Television Asia Plus | July-August 2026 by Harvest Information Pte Ltd

March-April 2026 Television Asia Plus

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Editor’s Note

Dear Reader, EDITORIAL/PUBLISHER

Welcome to the July-August 2026 issue of Television Asia Plus!

Keen Whye Lee Publisher

It’s a big year for animation all over the world. While in the West, animation often faces push and pull in the industry, in Asia it continues to dominate and expand. Often associated as mere “cartoons” or just being seen as a medium that’s for kids or a younger demographic, animation is constantly proving itself to be so much more. It’s a malleable medium that allows storytellers to explore themes and ideas that are often difficult to portray in live action. And year on year, the industry continues to grow and expand, especially platforms like Crunchyroll. Our cover story explores the anime industry through the lens of the biggest anime streaming platform, Crunchyroll. We dive into their continued expansion as well as what’s next for the anime industry and how else it’s pushing forward. While anime grows, other independent studios are on the rise in hopes of furthering the animation industry in their respective countries. Our first feature is about independent animated show Sun Chasers, and their struggle and hopes of getting the project up and running in the Philippines.

Mathew Chan Editor editor-tva@harvest-info.com Danico Acosta Layout and Design OPERATIONS Mari Vergara Head of Operations mari@asiantvawards.com SALES Simon Lee U.S.A, 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

Meanwhile, our second feature is all about the success of The Violinist at this year’s Annecy International Animation Film Festival and how it’s putting Singaporean animation on the map, and how continued support from the government would be the key to growing their industry.

TECHNICAL SUPPORT

The final feature that rounds out the issue as we take a look at OTT’s and how not everything can be a success like Crunchyroll. We have a Thought Leadership piece from Chris McNair, Head of New Business & Strategy – APAC, Accedo, and his thoughts on new and different approaches to OTTs.

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Michael Magsalin tech@harvest-info.com Television Asia Plus is published by

Mathew Chan Editor

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News Content

Talpa Studios’ quiz show Caught in the Middle expands further as Atresmedia orders Spanish version Spanish broadcaster Atresmedia has ordered a local version of Talpa Studios’ quiz show Caught in the Middle, from the global content house founded by John de Mol, to be broadcast on Antena 3. The show will be produced by Fremantle Spain in partnership with Talpa Studios and recorded later this year at Talpa Studios’ international production hub in the Netherlands. The commission adds to Talpa Studios’ growing track record with Atresmedia, following earlier adaptations including The Jump and The Quiz with Balls. Caught in the Middle is the number one new game show launched on SBS6 in the past six years, making an immediate impact with an average market share of 18.1% across its eight-episode run – well above the channel’s slot average of 12.9%. A second season has been confirmed in the Netherlands. The format previously secured a paper format sale to Australia in September 2025, ahead of its Dutch premiere, with the Australian version set to premiere later this year. On the show,

one duo stands at the center of a giant LED arena while 100 opponents close in. Over the course of 15 questions, they must outsmart the crowd by picking answers that match as many rivals as possible – knocking them out one by one before the opponents reach the middle and claim the €50,000 jackpot for themselves. Sebastian van Barneveld, Director Global Distribution at Talpa Studios, said

“Following its strong performance and renewal in the Netherlands, it’s great to see Caught in the Middle continue its international expansion. The format combines a clear, easyto-follow gameplay with a striking visual identity, brought to life in our international production hub. This makes it instantly engaging and highly adaptable for broadcasters looking for a scalable, high-impact game show.”

Eccho Rights launches latest Kanal 7 drama Zerhun Eccho Rights has secured international distribution rights to Zerhun, the new daily drama produced by Sincar Medya Group for Turkish broadcaster Kanal 7. The series is currently on-air in Turkey. Zerhun marks the latest chapter in the long running collaboration between Eccho Rights and Kanal 7, a partnership that has delivered multiple global successes. Previous titles include Legacy, Winds of Love, and Behind the Veil, the latter continuing to hold its position as the highest rating daily drama series ever broadcast in Turkey, and renewed for its fourth season earlier this week. At the centre of Zerhun is a sweeping, emotionally charged story of love torn apart by manipulation and power. Eight years ago, Zerhun and Yaman defied their influential families to marry for love, only for Yaman’s father,

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Şeyhmuz, to frame Zerhun as a traitor and force them apart. Believing the lies, Yaman abandoned her, unaware that she was carrying his child. Zerhun vanished and raised their daughter, Hayat, in secret. Years later, a deathbed confession exposes the truth, drawing Zerhun back into the family’s imposing mansion when Yaman demands a DNA test. A sudden accident leaves him with amnesia, Hayat is taken into the dynasty’s care, and Zerhun returns as an employee to remain close to her

daughter. As memories resurface and internal rivalries intensify, Zerhun’s battle shifts from reclaiming lost love to protecting her child from a family built on pride, power and control. With Zerhun now on-air in Turkey, Eccho Rights is introducing the series to buyers worldwide, reinforcing its position as a leading distributor of premium Turkish daily drama. CAKE’s passion for sharing content that resonates with kids globally.

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BBC secures Prime Videos’s The Traitors India for UK audiences Leading independent distributor All3Media International has reported a buoyant market in tape sales for various adaptations of the phenomena The Traitors with a multitude of key broadcast partners acquiring other nations editions of the hit entertainment format, allowing fans to see how the game is played around the globe, and building The Traitors’ international trajectory. This new deal adds to a growing tape sale slate for The Traitors franchise, with multiple versions sold across 50 territories. The Traitors India will be available in the UK on BBC iPlayer, joining adaptations from Ireland, the US, New Zealand, and Australia, plus both UK versions. The 10 x 1 hour of Prime Video’s Hindi version of The Traitors India, hosted by celebrated media personality Karan Johar, sees 20 celebrities, including Anshula Kapoor, Apoorva,

Ashish Vidyarthi, Elnaaz Nourouzi and Harsh Gujral join the ultimate game of trust and deception, set against the majestic backdrop of a palace in Suryagarh, Rajasthan. Following the first season’s premiere on Prime Video last year, it was revealed the show was watched by viewers across 88% of India’s pin codes*. A second series is currently in production. Both series are executive produced by Neha Khurana and directed by Nishant Nayak, who was awarded an Asian Academy Award for Best Director for the first season of The Traitors India. The series also took home a further accolades at

the 2025 Asian Academy Creative Awards (AACA) in the categories Best Adaptation of an Existing Format and Best Entertainment Host (for Karan Johar). Multiple versions of The Traitors have also been acquired by broadcasters and platforms around the world. In Canada, Bell Media’s SVOD platform Crave has rights to 11 adaptations – in addition to its own adaptation – hosting versions from New Zealand, France, Australia, the US, the Netherlands, India, Hungary, Ireland, French Canada, and the UK (regular and celebrity versions).

60 Day Hustle Expands Globally With Beach House Pictures, Kelly Mi Li Set to Host Singapore Edition Sonic Gods Studios is taking its breakout business competition format “60 Day Hustle” global. The Los Angelesbased studio has inked a partnership with Fremantle’s Asia-based label Beach House Pictures to co-produce a Singapore-set international version of the series, marking the franchise’s first major expansion outside the U.S. The new edition will be hosted by entrepreneur Kelly Mi Li, best known as a creator and star of the Netflix reality hit Bling Empire, bringing her experience as both an entrepreneur and global media personality to the format. The deal comes on the heels of strong momentum for 60 Day Hustle, which launched its first two seasons on Amazon Prime Video in the U.S., positioning the series as an emerging global format in the business competition space. Created by Michelle Delamor and Chris Hayman and Produced by Adam Horner all from Sonic Gods Studios, 60 Day

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Hustle follows a group of early-stage entrepreneurs competing in an intense, high-stakes accelerator designed to test their ability to build, market and scale a business in just 60 days. The format blends competition storytelling with real-world business outcomes, creating a hybrid of entertainment and business transformation. The

partnership

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international rollout strategy for 60 Day Hustle, with additional territories already in development as Sonic Gods Studios continues to scale the format into a global franchise. The Singaporean production will be led by Jocelyn Little and Donovan Chan, Managing Director and Creative Director of Beach House Pictures, with Michelle Delamor, Chris Hayman, Adam Horner, and Kelly Mi Li serving as executive producers.

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Infocomm Media Development Authority of Singapore and South Korea’s SBS formalise partnership to co-produce globally appealing media content The Infocomm Media Development Authority of Singapore (IMDA) and South Korean television and radio network, SBS Co., Ltd (SBS), have signed a Memorandum of Understanding (MOU) to jointly create media content for global audiences and strengthen capabilities for media companies and professionals in Singapore and South Korea. Mr Tan Kiat How, Senior Minister of State for Digital Development and Information, Republic of Singapore, witnessed the signing of the MOU during an industry learning trip in Seoul, Republic of Korea. SBS’ ambition to produce globally appealing media content aligns with Singapore’s commitment to creating high-quality Made-with-Singapore content for international audiences. The partnership brings together SBS’ storytelling expertise and content success with Singapore’s position

as a co-production hub, focused on connecting Asian narratives with audiences worldwide. The network’s portfolio encompasses well-known variety shows and dramas such as Running Man, My Love from the Star, and Business Proposal, with an international reach of 300 million viewers across more than 190 countries via Netflix, Disney+ and VIU. The partnership will enable media companies and professionals from Singapore and South Korea to collaborate across the media value chain, including development, production, post-production, and crossborder distribution of content. This includes working together on creating long-form dramas, variety shows, micro-dramas, non-fiction productions, and other forms of entertainment content – from initial ideas through to getting them on screen.

To deepen capabilities in emerging technologies, IMDA and SBS could jointly develop AI-driven media solutions, such as content localisation for different markets, automated post-production processes, and AI-enabled content creation. These solutions could be tested through joint pilot projects and training programmes to support the adoption of new technologies in both countries, helping companies and professionals stay competitive and improve efficiency in a fast-moving media landscape.

CBC and BBC Northern Ireland Greenlight New Romantic Comedy Series Committed CBC and BBC Northern Ireland have announced the greenlight of new original comedy series Committed (10×30), starring Dustin Milligan (Schitt’s Creek, Hot Frosty) and Diona Doherty (Derry Girls, Blue Lights). The series follows Canadian Peter Hooley (Milligan), a recently divorced accountant, who falls head over heels for Northern Ireland woman Julie Johnston (Doherty) after a whirlwind weekend in Toronto, and crosses the Atlantic to declare his love—only to discover he’s landed in an old-fashioned and eccentric rural Northern Ireland village that’s nothing like he imagined. Produced by Cameron Pictures and Fabel Productions, filming is currently underway in County Down, Northern Ireland, with additional scenes shooting in Hamilton, Ontario. The series is slated to premiere on CBC

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and the free CBC Gem streaming service in winter 2027 and is expected to air on BBC Northern Ireland around the same time. Committed is a romantic comedy about what happens in a relationship after the grand gesture, when real life barges in. At its core, the series explores what it means to step outside your comfort zone—and how people who are very different from you can make life far more interesting than you planned. A CBC original series, Committed is produced in association with BBC

Northern Ireland by Cameron Pictures Inc. and Fabel Productions Ltd. under the UK/Canada Co-Production Treaty, and global distribution is handled by FOX. The series was co-created by Keith Martin, Gerry Dee and Tim Loane, who is showrunner, and developed under the Northern Ireland Screen/ Canada Media Fund Co-Development Initiative for Audiovisual Projects. Additional financing was provided by the Canada Media Fund and Northern Ireland Screen.

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European producers snap up scripted formats from yes Studios Hot on the heels of Tracking the Scripted Giants Report from K7, which saw yes Studios’ thriller Your Honor named as the joint number one scripted format of the decade, the distributor now reports three new format deals – all for comedy drama titles – with leading European producers. In Germany, Hager Moss Films, producers of the popular Dark Rivers and Lena Fauch franchises – and part of the Constantin Film group – has acquired the format rights to yes Studios’ successful romantic comedy Bloody Murray (9 x 25). The series focuses on the relationship between best friends and roommates Murray and Dana and their daily struggles as single, thirty-something women. Dana is a gynaecologist, and Murray is a film lecturer specialising in romantic comedies…who sometimes takes

in 2022 – was created and written by Stav Idisis and produced by yes TV and Kastina Communications for yes TV. A second 9 x 25 series has recently aired in Israel to great acclaim. Bloody Murray has recently been adapted in Georgia.

cues from her work. Bloody Murray – the winner of Best Comedy at Series Mania

Also in Germany, Banijay’s MadeFor Film (Tatort, How to Kill Your Sister), has signed a deal to adapt Who Died? (10 x 24), a touching romantic comedy set in the most unlikely of places – an oncology department. Eran is a recently diagnosed and downtrodden single man, while Michal is a longtime cancer survivor and a woman who truly devours life. After meeting at a cancer ward, their unique connection sparks the first steps in a journey that runs the full gamut of emotions – from great highs to frightening lows. But mostly it’s a journey full of love and optimism.

KC Global Media’s A Controversial Entertainer lands on Netflix KC Global Media Distribution has announced the upcoming worldwide premiere of the new ten-episode Taiwanese series A Controversial Entertainer. The highly anticipated comedic drama, which KC Global Media Distribution introduced at last year’s Asia TV Forum & Market (ATF), is set to premiere on Netflix, iQIYI and NOW TV. Singtel will follow. Additional territories will be announced in the near future. A Controversial Entertainer follows the story of Pan Hao, a petty gangster whose insatiable desire for diamonds leads him into the confines of a psychiatric hospital. Amidst the frenzy of being pursued, he and a group of people each with their own hidden stories, take refuge in a male escort club. In a turn of absurd and glamorous fate, they transform into five sought-after escorts. The cast includes Shih Chih Tian, Wes Lo, Alex Chou, Ben Wu, Marcus Chang and Chen I. The show will air in Mandarin

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with English subtitles. “We are delighted by the strong momentum ‘A Controversial Entertainer’ has gained following our KC Global Media distribution showcase at ATF 2025,” said Bonnie Wiryani, Vice President, Revenue and Head of Content Sales, KC Global Media. “The level of interest not only reinforces our commitment to championing Asian content but also opens up opportunities for remakes

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and localized adaptations across the globe, with several partners already expressing keen interest in this title. We look forward to bringing the content to audiences around the world.” KC Global Media’s latest global deal reinforces its commitment to growing its distribution arm, strengthening creative partnerships, and delivering a diverse lineup of high-quality stories with broad international appeal, spotlighting Asian storytelling.

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Son of a Critch Gets Ready to Graduate as Cameras Roll on the Final Season of the Coming-of-Age Comedy As production begins on Season 5 of Son of a Critch (12×30), co-creator, executive producer and star Mark Critch announced that the upcoming season will be the series’ last. In its final season, Son of a Critch finds Mark in his last year of high school just as Newfoundland’s cod moratorium crisis turns his world upside down. While the adults scramble and the future feels suddenly uncertain, Mark is more determined than ever to chase his dream of becoming an actor—whether anyone’s ready for him to grow up or not. As friendships evolve, first love gets complicated, and the family faces changes they can’t outrun, this season captures the messy, funny, and deeply human moment when everything ends and begins at the same time. After five seasons of growing up together, it’s a heartfelt goodbye to Mark’s childhood— and to the Critch family we won’t soon forget. “Son of a Critch has formed a

deep bond with audiences who have watched young Mark grow up through his most formative years,” said Sally Catto, General Manager, Entertainment, CBC. “We have been there for every laugh and tear along with Mark and the incredible cast and crew, and look forward to celebrating with them and the loyal audiences as we head into this

final chapter.” Since its debut, the series has garnered widespread recognition, including a recent 2026 Canadian Screen Award nomination for Best Comedy Series and winning the Cogeco Fund Audience Choice Award at the 2024 Canadian Screen Awards. Season 5 will premiere Fall 2026 on CBC and the free CBC Gem streaming service.

Comedian Larry the Cable Guy to Host New Series American Mayhem Comedy powerhouse Larry the Cable Guy has signed on to host the upcoming 52-episode comedy series American Mayhem. With a syndicated launch slated this fall and an additional premier window expected to be announced shortly, the high-energy clip show celebrates the wildest, funniest, and most outrageous moments caught on camera across the U.S., all brought to life by the beloved funnyman whose unmistakable voice and humor have made him a household name. In American Mayhem, comedian Larry the Cable Guy brings his signature heartland humor to a fast-paced collection of the funniest and most relatable clips from across the country. With his blue-collar sensibility and deep roots in American culture, Larry brings instant authenticity and comedy to every clip—turning everyday chaos into a celebration of real people, real places, and real American mayhem.

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From backyard mishaps and weekend DIY disasters to pets stealing the spotlight and celebrations that don’t go quite as planned, Larry guides viewers through the lighter side of life — turning everyday moments into shared laughter.

both opened at number one at the box office and have grossed over $1 billion worldwide – he is back in the role again in the upcoming Disney+ series Cars Lightening Racers, set to be released in 2027.

Larry the Cable Guy is a multiplatinum recording artist, Grammy nominee, and one of the highest grossing comedians in the country. Larry is also the voice of the beloved Mater in Disney/Pixar’s Cars franchise. Cars (2006) and Cars 2 (2011)

American Mayhem is executive produced by Larry along with Maggie Houlehan, Carter Skeath, Rick De Oliveira, and John Stevens. The series is produced by V10 Entertainment and Distributed by CBS Media Ventures.

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All3Media International steps into Dirty Business Leading independent distribution company All3Media International has secured global rights to Dirty Business (3 x 1 hour) the enraging, heartbreaking factual drama from the BAFTA winning team at Halcyon Heart Films, which follows the 10year investigation to uncover a national sewage scandal across England. Premiering earlier this year on Channel 4 in the UK to immense critical acclaim, public outcries with responses at government level, and incredibly high share ratings across social platforms, the series received a 100% score on Rotten Tomatoes and earned a host of five-star reviews across the national press. Premium partners in Europe, Australia and New Zealand have already licensed the highly acclaimed drama. Within days of All3Media International acquiring

the series, NPO in the Netherlands, ABC in Australia and Rialto Channel in New Zealand have come on board as international partners – several other major partners are soon to be contracted. The distributor also reported that multiple Festivals have been in contact regarding the show. Written and directed by BAFTA winner Joseph Bullman, Dirty Business tells the devastating true stories of whistleblowers and victims, who believe their lives have been destroyed after encountering sewage-polluted water in rivers and the seas around popular coastal holiday areas. Razor sharp and blisteringly accurate, the series lays bare a vast national scandal, involving England’s water companies – often owned by global and overseas investment entities, who, having extracted an estimated £145 billion since privatization, illegally dump raw sewage into rivers and seas 790 times every day. Dirty Business is written and directed by Joseph

Bullman (Partygate). The producers are Laura McCutcheon (Partygate) and Meeshan Saxena and the exec producer is Aysha Rafaele. The show was commissioned for Channel 4 by Alisa Pomeroy, head of documentaries and factual entertainment, and commissioning editor Rita Daniel. All3Media International handles global distribution.

Sphere Abacus, Sky, SRF and ARD Degeto Board International Emmy-Winning Silver Reel’s New Series “THE DEATH OF SHERLOCK HOLMES” Following an International Emmy win in 2025 for YA hit Fallen, Silver Reel has set up its next high-end English language drama with Sphere Abacus, Sky, SRF and ARD Degeto. The Death of Sherlock Holmes explores the missing chapter in the life of the world’s most famous detective and will star Rafe Spall (Under Salt Marsh, Trying) and Deleila Piasko (The Exposure, Transatlantic) with a premiere date set for 2027. Created by Claudia Bluemhuber (Fallen), André Küttel (Platzspitzbaby) and Pierre Monnard (Winter Palace), written by Küttel and Simone Schmid (Die Beschatter), and inspired by the iconic characters of Arthur Conan Doyle, the series has started production, with Pierre Monnard and Bluemhuber directing.

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The series begins with one of the most famous moments in literary history: the apparent death of Sherlock Holmes at the Reichenbach Falls. While the world believes the master detective perished in his final duel with Professor Moriarty, The Death of Sherlock Holmes reveals for the first time what happened during the three mysterious years between his disappearance in 1891 and his return in 1894 – a chapter that Arthur Conan Doyle left untold and which now finds its story. Silver Reel is producing this SwissGerman-Belgian co-production with Sky Switzerland, SRF, ARD Degeto and Umedia. Sphere Abacus handles international distribution. Sky will broadcast the series exclusively in the UK and Ireland. The series will stream

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on Sky in Switzerland and Germany, while SRF will broadcast in Switzerland and ARD Degeto in Germany. The project is supported by FFF Bayern and the IDM Film Commission. Bluemhuber and Monnard showrun, supported by co-execs Florian Dargel, Alexander Jooss, Fabian Stein, Baptiste Planche, Bettina Alber, Jonathan Ford and Will Stapley. Alen Bulic oversees the project for Silver Reel.

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ZEE5 KidZ Builds Momentum in Kids’ Segment with ‘Fab 5’ Launch, Expands Multi-Genre Content Offering ZEE5 KidZ, children’s favourite entertainment destination, has further strengthened its kids’ content portfolio with the launch of its next big Original IP, Fab 5, which is now streaming on the platform.

creating Super Anand as he navigates adventures across a lively amusement park and a hidden mystical realm, taking on challenges that test courage, teamwork and presence of mind. Avid young fans got the opportunity to meet Super Anand live for the first time in India during the platform’s association with KidZ World, held at the World Trade Centre, Mumbai, where ZEE5 KidZ engaged with families through an on-ground presence, further extending the reach of its kids’ content offering.

Following the successful two-season run of Chote Tara ka Bada Gadar, this is a fast paced 3D animated series reflecting a continued push to create a diverse and engaging content ecosystem for young viewers. The series blends action, adventure and emotion through the story of Anand, a young boy who can merge with his magical toys to transform into a superhero- Super Anand.

As ZEE5 KidZ continues to scale its offering, the focus remains on developing a robust pipeline of original and culturally rooted content that combines strong storytelling with high production quality, positioning the platform as a compelling destination for young viewers across the country.

Each toy brings a unique power, Mitthu’s logic, Mimi’s speed, Rikki’s strength and Mayur’s magic coming together

Prime Video launches Obsession is in Session Prime Video has announced Obsession Is In Session, a new initiative marking the streamer’s bold commitment to being the leading destination for young adult audiences. The announcement arrives alongside an exclusive first look teaser trailer spotlighting Prime Video’s highly anticipated 2026 YA slate. The trailer ushers in a season-long celebration of young adult storytelling featuring back-toback title premieres, immersive fan experiences, and cultural moments that signal a major investment in the stories, creators, and communities shaping the next generation of entertainment. The teaser trailer features first looks at Off Campus, Every Year After, Elle, Sterling Point, The Last Sunrise, The Love Hypothesis, The Devil’s Mouth, Maxton Hall Season 3, Drawn Together (Marfil), Your Fault: London, Perfectos Mentirosos, and Clashing Through the Snow.

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Obsession Is In Session brings together talent, creators, and the influential cultural voices defining today’s entertainment landscape to create an ecosystem of experiences that extends far beyond the screen—meeting YA audiences where they are and building meaningful connections between the stories they love and the communities they’ve created around them. Anchoring the initiative is Obsessed Fest—an inaugural summer tentpole event that brings the internet’s most passionate fandoms to life. Taking

place at nya Studios in Los Angeles, this all-day immersive event transforms online fandom into a live, participatory celebration where fans can connect, discover, and engage like never before. Obsessed Fest will feature highly anticipated Prime Original YA titles including Every Year After, The Love Hypothesis, Elle, Off Campus, Overcompensating, Your Fault: London, Drawn Together and more—offering fans exclusive first looks, appearances from casts and creators and a range of fan focused access to the talent and creators behind the stories they obsess over.

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PlayBox Neo reinforces MIMO Tech with new Playout and CG automation capabilities to deliver Thai League football over OTT platform AIS PLAY MIMO Tech Co. Ltd is a subsidiary member of AIS (Advanced Info Service Public Co., Ltd.), and a key IT operator for AIS services which features Thailand’s leading video streaming and sports content providers. PlayBox Neo has now doubled the AIS network’s capacity from three to six channels, transmitted in high definition via streaming platform AIS PLAY on STB, Internet or smart phone. Based at Bangkok headquarters, the sale is comprised of six PlayBox Neo Channel-in-a-Box systems for playout and CG with automation, along with a MultiPlayout Manager.

PlayBox Neo has provided MIMO Tech with a brand-new major installation to extend its playout capabilities of Streaming Platform – “AIS PLAY” – to deliver Thai League football.

This significant new investment brings Thai football directly to local fans, allowing them to follow the excitement of game highlights and full matches through various media such as tablets, smart phones, Smart TVs, over streaming platform AIS PLAY.

This dynamic move strengthens AIS’s role as a central “Sports & Entertainment” hub, now covering world-class sports including the NBA, NFL, PGA, LPGA, DP World Tour, ATP and other global sports tournaments. PlayBox Neo’s Channel-in-aBox is the complete broadcast playout server solution offering all the essential facilities to sustain streaming content over streaming platforms, combining AirBox Neo which automates content streaming and broadcast playout with 4K-UHD optimisation. In addition, ListBox Neo scheduling, TitleBox Neo interactive CG and graphics, Ingest content ingest, and Media Gateway live delivery are included. PlayBox Neo’s platforms support playout in multiresolutions including 4K, HD and SD, ensuring the highest levels of playout security at all times.

ReelShort Embarks On Its Southeast Asia Expansion with AIS ReelShort, the world’s leading vertical short-drama platform, has officially launched in Southeast Asia through a landmark partnership with AIS, Thailand’s largest and most advanced 5G network provider. The collaboration marks ReelShort’s first telco alliance in the region and positions Thailand as the strategic launchpad for its wider Southeast Asia expansion. At the heart of the partnership is the launch of the “5G ReelShort” add-on package, a category-defining “data + content” bundle that combines ReelShort’s premium content with AIS 5G high-speed connectivity. ReelShort arrives in Thailand with one of the most extensive vertical short-drama libraries in the market, featuring nearly 3,000 titles spanning hit genres including romance, CEO

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dramas, Chinese series, and highintensity plot-twist storytelling. Popular Hollywood-produced hit series such as Bound By Honor (373 million views), True Heiress vs. Fake Queen Bee (435 million views), and Move Aside! I’m the Final Boss (311 million views) further highlights the platform’s global appeal. Thai audiences can already enjoy close to 300 fully dubbed titles and more than 1,000 with Thai subtitles, with new episodes released daily. To support the launch, AIS and ReelShort will roll out a two-month nationwide campaign, the largest integrated marketing push ReelShort has executed in Southeast Asia to date. The campaign will span digital activations, influencer collaborations, co-branded advertising, and retail promotions, driving mass awareness and adoption across Thailand. The collaboration between AIS and ReelShort represents

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more than just the release of a new package. It also marks the first deal brokered by AR Asia Productions since its appointment as the exclusive distribution representative for ReelShort, highlighting AR’s growing role in driving the platform’s regional expansion. Together, the partnership demonstrates AIS’s aim to improve its digital content ecosystem by connecting intelligent network infrastructure with global entertainment platforms, resulting in accessible, smooth, and high-quality entertainment experiences for every moment of modern life.

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News OTT

THE SEVEN Enters Multi-Year Co-Development Deal with The Walt Disney Company (Japan) THE SEVEN, Inc. (Headquarters: Minatoku, Tokyo; President & CEO: Katsuaki Setoguchi; hereinafter “THE SEVEN”) has announced that it has entered into a multi-year co-development partnership with The Walt Disney Company (Japan) Ltd. (Headquarters: Minato-ku, Tokyo; President: Tamotsu Hiiro; hereinafter “Disney”) to produce high-quality Japanese live-action original content designed to resonate with viewers across the globe. This marks the first time Disney has established an ongoing content development partnership with a Japanese production company in Japan for global streaming distribution. The objective of this partnership is to co-plan and co-develop rich Japanese stories—primarily as live-action drama series filmed in Japan and in the Japanese language—to be delivered globally via Disney+, the streaming service operated by Disney worldwide. By fusing THE SEVEN’s proven creative

vision and formidable production capabilities with Disney’s century-long expertise in world-class storytelling, the two companies aim to elevate Japanese stories into global IPs, creating deeply moving experiences that leave a lasting impact on audiences everywhere. Under this agreement, both companies will collaborate closely from the earliest stages of planning and development, nurturing the next generation of hits with a medium-to-long-term perspective. In each contract year, THE SEVEN plans to

propose multiple compelling projects, including original IPs, adaptations of published works, and unique independent development projects. For curated projects, creative teams from both companies will work handin-hand to build meticulous scripts and expansive series “bibles” and worlds that resonate with international viewers. From the initial spark of an idea through to production, this powerful alliance will maximize the potential of Japanese storytelling.

Blue Ant Media’s NatureTime Lands on Joyn in Germany Global streamer, production studio, and rights business, Blue Ant Media has announced the launch of NatureTime in Germany on Joyn, the streaming platform of ProSiebenSat.1. NatureTime features compelling wildlife and nature stories and is available in over 20 countries around the world. The deal includes an AVOD hub and is fully localised with dubbing in German. The launch, overseen by Chiara McKee, VP, EMEA Global Channels & Streaming at Blue Ant Media, marks another addition of NatureTime in Germany and expands Blue Ant Media’s footprint in Europe. “Launching NatureTime with Joyn is an exciting milestone for our global channels business and a meaningful step in expanding our presence in the German market,” says Chiara McKee, VP, EMEA Global Channels & Streaming at Blue Ant Media. “By delivering a fully localized experience, including German dubbing within an AVOD hub, we’re able to bring compelling natural history storytelling to new audiences

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in a way that feels both accessible and engaging.” The launch of NatureTime in Germany aligns with the channel’s “Celebrate Earth Day” campaign, which features stories from some of the planet’s most amazing wildlife and ecosystems. Several titles will be highlighted around the launch including Wildlife Icons, which shines a spotlight on Africa’s “Big

Five” of the savannah, charismatic primates, vast herds of antelope and the predators that stalk them; Shark Squad, an investigation of how sharks are more complex and intelligent than humans initially believed, and Life’s Journey, a look at the three animal stages of existence, from birth and infancy, through to adulthood and finally old age, when the circle turns again.

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Dubhub Partners with OGM UNIVERSE Stockholm and Istanbul-based localisation company Dubhub is partnering with OGM UNIVERSE the global distribution arm of OGM Pictures, one of Turkey’s leading producers in Istanbul to localise the Turkish drama series 6 of Us (original title Sahipsizler) for French audiences. The series launched in Turkey in 2024 and aired its final episode last month on Star TV. On YouTube, the first episode of the series in Turkish has been viewed 23 million times, making it one of the top Turkish series of all time. Dubhub will localise the series in French using Dubhub’s new technology, Evocion, an AI-based system for emotion transfer that combines advanced technology

with management by human editors and translators. “Top Turkish dramas are incredibly strong both for licensing and for direct-to-consumer channels such as YouTube. With language versions, revenues from the original language on YouTube can normally be multiplied 3–4 times,” says Fredrik af Malmborg, CEO of Dubhub. Dubhub has recently launched version 2.0 of its in-house developed production app for AI dubbing, including new modules for emotion transfer under the name Evocion. The new technology is a game changer for audio dubbing and adds a high level of character performance, as well as line-by-line direction of voices.

OGM Pictures, one of Turkey’s leading production companies, with numerous global hits including Golden Boy, The Fall of the King and Reborn.Some OGM Pictures series are among the world’s most powerful drama productions of recent years, reaching more than 100 million viewers.

Stegawave Debuts Real-Time Forensic Watermarking to Tackle Piracy in Live Sports Streaming Stegawave, an Irish technology company specialising in forensic watermarking for video content, has announced the launch of its anti-piracy platform for live sports streaming. Using a proprietary watermarking algorithm to embed invisible patterns into live streams, Stegawave identifies piracy sources in real time, shutting down illegal redistribution within minutes of detection. The platform integrates with existing streaming workflows and distribution systems, requiring no changes to a content owner’s existing infrastructure. Stegawave customers also have the option to push alternative content or messaging to the illegal stream destination. Live sports piracy costs the global broadcasting industry billions annually, with the U.S. Chamber of Commerce estimating the impact on the US economy alone at more than

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$29 billion per year. Illegal IPTV services, often referred to as ‘dodgy boxes’, restream content within minutes of broadcast, and legacy content protection technology cannot identify the source of a leak. For smaller and mid-tier organisations, the financial impact is proportionally even greater, as lost subscribers directly threaten the viability of grassroots and regional sports attendance and coverage. The announcement follows a successful deployment with Clubber TV, a leading live sports platform. Sports broadcasters worldwide are facing persistent piracy from illegal IPTV services that directly impact subscription revenue and the financial viability of the coverage itself. Stegawave was deployed across live broadcasts, detecting pirated streams and identifying the specific subscriber accounts responsible. Stegawave achieved a 100% detection rate across all streams, and because many illegal IPTV services share the same

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source account, blocking a single compromised account simultaneously disabled multiple pirate streams, amplifying the impact of each enforcement action. Stegawave is now available for streaming platforms, sports broadcasters and rights holders who are looking to protect their premium content and maximise their Pay-Per-View and Subscription revenues.

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News OTT

Paramount and Blue Ant Media Strike Expanded Partnership Paramount in Canada and Media Pulse, a Blue Ant Media company, have announced an expanded partnership, naming Media Pulse as the exclusive direct sales and programmatic partner for Paramount’s ad inventory in Canada. Media Pulse will represent both Paramount’s SVOD platform, Paramount+, and its leading freestreaming service, Pluto TV. This deal enables Media Pulse to offer clients direct ad insertion opportunities across the full breadth of Paramount+ and PlutoTV’s premium CTV inventory, enabling Canadian advertisers to reach highly-engaged audiences who enjoy streaming world-class content. “This exclusive partnership with Pluto TV and Paramount+ in Canada is an exciting addition to our roster of premium partners, allowing us to further elevate the CTV experience and offer brands the opportunity to follow the

viewer to a powerhouse of must-watch content,” said Deborah Gurofsky, SVP and Managing Director, Media Pulse. “This collaboration gives brands direct, streamlined access to a ‘Mountain of Entertainment’ that spans every genre and reaches engaged audiences across the country.” “This expanded partnership with Media Pulse reflects our commitment to growing Paramount’s streaming business in Canada and our confidence in the market,” said Lee Sears, President, International Markets Advertising Sales, Paramount. “Just as importantly, partnering with a Canadian sales organization gives advertisers a locally aligned option, reinforcing Paramount as a platform that aligns global scale with strong Canadian market access.” Media Pulse clients will benefit from seamless ad integration and advanced

targeting opportunities, including show, channel, and category sponsorships, custom interactive and high-impact ad units, and co-branded executions across Paramount+ and Pluto TV’s Canadian catalogues. The Paramount+ SVOD service features Hollywood blockbusters, premium original series (The Madison, Landman, MobLand, and Canada Shore), and iconic brands including CBS News, MTV, and Nickelodeon. Complementing this, the free streaming service Pluto TV offers over 200 curated channels and 20,000 hours of content, including thousands of hit movies and television series.

ADN and Bilibili announce a strategic partnership to expand Chinese animation internationally ADN (Animation Digital Network), the leading European platform dedicated to animation, has announced a partnership with Bilibili, a major Chinese entertainment and animation platform, aimed at expanding the international distribution of Chinese animated content. As part of this agreement, two new Bilibili titles will be released each month on ADN which started last April. The initial phase of the partnership covers approximately ten animated series, with the possibility of further expansion depending on audience reception. The titles will be localized and made available in France, Germany and Poland, reinforcing ADN’s

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commitment to broadening access to Asian animation across European markets. This partnership reflects a shared vision between ADN and Bilibili regarding the global evolution of animation and a mutual ambition to support the medium’s creative and

industrial development worldwide. In parallel with distribution, the two platforms have also initiated strategic discussions around future productions, laying the groundwork for potential collaborations on upcoming animated projects.

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News Platforms

Bomanbridge Media inks broadcast agreements throughout Europe and North America its factual portfolio, the Company announced. Independent US network EarthxTV, dedicated to conservation and sustainability programming, has acquired a 45+ hour package of factual content to launch alongside Earth Day later this month. Titles include the Jackson Wild Nominee, Valley of the Bears (1 x 60’) and Natures Calendar (12 x 60’). Also in the US, American pubcaster, APT, has acquired the one-hour Special, Greenland, which explores the country’s hidden history, Inuit culture and diverse wildlife.

International content distribution and production Company, Bomanbridge Media, has secured multiple broadcast agreements throughout Europe and North America for titles across

Elsewhere in North America, Canada’s CBC has acquired The Climate Restorers. This compelling 4 x 60‘ documentary, narrated by American Emmy-Awardwinning actor and director, Peter Coyote, explores how science, technology and

human creativity can help reverse climate change and restore balance to our planet. Also in Canada, a fivetitle deal has been brokered with the Knowledge channel for the presenter led version of Greenland (2 x 60’) and several arts titles including Hopper: An American Love Story (1 x 60’). Meanwhile, in Europe, Italy’s Rai 5 has picked up a 10-hour wildlife package consisting of several DocLights titles including the hour-long Specials, Forest High Life and Masked Bandits. This follows on from Bomanbridge’s acquisition of the DocLights library in late 2025, which saw the Company take over the acclaimed wildlife catalogue alongside new and upcoming productions. Rai also picked up the premium arts title, Frida Kahlo (1 x 60’), as part of the deal.

NAGRAVISION and Harmonic Extend Partnership with Launch of Scalable Watermarking-as-a-Service for Live Events NAGRAVISION, a Kudelski Group company and the world’s leading independent provider of content protection and media and entertainment solutions, has announced the launch of a new fully managed, event-based watermarking-as-a-service solution with Harmonic, extending a long-standing collaboration. The solution will be available as an upgrade for existing Harmonic VOS® 360 Media SaaS customers or as part of the NAGRA Streaming Security solution. Content theft in live sports has a renewed focus across the media and entertainment industry as ongoing content fragmentation increases exposure to piracy. This shift is driving demand for realtime, outcome-based protection for streaming service revenues. The combined, event-ready watermarking-as-a-service solution builds on deep technical integration between Harmonic’s VOS 360 Media solution and NAGRA NexGuard forensic watermarking, a core

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component of the NAGRA Streaming Security solution that allows rights owners to quickly identify and mitigate illegal restreaming during live events. Together, they enable major live sports and OTT event streamers to activate A/B watermarking— increasingly mandated by content rights holders — with dramatically reduced operational burdens, complexity, and cost. In addition, the solution removes the challenges of deploying and maintaining the infrastructure required for high-volume, low-latency switching. By deploying NAGRA NexGuard forensic watermarking as a fully managed service on Harmonic’s cloud-native SaaS solution, operators pay only for the

events where forensic watermarking is required. Harmonic manages the end-to-end orchestration, scalability and service up-time. This new operational model significantly reduces both per-event cost and internal engineering overheads. “Through our long-standing collaboration with NAGRAVISION, we are delivering watermarking-as-aservice that eliminates complexity, lowers costs and activates only when needed. This is exactly the type of agile, event-based security model the market has been asking for,.” said Gil Rudge, Senior Vice President, Solutions and Americas Sales at Harmonic.

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Vizrt AI Keyer kills the green screen and creates virtual scenes in any environment Vizrt, the AI platform for visual storytelling, has announced the launch of its AI Keyer, expanding the possibilities and accessibility of virtual and extended reality (XR) scenarios. The Vizrt AI Keyer enables background switching and augmented reality (AR) graphics insertion in every space, whether indoors or outdoors. The secure, proprietary solution is trained extensively on real-world footage across environments and lighting conditions to recognize human shapes as foregrounds, and separates backgrounds seamlessly, so talent can move around while being locked into the virtual scene. “Creating XR environments typically demands large infrastructure investments and requires specialized skills for daily operations. The Vizrt AI Keyer removes all these constraints, so high-quality virtual scenes and AR graphics become a reality for live productions of every size,” said Edouard Griveaud, Senior Product Manager at Vizrt.

The Vizrt AI Keyer’s extensive capabilities bring AR into any environment, whether it’s inserting remote speakers into a global town hall environment, switching the visual location of a presenter in a news segment, or creating a completely virtual ad wall behind a player in a post-match interview. Without needing green screens, complex lighting setups, and timeconsuming chroma keying, production teams can find new ways of engaging

audiences and maximizing sponsorship value from anywhere. For over a decade, Vizrt has embedded AI in features for many of its industry-leading solutions across sports, media and entertainment, enterprise, and content creation. Now, Vizrt is bringing AI to the forefront of its innovations, to support and improve live production workflows and democratize highquality, complex media technology tools.

Cobalt Digital and SineSix Media Partner to Transform Accessibility Compliance into a More Engaging Viewer Experience Cobalt Digital has announced a partnership with SineSix Media that will seamlessly integrate SineSix’s vocalVision™ audio description solution into Cobalt’s 9922 frame synchronizer family. The combined solution brings real-time audio descriptions of on-screen graphics directly into the broadcast workflow ensuring visually impaired viewers don’t miss critical information. Designed to help broadcasters comply with the 21st Century Communications and Video Accessibility Act (21CVAA), vocalVision ensures that visually impaired audiences can fully access critical information that is often conveyed visually during live and recorded broadcasts. The solution goes beyond traditional compliance tools by providing automated, realtime narration of graphical content such as lower-third headlines, weather

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radar maps, election data, sports graphics, and more. Integration with Cobalt Digital’s 9922 enables visual and audio accessibility tools to be combined into a unified workflow, ensuring that critical visual information is both seen and heard, improving accessibility for visually impaired audiences while enhancing overall viewer engagement. The integrated workflow allows broadcasters to trigger audio description events directly from existing graphics systems via SineSix’s Watchman API, or through a userfriendly browser-based interface. The system also provides flexible control options, allowing operators to manage alerts and descriptions manually, on scheduled intervals, or via automated triggers. Shared watch folders enable seamless ingestion of text and image assets, while Cobalt’s +TTS functionality converts text to speech and inserts

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audio into the program stream in real time. Cobalt’s +EAS option supports emergency alert delivery, and +LOGO enables on-screen graphic insertion, creating a unified and efficient accessibility solution. Additional capabilities include AIassisted image description for elements such as weather radar maps, customizable pronunciation dictionaries for accurate text-tospeech output, and multilingual support for broader audience reach.

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News Platforms

Chaos and Zero Density to Showcase Real-Time Ray Tracing for Virtual Studios and XR Chaos, the global visualization and design technology company, and Zero Density, a global leader in virtual studio productions and broadcast graphics solutions, announced an R&D partnership. This collaboration integrates Chaos Vantage’s real-time ray-tracing technology with Reality 5’s virtual studio production tools. The integration made its global debut at NAB Show 2026, where visitors of Zero Density’s booth were among the first professionals worldwide to see it in action. Broadcasters and virtual studio production teams saw Reality’s full suite of studio production tools — including real-time camera tracking, broadcastgrade compositing, and live graphics — with Chaos Vantage, the real-time ray-

tracing render engine. Zero Density’s Reality has long been the leading broadcast virtual studio production platform worldwide. With the release of Reality 5, Zero Density redesigned the Reality platform to work with multiple render engines — giving production teams the freedom to choose the rendering technology that best fits their workflow. In this technology demo, Chaos Vantage — Chaos’ real-time ray-tracing renderer built on the same technology underpinning its Emmy Award-winning V-Ray 3D rendering software — brings fully ray-traced, cinematic-quality rendering to live broadcast and virtual studio environments. “Ray tracing every pixel in real time has been the pinnacle of computer graphics

rendering for many decades. Through this R&D partnership with Chaos, we’re researching the application of this technology to the virtual studio production industry. We’re excited to present Chaos Vantage and Reality 5 together to the visitors of NAB Show 2026,” commented Kuban Altan, CoFounder & CTO, Zero Density.

CJ ENM, TBS, and U-NEXT Holdings Establish Joint Venture StudioMonowa CJ ENM (CEO Yoon Sanghyun) marked the launch of ‘StudioMonowa’ with a signing ceremony on April 30 at the CJ ENM Center in Seoul, establishing a strategic joint venture with Japan’s TBS and U-NEXT Holdings. The signing ceremony was attended by key executives from the three companies, including Yoon Sanghyun, CEO of CJ ENM; Abe Ryujiro, President & CEO of TBS; and Tsutsumi Tenshin, CEO of U-NEXT Co., Ltd. The name ‘Monowa’ combines ‘mono,’ the Japanese word for story, and ‘wa,’ meaning harmony. It signifies a space (Studio) where content (Mono) from both Korea and Japan is connected as one (Wa) to create new value. Furthermore, the name incorporates the prefix ‘Mono,’ meaning ‘one,’ reflecting CJ’s ‘ONLYONE’ philosophy of pursuing being the first, the best, and the most differentiated. StudioMonowa is a joint venture that integrates top-tier planning, production, and platform capabilities

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from Korea and Japan to establish a content value chain encompassing everything from planning and development to production, distribution, and IP expansion. Specifically, a sustainable business model will be secured through an LTV (Life-Time Value) based structure, spanning from original IP discovery and investment to drama production, global distribution, secondary works, and spin-off businesses. The strategy is to evolve into a ‘Global Premium IP Studio’ by combining Korea’s competitive

K-drama production system with Japan’s IP competitiveness. To ensure the successful launch of StudioMonowa, the three partners will consolidate their core competencies. CJ ENM will lead content planning and differentiation based on its global production expertise, while TBS focuses on original IP discovery within Japan and driving IP-related businesses and channel releases. U-NEXT will serve as the primary platform, handling the supply and distribution of original titles.

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Limecraft Announces Version 2026.3 of its Cloud-Based Television Production and Media Management Platform Limecraft has announced the release of Limecraft 2026.3, the third platform update in its 2026 release cycle. Limecraft is an AIpowered production platform that enables content creators to store, manage and share projects from initial rushes to thousands of masters. Limecraft workspaces can be easily customised for specific formats such as scripted TV, documentaries and non-scripted entertainment, and can handle massive volumes thanks to finetuned AI services at the core. Limecraft 2026.3 introduces specific improvements designed to make production and post-production workflows more structured, more reliable, and easier to automate at scale. This update focuses on three key areas: file verification with ASC Media Hash List (MHL) support, extended AAF export configuration, and faster transcription with broader language coverage. A key addition in this release, ingest workflows now support ASC

Media Hash List files using Limecraft Edge. MHL files are created upon card offloads, establishing a persistent and interoperable record of file integrity. As part of this enhancement, users can choose the checksum algorithm employed for file verification. In addition to legacy MD5, Limecraft now supports xxHash64 and xxHash3 64-bit algorithms. To improve interaction with the editorial workflow, Limecraft 2026.3 extends AAF export templates introduced in the previous release. Users can now define

more precisely which material lands on which track in the resulting edit sequence. Advanced track mapping automatically composes the intended sequence track by track, including master clips or autogenerated group clips, camera and audio device selection, auto-select camera angles, custom labels and per-subtrack labels for multichannel audio. This is particularly relevant for multicamera, multitrack and high-volume productions where manual timeline preparation is repetitive and prone to errors.

Entertainment Without Borders: GMA Network Charts Partnership for Global Maritime Distribution of International Channels GMA Network continues to expand the reach of Filipino stories beyond borders through technological innovation and strategic partnerships, bringing world-class entertainment closer to Global Pinoys wherever they may be. Through a strategic maritime collaboration with Home2US Communications and FrontM Limited, the network marks a significant expansion of its global footprint by bringing its international channels, GMA Pinoy TV and GMA Life TV, on board commercial vessels worldwide. Under the distribution agreement, Home2US serves as the contracting content partner, supported by an integrated delivery ecosystem that combines its advanced global

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broadcast and streaming capabilities with FrontM’s onboard technology infrastructure. This ensures seamless access to licensed GMA programming at sea, strengthening the network’s connection with Global Pinoys throughout their journeys. “In line with our 2026 theme, The Heart of Global Pinoys, this partnership honors Filipino seafarers who continue to make extraordinary contributions to global shipping despite the many challenges they face, including long periods away from home and their families,” said GMA Network First Vice President and Head of International Operations Joseph T. Francia. “Our focus is on creating an onboard viewing experience that is live, shared, and meaningful for crews,” said FrontM Lead Product Manager Venkatesh Ramakrishnan.

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“Through this partnership, FrontM’s onboard technology platform helps bring trusted GMA content to vessels worldwide in a way that supports connection, routine, and everyday life at sea.” At the heart of this viewing experience is GMA Pinoy TV, the Network’s flagship international channel and home of The Heart of Global Pinoys. GMA Network’s collaboration with Home2US Communications and FrontM Limited reinforces its mission to share heartfelt Filipino stories worldwide—bringing GMA Pinoy TV, The Heart of Global Pinoys, closer to Filipino seafarers and deepening their connection to culture, heritage, and community across oceans.

March-April 2026 Television Asia Plus

People

Korea’s Something Special promotes InSoon Kim to Co-CEO/CBO & Moonyoung Song to VP Something Special, the number one independent Seoul-based international Format agency CEO, Founder & Executive Producer JinWoo Hwang announced that the company has promoted InSoon Kim to Co-CEO/Chief Business Officer formerly EVP & Head of Content. They also announced the promotion of Moonyoung Song, Head of Development, to Vice President (VP) and the appointment of Donggil Seo as Head of Production/Chief Producer who replaces Jacob (Jongbin) Han who recently left to teach at the prestigious Kyonggi University. Kim’s career prior to joining Something Special in 2019 includes roles as Former Head Researcher at Digital Media Content Formatting Lab (Korea’s first TV format R&D lab supported by the Korean government); taking charge of producing Korea’s firstever format bible for SBS’ entertainment show Star Junior Show”. She was a Former Format Specialist at CJ ENM, Former Manager and Producer at Global Productions, SBS; and the Former Managing Director at FormatEast (SBS’ subsidiary company in charge of format IP development, packaging, and distribution). Song has joined Something Special in 2021 and has been leaded international co-development projects for 5 consecutive years and has developed numerous Something Special original unscripted IP’s including Unforgettable Duet and The Underdogs (WT) which format will be launched later this year. Seo’s credentials include former Development Producer at Remarkable TV in the UK, Unscripted Series Producer, Director, Editor, and Development Producer at JTBC (Studio C1), and Producer and Director at Channel A in Korea. Hwang stated, “I am so pleased that InSoon was elevated to be CoCEO with me at Something Special. Since we launched in 2019, InSoon has proven to an instrumental part of our ongoing success. Her insight and creativity have led the team to do their very best. Along with the promotion of Moonyoung to VP and the new head of production, the knowledgeable Donggil, they are going to be key to our next growth level.”

we are pleased that the talented Donggil Seo will join us on this venture.” Song added,“Having grown with the company, I’m proud to step into this new role at such a pivotal moment and look forward to working closely with Korean creators and international partners to bring more bold, distinctive Korean formats to audiences around the world.” Seo said, “It is an honor to join the Something Special team, led by visionary leaders Jin and InSoon. Creating groundbreaking global formats has been a longstanding aspiration of mine throughout my career. I am very excited to pursue this ambition with the team, leveraging my experience in unscripted format development and production across Korea and the UK.”

Kim stated, “Working with Jin and the team has been, and will continue to be, a fantastic experience. Together we have had successes and challenges. There are some very exciting projects in the pipeline, and

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Nippon TV expands LA Business Office with appointment of Nick Ower for North America and Latin America Nick Ower has joined Nippon TV LA Business Office as Director of Development & Sales, Unscripted, where he will help drive the company’s format strategy across North America and Latin America. Reporting to Tom Miyauchi, Head of Nippon TV LA Business Office, Nick will work closely alongside Tom as a clientfacing lead, representing Nippon TV and Gyokuro Studio’s unscripted format catalogue to broadcasters, streamers, and production partners across the region. In his new role, Nick will focus on expanding the reach of Nippon TV’s premium unscripted formats and Gyokuro Studio’s original development, sourcing new opportunities with US and international partners, and accelerating sales and co-development across key territories. His experience bridging creative development and commercial execution positions him as a key driver in bringing Japanese formats to the global stage. His appointment further strengthens Nippon TV LA’s presence as it continues to grow as a hub for “Creating Global Entertainment.” “We are delighted to welcome Nick to Nippon TV LA as we expand and build on our footprint in the Americas. He brings a proven track record and a wealth of experience in unscripted development, alongside a strong understanding of the North American market and excellent creative instincts, making him a valuable addition to our growing international strategies. Nick will play a key role in strengthening our development pipeline and deepening our partnerships across the region, as we continue to broaden our presence in the global market,” commented Miyauchi. Added Ower, “Joining Nippon TV LA at such a pivotal stage of its international expansion is an incredible opportunity. I’ve long admired the company’s reputation for bold, inventive storytelling, and there is an undeniable global appetite for the kind of fresh, high-concept entertainment that Nippon TV and Gyokuro Studio excel at. By combining Nippon TV’s distinct creative spirit with a sharp focus on international scalability, I look forward to working with partners across the Americas to create high-impact content designed to resonate with audiences worldwide.”

his career in unscripted development over the past decade, progressing through the organization to become Director of Development. He was part of the ITV Entertainment label, one of ITV America’s flagship production label behind some of the world’s biggest unscripted series including Queer Eye, Love Island, Hell’s Kitchen, and The Chase. During his time at ITV America, Nick worked across international format adaptations and original development, with a focus on large-scale, globally scalable formats. He contributed to the development and sale of several high-profile series including Love Island Games and Love Island: Beyond the Villa (Peacock), Twin Love(Prime Video), and My Mom, Your Dad (HBO Max), alongside projects such as Four Weddings (OWN) and the feature documentary Longest Third Date (Netflix).

Prior to this appointment, Nick worked at ITV America and built

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People

CNN International Announces Sylvie Zhuang as Senior China Reporter

CNN International has announced that Sylvie Zhuang has joined the company as Senior China Reporter based in its Asia-Pacific headquarters in Hong Kong. As Senior China Reporter, Zhuang is tasked with bringing an on-the-ground understanding of China for an international audience. Her reporting will cover a wide portfolio, touching upon everything from politics to tech, business and society – delivering editorial content for all of CNN’s platforms. Before joining CNN, Zhuang was a Senior Reporter on the China desk for the South China Morning Post, where she extensively covered China’s government and diplomacy. Her stories have included tracing the growing US-China rivalry, Beijing’s signature anti-corruption drive, along with the latest developments of the Chinese military. Her reporting has also explored how the thinking of the Chinese leadership

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has come to shape the country with both domestic and global implications. She previously worked as a researcher for international organizations including the World Bank and Asian Development Bank. Zhuang completed her Bachelor of Arts in Communications at The University of Illinois at UrbanaChampaign and obtained a Master of Arts in Public Policy and Social Service Administration from The University of Chicago.

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Broadcast Solutions strengthens CTO Office for technical leadership Broadcast Solutions, a leading system integrator and provider of innovative solutions for the broadcast media industry, has taken another significant step in strengthening its senior management structure for its continued growth and innovation. Humphrey Hoch has been promoted to the new role of co-CTO, forming a unified technology leadership team with Rainer Kampe, Pierre Mestrez and Maarten Carpentier. The company recognises that technical excellence is critical for continued growth and set up its CTO Office at its Bingen headquarters in 2024. Pierre Mestrez leads on software and services and Maarten Carpentier with primary responsibility for solutions and architecture. Hoch is now appointed co-CTO to bring these efforts together in service of the clients. He brings extensive experience in the media industry, including roles with L-S-B Broadcast Technologies and Lawo. For the last eight years he has been senior director of innovation at Broadcast Solutions, as well as guiding the development and eventual spin-out of the hi human interface platform. As part of the new structure, Hoch also joins the senior leadership team, initially working alongside CTO and managing director Rainer Kampe. This is the first stage of a coherent strategy which will see Hoch bringing a refreshed energy to Broadcast Solutions designs and engineering, while Kampe moves, over the next year, into a more over-arching role focusing on strategy, market development and key partnerships. “In a turbulent market, Broadcast Solutions is continuing to serve clients and grow our business through consistently delivering systems which provide excellence in quality, creativity and efficiency,” Kampe said. “To do this, we need the knowledge, experience and agility to develop the best solutions for our clients, whatever their project needs.

Humphrey Hoch added, “This is a very exciting opportunity, to be able to work with the best multidisciplinary team in the industry, on cutting edge media projects. Broadcast Solutions is proud to be a company that holds innovation as its goal, alongside service and reliability, and I look forward to maintaining that policy. “This is a planned and structured development of roles,” Hoch said. “It brings clarity, accountability and strong execution to the core of everything we do and positions us perfectly in future readiness grounded in the most practical and deliverable technology.”

“At the same time, we need a leadership structure that can scale, while maintaining our core values of innovation, of service and of reliability,” Kampe said. “This planned expansion is a considered and deliberate step to ensure stability today and to be ready for whatever directions the market takes us in the near future.”

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Cover Story

The Anime Renaissance: How Crunchyroll and a Billion Fans Are Redefining Global Entertainment

The Golden Age of Animation For decades, anime existed as a vibrant yet carefully guarded secret. It was a subculture defined by latenight television broadcasts, grainy fan-subtitled VHS tapes passed between enthusiasts in school hallways, and specialized comic shops tucked away in the corners of major cities. To love anime was to be part of an underground movement, a dedicated vanguard sharing a passion for a medium that the mainstream entertainment establishment largely overlooked. Today, that landscape is unrecognizable. Anime is no longer a niche alternative; it is a titan of global popular culture. From the high-fashion runways of Paris and New York, where luxury houses debut anime-inspired collections, to the Billboard charts dominated by Japanese musical acts, the medium has infiltrated every corner of modern media. At the epicenter of this tectonic cultural shift is Crunchyroll, the world’s ultimate destination for anime. When Rahul Purini, President of Crunchyroll, took the stage at the prestigious APOS Conference for a landmark fireside chat, he did not just announce a corporate expansion. He heralded the next phase of a global phenomenon. With upcoming market launches in Taiwan and South Korea, Crunchyroll is cementing its footprint across the Asia-Pacific (APAC) region, building upon monumental successes in India and

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Thailand over the past three years. To understand why Crunchyroll is doubling down on Asia, one must first look at how a hand-drawn art form from Tokyo conquered the entire world, transforming from a domestic Japanese industry into a borderless, multibillion-dollar juggernaut. From Tokyo to the World: The Rise of a Global Superpower The exponential growth of the anime industry over the last decade is one of the most remarkable business and cultural stories of the 21st century. According to reports from the Association of Japanese Animations (AJA), the global anime market has consistently shattered revenue records, soaring past the threetrillion-yen mark. What once relied heavily on domestic Japanese broadcast revenues and physical disc sales has evolved into a hyper-connected, digital-first global ecosystem. Several key catalysts have fueled this explosion:

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The Streaming Revolution: Platforms like Crunchyroll removed geographical friction. Historically, fans outside Japan waited months or even years for localized releases. Today, simulcasts—episodes streaming globally mere hours after their Japanese television broadcast— allow a teenager in Mumbai, a student in Bangkok, or a commuter in Los Angeles to experience

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narrative twists at the same moment.

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The Normalization of Geek Culture: The stigma once attached to animation aimed at mature audiences has evaporated. Millennial and Gen Z demographics view animation not as a children’s medium, but as a premier vehicle for complex storytelling, breathtaking action, intricate worldbuilding, and profound emotional resonance.

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Cross-Media Synergy: Modern anime hits are multi-pronged entertainment ecosystems. A single property effortlessly flows from a manga serial to an anime series, a mobile gacha game, a theatrical feature film, high-end collectible figures, and global concert tours.

Yet, despite this worldwide ubiquity, the heart of the fandom remains firmly rooted in Asia—a region experiencing an unprecedented anime renaissance. The APAC Epicenter: Strategy and Vision While Western markets have embraced anime with staggering enthusiasm, the Asia-Pacific region represents both the cultural cradle of the medium and its most dynamic frontier. Recognizing this, Crunchyroll has spent the last three years executing a deliberate, high-stakes strategy to deepen its ecosystem across key Asian territories.

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As Purini outlined during his APOS fireside chat, Asia is a top priority because it hosts some of the most passionate, engaged communities on Earth. “Our ambition is simple: to be the best place for fans to experience anime, wherever they are,” Purini stated. “That means investing in great content, delivering it in ways that feel local and relevant, and creating experiences that deepen fans’ connection to the stories and characters they love.” This is not a one-size-fits-all approach. Crunchyroll’s playbook relies on hyper-localization—respecting the unique cultural nuances, linguistic preferences, and consumption habits of individual countries. Nowhere is this clearer than in the platform’s recent expansions. Case Studies in Growth: India and Thailand To comprehend how deeply anime has penetrated Asian markets, one need only look at the explosive trajectories of India and Thailand. India: A Mainstream Phenomenon In India, anime has transitioned from a fringe curiosity into a cultural powerhouse. Driven by a localized strategy that honors India’s rich linguistic diversity, Crunchyroll has transformed the market. The platform now boasts over 900 unique titles, backed by an impressive library of 180-plus dubs spanning major regional languages including Hindi, Tamil, and Telugu. The results speak for themselves. More than 65% of all

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to a simple truth: when fans are given premium access and localized respect, they show up in droves. The Next Frontier: Taiwan and South Korea Building on these triumphs, Crunchyroll is setting its sights on its next major regional milestones: Taiwan and South Korea. Taiwan Scheduled for a fully localized service rollout in Summer 2026, Taiwan represents a mature, high-affinity market with a voracious appetite for Japanese pop culture. Taiwanese fans will soon gain direct access to Crunchyroll’s sprawling catalogue and simultaneous seasonal simulcasts. By tailoring the experience to local fans, Crunchyroll aims to elevate an already vibrant fandom to unprecedented heights.

viewership in India now comes from dubbed content, proving that native-language accessibility is the key to unlocking mass audiences. Engagement metrics have skyrocketed: total watch time has multiplied 3.5x, the average minutes watched per viewer has doubled, and Indian fans now average more than 60 minutes a day on the platform. Anime is no longer just something people watch; it has become an integrated part of daily digital life. Thailand: A Cinematic and Cultural Titan Moving southeast, Thailand has emerged as a crown jewel in Crunchyroll’s regional portfolio. In February 2026, Crunchyroll launched a fully localized Thailanguage service—incorporating localized user interfaces, subtitles, and dedicated Thai-dubbed content. The response was immediate and overwhelming. Viewership surged by 4x, propelling Thailand to #4 globally in overall anime engagement. Thai fandom is uniquely holistic, seamlessly bridging streaming platforms, theatrical box offices, merchandise collecting, and massive live events like AFA Thailand. The depth of this market was recently underscored by the historic box office run of Demon Slayer: Kimetsu no Yaiba Infinity Castle. The film shattered records to become the #1 highest-grossing Japanese film and #1 animated film of all time in Thailand. It is a testament

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South Korea South Korea presents an equally compelling opportunity. As a global exporter of its own powerhouse entertainment culture, South Korea boasts a digitally savvy, highly engaged entertainment audience with a deep historical appreciation for anime and broader Japanese pop culture. Introducing a deeper Crunchyroll ecosystem into South Korea marks a fascinating convergence: a nation of world-class content creators meeting the world’s premier anime destination. “In Taiwan and South Korea, we see tremendous opportunity to better serve fans and grow alongside these vibrant communities,” Purini noted. “We’re committed to bringing the right mix of content, accessibility, and local experiences to each market. Our focus is on earning fans’ trust every day by consistently delivering the experience they expect from Crunchyroll.”

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The Anatomy of Modern Fandom What drives this unrelenting global expansion? According to industry analysts, today’s anime audience is defined by three distinct pillars: multi-generational fandom, mobile-first access, and 360-degree community engagement. Unlike previous eras where anime was viewed as a solitary pursuit, today’s fandom is aggressively social. It lives on TikTok and Instagram Reels through fan edits, spills over into Discord servers debating plot theories, and manifests physically at massive conventions where attendees proudly cosplay as their favorite characters. Furthermore, Asia’s digital infrastructure— built on mobile-first connectivity—means that fans consume content wherever they are: on the subway, during school breaks, or late at night in their rooms. Crunchyroll has leaned heavily into this multi-platform reality. The brand is no longer just a digital video player; it is an orchestrator of experiences. By bridging streaming with theatrical distribution, physical home video, retail merchandise partnerships, and live events, Crunchyroll creates a continuous loop of engagement. Fans do not just watch a show; they live it. Looking Ahead: The Next Season and Beyond As the global entertainment landscape continues to

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shift, the momentum behind anime shows zero signs of slowing down. Studios in Tokyo are producing more ambitious, visually stunning, and diverse narratives than ever before, touching on everything from highstakes fantasy and science fiction to tender slice-oflife dramas. To keep pace with this insatiable demand, Crunchyroll prepares to roll out its new seasonal lineup, featuring approximately 40 new simulcast anime titles arriving straight from Japan. This constant influx of fresh stories ensures that the pipeline between Japanese creators and global audiences remains unbroken, vibrant, and lightning-fast. From its humble beginnings as a fan-driven subculture to its current status as a dominant pillar of mainstream international media, anime has proven that great stories transcend language, borders, and cultural divides. With strategic expansions across Asia, deep investments in localization, and an unwavering commitment to the community, Crunchyroll is ensuring that no matter where you live on the map, you always have a home where you belong. The anime revolution is no longer coming—it is already here, and its greatest chapters are still being written.

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Igniting the Myth through Sun Chasers and the Philippine Animation Revolution

For decades, the Philippines has occupied a unique, behind-the-scenes role in the global entertainment industry. Mention traditional animation to industry veterans, and the conversation inevitably turns to Manila. Studios like Toon City Animation and various local production houses have spent decades serving as the reliable invisible hand of global cartoons, bringing Saturday morning staples and feature films from Disney, Warner Bros., and Universal to life. While generations of Filipino artists honed world-class technical skills, they primarily executed foreign stories. Local folklore, rich with aswang, diwata, and mystical sea deities, remained largely untapped by highbudget animated projects.

exceptional artistic talent, a strong affinity for Western media, and high English proficiency.

That paradigm is shifting dramatically. At the vanguard of this cultural renaissance is Sun Chaser (frequently referred to by fans as Sun Chasers), an independent animated fantasy series that seeks to place authentic Filipino mythology on the global stage.

Breaking the Mold: The Birth of Sun Chaser Enter creators Bobby Pontillas (an Oscar-nominated animator formerly with Disney) and writer Bernard Badion. Weary of traditional studio constraints and fueled by a desire to see themselves and their culture reflected authentically in media, the duo set out to build an epic fantasy outside the standard Hollywood ecosystem.

The Outsourcing Legacy: A Double-Edged Sword To understand the monumental significance of Sun Chaser, one must look at the history of Philippine animation outsourcing. In the late 20th century, North American and European studios began subcontracting labor to Asian countries to cut costs. The Philippines became a premier hub due to a combination of

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Filipino animators worked tirelessly on beloved shows like The X-Men, Winnie the Pooh, and countless feature films. Yet, this outsourcing model created a systemic bottleneck. Local studios functioned strictly as service providers rather than IP (Intellectual Property) owners. Talented artists could draw a Disney prince or a Warner Bros. superhero seamlessly, but institutional backing, venture capital, and structural frameworks for original Filipino stories were virtually nonexistent. The talent was homegrown, but the ownership and profits belonged abroad.

Sun Chaser follows Jordan Santos, a cross-cultural teenager visiting his grandmother in the Philippines whose summer vacation spirals into a mythical quest. Tasked with protecting the barrier between

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the human and spirit realms, Jordan teams up with local kids and mythological creatures like duwendes and manananggals. Visually stunning and culturally resonant, the series immediately turned heads internationally, winning the prestigious “Animation du Monde” prize at the Annecy International Animation Film Festival in France. The Financing Struggle: Navigating Indie Animation Despite critical acclaim and validation from international festivals, bringing Sun Chaser to life exposed the harsh realities of financing independent animation. Traditional streaming algorithms and riskaverse studio executives often view original, culturally specific IPs as niche gambles. Securing multi-episode budgets for an untested universe steeped in Philippine lore required breaking away from standard financing channels. To bypass gatekeepers, Pontillas and Badion leaned heavily into a creator-driven model. They partnered with Manila’s premier studios—collaborating closely with Toon City Animation and Playlab Animation— proving that local studios could spearhead original creative visions rather than just execute service contracts. However, funding a high-end animated pilot and sustaining subsequent episodes required rallying a community. The creators used digital platforms and community-driven crowdfunding, such as Kickstarter campaigns paired with wide digital premieres, inviting audiences worldwide to invest directly in the show’s future. Backed by an impressive voice cast including Manny Jacinto, Liza Soberano, and Charo SantosConcio, the project transformed from a remote dream into a collective movement.

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A Golden Era Ahead The journey of Sun Chaser represents more than just the creation of a new fantasy series; it marks a structural turning point for Philippine animation. Yet, as with many trailblazing indie efforts, the path hasn’t been without its setbacks. A recent Kickstarter campaign aimed at funding future episodes fell short of its goal, underscoring the immense financial hurdles independent creators face even when backed by passionate fan support. However, the story is far from over. Recognizing the project’s undeniable creative power and cultural importance, the series’ original financier has stepped forward with a crucial lifeline, promising to fund an additional episode. This pivotal backing ensures that the journey continues, allowing the team to maintain their momentum and keep building the franchise. By bridging the gap between world-class domestic studio talent and independent creator ownership, projects like Sun Chaser are dismantling the old outsourcing-only narrative. As these independent creators overcome financial barriers and capture global imaginations, they pave the way for a selfsustaining ecosystem. Filipino animators are no longer just drawing the dreams of other cultures—they are finally bringing their own legends home to the world.

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How The Violinist Put Singapore Animation on the Global Map

When the top honours were announced at the Annecy International Animation Film Festival 2026, a resounding cheer echoed far beyond the French Alps all the way to the sunny shores of Southeast Asia. The Violinist, a Singapore-led animated feature codirected by Singaporean filmmaker Ervin Han and Spanish animation veteran Raúl García, secured the prestigious Cristal for a Feature Film, widely regarded as the pinnacle of achievement in world animation.

household. The narrative follows two childhood friends, Fei and Kai, whose deep musical bond is forged over classical melodies and shared dreams.

Often dubbed the “Cannes of Animation,” Annecy has long been the ultimate proving ground for animated storytelling. Marking the first time a Singaporeproduced animated feature has ever captured the festival’s top prize, the victory signals a watershed moment. Paired with its win for the SACEM Award for Best Original Soundtrack in a Feature Film, The Violinist has formally announced the arrival of Singaporean animation as a major creative force on the international stage.

Writer and co-director Ervin Han, co-founder of Singapore’s Robot Playground Media, spent years researching period aesthetics, working closely with cultural institutions like the NUS Baba House to authentically portray traditional tiles, kebayas, and colonial architecture. Rather than using heritage merely as a decorative backdrop, the film weaves Singapore’s multicultural legacy into its emotional DNA, offering international audiences a rare, nuanced glimpse into Straits Chinese identity and post-war endurance.

A Tapestry of Music, History, and Memory At its core, The Violinist is a poignant exploration of memory, loss, and resilience woven together through the universal language of music. Spanning nearly a century of Southeast Asian history, the film opens in 1930s Singapore within a culturally rich Peranakan

Global Craft, Local Soul While The Violinist remains deeply rooted in Singaporean heritage, its execution represents a masterclass in cross-border artistic collaboration. Coproduced by Robot Playground Media (Singapore), TV ON Producciones (Spain), and Altri Occhi (Italy), the

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However, the impending storm of World War II and the harrowing trauma of the Japanese Occupation tear their lives apart. As time, conflict, and distance push them into disparate worlds, an unfinished sonata becomes their sole enduring tether.

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as a regional technology and service hub, attracting global powerhouses like Lucasfilm’s Industrial Light & Magic and Double Negative. Local artists honed world-class technical skill sets servicing international franchises and high-profile visual effects productions. However, a new generation of homegrown creators realized that technical excellence was only half the equation, where the true frontier lay in original intellectual property (IP) and auteur storytelling. Studios like Robot Playground Media began carving out a niche with acclaimed short films and television projects that prioritized regional narratives. The Violinist represents the fruition of this long-term strategy: a transition from service work to creator-driven, globally resonant cinema.

project brought together creative talent across seven countries. Han’s intimate character-driven storytelling complemented Raúl García’s decades of classic 2D feature animation expertise, creating a visual language that feels both classic and distinctly contemporary. Central to the film’s triumph is its extraordinary musical tapestry, which earned it the SACEM Award at Annecy. The score, which was composed by Golden Horse Award winner Ricky Ho alongside Spanish composer Isabel Latorre, serves as a narrative character in its own right. Featuring haunting, expressive performances by Singaporean violinist Joy Yong, the soundtrack effortlessly blends Western classical traditions with subtle Southeast Asian motifs, translating the characters’ unspoken grief and enduring hope into transcendent melody. The project’s ambitious scale was made possible through crucial backing from the Infocomm Media Development Authority of Singapore (IMDA). IMDA’s strategic grants and co-production frameworks provided the runway needed for a homegrown studio to helm a complex 2D feature film alongside European partners.

A Benchmark for Southeast Asian Storytelling Winning the Cristal at Annecy 2026 does more than just solidify Ervin Han and his team’s place in cinema history; it establishes a bold precedent for animated feature production across Southeast Asia. It proves that localized, historical stories, when told with uncompromising artistic vision and international production standards, can deeply move audiences on every continent. As The Violinist prepares for its theatrical rollout across Asia and Europe, its success marks a bright new chapter for Singaporean film. What began as an ambitious dream in a local studio has struck a chord across the globe, proving that the power of music and memory knows no borders.

The Evolution of Singapore’s Animation Industry To appreciate the significance of The Violinist’s Annecy victory, one must look at the remarkable trajectory of Singapore’s media ecosystem over the past two decades. In the early 2000s, Singapore positioned itself primarily

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Thought Leadership: Is it time for a different approach to OTT? By Chris McNair, Head of New Business & Strategy – APAC, Accedo

There’s no denying the fact that video providers today truly are up against it. Competition has increased, economic pressure has tightened, and what used to work well doesn’t deliver the same results as in the past. There was a time when launching a video platform with good technology, a shiny user interface and content that viewers wanted to watch guaranteed success. Unfortunately, this is no longer the case. The real challenge facing video services now lies in what happens after launch, and to get that right, providers need the right strategic thinking from the start. Every decision needs to tie back to solid business outcomes, and while technology is of course still essential, it needs to be flexible and guided by business logic. Given that users’ expectations and also markets shift so quickly, there’s a real need now to think beyond the platform itself and approach OTT much like a living business model. This requires flexible foundations, intelligent use of data, and the ability to continually reconfigure and adapt in real-time. Underpinning all this, of course, is the need to ensure that every decision ties back to tangible business outcomes.

be identifying friction points or testing alternative user journeys, not expanding to a new device family. If the aim is to increase lifetime value, then personalization and experimentation may matter more than adding new catalog categories. This approach also helps to prevent investing in features that look impressive but do little to help the service reach its business outcomes. Additionally, it creates a natural framework for deciding which components to invest in and how to structure the service. Flexible Foundations The architectural choices made early on when building the service shape everything that follows. Many services carry the weight of tightly coupled systems that slow down change and require far too much engineering time. A modular, composable foundation avoids that trap. If services are built like a modular ecosystem, rather than a rigid product, service providers can move away from a fixed, static structure that resists change to one where the platform is formed by a set of evolving building blocks. Each part of the platform, from content discovery to analytics, can be carefully selected and then optimized and evolved. Given the speed at which markets shift, user expectations evolve, and devices and platforms keep

Business Outcomes Without super clear business outcomes, it’s difficult, if not impossible, for video services to make informed decisions about where to invest and what course of action to take. This is because each goal, whether focused on retention, growth, profitability, engagement, reduction in support overhead, stability in quality, or something else, requires a different set of decisions. When services use business outcomes as the compass, the path forward becomes easier to define. If the goal is to reduce churn, then the priority might

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proliferating, it’s critical that services are able to operate with high levels of flexibility. When each part of the stack can be optimized or switched out without impacting other parts, services can be adapted and emerging technology easily integrated, all without requiring a full rebuild. With a composable, modular foundation, video services find it much easier to experiment and change course if necessary. Intelligent Use of Data Video services generate copious amounts of data such as application performance, infrastructure, and business metrics. However, the data often sits in separate silos, and some crucial data such as customer care interactions are not always factored in. This makes it difficult to gain a comprehensive view of the customer journey, and without that, it’s difficult to improve it. Furthermore, without unified and easily accessible data, data-driven decision-making is not possible. When data from product, operations, and business teams can be observed and analyzed holistically, the service becomes easier to understand. This enables OTT providers to not only make data-driven decisions and confidently assess the impact of those decisions, but also to analyze why certain activity may be happening in the first place. For example, this may mean looking at how a certain feature affects engagement, whether a spike in support tickets connects to a playback issue in a certain region, or identifying at what point conversion hesitates, and whether that hesitation comes from content, UX, or expectation gaps. Bring able to analyze data in this way provides clarity and enables informed decision-making.

with engineering teams often working in long cycles, waiting weeks or months to validate ideas. The challenge with this is that users change their behavior quickly and markets move fast. A delay between insight and action makes it hard for providers to keep pace. To address this, services need to be able to learn, adapt, and reconfigure easily and in real-time; composable, modular architecture and unified data are prerequisites to this. Real-time adaptation allows video services to experiment continuously with every aspect of the service, automatically optimizing the experience for users who show signs of fatigue or churn risk. It can also mean allowing parts of the service to adjust quietly in the background when performance drops, or when engagement shifts. The growing need to work in this way is driving interest in tools that can orchestrate these changes with less manual intervention, using AI agents to optimize the user journey as it unfolds. A new wave of solutions is aiming to make this possible, blending composability, data, orchestration and automation into something closer to a living service that can adapt in real time. Using this approach, personalization, for example, will be able to move past rule-based and generalized assumptions to become real-time, predictive, and contextual. Instead of assuming patterns, services can respond to what users actually do, not what teams think they might do. Final Thoughts If services are to be built for long-term success, they need to be able to weather shifting markets and rapidly changing audience behavior. Success will come from ensuring that a service is resilient and flexible. To achieve this, providers need: composability to create the structural agility to evolve quickly; orchestration to make that agility intelligent and outcome-focused; and optimization that moves from a one-time task into an ongoing capability. While it may sound like a leap from where the industry is right now, video services really just need the right tools to make the shift.

Continually Reconfigure and Adapt in Real-time Video services today are typically slow to evolve,

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