https://www.payloadasia.com
https://tva.onscreenasia.com
https://asiafoodjournal.com
For advertising opportunities, please contact:
Simon Lee
Sales Director, HK & International (+852) 9437 2779 sales@harvest-info.com
Chua Chew Huat
Sales Director, Asia Pacific (+65) 9863 7382 sales-sg@harvest-info.com
Harvest Information Pte. Ltd. 531 Upper Cross Street,#04-16, Singapore 050531
Dear Reader,
Welcome to the Jan-Feb 2025 issue of Television Asia Plus!
And just like that a new year has begun and 2025 is sure to bring a slew of trends, topics, and content that will shake-up the industry. For this issue, we have partnered with BB Media to inform our analysis with their exclusive insights to what 2025 has to bring and how streaming continues to dominate and shape overall TV and production trends. We also have a look at 2024 at a glimpse to give you a recap of what was the biggest takeaways of last year as well as what will be carrying over to 2025.
On this issue’s cover story, we take a look at 2024 Media and Entertainment Recap: A Year of Streaming Surprises and Innovations. So much of what we will see this year was informed by what 2024 did well.
For our first feature story, we have a piece about the Streaming Adaptations Trends Shaping the Industry. If you’re interested to see what the market will look this year and what trends are going to shape the content landscape in the next few years, we have some great insights for you.
And our final feature story in relation to the other feature is the The Dynamic Balance Between Scripted and Unscripted Stories. While scripted content remains king, the unfiltered and unscripted content landscape continues to offer new stories and angles viewers constantly seek out.
Mathew Chan Editor
EDITORIAL/PUBLISHER
KEEN WHYE LEE Publisher publisher@harvest-info.com
MATHEW CHAN Editor editor-tva@harvest-info.com
OPERATIONS
MARI VERGARA Head of Operations manager-ph@harvest-info.com
SALES
SIMON LEE USA/Europe/Middle East/ Hong Kong/China sales@harvest-info.com
CHUA CHEW HUAT Asia Pacific sales-sg@harvest-info.com
MARKETING
LALI SINGSON mktg@harvest-info.com
TECHNICAL SUPPORT
MICHAEL MAGSALIN tech@harvest-info.com
Television Asia Plus is published by Harvest Information Pte. Ltd. 531 Upper Cross Street, #0416, Singapore 050531
facebook-f TVAPlusMag twitter TVAsiaPLus linkedin-in television-asia-plus
Leading independent distributor All3Media International has announced a new round of adaptations for IDTV’s global format phenomenon The Traitors.
The Traitors will travel to Africa for the first time with Primedia Studios, media giant Primedia’s television content and distribution hub. Primedia Studios has acquired the rights to create a local version of the show for African audiences.
Additionally, All3Media International has revealed a Romanian version
has been commissioned by Pro TV. These new adaptations join the recently announced versions in Italy and Spain. A new celebrity series will be available exclusively on Prime Video in 2025 in Italy, produced by Fremantle Italia for Amazon MGM Studios, and Atresmedia TV in collaboration with Gestmusic (Banijay Iberia) has commissioned a Spanish version featuring civilian contestants.
The Traitors (Dutch title: De Verraders) was created and developed by Marc Pos and IDTV Creative Director Jasper
Hoogendoorn in cooperation with RTL Creative Unit.
Since its launch in the Netherlands on RTL 4 in 2021, the format has proved its international appeal with over 25 adaptations and numerous returning seasons. Hit international adaptations of the format include the Emmy winning US version for NBC Universal’s streaming service Peacock and BBC One’s BAFTA winning version in the UK, which drew in 8 million viewers for the season 2 finale. The US versions will return for a third season and UK version has been commissioned for a fourth season and celebrity version.
A multi-award-winning ratings hit, The Traitors was recently named as K7’s format of the year in 2024 and the format was awarded C21’s International Format Award for Best Host of a Television Format. Previously the Dutch version “De Verraders” received the Rose d’Or award “Golden Rose” for best Reality and Factual Entertainment.
The highly anticipated prequel to the hit TV5 show “Niña and Niño,” titled “Ang Himala Ni Niño,” will premiere on TV5. After captivating audiences with the story of beloved siblings Niña and Niño, this new series will take viewers back to Niño’s past, as he recalls his first encounters with miracles in the quaint rural town of Bukang Liwayway. The story follows Niño and his mother Gloria as they begin a new chapter of their lives in this special place that plays a significant role in shaping Niño’s character and future.
“Ang Himala ni Niño” features an exceptional cast, with Zion Cruz portraying the young Niño. The show boasts two of the industry’s
finest actors: Freddie Webb as Lolo Mars and K Brosas as Ate Gege.
Freddie Webb, a legendary figure in Philippine television, is celebrated for his versatility and his portrayal of complex characters. With a career spanning decades, Webb has become a beloved icon through memorable roles in hit shows such as “Chicks to Chicks,” “Home Along Da Riles,” and the recently concluded series “Can’t Buy Me Love.” His return in “Ang Himala Ni Niño” as Lolo Mars brings a heartwarming and wise presence to the show, reinforcing his legacy as a master of his craft.
Adding to the stellar cast is K Brosas, a multi-talented comedienne, singer, and actress with a charismatic
presence. Known for her comedic prowess in shows like “Sing Galing,” “Tropang LOL,” and “Talentadong Pinoy,” Brosas now flexes her dramatic muscles in “Ang Himala Ni Niño.” As Ate Gege, she brings depth, warmth, and a maternal touch to the story, showcasing her versatility as an actress.
TV Asahi and SONY Pictures Networks India (SPNI) have announced a collaboration to produce a new sequel to the cult kids’ animation series Obocchamakun (26 x 22’ or 52 x 11’ ).
Based on the hugely popular 1986 manga written and created by Yoshinori Kobayashi, Obocchama-
kun became a cultural phenomenon in Japan sparking a major boom when it first aired in 1989. Now, 30 years later the series is experiencing a resurgence in popularity in India. With this renewed interest a collaboration between the two companies to co-produce a new sequel evolved. The project will see the stories and character design created in Japan and the animation produced in India, bringing together the creative strengths of both countries to revive a classic series for a new generation.
The new anime adaptation will feature 26 brand new episodes continuing the adventures of the original series produced by TV Asahi. Targeted at 6 to 11 years olds the 2D comedy series follows the hilarious adventures of Chama, a “crazy rich” boy with
his outrageous school and family life. With one of the world’s largest fortunes and a mansion so vast that one could get lost in without a guide, the Obo family is incredibly wealthy. It is said that the head of the family can influence global affairs with just a word. This is the splendid and tumultuous daily drama of their only son and the 999th head of the family – Chama, also known as Obocchama-kun.
SPNI’s Ronojoy Chakraborty said, “Obocchama-kun’s success in India reflects the power of its playful charm and relatable storytelling. As an IndoJapanese co-production, it has struck a chord with kids, fostering a strong emotional connection. Bringing this series to MIPCOM allows us to showcase its global potential, offering a fresh opportunity to captivate international audiences and grow its fan community worldwide.”
Gaumont has announced the first sales of its comedy-action-fantasy series, Samurai Rabbit: The Usagi Chronicles (20 x 22’), to free TV channels ZDF/KiKA in Germany and MTVA in Hungary. This Netflix original series, produced in CGI animation and aimed at children aged 8 to 12, is based on the popular comic book Usagi Yojimbo by awardwinning author Stan Sakai. The adaptation follows the adventures of Yuichi Usagi, a descendant of the great warrior Miyamoto Usagi, on his quest to become the world’s greatest samurai. Throughout this epic journey, Usagi will meet new friends, defeat numerous enemies, and, with lots of comedy, learn to master his powers!
Gilbert (52 x 11’), a comedy series for kids aged 5 to 9, currently in development, and based on the book series by Alex Willan; and Tiny Head (52 x 11’), a comedy series for kids aged 6 to 10 currently in preproduction. Tiny Head follows the friendly adventures of three citydwelling pets who find themselves back in the wild after accidentally
being ejected from their family’s trailer. Together, they face hilarious and unpredictable situations as they try to adapt to their new environment! The series is commissioned by France Télévisions and Rai Kids and has been pre-acquired by TV5Monde. International distribution will be managed by Studio 100, and the series is ready for pre-sales.
In recent years, Turkish productions have gradually expanded beyond Turkish borders, establishing their presence on screens worldwide BB Media has analyzed how Turkish content travels across the globe, unveiling insights about the growing demand for these captivating Turkish narratives.
How accessible is Turkish content worldwide? Turkish titles are most accessible in the EMEA region, particularly in Germany which stands out with a total of 711 contents available. The U.S follows closely behind with 564 available contents in total, making UCAN the second region with the most content availability.
Among Turkish platforms, Puhutv currently leads with the largest selection of Turkish content, with 93% of its total catalog consisting of series and movies produced in Turkey. Launched last year, Tabii, the global streaming service owned by TRT (The Turkish Radio and Television
Corporation), holds the second spot in Turkish content offerings, with Gain quickly following behind. Among the three platforms, Gain leads in terms of original content. It is the only streaming service with a balanced catalog, offering 52% original and 48% non-original titles. In contrast, Tabii offers exclusively non-original content, and Puhutv’s catalog
includes just 3% original content. When it comes to the genre offerings of Turkish productions, a clear pattern emerges across the leading platforms. Comedy and Drama dominate as the top two genres on all three platforms. Romance also ranks highly, making it into the top 3 genres in both Puhutv and Tabii’s catalogs, and into the top 5 in Gain’s offerings.
“Silicon Delta – The Story of Vietnam’s Tech Revolution,” the latest documentary on Vietnam and its leading tech corporation, FPT, premieres today on Discovery Channel and is available in 10 languages, including English, Japanese, German, Chinese, Korean, and so on.
The half-hour documentary traces Vietnam’s emergence to become Southeast Asia’s fastestgrowing digital economy. It offers a chronological view of Vietnam’s evolution, current achievements, and positive future outlook, with the potential to become a global workforce powerhouse.
Homegrown, FPT is listed among Asia’s Top 50 IT Services Companies, and the company’s journey into the global arena to a multibillion-dollar corporation today mirrors Vietnam’s technological and socioeconomic developments. The documentary showcases FPT’s international expansion from its early days to establishing its first international presence, and how FPT continually innovates to meet challenges ahead
FPT Software Chairwoman Chu Thi Thanh Ha said, “This documentary captures the collective commitment and relentless efforts of many FPT generations who dared to dream big and act boldly. 25 years ago, we made a proud decision to ‘Go global
or die,’ a bold move crucial for our fate and a game-changer for Vietnam at that time. Today, this daring spirit remains embedded in the DNA of every FPT member and will continue to be passed on to future generations as we venture into new frontiers in technology and innovation.”
The documentary is now available on Discovery Channel in Southeast Asia, Japan, and Germany.
Seven.One Studios International has extended its partnership with 9Network Australia, the home of hit ratings phenomenon Married at First Sight Australia. 9Network has acquired every season of every English-language version of Married at First Sight – including productions from the US, UK, New Zealand and South Africa. The broadcaster has also committed to acquiring all further English-speaking seasons produced. Following the acquisition, a Married at First Sight FAST channel has launched on 9Now.
The deal follows Married at First Sight Australia‘s continued domination of Australian primetime ratings: season 11, which aired earlier this year, drew a huge average audience of over 2 million Total TV viewers. The entire
series reached 14.2 million people across total TV – representing a 4% year-on-year increase on total TV, a 1.5% year-on-year increase on broadcast TV, and a 9.6% year-onyear increase on BVOD compared with season 10. In the crucial demographic of 25-54, the series
recorded a Total TV National Average Audience of 1.003 million viewers per episode, representing year-on-year growth of 4.3%. On BVOD, the 25-54 audience was up 11% year-on-year.
Seven.One Studios International is continuing to expand the global footprint of Married at First Sight. Tape sales of local versions top 130 countries, with current commissions of the dating phenomenon numbering over 30 – across five continents.
Created and produced by Snowman Productions – a Seven.One Studios company – for Denmark’s DR, Married at First Sight has become the world’s most watched relationship show and one of the most talked-about and highestrating formats of the decade.
Emmy Award-winning French animation production and distribution company Dandelooo has finalized a deal for the preschool series Pol The Pirate Mouse (13 x 7’)
The deal with Dutch production company Submarine gives Dandelooo exclusive worldwide distribution rights to the 3D animation targeted at 3- to 6-year-
olds. Available as a 13 x 7-minute series and a 25-minute TV special with a full new story, Pol The Pirate Mouse is currently in production and set for delivery in the second quarter of 2025. First launched as a children’s picture book in 2019 written by Tingue Dongelmans and illustrated by Denise van Leeuwen, Pol The Pirate Mouse tells the story of how Pol came from being a city mouse to living in
the forest, the greatest adventure playground known to man or mouse! It’s the perfect environment to let your imagination run wild, all under the guise of being a pirate.
Commenting on the distribution deal, Emmanuèle Pétry, Producer & Head of International at Dandelooo, said, “We love Submarine’s shows and are thrilled and honored to be the worldwide distributor for this beautiful CGI series which portrays the bright side of quirky and imperfect characters to children in a fun and colorful way.” Submarine Producers Bruno Felix and Janneke van de Kerkhof added, “At Submarine we love creating great stories and for every project we always search for the most interesting and captivating look. We believe Dandelooo shares this esthetic DNA, and we are confident that this partnership will help introduce Pol to kids around the world”.
yes Studios’ award-winning comedy series Bloody Murray to be adapted by Cavea+ in Georgia
yes Studios’ Bloody Murray, winner of Best Comedy at Series Mania in 2022, is to be adapted by Cavea+, the first legal streaming platform in Georgia. The deal is the first for yes Studios in the territory, and it will also be the first-ever scripted adaptation of an Israeli series in Georgia.
Bloody Murray is a brilliant comedy that focuses on the relationship between best friends and roommates Murray and Dana and their daily struggles as single, thirty-something women.
Cavea+, part of the Cavea Cinema chain company, is Georgia’s first
legal streaming platform, bridging the gap between traditional cinema and digital streaming. It offers a diverse array of entertainment options, and in addition to its extensive library of both local and international content, it is committed to producing and showcasing original Georgian-language films and series, thus giving a platform to local talent and storytelling.
This new deal with Cavea+ represents the first for the Bloody Murray format, although the original 9 x 25’ series has been acquired by CBC in Canada and Arte in France/ Germany. A second season is
currently in development following a re-commission by yes TV. The series was created and written by Stav Idisis and produced by yes TV and Kastina Communications. yes Studios represents the completed series and format worldwide.
UK-based kids’ content and feature film distributor, The Media Pioneers (TMP) has acquired the global distribution rights excluding Singapore, Great China and Korea for the action, adventure comedy Codename X (26 x 13’), adding the first anime show in its growing catalogue and securing several international deals
The company has sold Codename X to broadcasters and streaming platforms including Junior Channel in Israel, MBC in MENA, SVOD language learning platform Lingopie for Europe and Ceska Televise in the Czech Republic. Produced by the talented South Korean animation studio SIDE9, the 2D anime series has been lauded for its exceptional animation, it’s fun and crazy storyline and for its strong action, fantasy, adventure and gaming elements.
TMP has developed the English version of Codename X, collaborating with popular voice talents to perform the anime’s opening song. TMP has also introduced short recap clips at the start of each episode to help viewers catch up on previous storylines.
Codename X follows Blue a boy who unexpectedly time travels back to the past when his Mum Violet was just 11 years old
He was shocked to learn that his Mum he thought he knew was totally different in her youth. She was not a typical, boring mum at all but a senior officer at M.S.G. and one of the world’s top spies. Now Blue has become a new M.S.G agent and is working with his mum. Together they tackle and finish seemingly impossible missions, but can they change the future, or will they become trapped in the past?
Premium kids content producer Cottonwood Media, kids content creator Coolabi Productions, and ZDF Studios, along with leading broadcasters BBC, ZDF, and France Télévisions, have announced the new live-action teen detective series THE LADY GRACE MYSTERIES
With filming scheduled to take place in a British castle during spring 2025, THE LADY GRACE MYSTERIES is based on the bestselling children’s detective fiction series of the same name which first published in 2004. Their immense popularity led to the publication of 12 titles in the series, multiple international editions, and over 300,000 books sold worldwide.
THE LADY GRACE MYSTERIES (10 x 24’) is a Cottonwood Media and Coolabi Group production, in co-production with ZDF Studios. The series is commissioned by the BBC (for CBBC), and ZDF, with a pre-sale to France Télévisions. Manon Ardisson, Head of Fiction
at Cottonwood Media, and Lead Director Alexander Jacob (Managing Director for Cottonwood Media Ltd) will oversee the production.
Lead Writer is Emmy award-winning Anna McCleery. Some of her key credits include Free Rein for NETFLIX, A Kind of Spark for CBBC/ BYU, and Hollyoaks (Channel 4).
THE LADY GRACE MYSTERIES, which targets 8 – 12 year olds, tells the story of Lady Grace Cavendish, the world’s first female teenage detective working as a private spy for Queen Elizabeth I and navigating the dangerous waters of royal politics in an English court full of plots, threats and mystery. Orphaned but fearless, Grace has spent her youth outwitting palace guards, avoiding the responsibilities of being a lady-inwaiting, and most importantly, finessing the fine art of swiping jam tarts! With her best friends – the savvy servant
Ellie, and the dazzling performer Masou, at her side – she has to deal with the trials and tribulations of being a teenage girl, while investigating perilous mysteries.
Federation Kids & Family and ZDF Studios are handling worldwide sales.
Sphere Abacus (SA) has sold more than 50 hours of unscripted programming to Bell Media for French-speaking Canada.
The deal brokered by Sales Director Anne Corsak, includes a slew of series including reality series Outback Truckers, Outback Opal Hunters and Outback Crystal
Hunters all produced by Prospero Productions in Australia. Killer Performance, a true crime series, which explores the diabolical personas of murderers who cry fake tears to manipulate the media and public in a disturbing attempt to exonerate themselves from their crimes produced by Monster Films in the US.
FirstLook TV’s #Dead2Me which recounts tragic stories of intimate relationships that turn sour and end in a brutal murder and Barbie Uncovered: A Dream House Divided which explores the little-known story behind one of the world’s most iconic brands, produced by Two Rivers Media.
Anne Corsak, Sales Director Sphere Abacus comments, “Unscripted content continues to be at the heart of TV schedules around the world and we’re extremely pleased to have concluded this volume deal with Bell Media for their multi-channel lineup in French speaking Canada.”
LA-based film and TV studio Happy Accidents has announced its coproduction with leading New Zealand-based production company Kevin & Co on new original comedy series The Sanctuary (8×22’) developed with Warner Bros. Discovery NZ
The Sanctuary is a comedy series following Hunter, an eccentric American billionaire hiding in New Zealand. After selling an innocuous app, he discovers it was sold to a
Russian-affiliated private military company and can be weaponized. Hunter finds himself caught between the FBI, Russian assassins, and New Zealand’s most passionate bird conservationists. His solution? Transform his luxury island retreat into a Department of Conservation (D.O.C.) sanctuary for our feathered friends. As his private paradise becomes overrun with both birds and bird-lovers, Hunter discovers that being a billionaire on the run isn’t all it’s cracked up to be.
The series is created by the comedy dream team of Laura Daniel and Joseph Moore, a writing/performing duo who also go by their musical comedy alter-egos, Two Hearts. Fresh from conquering stages across New Zealand, Australia, and the UK, they’re bringing their unique brand of high-concept, genredefying comedy to the small screen.
The pair met writing on hit NZ sketch shows Funny Girls and Jono and Ben and began their writing partnership based on their joint passion for creating high-concept, high-production value, genre-bending comedy. Laura Daniel is not just a writer, but a comedy powerhouse. Her screen acting credits include The Brokenwood Mysteries and Vince. In addition, she appears regularly on comedy panel shows 7 Days, Have You Been Paying Attention, and was the Season 2 champion of Taskmaster NZ.
Joseph’s credits as a writer and producer includes series such as Guy Mont-Spelling Bee (NZ & AU), Taskmaster NZ, Taskmaster Australia, and 7 Days. He has directed segments of Funny Girls and New Zealand Today, and has two feature scripts in development with the NZ Film Commission
All3Media International has announced it will be representing Barbie’s Dirty Secrets (1 x 1 hour), produced by ZANDLAND for Channel 4, UK. Barbie’s Dirty Secrets is available to licence internationally
Amber Richardson, Unscripted Content Executive at All3Media International, “We are delighted to partner with ZANDLAND on Barbie’s Dirty Secrets. This brand-new investigative documentary marks the third title we are representing from ZANDLAND’s slate following The Secret World of Incels and our upcoming MIPCOM launch The Secret World of Looksmaxxing.
A beloved brand, known for celebrating female empowerment, Barbie has fascinated fans and audiences around the world,
especially in light of last year’s billionpound movie, so we are thrilled this expertly told, utterly compelling new documentary is available now for clients around the world to license. Told with the empathy, objectivity and distinct filmmaking ZANDLAND is renowned for and presented by the fantastic journalist Isobel Yeung, we are confident global audiences will find the never-before-seen access into the hidden worlds of Barbie and Mattel utterly compelling.”
Josh Reynolds, Creative Director at ZANDLAND commented, “We’re incredibly proud to announce our latest doc Barbie’s Dirty Secrets, it takes an important look at what goes on behind the scenes of a cultural phenomenon and holds power to account in a way ZANDLAND does best. It’s always great to have All3Media International distributing our films and this will be the third one we’ve collaborated on.”
ITV Studios and Tokyo Broadcasting System Television (TBS) are partnering to create the world’s first ever Ninja Warrior FAST channel dedicated to programming from around the world
The deal is a first, both in terms of ITV Studios’ first FAST channel creation for third party IP as well as Tokyo Broadcasting’s first foray into FAST. Brokered by Bellon Entertainment on behalf of TBS,
it will see ITV Studios creating, operating, marketing and distributing the Ninja Warrior channel in the UK and Canada initially, with Australia and several other major territories to follow in the coming months.
The phenomenal sports entertainment reality competition, Ninja Warrior, was originally commissioned by ITV in the UK where ITV Studios also operates 19 Ninja Warrior UK adventure parks. Ninja Warrior has become a globally recognised brand since its launch on TBS in 1997 and has gone on to be remade in a further 25 markets. A long-running, family favourite, in the US NBC has most recently aired its 16th season and in Germany where it is the most successful physical game show on TV, RTL has ordered its tenth. The finished series has been sold into 160 countries including The Netherlands, Portugal, Sweden, New Zealand and pan regionally in Asia.
With 17 channels in 20 territories on around 100 platforms
ITV Studios has become an established publisher of content. Its FAST footprint spans the US, UK, Australia, Germany and the Nordics on platforms like Pluto TV, Rakuten TV, Samsung TV Plus, Freevee and LG, bringing extensive experience in creating, operating and distributing FAST channels to this new collaboration.
ITV Studios’ top-performing portfolio of FAST channels includes single IP channels such as Hell’s Kitchen, River Monsters, Come Dine With Me, The Graham Norton Show, The Hotel Inspector and World of Love Island, alongside mixed IP genre channels such as Entertain (General Entertainment), True Lives (Factual) and Taste (Lifestyle)
Amazon recently acquired certain assets of MX Player, including the MX Player app, a leading free streaming OTT service in India With this acquisition, Amazon is merging two of India’s most popular free AVOD (or ad-supported video on demand) services – MX Player and Amazon miniTV into one service – Amazon MX Player. In September, over 250 million unique users enjoyed access to thousands of original shows,
popular movies and international shows dubbed in local languages on the combined service, making it one of the largest free streaming services offering premium content in India.
With a combined library of hit shows ranging from Aashram, Dharavi Bank, Campus Diaries, Bhaukaal, Raktanchal, Shiksha Mandal, Roohaniyat, Jamnapaar, Dehati Ladke, Hunter, Gutar Gu, Naam Namak Nishaan, Physicswallah, and Yeh Meri Family, along with a large collection of popular Korean, Mandarin and Turkish shows dubbed in Hindi, Tamil and Telugu, Amazon MX Player is one of India’s top entertainment destinations. The service offers premium content across genres, from gripping thrillers, action and dramas, to coming of age stories, romance
and more, all in a single destination, available through its apps on mobile, Amazon.in Shopping app, Prime Video, Fire TV, and Connected TVs.
“Today we are bringing together the vast reach of MX Player, with the advertising tech that leverages Amazon’s billions of customer signals,” said Girish Prabhu, Head of Amazon Advertising India “It’s about enabling all brands, not just the ones selling on Amazon, to reach and deliver relevant advertising to a very large and engaged base across India. It’s about directly measuring outcomes from the very top of the funnel to the very bottom.” Amazon will continue to invest in originals and returning seasons of popular shows, which will help provide advertisers the opportunity to deepen their relationships with viewers.
StukTV, the number one online entertainment platform for edgy and original content in the Netherlands, has announced an exclusive partnership with Videoland. This collaboration marks a significant shift for StukTV, moving from a social-first to a streamer-first strategy. As part of this new direction, several exciting (new) titles will premiere exclusively on Videoland, the biggest local streaming service in the Netherlands. Talpa Studios, the owner of the StukTV brand, will handle international distribution of these titles. Operational execution has been entrusted to its creative partner Signal. Stream, leveraging their streaming expertise and long-standing relationship with StukTV’s founders.
The first title to be released on the platform is Hunting Season – Most Wanted. Through the partnership
with Videoland, StukTV is expanding its current content lineup of fan favorites such as Hunting Season, The Vault and The Drop, with new formats developed in collaboration with Videoland. All titles will be exclusively available on Videoland, where StukTV will have its own dedicated section, offering fans the ultimate experience in content discovery.
The partnership highlights the ongoing evolution of Talpa Studios as a creative force in the entertainment industry Maarten Meijs, CEO of Talpa Studios,
explains, “StukTV is a key part of our brand portfolio, closely aligned with our creative teams. This collaboration with Videoland is a fantastic expansion and a relevant addition to our creative network, directly responding to the rising content demand from the streamer generation. It gives us even more opportunities to develop new formats that resonate with this audience, while further positioning the Netherlands as a leading global creator of innovative formats. This, in turn, allows us to explore new international business propositions.”
Limonero Films has entered into an agreement with THEMA, a Canal+ company specialized in content distribution and monetization, to participate in the launch of Thema documentary channels on YouTube in three languages: English, French and Spanish.
The aim of these launches is twofold: On one hand, THEMA intends to share with the English,
Spanish and French YouTube audiences, compelling stories and valuable insights from captivating documentaries from around the world, among a diverse range of topics: from history and science to culture and the environment, all in one place. On the other hand, these YouTube channels give a “new life” to premium titles from their content partners, thereby generated additional revenues unexpected by the rights holders.
In its ninth year of business, Limonero Films now has a back library of around 170 hours, making this new deal a great new source of revenue for them. The launch of the channels happened on October 4th. Pamela Martínez Martínez, Limonero Films´ Founder and CEO, said: “We have been talking to the team at THEMA for a long time, and we are proud to be one of their first partners in this new venture´.
Limonero Films is an independent boutique distributor of factual programming and documentaries based in Barcelona.
THEMA is a Canal+ company specialised in the distribution of linear channels to pay TV operators and the monetisation of content across a wide range of economic models: AVOD, SVOD and others.
Connectivity is transforming the African continent, and television and video services are seen as central to building and maintaining a subscriber base, as well as delivering valuable revenue streams. MwareTV, a leading cloud-based multi-tenant platform provider, was at MWC Africa to present its popular and proven turnkey solution at an affordable price point.
Establishing and sustaining a viable streaming service demands excellence in three key areas: a central platform with a high degree of automation; engaging and intuitive access for subscribers; and excellent content. MwareTV provides all three.
MwareTV TVMS (TV Management System) provides everything needed for operations, from content management and precision playout to subscription tracking and special offers. Its billing system has an integrated shopping cart and payment gateways, marketing capabilities and a full suite of management reporting.
Unique to TVMS is App Builder, now in version 2. This remarkable tool allows the operator to create tailored, branded, intuitive user interfaces for all the devices likely to be used to receive the service, including iOS, Android and AndroidTV, TVOS, FireTV, KaiOS, Roku, WebOS, Tizen and WebTV.
Designers can build the functionality
they need, and the service’s look and feel, without the need to write a single line of code. Using drag and drop users create common, welcoming user interfaces, with TVMS automatically generating all the back-end code to ensure the service operates faultlessly and securely.
Viddsee, a leading digital video platform renowned for its innovative short-form content, has announced its strategic expansion into long-form scripted projects and micro dramas. This move marks a significant milestone in Viddsee’s evolution, highlighting its plans to extend its reach beyond Southeast Asia and onto the global stage. “As we embark on this new chapter, we’re thrilled to bring our first slate of long-form projects and micro dramas to life,” said Ho Jia Jian, Founder
and CEO of Viddsee. “Our goal is to create compelling stories that resonate across cultures and continents, leveraging our unique strengths in content creation and storytelling.”
Leading the charge is “Ivy Boys”, an action detective series set against the backdrop of WWII-era Korea, adapted from the creative Web3 concepts of BBRC Studios, featuring a group of fashionable tailors who secretly work as detectives. The project is currently in co-development with CJ ENM Hong Kong, the regional office of South Korea’s leading entertainment company CJ ENM.
Beyond these projects, Viddsee is producing its first slate of micro drama Originals, with productions underway in Thailand, Singapore, and Taipei. This slate underscores Viddsee’s commitment to innovation
in short-form storytelling, offering engaging content that explores the complexities of human relationships. The productions include fantasy comedies and nuanced romances designed to evoke emotion and provide a refreshing perspective on human connections. Riding on the micro drama trend, this slate underscores Viddsee’s commitment to pushing the boundaries of innovation in short-form storytelling. The first micro drama in this slate, “My Magic Tablet”, is set to premiere in November this year.
“Our expansion into both long-form and micro drama content not only highlights our commitment to innovation but also invites potential investors to explore opportunities within the rapidly growing digital video and streaming space,” said Ho Jia Jian.
Award winning BBC Studios Science Production Unit has announced at MIPCOM a coproduction Our Home: Wild Guangdong (working title) with China’s Guangdong Radio and Television (GRT). GRT is a new type of provincial-level mainstream media that provides multiple services on radio, television, OTT TV, mobile client as well as in radio and television transmission
Travelling across China’s most populous province, Our Home: Wild Guangdong (w/t) will take viewers on an unprecedented journey showcasing how the region’s unique geography, microclimate and landscapes have created a thriving oasis for wildlife, living side-by-side among the region’s approximately 130 million people. Treating audiences to breathtaking
views, from dramatic coastlines and pristine islands, to mountain forests and lush river deltas, even oases within the cities. This three-part series will delve deep into the heart of the province’s many and varied ecosystems, highlighting the animals, plants and people that call it home. Guangdong lies on the Tropic of Cancer, a circle of latitude that encircles the entire globe. Most of it is desert. Yet rather than a dry, arid wasteland, Guangdong is different, it is a verdant, rich region
of incredible diversity. Local experts and cutting-edge science will allow viewers to discover the secrets behind Guangdong’s spectacular habitats. Witnessing never-beforeseen footage of rare, extraordinary animals, many of them unique to Guangdong, audiences will also discover how humans are learning to live in harmony alongside the natural world, following the province’s farmers, rangers and conservationists seeking to protect it for future generations.
Paramount Global Content Distribution has announced a new licensing agreement with MONO in Thailand to create a Paramount+ brand extension on the streamer Monomax. The deal solidifies Paramount’s strategy to expand the Paramount+ brand in more ways around the world, including making it available as a direct-to-consumer streaming service, through bundled partnerships in key markets as well as through branded destinations in local markets through licensing deals. Branded areas are currently
available via Cosmote in Greece, Streamz in Belgium, MultiChoice in Africa, JioCinema in India and coming soon to Blast TV in the Philippines, with more to come.
In its first year, the new Paramount+ branded hub will offer Monomax subscribers access to world-class content from Paramount+ with SHOWTIME, CBS Studios and Paramount Pictures, including popular series FBI: INTERNATIONAL, NCIS, NCIS: SYDNEY, MAYOR OF KINGSTOWN, TULSA KING and HALO and blockbuster features DUNGEONS & DRAGONS: HONOR AMONG THIEVES, TRANSFORMERS: RISE OF THE BEASTS, HELLRAISER and the MISSION: IMPOSSIBLE franchise, among many more.
“At Mono, we have established ourselves as a strong player in the
digital media landscape,” said Mr. Navamin Prasopnet, CEO of MONO. “Our main goal has always been to offer our customers the best possible entertainment experience. By partnering with Paramount Global Content Distribution, we are able to elevate our offerings significantly. Paramount has an impressive catalog of content that has consistently garnered popularity among Thai viewers, such as the TRANSFORMERS franchise, MISSION: IMPOSSIBLE and the critically acclaimed series FBI.”
This announcement expands the Paramount+ brand destination to a new Asian market, following the announcement of a branded destination to launch with Blast TV in the Philippines and to complement the direct-to-consumer Paramount+ offering in Japan
BBC World Service English has partnered with the Guardian Media Group to bring factual programming, impartial news reports and analysis to audiences in The Bahamas
Guardian Media Group is the leading local multimedia group in The Bahamas. BBC World Service English radio will be received digitally, and broadcast live on Guardian Radio FM 96.9 when not in local programming.
Fred Durman, BBC’s Head of Business Development for the Americas and Europe, commented, “The BBC is delighted to strengthen its presence in The Bahamas through this dynamic rebroadcasting partnership with Guardian Media Group.
This collaboration underscores our dedication to informing, educating, and entertaining audiences worldwide. By delivering trusted news, insightful storytelling, and a rich array of diverse programming, we aim to foster deeper connections and promote shared understanding across communities. This initiative not only extends our global reach but also ensures that Bahamian residents have access to highquality journalism and content that reflects a variety of voices and perspectives from around the world.”
Dwight Strachan, Guardian Radio Station Manager, says, “Guardian Radio – The Bahamas’ number one source for talk and radio news – is thrilled to announce an exciting new partnership with the legendary BBC World Service. We will offer BBC programming to our listeners
when we’ve completed our regular programming overnight and on Sunday. This will further demonstrate to our listeners our commitment to providing credible news from all over the globe, and from one of the world’s most trusted news sources. Without a doubt, Guardian Radio with the BBC World Service will make for round-the-clock-radio – 24 hours a day, 7 days a week”
NAGRAVISION, the media and entertainment technology division of the Kudelski Group, has announced it is expanding its collaboration with DishTV India Limited (DishTV), a leading content distribution company with presence in direct-to-home (DTH) television and OTT platforms, to launch an innovative Direct-to-TV service using TVKey Cloud by NAGRAVISION and Samsung. This collaboration marks a significant milestone as DishTV becomes the first DTH
operator in India to offer secure content on Samsung Connected TVs without the need for a set-top box.
DishTV was looking to reduce the cost of new customer acquisition while meeting the government endeavour to integrate DTH tuners in every TV by 2025. The introduction of the TVKey Cloud solution addresses this dynamic by eliminating the need for set-top boxes and providing a streamlined, secure experience for users. Further,
the unique-on-chip security of TVKey Cloud allows DishTV to deliver a solution that ensures the highest level of content protection while at the same time having the DishTV brand front and center on Samsung TVs.
DishTV is a leading content distribution company in India. They deliver entertainment on any screen, anywhere, anytime with a 360-degree ecosystem which includes content services, devices, OEM partnerships, muti-technology delivery platforms and distribution channels. They plan to expand this new service to other TV manufacturers, increasing the addressable market and further enhancing its offerings to meet evolving consumer needs. With its commitment to innovation and customer satisfaction, DishTV continues to lead the industry by delivering high-quality entertainment experiences
Leading entertainment company CJ ENM has revealed its blueprint to spearhead the K-content ecosystem by maintaining its content investment scale at the highest level in Korea and extending its content IP competitiveness to cross-platform synergy
At the CJ Movie Forum held on site of the 29th Busan International Film Festival (BIFF), CJ ENM shared its aspiration to lead the K-content industry. Through retaining its annual investment for content at 1 trillion Won, the highest in Korea, and utilizing its insight accumulated through global studios, theaters, and OTT platforms, CJ ENM will dedicate its resources to bolstering film industry figures. Yoon Sang-hyun, CEO of CJ ENM remarked, “Despite the growing uncertainty in the film industry, we
will continue to support creators and enable their imaginations to come to life and shine bright.”
The subsidiaries also revealed a clear vision for global expansion. With around 20 global projects currently in development, Studio Dragon is keen to produce series formats for US and Japanese local markets. TVING is refining its global launch strategy, focusing on regions where K-content is making a remarkable impact, such as the US, Southeast Asia, and Japan. CJ ENM sees potential in new markets like India and the Middle East where Korean content has yet to reach stark popularity or profit.
Key factors behind the popularity of Korean stories were narrowed to K-content’s proficiency in exploring hybrid genres and maintaining an ideal balance between accessibility
and cultural uniqueness. Presenting plots and cinematography that are both fresh and flavorful, K-content does not avert from genres that may feel unfamiliar to audiences. Its cinematic language feels accessible to Hollywood filmmakers, yet still maintains its cultural background. CJ ENM is continuously in search of films with these characteristics and hopes to initiate the global expansion of such stories.
Atlanta DTH (ADTH) has announced a new addition to its range of compact broadcast television receivers. An affordable option designed to bring NextGen TV to existing devices, the ADTH NextGen TV USB and App for Android and Fire TV is a tuner that enables hundreds of free ATSC 1 and ATSC 3 channels to be accessed and viewed on existing television
sets, online streaming devices, and settop boxes running Google Android or Amazon Fire TV. The new tuner and app are fully NextGen TV compliant and able to decrypt A3SA DRM encrypted channels. USB connectivity allows fast and easy connection, including to Walmart’s Onn 4K Pro.
NextGen TV offers many advantages in terms of viewer experience compared with standard definition and HD. These include cinema quality 2160p 4K UHD video resolution, 120 Hz frame rate, high dynamic range, wide color gamut and immersive audio. 4K UHD is already the default definition for practically all consumer TV screens, offering four times the picture clarity of HD displays. High dynamic range and wide color gamut empower content producers to match
human vision much more closely than earlier television standards allowed. HDR transmission is now a reality in 57 TV markets and available via NextGen TV to more than 70 million viewers across the USA. Since the first HDR broadcast of a high-stakes sports event with the Kentucky Derby in May 2024, even more TV stations are now equipped to offer the higher image quality.
ATSC 3.0/NextGen TV also provides support for Advanced Emergency Alerting which allows authorized alert originators to send actionable, geotargeted rich-media messages even when power, cellular and internet fail. 75% of America’s households now have access to NextGen TV signals from onair and IP-based online sources.
Shotoku Broadcast Systems, the international manufacturer of high-quality, easy-to-use, and reliable robotic and manual camera support systems, has announced the launch of SoftRail. SoftRail is a brand-new concept that merges the pathfollowing capabilities of a physical rail system with the total freedom of a free-roaming pedestal –providing the best of all worlds for robotic camera systems. SoftRail maximizes flexibility by
opening up studio floor space to limitless software defined paths while eliminating the restrictions of physical floor tracks on presenters, guests, and other cameras.
The SoftRail feature for Shotoku’s TR-XT studio control system and SmartPed provides the key pathfollowing benefit of a rail camera while avoiding any physical track or guide on the floor. Then, if following the path is no longer needed, simply turn off the SoftRail
function and SmartPed returns to its traditional free-roaming pedestal mode with all the benefits freedom of movement brings.
Using Shotoku’s TR-XT’s enhanced StudioView mode, operators can design a ‘soft’ rail to suit any live production. Once defined and enabled, Shotoku’s fully robotic SmartPed pedestal behaves as if it is physically mounted on rails. A simple XY joystick moves the SmartPed left or right along the rail path allowing the operator to focus on the other axes and maintain perfect framing. Even stored shots will be recalled by following the rail’s path. And, because rails are defined in software only, they can take virtually any shape imaginable, even those that would be physically impossible to build, like looping back over itself without the need for a level crossing.
Over 100 industry delegates from across Asia gathered at the Asia Video Industry Association’s (AVIA) Vietnam in View conference, opened by the Deputy Director General of the Authority for Broadcast and Electronic Information (ABEI), Nguyen Ha Yen
Despite the challenges of 2023 in the post-Covid landscape, the pay TV market in Vietnam continued to evolve, achieving a 4% increase in revenue and a 14% rise in subscriptions compared to 2022, as noted by Deputy Director General Nguyen. He emphasized that, amid fierce competition and rapid changes in consumer behaviour and technology, developing new business models for sustainable growth was essential for
the future of pay TV. Both regulatory bodies and industry leaders will play crucial roles in shaping this strategic direction, he added.
However regardless of platform, content very much remained the key driver for consumers, and critical to the business, said Pham Thanh Phuong, Managing Director, Viettel TV360. Offering the largest mobile and fixed-line network infrastructure in the Vietnamese market, with up
to 80 million mobile broadband subscribers, bundling television and fixed broadband services was essential for them, and the smartest and fastest way to acquire the largest television customer base at the lowest cost and in the shortest time. But to keep their customers in the ecosystem, differentiation was important, especially from the international OTT platforms. “When we invest in local content, we can create a difference,” said Phuong.
The Asia Pacific ’ s media industry is evolving at a rapid pace and Television Asia Plus is here to provide full coverage and an unbiased look at everything that is happening in the region.
Television Asia Plus embraces Asia Pacific ’ s vibrant broadcast, production, and distribution of content across Free TV, Pay-TV, OTT, short video, livestream and new media platforms We take a look at the trends, the current market, and the freshest news and information on what’s happening in the industry today
Our digital platforms comprising tva onscreenasia com an @TVAsiaPlus on FB, Twitter and LinkedIn cover the latest industry news and movements Meanwhile our print version is available as bonus distribution at all major trade events including HK Filmart, APOS, Mipcom Cannes and ATF.
In the market for over two decades, Television Asia Plus has been proven to be a reliable and reputable television content journal We reach 15,000 senior content professionals across Asia Pacifi c through our web, social media, e-newsletters and print products
Sony Group Corporation and Sony Pictures Entertainment (SPE) today announced that SPE Chairman and CEO Tony Vinciquerra will step down from his role as SPE CEO, and that Ravi Ahuja, SPE’s current Chairman of Global Television Studios and President and COO, will assume leadership of SPE as President and CEO, effective January 2, 2025. Vinciquerra will remain in an advisory role for SPE as non-executive Chairman until the end of December 2025. Ahuja will report to Sony Group Corporation Chairman and CEO Kenichiro Yoshida and Sony Group Corporation President, COO and CFO Hiroki Totoki.
“The extraordinary turnaround at SPE over the last 10 years would not have been possible without Tony’s deep experience and expertise in the entertainment space, his strategic vision and his outstanding leadership,” said Yoshida. “Under Tony’s watch, SPE became a critically important part of our efforts to maximize the value of our IP and find synergies across all our entertainment and technology businesses, and it remains a key driver in Sony Group’s ongoing corporate strategies to lean further into the creative and entertainment spaces. I want to thank Tony for his years of dedication and leadership at SPE, and for his invaluable support across the group companies during his successful career at Sony.”
Yoshida continued, “Since joining SPE in 2021, Ravi has been at the center of Tony’s leadership team, navigating the unprecedented challenges of today’s media and entertainment environment and positioning SPE for further growth. Ravi brings with him years of experience from his time at some of the world’s most successful entertainment companies, and we look forward to working more closely with him in his new role as President and CEO of SPE.”
Ravi Ahuja joined SPE in 2021 to oversee all production businesses for Sony Pictures Television (SPT) and the studio’s India business as Chairman of Global Television Studios. SPT and its production companies produce several awardwinning and acclaimed television series including The
Crown, The Boys, Gen V, Cobra Kai, Better Call Saul, The Last of Us, Outlander, For All Mankind, The Night Agent, Twisted Metal, The Wheel of Time, S.W.A.T., The Good Doctor, Wheel of Fortune, Jeopardy!, Shark Tank, American Idol, So You Think You Can Dance, 90 Day Fiancé, Octonauts, SuperKitties, and many more.
“It is my privilege and honor to take the helm at SPE,” said Ahuja. “This is a special place — an iconic studio with an extraordinary 100-year history of storytelling. Thanks to Tony’s remarkable leadership, we have leading businesses with clear strategies and are set up for even greater success in the years to come. I am energized by the opportunities ahead and am lucky to work alongside thousands of talented colleagues around the world at SPE and at our Sony sister companies. I am grateful for Tony’s mentorship, guidance and friendship through the decades, and I thank Yoshida-san and Totoki-san for entrusting me with this important role.”
JioCinema, India’s leading digital entertainment destination announced the appointment of Ishan Chatterjee as Chief Business Officer. Ishan’s appointment reflects JioCinema’s commitment to accelerate its transformation into a tech-enabled company, delivering cutting-edge, seamless digital experiences to its rapidly expanding user base.
As Chief Business Officer, Ishan takes charge of overall monetization for JioCinema. In this role, he is responsible for Revenues from Sports, and SMB revenue growth across sports and entertainment. Ishan joins JioCinema from YouTube India where he served as Managing Director and played a pivotal role in shaping the platform’s strategy and growth in the country. With over two decades of experience, including 13 years at Google, Ishan has also had a remarkable journey with McKinsey and Hindustan Unilever. He is an alumnus of The Wharton School and St. Stephen’s College, Delhi.
Ishan will play a key role in JioCinema’s leadership team and will closely work with Kiran Mani.
Gary R. Benz, CEO of GRB Media Ranch has announced the company’s continued growth with a new digital strategy, with soon-to-launch FAST (Free Ad-Supported TV) Channels and AVOD (Ad-Supported Video on Demand) distribution platforms. Industry veteran Will Marks was retained to develop and implement the forward-facing strategy. He will attend MIPCOM next month to expand the Company’s relationship with content and distribution partners.
Two FAST channels are planned for launch in Q4 ‘24 across the U.S. and many English-speaking territories (U.S., U.K., Ireland, Canada, Australia, and New Zealand). Each channel will launch with over 400 hours of programming, with additional content being added regularly. Additional territories will be launched throughout 2025, along with more channels.
A paranormal-themed FAST channel, titled “The Unseen” will include shows from the GRB Media Ranch “Dark Zone” programming collection, including Paranormal Files and Paranormal Quest.
Also, a travel, food, and culture-themed FAST channel, titled “WNDR” (“Wander”) will carry programming including Top Travel; South Africa with Hayden Quinn; World of Wonder; and many more globe-spanning series.
Several more FAST channels are in development for distribution worldwide for next year.
Marks comes to GRB Media Ranch with sterling credentials as a seasoned industry executive. He was previously SVP, Business Development & Digital at Ovation Television where he founded and led the digital portfolio, including the TVEverywhere app OvationNOW and the FAST Channels Mystery Alley and JOURNY. Marks led the channels to distribution on 300MM+ devices across the US and Canada on connected TVs and video platforms including Amazon Fire, Roku, Samsung TVPlus, Vizio WatchFree+, Plex; and the Apple iOS and Google Android mobile platforms. JOURNY, a perennial “Top 3” travel network on Roku also won the “Best AVOD Service” award from Cynopsis in 2021. Marks had previously served in executive roles leading business development, strategy, and digital teams at ComcastNBCU, Intel Corp, and The Walt Disney Company.
Benz stated, “GRB Media Ranch is truly excited to launch our digital strategy with two FAST channels in 4Q and we are pleased that Will Marks will share his expertise and distribution savvy to help with this next step in our company’s evolution. We feel fortunate to have many hours of premium programming in paranormal and travel for our launch.”
Marks added, “GRB Media Ranch built a tremendous content library and continuously acquires compelling programming across diverse genres. We can’t wait to thrill and chill viewers with the ghosts and haunts on The Unseen; and then take consumers on amazing adventures around the world on WNDR. These new FAST channels are a cornerstone of GRB Media Ranch’s new distribution approach, bringing captivating programming to worldwide audiences. I look forward to working with Gary and the entire GRB Media team in helping them increase the company’s reach around the world.”
Studio 100 International, a leading name in kids & family entertainment has announced the assignment of Lucrecia Magnanini as Manager Sales & Acquisitions for international movie projects of its subsidiary Studio 100 Film. Lucrecia brings a wealth of experience in film sales, acquisitions, and international marketing distribution, significantly strengthening the sales team to further expand its global footprint.
Lucrecia joins Studio 100 International with an impressive background, having previously worked at Global Screen – a Telepool brand GmbH, where she managed theatrical sales in key markets such as Asia, Eastern Europe, CIS, Greece, and inflight rights. Her expertise extends across various facets of the industry, including festival organization, film funding coordination, and the development of marketing strategies for the international commercialization of films.
In her new role, Lucrecia will be responsible for shaping the strategic direction of Studio 100 Film, with a focus on growing the company’s portfolio and fostering strong relationships with international distributors and producers. She will be responsible for the management of theatrical sales in key markets such as Latin America, Eastern Europe and Asia as well as inflight rights.
Thorsten Wegener, Director Business Operations at Studio 100 International, expressed his excitement about the new addition to his team, “Lucrecia’s extensive background in global film sales and her proven track record in the industry make her an invaluable asset to Studio 100. Her passion for family entertainment and her strategic vision will be instrumental in helping us build new partnerships and broaden our reach in the international market.”
As 2025 begins, it’s time to look back on a year full of surprises in the entertainment and media industry. From the growth of subscriptions to the rise of ad-supported models, the digital world never stopped evolving. Let’s revisit the 2024 highlights!
During last year, 60 unique platforms were launched globally. The United States emerged as the leading country of new projects, with 30 platforms developed there, followed by France (5) and the United Kingdom (4)
In terms of availability, the United States topped the list with 33 of these new services launched in its market. France (28) and Argentina (27) followed, reflecting a broad and diverse expansion strategy across regions.
Miscellaneous platforms dominated with 32 releases like Plex (a content and media server that also has transactional movie and tv content and Endeavor Streaming (a streaming service all about cars and car auctions), showcasing versatility. Sports platforms surged, contributing to 19 new launches including Super League+ and TNA Wrestling. Horror carved out a niche with 3 platforms entering the scene with Screambox being the top contender.
Major platform owners have been actively reshaping their streaming services offerings through strategic changes such as mergers, rebranding, and service updates. Warner Bros. Discovery led the pack with 13 changes to its platforms, followed by Amazon and The Walt Disney Company, each making 5 changes. Paramount Global (4) and TF1 Group (3) also made notable updates.
Ad-supported streaming models have grown significantly, with consumers gravitating toward ‘Free with Ads’ and ‘Subscription with Ads’ options, each represented across 16 platforms in 2024. This balance between affordability and access to quality content has become the new normal.
FAST (Free Ad-Supported Television) expanded its global presence significantly, with APAC leading the charge, achieving an impressive 49% penetration within a year. Nonetheless, on a quarter-to-quarter basis, EMEA recorded the highest growth, with a 3% increase, reaching 33% penetration. In contrast, LATAM lagged behind with 23% penetration; however, its numbers continue to steadily climb.
Interestingly, subscribers worldwide showed a growing preference for ad-supported plans as a way to save money. In UCAN, 64% of users favored budget-friendly plans with ads, closely followed by EMEA at 66%, APAC at 60%, and LATAM at 57%
The rise of Ad-Supported Plans cannot be ignored. Platforms like Netflix, Max, and Disney+ gained more users opting for affordable ad-included tiers.
User behavior in 2024 has shown notable shifts, with a growing preference for ad-supported plans. By comparing all regions and analyzing the percentage of users who chose ad-supported options on each platform, we observed the following trends:
• Netflix (LATAM): Increased from 11.6% to 15.4% (+3.7%).
• Max (LATAM): Grow from 7.3% to 10% (+2.7%).
• Disney+ (UCAN): Rose from 29% to 32% (+2.1%).
• Prime Video (UCAN): Strengthened its share, rising from 28.3% to a solid 32.2% (+3.9%).
The EMEA region saw the most significant jumps. Prime Video boasted a whopping 9.1% increase, proving the demand for affordable plans with ads.
Ad-supported streaming continues to reshape the global entertainment industry, with major platforms expanding their affordable plans across multiple regions in 2024.
• Disney+: Launched ad-supported plans in partnership with Mercado Libre.
• Max, Universal+ and Globoplay: Rolled out their ad-supported tiers region-wide.
• Vix: Expanded its ad-inclusive offerings to Colombia and Peru.
• Prime Video: Introduced ads to its base subscription with an ad-free upgrade option.
• Disney+: Rolled out its ad-supported tier, strengthening its presence in the region.
• Vix: Debuted new ad-supported tiers in the U.S. market.
• Paramount+: Launched ad-inclusive plans in Canada.
In the Asia-Pacific region, notable developments included:
• Osn+: Unveiled its ad-supported tier to attract more cost-conscious viewers.
• Paramount+: Introduced ad-inclusive plans in Australia.
These developments highlight the global shift toward hybrid monetization strategies, as streaming platforms cater to growing demand for affordable, ad-inclusive options while continuing to drive revenue growth.
Subscription flexibility has become key for consumers. Platforms offering “Monthly Contracts”—annual plans paid month-tomonth—enticed users with interesting savings.
In 2024, PAST Channels (Premium Ad-Supported Television) made their featuring appearance as a
hybrid model, blending subscriptions with commercials to make premium content more accessible. Platforms like Disney+ and Netflix adopted this approach, paving the way for a new era of streaming monetization.
In the United States, Disney+ launched “Continuous Playlists” for kids, alongside ABC News, marking a milestone for live channels with ads.
In both LATAM and UCAN, most of the ads on live channels came from Streaming Services, Marketplaces & Delivery, Food and Entertainment sectors. Self-promotion dominated: in UCAN, 85% of promotional ads are campaigns for the platform itself, while in LATAM, this rose to 97%.
• YouTube TV: Topped the charts in the US with 17 minutes of ads per hour.
• Amazon Freevee: Followed closely at 12 minutes.
• Pluto TV (Brazil): Rounded out the list with 10 min/ hour.
The interesting twist? Platforms like YouTube TV tailored ads based on the channel, ensuring brands matched the content seamlessly. For instance, a Cartoon Network channel primarily features Cartoon Network promotions, ensuring brand alignment and seamless integration.
From ad-supported dominance to subscription innovations, 2024 has been a game-changer for the media and entertainment world. With regions embracing affordability, platforms adjusting strategies, and new launches revolutionizing content delivery, this year proved that the future of streaming is both flexible and exciting. As we look ahead to 2025, one thing is clear: the streaming landscape will keep evolving.
Streaming platforms are increasingly turning to adaptations of books, video games, and comics to attract audiences, marking a key shift in content strategies. These streaming adaptations trends highlight how platforms like Netflix, Hulu, Prime Video, and Paramount+ are diversifying their libraries to meet evolving audience preferences. From beloved novels to popular video games, adaptations bring a built-in audience that guarantees engagement and reduces investment risks.
Adaptations offer a ready-made audience, reducing the risks of content development. Platforms like Max, Netflix, and Hulu lead by bringing books, video games, comics, and even toys to life on screen. Max maintains dominance in book adaptations, appealing to literary enthusiasts with compelling screen narratives. Netflix diversifies its catalog with offerings such as the Beastars manga series, returning for its third season, and the book based The Night Agent, set to premiere its second
season in January 2025. Notably, Arcane, based on the League of Legends video game, continues to captivate audiences worldwide. Hulu blends video game and comic adaptations into its portfolio, targeting a broader audience beyond traditional media fans.
Prime Video and Paramount+ follow closely by blending book, comic, and video game adaptations. Prime Video’s My Fault: London, premiering in February 2025, exemplifies its focus on book-based stories. Paramount+ taps into holiday viewership with The Road Trip/ Movistar Plus+ carves a niche by adapting thoughtful literary and comic works, appealing to audiences seeking depth. Meanwhile, Peacock, Apple TV+, and Disney+ concentrate on enriching their libraries with book adaptations. Apple TV+ adds a classic to its collection with Cape Fear, a thrilling series based on a timeless book.
Adaptations bring a built-in audience, reducing the risk of new content investments. Whether it’s a beloved novel, a hit video game, or an iconic comic series, these familiar stories have established fan bases, ensuring a strong initial viewership. Netflix’s ongoing investment in Asian adaptations, for instance, highlights the global appeal of adapting well-known IPs to fit regional markets. Furthermore, video game
adaptations have become particularly lucrative. Hulu’s recent push into this space demonstrates how platforms are expanding beyond traditional media, catering to gaming enthusiasts who crave visual storytelling.
Netflix, Hulu, Prime Video, and Paramount+ stand out by embracing multigenre adaptations. From gritty dramas to light-hearted comedies and family-friendly content, these platforms ensure there’s something for every viewer. Their broad approach contrasts with competitors like Movistar Plus+ and Disney+, which focus on niche adaptations, particularly literary ones.This diverse strategy allows major platforms to reach wider audiences, making them more attractive to subscribers seeking variety. As the streaming wars intensify, platforms that invest in a range of adaptations will likely maintain a competitive edge.
Recent production announcements show a continued preference for drama, which made up 57.14% of all new content. Documentaries followed at 14.29%, with Comedy, Reality, Kids & Family, and Thriller each contributing 7.14%. This genre diversity underscores the importance of balancing serious narratives with lighter, more accessible content to engage broader audiences.
The shift from theatrical releases to streaming platforms is undeniable. Prime Video and Hulu led recent distribution announcements, followed by Netflix, Peacock, and Max. With most new film releases heading straight to streaming rather than cinemas, the convenience and accessibility of home viewing are reshaping audience behavior.
The global offering of audiovisual content has solidified its position as a cornerstone of the entertainment industry, with two main categories standing out: scripted and unscripted content, each with unique characteristics.
According to BB Media’s analysis, scripted content continues to dominate globally. This trend reflects not only evolving audience preferences but also the rich variety of formats shaping today’s entertainment landscape
Unscripted content shines through its ability to capture authentic stories and spontaneous
moments. Productions like documentaries, reality shows, and unscripted series allow for organic narratives, offering genuine connections with viewers through unexpected responses.
Regarding BB Media insights, genres like documentaries dominate this category, representing 50% of the unscripted distributed titles globally. However, their share has gradually declined, dropping 13% since 2021.
On the other hand, scripted content focuses on the detailed construction of stories through structured scripts, allowing for the exploration of more complex narratives. This type of content includes dominant genres such as drama (28%) and comedy (12%), which lead the global
preferences. However, in 2024, the three most popular series belonged to the action and science fiction genres.
Regarding streaming platforms, Asian subscription services like U-NEXT stand out for offering the most extensive unscripted catalogs, while major players like Prime Video is distinguished by its expansive scripted content library.
In terms of title availability, EMEA leads with the largest volume of unscripted content, while UCAN stands out for its wide availability of scripted content. In terms of
preferences, APAC emerges as the region with the greatest affinity for unscripted content, reflecting a growing interest in authentic and dynamic formats. LATAM follows as the second region with the strongest preference. During 2024, APAC was the region that launched the most unscripted titles, exceeding 5K releases and accounting for almost half of all the unscripted titles released that year. According to BB Media analysis, South Africa ranks highest in preference for unscripted content, while Sweden leads in preference for scripted content.
The balance between scripted and unscripted content highlights the entertainment industry’s diversity. The supply of unscripted content steadily increased from 2019 to 2022 (+9% annually) but saw declines in 2023 (-3%) and 2024 (-12%), indicating a slowdown in production
Meanwhile, scripted content has shown significant growth, rebounding strongly after a dip in 2020, with record-breaking growth of +17% in 2024
These trends reflect shifting dynamics in market supply, with scripted formats driving the expansion of global content offerings. Both types of production not only coexist but also complement each other, catering to a variety of tastes and needs in a constantly evolving global market.
