

A culinary game show that combines cooking, competition and family dynamics

Pretty Little Liars Indonesia

Warner Bros Int’l TV Prod

Indonesia

Nov 2019

viu

Drama

The lives of four high school girls whose clique falls apart after their leader disappears

Shadow Singer Indonesia

CJ ENM

Indonesia

TBC

GTV

Singing contest

Closet singers “borrow” fame from celebrities

Singing Battle Indonesia S2 KBS

Indonesia

20 Jan 2018, ongoing

GTV

Reality – music

Non-singer celebrities teaming up with top musician-producers

Super 10 Indonesia

Superjeew

Indonesia

12 Oct 2019

RTV

Reality – talent

Talented kids unite to show their unique abilities in exchange of their dream items

Take Me Out Indonesia S1

Fremantle

Indonesia

22 Jul 2019-15 Feb 2020

GTV

Reality

A single man dates one of 30 single women

Takeshi’s Castle Indonesia S3

TBS

Indonesia

24 Mar 2019

MNC

Game show

Contestants attempt to storm the castle and defeat Takeshi

The Voice Indonesia S3

Talpa

Indonesia

1 Nov 2018-28 Mar 2019

GTV

Talpa

Indonesia

21 May-21 Nov GTV 2019

Reality – music

Singing competition to ﬁnd unsigned singing talent

The Voice Indonesia S4 The Voice Kids Indonesia S4/S5

Talpa

Indonesia

2020; TBC

GTV

Deep Crime Unit Japan

Keshet Int’l

Japan

TBC

TBS (Tokyo)

Mistresses Japan

BBC Studios

Japan

Suits Japan S2

NBCUniversal

Warner Bros Int’l TV ProThe Bachelorette Japan S1 duction The Bachelor Japan S3

Kids version of singing competition, The Voice Drama

About an underwater police investigation unit

19 Apr-21 June NHK 2019

Drama

A story about four women in their 30s

Japan

TBC

Fuji TV

Drama

Legal drama

Japan

13 Sep 2019

Reality

Japan

TBC

Amazon Prime Video Japan

One man’s search fo the woman of his dreams One woman’s search for the man of her dreams

The Fugitive Japan

Warner Bros Int’l TV Prod

Japan

TBC

TV Asahi

Drama

A man tries to prove his innocence after being sentenced to death for murdering his wife

The Good Wife Japan S1

CBS Studios International

Japan

13 Jan-17 Mar 2019

TBS

Drama

A woman returns to work as a litigator after her husband is jailed in a sex and corruption scandal

The Sign Japan

SBS Korea

Japan

11 July 2019-12 TV Asahi Sep 2019

Drama

A genius forensic doctor teams up with a rookie female doctor to uncover the truth

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OLYMPIC AND WORLD CHAMPION BADMINTON PLAYER

Atresmedia Television At ATF Presumed Guilty Carolina Marin Olympic and world champhion badminton player best foreign series 2019 Shanghai TV Festival Visit us at ATF, booth C20 ATRESMEDIA TV INTERNATIONAL SALES SERIESATRESMEDIA sales@atresmediatv.com

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media pag content asia 235x157.indd 1

15/11/19 14:05

formatsupdate

Title

Rights holder

Broadcaster

Genre

Synopsis

The Voice Japan S1

Talpa

Japan

2020

TBC

Contest

Singing competition to find unsigned singing talent

Voice Japan

CJ ENM

Japan

13 Jul 2019

Nippon TV

Drama

A detective pairs up with a voice profiler

1 Litre of Tears Korea

Fuji TV

Korea

TBC

Drama

Based on a diary penned by a 15-year-old with an incurable brain disease

Confidence Man Korea

Fuji TV

Korea

TBC

Drama – comedy

Con artists resort to any means necessary to steal from unscrupulous industry bosses and mafia heads

dele Korea

TV Asahi

Korea

TBC

Drama

A programmer and a freelancer pair up to delete clients’ digital footprints

Designated Survivor: 60 Days Korea

eOne/Studio Dragon

Korea

1 July-20 Aug 2019

tvN Channel

Drama

When the National Assembly suffers a catastrophic attack, a lowly minister steps up to lead

Doctor Foster Korea

BBC Studios

Korea

TBC

JTBC

Drama

Mystery-drama series that leads the protagonist down a dark path

Hirugao – Love Affairs in the Afternoon Korea

Fuji TV

Korea

5 Jul-29 Aug 2019

Channel A

Drama

A drama about the hidden desires of ‘ordinary’ modern housewives

Legal High Korea

Fuji TV/Kyodo TV

Korea

8 Feb-29 Mar 2019

JTBC

Drama

Attorney Kensuke Komikado is abusive, sarcastic, moody and extravagant. He has also never lost a case

Love at First Song Korea

CJ ENM

Korea

Aug-19

XtvN

Reality

A hybrid music dating show that matches people looking for their soulmates through musical taste

Luther Korea

BBC Studios

Korea

3 Dec 2018-29 Jan 2019

MBC

Drama

A psychological thriller driven by an intellectually brilliant but emotionally impulsive cop

Younger Korea S1

Endemol Shine Group

Korea

Early 2021

JTBC

Drama

A 40-year old single mother finds it’s nearly impossible to return to work... until she pretends to be 26

Heartbeat Malaysia

Fox Networks Group

Malaysia

TBC

Drama

A rich and handsome man tragically loses the love of his life just before they are due to be married

Hot Ones Malaysia

Complex/First We Feast

Malaysia

9 May 2019

iflix

Entertainment

An interview show where host and guest eat increasingly spicy food

Malaysia

April-5 May 2019

TV3

Reality

A hybrid music dating show that matches people looking for their soulmates through musical taste

Singing contest

A weekly singing game show to help contestants pay off their debt Two girls from different backgrounds are used as pawns in an elaborate revenge plot

Love at First Song Malaysia CJ ENM

Country

Mic On Debt Off Malaysia

Workpoint Group

Malaysia

17 Feb 2019-12 Astro Ria & May 2019 Astro Ria HD

Puteri Yang Ditukar Malaysia

MNC TV

Malaysia

9 Jul 2019-28 Oct 2019

Astro Prima & Drama Astro Prima HD

Beat The Champions Mongolia S1

TV Asahi

Mongolia

8 Dec 2018, ongoing

TV9

Cash At Your Door Mongolia

all3media

Mongolia

Chef In Your Ear Mongolia S4

Bomanbridge

DNA Mongolia S1

Adventure

Celebrities challenge world-class athletes at their very own sports

12 Feb 2019-17 Edutainment Sep 2019 TV

Game show

The host goes door to door asking questions for cash prizes

Mongolia

1 Nov 2019Feb 2020

NTV

Reality – cooking

Cooking competition in which two professional chefs aim to deliver a restaurant-quality dish – by remote control tp novices wearing earpieces

Bomanbridge

Mongolia

12 Sep 2019

Mongol TV

Game show

Contestants match parents and children in this family studio game show

Doctors vs Internet Mongolia

Bomanbridge

Mongolia

11 Sep 2019

Mongol TV

Entertainment

Doctors vs Google, a studio contest to diagnose medical conditions

Dress To Impress Mongolia

ITV Studios Global Ent.

Mongolia

TBC

Mongol TV

Entertainment

Three competitors try to win the heart of a fashion conscious singleton

Goggle Box Mongolia S8

all3media

Mongolia

2 Feb 2019-16 Mar 2019

Mongol TV

Reality

Highlights of the week’s television, intercut with footage of ordinary people watching at home

Little Masters Mongolia S1

Bomanbridge

Mongolia

March 2020

NTV

Reality

Children teach adults in this talent competition

Mongolian Ninja Warrior

TBS

Mongolia

29 Sep 2019

MNB

Game show

100 competitors attempt to complete a four-stage obstacle course

Shark Tank Mongolia S2

Sony Pictures Television

Mongolia

20 Jan 2019-31 Mongol TV Mar 2019

Reality – business

Aspiring entrepreneur-contestants pitch business ideas to a panel of “shark” investors

Spelling Star Mongolia S1/ S2

Endemol Shine Group

Mongolia

TBC

Ekh Oron TV, Univision, Look TV, DdishTV

Reality – talent

Family entertainment series

Still Standing Mongolia

NBCUniversal

Mongolia

TBC

TV9

Game show

10 opponents vie for a $1m prize

The Voice Mongolia S2

Talpa

Mongolia

12 Jan 2020-17 Mongol TV May 2020

Reality – music

Singing competition to find unsigned talent

Your Face Sounds Familiar Mongolia S4

Endemol Shine Group

Mongolia

5 May-7 Jul 2019

Education Channel TV

Reality

Celebrity contestants imitate musical icons

Dancing with the Stars Myanmar

BBC Studios

Myanmar

TBC

MRTV4

Dance contest

Celebrities are paired with professional ballroom dancers

Family Feud Myanmar S8

Fremantle

Myanmar

Ongoing

MRTV4/Chan- Game nel 7 Show

Contestants have to guess the top answers to a quiz based on surveys

It Girls Myanmar

Dori Media

Myanmar

Q4 2019

TBC

A show about four beautiful and enviable “It Girls”

Reality

contentasia issue seven, december 2019

sponsoredlistings

Talpa Global Familie de Mollaan 1 1217 ZB HILVERSUM The Netherlands T: +31 35 5333111 ATF 2019 Stand: D.18

Who’s who... Ingrid Akkerman Head of Licensing and Branded Concepts Mark van Achterberg Head of Global Productions Talpa is ready for the evolution of content. By activating the audience across multiple touch points, we create tailor-made business propositions. We enhance the viewers’ experience and extend our reach. We’ve got a diverse range of formats that all have a crucial thing in common: they’re all highquality formats we truly believe in.

contentasia issue seven, december 2019

5 Gold Rings

Home Alone

Genre: Game show

Genre: Factual entertainment

Episodes/Length: 8x45 mins

Thank You For The Music

Episodes/Length: 6x45 mins

5 Gold Rings is the iconic con-

Genre: Entertainment

In each episode of Home

Episodes/Length: 8x90 mins

Alone, several kids are chal-

In Thank You For The Music,

lenged to live on their own in

three celebrity duos go head-

a guest house for an entire

to-head in an epic musical

weekend while their parents

showdown. The famous con-

are just next door, watch-

testants play fun music games

ing and commenting on their

– and seven special audience

child’s every move. How will

members also play an impor-

these kids behave without their

tant part! Because whenever

parents?

a duo wins a game, they

nected game show in which every pixel counts. Contestants

answer

questions

placing gold rings onto an animated picture, displayed on a huge LED ﬂoor. The prize money per level gets higher... whereas the rings get smaller!

choose one of these seven audience

members,

purely

on the basis of their looks, to sing a song!

Posse Rabbit Findout outmore more at / rabbitformats.com Find at Rabbit’s Rabbit’sstand standJ23J23 / rabbitformats.com

formatsupdate

Title

Rights holder

MasterChef Myanmar S2

Endemol Shine Group

Myanmar Idol S4 Myanmar X Factor

Broadcaster

Genre

Synopsis

Myanmar

14 Jul-24 Nov 2019

MRTV 4, PYONE PLAY

Reality – cooking

The hunt for the nation’s best amateur cook whose talent and passion could transform their life

Fremantle

Myanmar

7 Sep 2019

Myanmar NaSinging tional TV and contest Channel 9

Fremantle/ Syco

Myanmar

TBC

Reality

Performers compete

Myanmar

23 Jun 2019

MRTV-4, CH 7

Reality

Talent show with no limits

The Money Drop Myanmar Endemol S3 Shine Group

Myanmar

7 Jan-27 Dec 2019

Channel 7

Game show

A pair of contestants are given their cash prize. All they have to do is keep hold of it

The Voice Myanmar S2/S3

Talpa

Myanmar

24 Feb-16 Jun 2019; 2020

MRTV4

Singing contest

Singing competition to find unsigned talent

Big Brother Philippines S8 (Pinoy Big Brother)

Endemol Shine Group

11 Nov 2018-4 Philippines Aug 2019

Myanmar’s Got Talent S6

Boom! Philippines S2 Boom! Philippines S3 Descendants of the Sun Philippines

Keshet International KBS/Descendants of the Sun SPC

Country

ABS-CBN Ch 2, Jeepney TV, Reality 30 provincial stations, TFC

24 Sep 2018-7 April 2019

GMA7

7 Apr 2019-11 Philippines Jul 2019

GMA7

Philippines

Philippines TBC

Contest to find the most outstanding unsigned solo recording artist

Strangers live together with cameras/microphones recording every move

Game show

Trivia challenge

Drama

Young soldiers and doctors try to find true life values and dreams of success in Uruk, a land with extreme environments struck by war and disease

Minute To Win It Philippines Endemol S4 Shine Group

7 Jan-20 Sep Philippines 2019

ABS-CBN Ch2, Jeepney TV, Game 30 provincial show stations, TFC

Complete a challenge in 60 seconds

Philippines Got Talent S7

Fremantle

Philippines TBC

ABS-CBN Channel 2

Reality – talent

Talent show with no age limit, no talent restrictions and no cultural boundaries

Philippines Idol S1/S2

Fremantle/ 19TV

Philippines

ABS-CBN

Singing contest

Contest to find the most outstanding unsigned solo recording artist

Rush 4 Win Philippines

TBS

Philippines 31 May 2019

GMA

Game show

Players must climb slippery stairs to the top and get the flag to win

The Voice Kids Philippines S4

Talpa

Philippines

The Voice Kids Philippines S5/S6

Kids version of singing competition, The Voice

Talpa

Philippines TBC

ABS-CBN

Singing contest

The Voice Teens 2

Talpa

Philippines 2020

ABS-CBN

Contest

Teens version of singing competition, The Voice

Philippines 12 Jan 2019

ABS-CBN

Reality

Expert dancers mentor top talent

AXN

Reality – talent

The talent show with no age limit, no talent restrictions and no cultural boundaries

Reality

Celebs have to complete missions in 60 hours

World Of Dance Philippines NBCUniversal

21 Apr-28 July 2019; TBC

1 Aug 2019-3 Nov 2019

ABS-CBN Channel 2

Asia's Got Talent S3

Fremantle

Regional

7 Feb 2019-11 Apr 2019

No Sleep No FOMO

The Story Lab

Regional

22 Mar 2019

Viu

The Bridge S2

Endemol Shine Group

Regional

Early 2020

Viu, HBO Asia, Drama HBO China

S2 of the Scandi noir drama, this time set on a yacht registered in Singapore drifting ashore in Johor

MasterChef Singapore (Specials)

Endemol Shine Group

Singapore

2 Nov 2019 - 9 Nov 2019

Channel 5

Reality

S1 MasterChef Alumni return as mentors in this 2 episode President Star's Charity special

Old Enough! Singapore

Nippon TV

Singapore

4 Jan 2019-25 Jan 2019

CNA

Reality

Old Enough! Singapore S2

Nippon TV

Singapore

9 Aug 2019

CNA

Reality

Stupid Man, Smart Phone Singapore

BBC Studios

Singapore

24 Apr 2019

Channel 5

Factual

A comedian attempts outdoor adventures using only his smartphone to survive

Rising Star Sri Lanka S2

Keshet Int’l

Sri Lanka

30 Nov 2019

Hiru Star

Contest

Viewers control the talent show’s narrative via app

The Voice S1

Talpa

Sri Lanka

TBC

Contest

Singing competition to find unsigned talent

The Voice Teens S1

Talpa

Sri Lanka

Feb 2020

TBC

Contest

Teens version of singing competition, The Voice 30 elementary school children run for 50 meters with their legs tied together

Little children going on "big adventures" – running errands on their own for the very first time

31 Legged Race Thailand S14

TV Asahi

Thailand

TBC

Adventure

5 Gold Rings Thailand

Talpa

Thailand

4 Feb-4 Mar ‘19 Channel 7

Game show

Tech and skill align in a pic-based quiz

Abandoned Thailand

Nippon TV

Thailand

8 May 2019-11 July 2019

Drama

A story set in a children’s home for girls abandoned by their parents

Catch Me Out Thailand

all3media

Thailand

TBC

Entainment

Contestants must convince audiences they are professionals

Divided Thailand

Talpa

Thailand

27 Jan-12 May 2019

Channel 3

Game show

3 strangers work together to build a collective amount of cash... then split it into unequal parts

Entertainment Tonight S2

CBS Studios

Thailand

Fall 2019

PPTV

Entertainment

An inside look at television, film and music

Thailand

23 Dec 2018

Channel One

Game show

Contestants answer questions based on surveys

Family Feud Thailand S4/S5 Fremantle

Line TV

contentasia issue seven, december 2019

with

NTENT ASIA

A week in the life of content in Asia. Highlights in 60 seconds max. New episodes are available on Saturdays at www.contentasia.tv and across social media

formatsupdate

Title

Rights holder

Country

Hollywood Game Night Thailand S4/S5

NBCUniversal

Thailand

Human Knowledge Thailand Talpa I Can See Your Voice S4

CJ ENM

Broadcaster

Genre

Synopsis

Q4 2018; S5 Channel 3 from 15 May ’19

Game show

Two contestants take part in a casual game night with celebrities and win cash prizes

Thailand

TBC

PPTV

Ent’ment

Studio entertainment show

Thailand

Ongoing

Workpoint TV

Reality

Studio-based music entertainment show

Workpoint TV

Reality – Extreme life makeover show about women changmakeover ing their looks to make life truly beautiful

GMM25

Reality – talent

Celebrities go head to head lip-syncing

Let Me In Thailand S4

CJ ENM

Thailand

21 Oct 2018-6 Jan 2019

Lip Sync Battle Thailand S2

Viacom

Thailand

5 May-28 Jul 2019

Mask Singer Line Thailand

MBC

Thailand

25 Oct 20118-7 Workpoint Mar 20119

Singing contest

Masked celebrity singing competition

Masterchef All Stars S1/ MasterChef Junior S3/ MasterChef S3

Endemol Shine Group

Thailand

Feb-May 2020; BBTV ChanSept ‘19; 3 nel 7 Feb-16 Jun ‘19

Reality – cooking

Competitive cooking reality shows

Price Is Right Thailand S5/S6 Fremantle

Thailand

Ongoing

True4U

Gam

Contestants compete for cash and prizes

Ranking Show 123 Thailand MBC

Thailand

3 Mar 2019

Workpoint

Ent’ment

Celebs figure out how contestants rank themselves

Real Housewives of Bangkok NBCUniversal

Thailand

Apr 2019

PPTV

Reality

A look into the city’s “real housewives”

Channel 7

Reality – business

Aspiring entrepreneurs pitch to “shark” investors, who then choose whether or not to invest

Amarin TV

Game show

10 opponents vie for $1m prize

Shark Tank Thailand S1

Sony Pictures

Thailand

3 Mar 2019-16 Jun 2019

Still Standing Thailand S7

NBCUniversal

Thailand

22 Apr 2019

Thailand

27 Oct 2018-27 Channel 3/TV Reality – Apr 2019; 11 Thunder dating May 2019

Take Me Out Thailand S14/ Fremantle S15

A single man dates one of 30 single women

The Best Of All Thailand S2

Dori Media Group

Thailand

8 Jun 2019

TV3

Game show

The Face Men Thailand S3

Endemol Shine Group

Thailand

Oct 2019-Dec 2019

Thairath TV

Reality – Supermodels choose new faces to create teams of modelling potential models

The Face Thailand S4

Endemol Shine Group

Thailand

23 Feb 2019-18 Ch3 May 2019

Reality – Supermodels choose new faces to create teams of modelling potential models

The Great Bake Off Thailand

Love Productions/BBC

Thailand

8 Jul-9 Sep 2019

PPTV

Reality – cooking

To find and crown the best amateur baker

The Money Drop Thailand S3

Endemol Shine Group

Thailand

4 Aug 2019-2 Aug 2020

Channel 7

Game show

Contestants are given their cash prize at the start of the show. All they have to do it keep hold of it

The Next Iron Chef Thailand

Fuji TV

Thailand

23 Jun 2019-28 Dec 2019

BBTV

Reality

A spin-off of Iron Chef Thailand

The Voice Kids Thailand S6/7 Talpa

Thailand

8 Apr-1 Jul ‘19, S7 TBC

PPTV HD 36

Singing contest

Kids version of singing competition, The Voice

The Voice Senior Thailand S1/S2

Talpa

Thailand

11 Mar 2019-1 Apr 2019/TBC

PPTV HD 36

Singing contest

Seniors version of singing competition, The Voice

The Voice Thailand S7

Talpa

Thailand

19 Nov 2018-4 Mar 2019

PPTV HD 36

Singing contest

Singing competition to find currently unsigned singing talent

The Wall Thailand S1

Endemol Shine Group

Thailand

6 Oct 2018-Jan One 31 HD 2020

Game show

A wildly unpredictable, fast and simple game show with huge cash sums on the line

Top Chef Just Desserts Thailand S1

NBCUniversal

Thailand

TBC

One31

Reality – cooking

Chefs compete against each other in culinary challenges, desserts version

Top Chef Thailand S3

NBCUniversal

Thailand

Nov 2019

One31

Reality

Chefs compete in culinary challenges

Tunnel Thailand

CJ ENM

Thailand

Nov 2019

TRUE4U

Drama

A detective combs past & present to save his daughter

Voice Thailand

CJ ENM

Thailand

Nov 2019

TRUE4U

Drama

A cop with special hearing abilities solves crimes

Thailand

TBC

GMM One HD Reality

World of Dance Thailand S2 NBCUniversal

Will a crowd answer a question correctly more often than an individual?

Expert dancers guide talent

Your Face Sounds Familiar Thailand S4

Endemol Shine Group

Thailand

10 Nov 2018-26 BBTV ChanJan 2019 nel 7

5 Gold Rings Vietnam

Talpa

Vietnam

1 Dec 2018-9 Mar 2019

VTV3

Tech and skill align in a pic-based quiz

Boom! Vietnam

Keshet International

Vietnam

3 Mar 2019-26 Aug 2019

VTV

Drama, thrill and intensity fuse in one explosive trivia challenge

Ching Roi Ching Lan Vietnam

Workpoint Group

Vietnam

15 Sep 2019

HTV7

Crazy Market Vietnam

CJ ENM

Vietnam

Ongoing

VTV3

Crush Vietnam

NBCUniversal

Vietnam

TBC

Strangers work together to build a cash stage. And then have to split the winnings into unequal parts

Reality

Game show

Celebrity contestants imitate musical icons

Participants are the hosts, the comedy actors and celebrity guests in this four-section game show Contestants identify food using 5 senses Teams compete for the jackpot cash prize

Divided Vietnam S1/S2

Talpa

Vietnam

14 Jul 2019-6 TN&K Jan 2020; 2020

Drive Me Home Vietnam

Workpoint

Vietnam

25 Oct 2019

HTV2

Contestants answer 1 question to win a new car

Face the clock Vietnam

all3media

Vietnam

19 Mar 2019

HTV7

Players have to beat the clock – or be eliminated

Hole in The Wall Vietnam

Fremantle

Vietnam

10 Oct 2019

VTV3

Immortal Songs – Singing the Legend Vietnam

KBS

Vietnam

TBC

Players contort to fit through cutouts in a wall Singing contest

Legendary songs are reinterpreted and performed by K-pop idols and artists

contentasia issue seven, december 2019

summit the C

NTENT ASIA

ContentAsia Summit 2020 26-27 August 2020 Thailand

For more information, please contact CJ @ cj@contentasia.tv www.contentasiasummit.com contentasia

formatsupdate

Title

Rights holder

Country

Broadcaster

Genre

Synopsis

VTV3

Reality – music

Non-musical celebrities are coached by professional singers to form the ultimate duo

It Takes 2 Vietnam S3

Talpa

Vietnam

20 Apr 2019-6 Jul 2019

Lies Allowed

Talpa

Vietnam

Nov 2019

HTV7

Game show

A knowledge-based gameshow to show problems from two perspectives

Lightning Quiz Vietnam

Workpoint Group

Vietnam

7 Apr 2018, ongoing

HTV7

Game show

Strapped onto a rollercoaster seat, contestants must answer tricky questions at lightning speed

Little Lightning Vietnam

Workpoint Group

Vietnam

5 Aug 2018, ongoing

HTV2

Game show

Kids version of the quiz show, Lightning Quiz

Live or Die Vietnam

KBS

Vietnam

TBC

Drama

A man devotes his whole life to his trouble making brothers and sisters

Man O Man Vietnam S2

Fremantle

Vietnam

28 Feb 2019

VTV3

Game show

A male beauty show with humour, entertainment and audience engagement

Master Class Vietnam

Keshet International

Vietnam

Q1 2019

HTV3

Reality

Kids talent show with no eliminations and only positive reviews

Masters Of Dance Vietnam

Keshet International

Vietnam

TBC

HTV3

Reality – dance

Four professional dance masters put everything on the line in a high-stakes studio-based competition

Million Dollar Minute Vietnam S4

Endemol Shine Group

Vietnam

29 Jul 2018-28 July 2019

VTV6 & VTV9

Million Dollar Minute Vietnam S5

Endemol Shine Group

Vietnam

4 Aug 2019-2 Aug 2020

VTV3

My Mum Cooks Better Than Yours Vietnam S4

Fremantle

Vietnam

Ongoing

VTV3

My One and Only Vietnam KBS

Vietnam

TBC

Next Boy/Girl Band Vietnam, The

Talpa

Vietnam

Q3/4 2019

VTV3

Odd One In Vietnam S6

Endemol Shine Group

Vietnam

TBC

HTV7, GIAI TRI Game TV and HN1 show

Price Is Right Vietnam S14

Fremantle

Vietnam

26 Jun 2014, ongoing

VTV3

Rebirth Vietnam

KBS

Vietnam

TBC

Sasuke Vietnam S5

TBS

Vietnam

22 Jul 2019

Sexy Beasts Vietnam

all3media

Vietnam

TBC

Shark Tank S3 Vietnam

Sony Pictures Television

Vietnam

24 July 2019

Singer Auction Vietnam

NBCUniversal

Vietnam

Jul 2019

Still Standing Vietnam S2

NBCUniversal

Vietnam

TBC

Vietnam

14 Jul 2019-20 Oct 2019

Vietnam

Thank God You're Here Vietnam S6

Fremantle

The Band Rules Vietnam S3 The Brain Vietnam

Endemol Shine Group

The Face Vietnam S4

Game show

Three contestants go head-to-head over four rounds in a general knowledge battle

Reality – cooking

A fast-paced culinary game show that combines cooking, competition and family dynamics

Drama

Korean family drama about a reunion of a dad and his daughter after 28 years

Reality – talent

Two top record labels will take each other on to create the next boy/girl band Family guessing game show with celebrity teams trying to spot the odd person out

Game show

Contestants compete to win cash and prizes by guessing the price of merchandise

Drama

A detective takes revenge for his brother’s death

Game show

100 competitors attempt to complete a four-stage obstacle course

Reality

Hollywood style prosthetics are used to transform people before they go on a first date

VTV

Reality – business

Aspiring entrepreneurs pitch to a panel of “shark” investors, who then choose whether or not to invest

VTV3

Contest

Vocalists showcase their talent for cash prizes

Game

10 opponents vie for $1m prize

VTV3

Game show

A comedic, improv gameshow

23 Mar 2019-8 Jun 2019

Vinh Long TV

Reality – talent

The search of a lead singer for a professional big band

Vietnam

TBC

HTV2, VTVCab1

Game show

Ordinary people use their extraordinary skills to win a grand prize

Vietnam

TBC

Reality – Supermodels choose new faces to create teams of modelling potential models

VTV3

The Voice Kids Vietnam S7

Talpa

Vietnam

20 Jul 2019-16 Oct 2019

VTV3

The Voice Kids Vietnam S8

Talpa

Vietnam

TBC

VTV3

The Voice Vietnam S6

Talpa

Vietnam

14 Apr 2019-21 VTV3 Jul 2019

The Voice Vietnam S7

Talpa

Vietnam

TBC

VTV3

Singing contest

Kids version of singing competition, The Voice

Singing contest

Singing competition to find currently unsigned singing talent

VTV3

Game show

Two players must work together to tackle the mammoth four-storey-high wall to win huge cash prizes

The Wall Vietnam

ESG, NBC

Vietnam

18 Jul 2019-3 Oct 2019

The Wishing Tree Vietnam

Talpa

Vietnam

7 Dec 2018-22 Feb 2019

HTV3-DreamsTV

Factual

Feel-good format where children hang their wishes for someone else in a tree and see them fulfilled

Top Chef Vietnam S2

NBCUniversal

Vietnam

3 Sep 2019

HTV7

Reality

Chefs compete

Vietnam Idol S1

Fremantle

Vietnam

TBC

VIVA

Contest

Search for an unsigned solo recording artist

Vietnam's Got Talent S1

Fremantle

Vietnam

TBC

VIVA

Reality – talent

The talent show with no age limit, no talent restrictions and no cultural boundaries.

Who Is the Real Celebrity Vietnam

NBCUniversal

Vietnam

Apr-19

VTV3

Entertainment

Celebrities going through challenges using only their sense of taste, hearing and feeling.

Who Wants to be a Millionaire S1

Sony Pictures Television

Vietnam

TBC

VTV

Game show

Contestants answer multiple-choice questions to win up to $1 million cash

You Deserve It Vietnam S7

Red Arrow Studios Int’l

Vietnam

Continued after S6

VTV

Game show

Feel good game show with prizes for deserving individuals or families

Your Face Sounds Familiar Vietnam S7

Endemol Shine Group

Vietnam

TBC

VTV3

Reality

Celebrity contestants imitate musical icons

contentasia issue seven, december 2019

30 March â&#x20AC;&#x201C; 2 April Cannes, France

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inquotes

Who said what at APOS Tech 2019 Video tech, gaming and e-sports, advertising and the battle around digital bundles and services, new partnerships and telco’s role in the digital ecosystem, and security took centre stage at APOS Tech in Bali in November. Against a backdrop of an “arms race” around digital products and services, organisers Media Partners Asia (MPA) said the foundation was being laid for new entertainment ecosystems.

For every OTT (Tata Sky Binge) subscriber we add per day, there are seven to eight new pay-TV subscribers coming on board. Big screen and free bandwidth will always win. Similar to pay-TV, we have to subsidise the entry of OTT by US$40 with the aim to recover the cost over two years and make incremental money for the subsequent three years. That’s the lifetime of our subscribers (five to six years).” Harit Nagpal, Managing Direcor and Chief Executive, Tata Sky India

“With every IPL [Indian Premier League], our CCUs [concurrent users] have doubled. We are ready again for next year, to move upward and onwards from 25 million CCUs this year.”

If 5G is going to be successful, we have to build the environment into which new people can come and do amazing stuff we never dreamed of. If that doesn’t happen, 5G won’t mean anything.” David Goldstein, Chief Executive Officer, AP Towers

“Huge innovation is needed to leverage the capabilities of 5G for the benefit and entertainment of the viewer.” David Goldstein, Chief Executive Officer, AP Towers

Power has shifted to consumers in terms of their behaviours, their expectations and their adoption of technology. That is influencing and driving change in terms of how media companies think about what content to create and what platforms to invest in... The reality is that moving to a cloud requires not just the media companies alone making that choice. There is an entire ecosystem… Hyper-scale cloud providers like us have to help facilitate the formation of the ecosystem.”

Our challenge is to translate what the CTO sees versus what the CFO sees. This has been going on for years… The challenge is that you have an existing set of consumers and existing traditional distribution business that you have to continue to operate even though you see where the future is headed. And so you have to co-exist in both worlds. Fundamentally, it affects the profitability of that business. As far as solutions, we have to work to help translate the benefits of making those technology investments, transitions. Then the timelines have to change. If you are looking for a payback within a couple of years, you are unlikely to see the type of profits that you want to see. Some organisations have taken the lead because they have the resources. They’ve also done it because, like Bob Iger, they say ‘if someone is going to eat our digital lunch, it might as well be ourselves’. Others have said there is an existential threat to our business. If we don’t do this, forget about the online, it’s a question of continued existence.”

Anil Jain, Global Managing Director, Media & Entertainment, Google Cloud

Akash Saxena, SVP, Head of Technology, Hotstar

contentasia issue seven, december 2019

Digital advertising is like alphabet soup – CPM, CPC, CPA, AMP, etc. But it’s really about sales. What we are able to do is show an advert and physically move that person to the point of sale. They transact using GrabPay or a 4-digit PIN and we know that the transaction has been closed based on the advert that we served – that’s what we call closed loop marketing. That’s really important because 97% of retail in Southeast Asia is physical, old-fashioned retail.” Ken Mandel, Regional Head, Advertising & Brand Insights, Grab

More partnerships, more launches across Southeast Asia in 2020.” Wenfeng Liu, Chief Technology Officer, iQiyi

“People are looking at gaming as the most beautiful girl in town.”

Everyone in this room should be thinking about novel content and audience experiences. It’s not just about pressing play and having a video play for you.” Anil Jain, Global Managing Director, Media & Entertainment, Google Cloud

“Singtel has 200 million gamers a day across all its markets. You cannot ignore gaming as a lifestyle today.” Benjamin Pommeraud, Senior Advisor, Singtel International

Brands do not understand the power of gaming.”

DH Shon, Director of Business Development, Twitch Asia Pacific

Aditya Aima, Vice President Southeast Asia, Pokkt

Southeast Asia has been very underserved.”

[Subscription] platforms might not realise they have a problem with credital sharing. You only find it when you go looking for it. My job is to go looking for it.”

DH Shon, Director of Business Development, Twitch Asia Pacific

“Every provider of infrastructure, capabilities and services is rethinking the role they play. The challenge is that it’s hard to compete, with the scale required… The journey to cloud is inevitable but… it’s the journey to multi-cloud. Organisations are going to rely on a combination of private and public clouds and multiple clouds. That is the smart and logical choice.”

Chris Le Maitre, Director Security Operations, Synamedia

Anil Jain, Global Managing Director, Media & Entertainment, Google Cloud

platforms5G

Fast & furious

tent by end 2019, with the focus on K-pop dance,

what the benefits of 5G will be for the video/

training and sports.

content entertainment industry. Lurking

Baseball games have been another

on the edges of the unknown is a mix of

driver in Korea. Telcos are offering ev-

doubt that there will be any benefit at

erything from panoramic views of the

all for regular TV/streaming video and

stadium in ultra-high definition, allow-

deep fear of missing out on a trans-

ing users to expand whatever area

formative technology.

of the field they want to without

Video entertainment as we know

quality degradation. Another func-

it today is not a priority in justify-

tion is motion tracking, which gives

ing the massive costs of 5G. Tech

users unprecedented access to the

people tell us that 5G networks are

sports action.

way too expensive to build merely to

So that’s Korea, way ahead with

deliver more of the same entertain-

its fast and furious push into the future. China is not far behind, fast-tracking its

ment that’s going out now... just faster. The feeling is that, if video delivery is all

5G consumer debut as Huawei’s battle

you’re thinking about, 4G is just fine.

to command a share of the global 5G

Zoom out to the big picture. 5G is an in-

network market rages. In November, state-

tegral part of smart-city/country ambitions, delivering the future built around the Internet of Things (IoT). You know, that life where cars are driverless and when

owned telcos – China Mobile, China Unicom and China Telecom – rolled out commercial services in about 50 cities.

your fridge knows you’re running out milk before you do and tells Amazon,

Using Huawei technology, the Philippines’ Globe Telecom was the first

which delivers it to your door as you get home. Or the wearables that

Southeast Asian country to roll out 5G services, going live with a com-

promise everything from saving lives to extending attention spans. Or the

mercial fixed wireless service in mid-2019.

AI waiters...

Japan is almost there. Earlier this year, four Japanese telcos – NTT Do-

We have no doubt that video will be a part of the 5G future, and hope-

CoMo, KDDI, Softbank and Rakuten – committed to investing almost

fully it won’t be confined to instructional videos that tell you how to con-

US$15 billion in 5G networks by 2024. NTT DoCoMo, which has made a

nect and activate all the pieces of your digital support system.

US$7-billion investment promise, has been testing 5G services since Sep-

Korea already has a taste of the crazy-fat pipe promise of 5G. In June

tember and plans to launch commercial services across Japan in mid-

2018, the country was the first in the world to assign 5G spectrum; three

2020. The three others also plan to have services up and running in 2020.

mobile telcos – KT , SKT and LGU+ – paid a combined KRW3.6 trillion/

Hong Kong, Singapore, Taiwan, Thailand and Malaysia have also

US$3.3 billion for spectrum. In April 2019, Korea turned on commercial

planned great leaps forward in 2020. Hong Kong has already awarded 5G

mobile 5G services with 5G smartphones in urban areas, offering, among

spectrum to four operators – China Mobile HK, HKT, SmarTone, and Hutchi-

other services, “immersive media” and cloud/VR games, and eyeing na-

son. Taiwan, with heavy government backing, starts rolling out commer-

tionwide coverage in the next two to three years. By the end of June,

cial services in 2020. Singapore will have two nationwide 5G networks and

1.65 million people had signed up. According to GSMA Intelligence,

possibly two smaller networks; the government, eschewing an auction,

other markets that have already deployed 5G (like the U.S., the U.K. and

has asked Singapore’s four telcos – Singtel, StarHub, M1, TPG Telecom – to

Australia) have been left eating Korea’s dust.

submit their proposals by 21 January 2020. The full-coverage target is the

Making the telcos incredibly happy, Korea’s 5G users have ramped up

end of 2022. Thailand opens its 5G spectrum auction in Feb 2020. Mean-

their data consumption in a major way, doubling the data they used on

while, in India, an argument is raging over what telcos say are the govern-

4G networks to more than 18GB a month.

ment’s outrageous spectrum demands. Indonesia would love and will get

Samsung says one of the drivers of the stellar take up has been “a

5G eventually, but discussions haven’t yet translated into a timetable.

large amount of content and value-added services”, bundled to attract

2020 is clearly going to be an interesting year. The unknown is what

early adopters. “Most of these new services relate to video, games and

the video entertainment industry will come up with to add value. As AP

social applications in new formats, especially VR and AR,” Samsung said

Towers CEO, David Goldstein, says: “If 5G going to be successful, we

in a 5G case study. Samsung’s white paper quotes LGU+ as saying that

have to build the environment into which new people can come and

new services featuring AR and VR functions account for 20% of 5G traffic,

do amazing stuff we never dreamed of. If that doesn’t happen, 5G

compared with 5% for 4G. As a result, LGU+ plans to double its AR con-

won’t mean anything.”

contentasia issue seven, december 2019

14th BCM2020 May 6-9, 2020 Exhibition Center 2, Bexco Convention Center, Busan All new BCM 2020 BCM Market 5.6 (Wed)~5.8 (Fri) 09:00~18:00 Online registration Pre-registration: Jan 13-Feb 29, 2020 Regular Registration: March 1-May 1, 2020 Contact: Ms Jungwon Lee International Marketing Director Tel: +82-2-786-4701 E-Mail: market@ibcm.tv Host & Organised by BCM Busan Contents Market 2019 Supported by Ministry of Culture, Sports and Tourism Busan Metropolitan City Korea Tourism Organization Busan Contents Market Organizing Committee

innumbers

Who’s counting The industry by numbers in the last few weeks of 2019...

4.99%

78.8% ... the increase in PCCW-owned streaming platform Viu’s monthly active users in the first half of

... the stake Netflix could take in CJ ENM’s

this year compared to last year. Just over 72% of the 36.3 million MAUs in the first half of this year

Korean production house, the listed Studio

are in Southeast Asia and Hong Kong. In an investor presentation in November, the company said

Dragon, as part of the upsized three-year

video views were up almost 142% to 2.9 billion in the first half of this year over the same period last

“strategic partnership” the two companies announed in November. The new deal, which includes genuine originals (as opposed to expensive licensing deals marketed as “originals”), was negotiated against a backdrop

year. 84% of the views are in Southeast Asia and Hong Kong, 11% are in India and 5% in the Middle East. In Hong Kong, meanwhile, PCCW’s pay-TV broadcast platform Now TV upped households to 1.34 million in the first half of this year to reach 50% penetration. The group’s total video streaming revenue increased to US$57 million in the first half 2019, up from US$51 million in 2018. Video’s contribution to total revenues rose 24% in the first half of this year compared to the first

of Studio Dragon’s ambitions to be-

half of 2018.

come a global studio, the com-

32,000

pany’s tanking stock price, as well as seismic changes in the media industry expected in 2020 because of stream-

... the number of subscribers Singapore telco Singtel added to its OTT

ing competition. The emerging wars will

services Cast and Go over the three months to end September, bring-

lead to “more bar-

ing its subs base for the two services to 162,000. Pay-TV subs recovered to Sept 2018 levels of 383,000 and Singtel highlighted a second con-

gaining power for

secutive quarter of pay-TV subscriber growth. Over the road, rival Star-

content producers,” said Mirae Asset Dae-

Hub continues to bleed pay-TV subs, reporting another 27,000 customers

woo analyst Jeong-yeob

out the door over the three months to end September. This brings StarHub’s

Park in a November report

Arthdal Chronicles, Netflix

just before the Netflix-Studio

pay-TV base to 347,000, down from 374,000 in Q2 and 394,000 in Q1.

Dragon arrangement was an-

US$4.1 billion

nounced. The new production and distribution relationship involves 21+ titles, Netflix and Studio Dragon said in the announcement that the partnership “underscores commitment to production and global distribution”.

Video gaming consumer spend in Southeast Asia in 2018 was US$4.1 billion, Pay-TV and OTT combined was US$3.6 billion. In the same presentation at APOS Tech in Bali at the end of November, Media Partners Asia (MPA) vice president, Aravind Venugopal, dispelled

Snap Inc’s India biz is growing 40% year on year,

40%

driven by product market fit, including an

sumption was biggest among 25-34 year olds, with an almost even gender

Android relaunch and localisation, community

split across markets. He said another myth was that millennial consumers

initiatives, partnerships and in-market teams,

would not pay for entertainment. “They prioritise gaming over video,” he

Snap’s MD for int’l markets, Nana Murugesan, said during MPA’s Apos Tech event. The next step is hiring a Southeast Asia market development head, focusing on Indonesia and Malaysia, among other markets, and doubling down on Gen

Z and millennial audiences. This follows the addition in August of Durgesh Kaushik as market development head for India.

the myth that gamers were predominantly young and male, and said con-

said. In Singapore, the breakdown of consumers’ five hours and 14 minutes a day of smartphone usage is led by social networking at 15.8%, communications and gaming, both at 13.8%, browser/search at 12.9% and video streaming at 11.4%. Of the four hours and 10 minutes spent a week on video streaming in Singapore, the top services are YouTube, Netflix, Mediacorp’s Toggle and Viu.

contentasia issue seven, december 2019

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