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Dear Reader,
Welcome to the March-April 2025 issue of Television Asia Plus!
Content has always been the key but the format and medium has become quite the debate over the last few years. With the rise of YouTube and TikTok, short form content has flooded the internet algorithms and some would say, has affected the global attention span. While traditional long form content remains a key player, their ballooning costs have made executives and advertisers weary.
For this issue’s cover story, we have exclusive insight from Geoff Gordon the Vice President of Marketing at MainConcept, as he discusses the wide appeal of short form content, how it’s come down to a generational concern, and how this impacts the world of advertising.
For our first feature story, we have a piece how Asian market’s value and see content generated by OTT’s as quality over user-generated-content through the latest research from The Asia Video Industry Association
And our final feature story is about adaptation. From a South Korean original drama, we explore what it takes to adapt Bad Guys for the Indonesian market from Vidio with BASE Entertainment in collaboration with CJ ENM Hong Kong Limited
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Iceland’s leading film and TV production company Glassriver announced it has optioned the crime thriller book series Elma, from global bestselling author Eva Björg Ægisdóttir for a series adaption
The first book in the Elma series is The Creak on the Stairs which is being adapted by screenwriter Karen Björg Eyfjörð Þorsteinsdóttir.
Set in the small port town of Akranes in Iceland, police detective Elma never thought she’d return to her hometown. But having fled a romantic affair that left her in pieces, Elma is assigned to her local police station. When a woman’s body is found lying at the foot of a lighthouse, terrible secrets could well resurface from the past. In this small Icelandic town with its oppressive atmosphere, could salvation come to Elma from her colleague Saevar?
The deal was negotiated with David Headley at D H H Literary Agency in association with The Artists Partnership.
Expanding its slate of high-end Icelandic IP, Elma joins Glassriver’s extensive portfolio of scripted series, including the crime drama Black Sands which has been sold to over 140 countries and premiered its 2nd season in Iceland with Channel 2 and Finland with YLE. Since its inception in 2016, Glassriver has grown into one of the most productive and proficient production companies in Iceland. For the last 6 years the
Leading kids’ entertainment specialist CAKE has announced a number of deals for its hit kids’ series with broadcasters in Asia.
Deals finalised by CAKE’s Director of Sales Julien Farçat include partnering
in China with SVOD platform Hunan Mango TV on the second series of Mush-Mush & The Mushables and the longform series and shorts of Lucas The Spider with Uyoung In Thailand, True Corp picked up over 275 episodes of content including
company was responsible for over 50% of all scripted original television series for domestic producers produced in the country. In 2024 so far Glassriver has produced 4 series this year for Icelandic broadcasters and international distribution.
The company is currently developing over 20 other TV and feature film projects, spanning genres from comedy to sci-fi.
school-based drama Dodo, surreal sci-fi comedy Space Chickens in Space, the world’s first-to-launch African animated kids’ superhero franchise Super Sema, Emmynominated preschool hit Tish Tash, Ragdoll’s preschool series Bot and The Beasties and Will Sliney’s Draw With Will, which was also acquired by RTV Indonesia alongside Will Sliney’s Storytellers PCCW in Hong Kong acquired CAKE’s long-form series Angry Birds Summer Madness, 43 compilation episodes of Angry Birds non-dialogue content and Aesop’s Theatre for free TV as well as the first series of Pablo, Paper Owl’s BAFTA-nominated series about autism for its VOD service. Sony renewed non-dialogue series Oscar’s Oasis in India.
Thailand is set to make history in 2025 with the launch of The Voice Pride, the first LGBTQ+ edition of the globally beloved talent competition The Voice
The groundbreaking series will celebrate the diversity and artistry of the LGBTQ+ community, premiering during Pride Month in June 2025. This production is commissioned by Exit365, the same team behind the highly successful seasons of The Voice Thailand. Details on where the show will air will be shared in the coming months.
The announcement coincides with a landmark year for Thailand, as the country’s new same-sex marriage law takes effect, further cementing its reputation as a trailblazer in equality and inclusivity in Asia.
“The Voice Pride is not just a competition but a celebration of love, acceptance, and incredible talent,” said Pattanee Jareeyatana, CEO & MD Exit365, “As Thailand takes historic steps toward equality, we’re proud to amplify the voices
of the LGBTQ+ community and give them the spotlight they deserve.”
Ayesha Surty, Head of Brand Partnerships Asia, ITV Studios added,“We are incredibly proud to partner with Exit365 on this historic journey for The Voice. With The Voice Pride, Thailand continues to lead the way in showcasing not only world-class talent but also the power of representation and inclusion in entertainment. This milestone edition of The Voice embodies the core values of the format— celebrating individuality, diversity, and the universal language of music. As The Voice Thailand gears up for its 10th season, the addition of The Voice Pride further cements the series’ legacy as a platform for change, creativity, and inspiration.”
The introduction of The Voice Pride comes as Exit365 continues to expand its portfolio of successful productions.
yes Studios and London and LAbased Paper Entertainment – one of the production companies behind AppleTV+’s Emmy Award-winning series Tehran – have announced a deal to develop comedy-drama Johnny and the Knights of the Galilee for an English-language adaptation in the UK and US called HONEY BOYS.
HONEY BOYS tells the entertaining story of Ben, a struggling actor based in London, who returns to his hometown in Cornwall in the wake of his father’s passing. Confronted with the financial struggles of the family farm, now run by his sister, he and three childhood friends decide to start an escorting business to make ends meet. But as they encounter clients
from all walks of life, what started as a short-term fix quickly becomes far more meaningful than they ever could have expected… As they come to understand the complexity and variety of their clients’ needs, their experiences rock their pre-conceived ideas about romantic love, female sexuality, and their own masculinity. Johnny and the Knights of the Galilee was created and written by Dani Rosenberg and Tom Shoval, both of whom also directed the 13 x 40’ original series, which was produced by yes TV and July August Productions for yes TV. The title has already received a Frenchlanguage adaptation, Escort Boys (6 x 40’), which was directed by Ruben Alves and produced by Oberkampf Productions and Story Nation
Productions. It premiered on Prime Video and launched on TF1 in France. A second season greenlight for Escort Boys was recently announced. yes, Studios has international distribution rights for the original Israelilanguage series and its format.
Love Nature, a wildlife and nature brand with linear and streaming channels available in countries around the world, and Sky Nature, announced today that actor Keeley Hawes is lending her voice to narrate Airborne (4 x 60’). Produced by Humble Bee Films, this four-part, tent-pole series offers an astonishing and revelatory adventure into the wonderfully diverse world of creatures that fly, glide and leap through the air. The series follows a diverse array of charismatic creatures through their trials and triumphs. From great soaring condors to leaping lemurs, and from gliding squirrels to beautifully buzzing orchid bees —the series reveals unexpected and fascinating stories of animals who defy gravity and master the air around them in extraordinary ways.
“We’re thrilled to have Keeley Hawes on board to add her voice
to the beautiful cinematography in Airborne,” says Alison Barrat, SVP, Head of Content, Love Nature.
“The production team have crafted a stunning series that features new perspectives of animals’ lives in the air. We’re delighted to bring this captivating series to audiences around the world ”
“We are so pleased to be working with Keeley Hawes. Her voice brings warmth and wonder to the incredible stories of our Airborne creatures, helping to create a truly uplifting series,” says Stephen Dunleavy, CEO Humble Bee Films.
Airborne, produced by Humble Bee Films, airs on Sky Nature in the UK, Ireland and Italy and will roll out on Love Nature around the world. The series leverages Love Nature’s relationship with Blue Ant Studios, which oversees licensing
opportunities for the new title in the U.S. and around the world outside of commissioning territories. The series is executive produced by Charlotte Crosse and Stephen Dunleavy at Humble Bee Films. Kathryn Taylor and Gilberte Phanor are the executive producers for Sky Nature, and James Manfull executive produces the series on behalf of Love Nature.
Sphere Abacus (SA) has sold Stan Original drama series Scrublands: Silver, an Easy Tiger production in association with Third Act Stories, to popular streamer Sundance Now for the US and Canada to air sometime this 2025.
Scrublands: Silver (4 x 1 hour), the sequel to Scrublands and based on the best-selling novel ‘Silver’ by Chris Hammer, sees the return of award-winning
investigative journalist Martin Scarsden (Luke Arnold – Black Sails) and his partner Mandy Bond (Bella Heathcote – Pieces of Her).
Scrublands Season 1 (4 x 1 hour) has sold to Sundance Now (US and Canada), BBC (UK), Warner Bros. Discovery (New Zealand), RTL (Germany), RTE (Ireland), Media4Fun (Poland) and Cosmote TV (Greece).
When he returns to his coastal hometown, Port Silver, WA, Martin finds his childhood friend Jasper brutally murdered and Mandy the prime suspect. He struggles with doubts – about Mandy and about his own ability to recognise the truth. As he pushes forward to find the real murderer and absolve Mandy, Martin confronts secrets about Port Silver and his long-buried past.
Scrublands: Silver also stars Luke Carroll (The Artful Dodger), Debra Lawrance (Please Like Me), David Roberts (Please Like Me), Tasma Walton (The Twelve), Luke Pegler (Hacksaw Ridge), Caroline Brazier (Stan Original Series Year Of), Joel Jackson (Peter Allen: Not the Boy Next Door), Toby Truslove (La Brea), Sarah Roberts (Home and Away), Hamish Michael (The Twelve), Radek Jonak (Stan Original Film The Surfer) and Damian De Montemas (Hounds of Love)
Shot in Augusta, Western Australia with the support of ScreenWest, Scrublands: Silver is executive produced by Andy Ryan, Michael Healy, Cailah Scobie and Alicia Brown and produced by Martha Coleman, Ian Collie, Rob Gibson and Felicity Packard.
Leading independent distributor All3Media International has a new scripted format deal in South Korea for strong female lead Scandinavian thriller Black Widows.
Originally produced by Moskito Television Oy for Nelonen in Finland, Black Widows is heading to South Korea as producer the Soul Creative acquires adaptation rights. The original version of Black Widows ran for two seasons in Finland and won three local Golden Venla Awards.
The series is a darkly humorous drama about three best friends who, having been extremely unhappy for years, make a life-changing decision – to get rid of their husbands once and for all. This Asian deal is the latest adaptation for the show and adds to remakes across Europe, Asia and the Middle East.
Black Widows joins a host of All3Media International’s scripted formats adapted in Asia. Kafas, the award-winning Indian adaptation of The Forge’s Dark Money, streamed on SonyLiv and recently secured ‘Best Scripted Format’ at C21’s 2024 International Format Awards, adding to its ‘Best TV Format Adaptation (Scripted) in Asia’ award at the 2024 ContentAsia Awards. Marzi, the Indian version of Two Brothers Pictures’ thriller Liar, aired on Voot in India, with the second season
of Mithya, based on Two Brothers Pictures thriller Cheat recently returned to ZEE 5. Additional scripted format successes include a 30 episodes commission of Miss S, a Chinese adaptation of Every Cloud Productions’ much-loved period detective drama Miss Fisher’s Murder Mysteries.
The series was commissioned by Tencent and aired on HBO Asia across 29 territories, HBO in the US as well as travelling to Canada, Australia, Japan and Korea.
FALLEN, a grounded fantasy series from Matt Hastings (The Handmaid’s Tale, Shadowhunters, The Originals) and Claudia Bluemhuber (Most Dangerous Game) has been picked up by a string of broadcasters and platforms across the US & Canada,
Europe and the Middle East. Produced by Silver Reel, in coproduction with Night Train Media.
International distributor Eccho Rights has agreed deals for the 8-part series with Sundance Now in the United States, Corus Entertainment’s Showcase and StackTV in Canada, Rai Play in Italy, France Télévisions, Sky and ZDFneo in German-speaking Europe, TRT in Turkey for its streaming service Tabii, SVT in Sweden, Finland’s YLE, TVNZ in New Zealand, Cosmote TV Greece and evision (the media arm of e&) for its various platforms in the MENA region. The series is also licensed to BTV in Bulgaria and CineStar TV in Croatia, Slovenia, Bosnia & Herzegovina, Serbia, Montenegro, Macedonia, Kosovo and Albania.
Where broadcast so far, the series has performed very strongly, receiving warm feedback and attracting
impressive numbers. Raiplay, which debuted the series in December 2024, announced that “The series “Fallen” on RaiPlay was one of the most watched international series on the platform with over 680,000 hours of viewing time and more than 1.6 million streams in the first month of availability and was able to engage an audience that tended to be younger than the platform average with more than 40% of people under 45.”
The 8-part series is created by Claudia Bluemhuber, written by Roland Moore (Humans) and Rachel Paterson (Domina). Bluemhuber, Matt Hastings, Herbert L. Kloiber, and Lauren Kate are all Executive Producers alongside Co-Executive Producers Florian Dargel, Alexander Jooss, Karol Griffiths, Rachel Paterson, Roland Moore, Olivia Pahl and James Copp. The series was cocommissioned by Globoplay in Brazil.
Max’s expansion in Asia marks a significant move in the global streaming market, reinforcing its availability in 69 countries. Since its launch in the U.S. in May 2023, followed by Latin America and the Caribbean in February, and Europe in May 2024, Max now strengthens its presence in Southeast Asia, covering Indonesia, Malaysia, the Philippines, Singapore, Thailand, Taiwan, and Hong Kong. Competing with Local Giants in Asia
Max’s Standard plan, priced at an average of USD 7.22, allows two simultaneous streams, Full HD quality, and 30 downloads, while the Ultimate plan, averaging USD 10.06, supports four streams, 4K quality, and up to 100 downloads. Both plans include annual options to entice long-term subscribers.
Strategically, Max’s Standard plan positions itself in the mid-range pricing tier, competing with more expensive platforms like Netflix (USD 9.09) and Disney+ (USD 8.28) while remaining pricier than local
options like iQIYI (USD 3.99) and Viu (USD 6.74). This pricing mirrors its strategy in Latin America, where the Standard plan costs USD 7.67. Notably, Max lacks sports content in APAC and LATAM, a feature present in Europe and the U.S., where prices are significantly higher (USD 9.33 and USD 16.99, respectively).
Max’s expansion in Asia comes with a robust international catalog, but it faces a significant challenge: capturing audiences that overwhelmingly prefer local content. In APAC, 82.6% of viewers consume local productions,
giving platforms like iQIYI (10,601 total titles) and Viu (4,623 total titles) a competitive edge due to their regional focus.
With its arrival in Asia, Max demonstrates a keen adaptation to local market demands. Unlike its strategy in Europe, the U.S., and LATAM, it has not yet introduced an ad-supported plan. Instead, Max offers mobile-exclusive plans in Indonesia and the Philippines, aligning with the 71% of APAC households that consume content via mobile devices.
TV Asahi, one of Japan’s leading commercial television networks, is partnering with Emmy Award-winning producers Craig Plestis and Clara Plestis and their production company, Smart Dog Media, to coproduce an innovative new talent competition show, SONG vs DANCE. Craig and Clara will serve
as Executive Producers, with Takaaki Kitano overseeing production in Japan as they collaborate to create this fresh and dynamic format. Smart Dog Media is represented by Paradigm who brokered the format deal with TV Asahi.
This groundbreaking co-production brings together two of the biggest forms of artistic performance –singing and dancing – establishing a new benchmark in competition television. Outstanding performers will compete in thrilling head-to-head battles in a video game-inspired format, leaving only one winner and answering the ultimate question:
Which is better, song or dance? This format is destined to be the next international variety hit.
Smart Dog Media and TV Asahi showcased SONG vs DANCE at the inaugural MIP London last February 2025. SONG vs DANCE marks TV Asahi’s first co-production with a U.S.-based partner, as they join forces with Smart Dog Media to introduce this exciting new format to Japanese audiences. The show promises to captivate viewers with its mix of dynamic art forms, high-energy competition, and larger-than-life performances.
Another big splash for The Quiz with Balls: the hit game show has been picked up by Canal 13 in Argentina. The game show, known for its unique blend of trivia and physical fun gameplay, will be produced at Talpa Studios’ Argentinian hub, operated by Kuarzo Entertainment.
Guido Kaczka, the charismatic host of Argentina’s The Floor, will also be presenting The Quiz with Balls. With its proven international success, The Quiz with balls, promises to deliver excitement, fun and competition to the Argentinian viewer. The show is set to air daily on Canal 13, with the launch date to be announced soon.
Sebastian van Barneveld, Director Global Distribution at Talpa Studios
stated, “This format was a breakout surprise hit for SBS6 in the Netherlands in 2023, and in the USA it was FOX’s most-watched non-scripted show this past summer. After Germany, Spain and the USA, the show continues to travel. We are excited for Argentinian viewers to experience this dynamic and engaging show.”
Martín Kweller, CEO & Chairman of Kuarzo Entertainment commented, “We are honored to be the first production hub in America for such an innovative format as The Quiz with Balls. Our Argentinian production hub has already proven its versatility and success with the recording of both the Uruguayan and Argentinian versions of the hit show The Floor. Our strategic partnership with Talpa
Studios, one of the leading global format creators, began with the success of The Floor and continues to strengthen our commitment to creativity and excellence in the entertainment industry. We are thrilled to bring this exciting format to Canal 13 and confident it will captivate the Argentine audience with its energy, dynamism, and originality.”
Sympatico, the co-production label established by Double Vision, the Malaysian production company headed by Min Lim, and Argo Films, Richard Johns’ UK-based film and TV company, has confirmed that it has started production on its independent rom-com feature film Mojo – and that leading film studio Astro Shaw has joined Sympatico and co-producer Mocha Chai Laboratories as a full production and equity partner.
Mojo, which is Sympatico’s first greenlit project, tells the story of an ambitious city boy (Adi) who finds love (with Ayu) and meaning in simple, rural life—and of social media superstar Mojo, the cow who has a hand—or hoof—in changing his life for the better. The film has gone into production in the stunning Perlis region of Malaysia this week, with the Perlis state providing support.
Astro Shaw will act as coproducer for Mojo, with the business also being responsible for the Malaysian distribution and marketing of the film when it is released later in 2025, ahead of its international rollout under UK-based distributor SC Films International.
Mojo is being directed by Sympatico’s Min Lim (producer of award-winning Malaysian versions of Liar and The Bridge and director of Kopitiam.) The head writer is Malaysian
scriptwriter Honey Ahmad (Motif, Saladin, Walinong Sari) – who was the only Asian writer to be included in Film Independent’s Episodic Labs Cohort for 2024, with award-winning director Zahir Omar (Fly By Night, The Bridge) and award-winning writer ChiRen Choong (The Bridge, Liar) onboard as creative consultant. Michelle Chang (Venus on Mars, Wonderland) from Mocha Chai Laboratories will produce alongside Sympatico’s Richard Johns (Shadow of the Vampire, The Liability).
The Emmy ® -winning HBO Original series The White Lotus, from Mike White,was renewed for a fourth season, ahead of the season three debut earlier this year.
The eight-episode third season of the Emmy ® -winning HBO Original series The White Lotus, from Mike White, debuted last February 17 on HBO and is available to stream on Max.
The social satire is set at an exclusive Thai resort and follows the exploits of various guests and employees over the span of a week. Season three of The White Lotus stars Leslie Bibb, Carrie Coon, Walton Goggins, Sarah Catherine Hook, Jason Isaacs, Lalisa Manobal, Michelle Monaghan, Sam Nivola, Lek Patravadi, Parker Posey, Natasha Rothwell, Patrick Schwarzenegger, Tayme Thapthimthong, Aimee Lou Wood. Additional cast include Nicholas Duvernay, Arnas
Fedaravičius, Christian Friedel, Scott Glenn, Dom Hetrakul, Julian Kostov, Charlotte Le Bon, Morgana O’Reilly, and Shalini Peiris.
The first installment, which premiered July 2021, was set in Hawaii and received 20 Emmy ® nominations across 13 categories and ten wins, the most wins of any program that year including
Outstanding Limited or Anthology Series. The second installment, which premiered in December 2022, was set in Sicily and garnered 23 Emmy® nominations, including Outstanding Drama Series, and five wins.
The White Lotus Season three is created, written, and directed by Mike White; executive produced by White, David Bernad, and Mark Kamine.
GoQuest Media continues the sales momentum of its first coproduction, the Turkish series Kuma (The Other Wife), by bringing the series to five new territories. The family drama has now been licensed to Latvia, Georgia, Kazakhstan, Indonesia,
and Kenya, marking a significant milestone in its global journey.
News of the series being licensed in Hungary, Romania, and India was announced last year at MIPCOM 2024. Kuma has already made its way to TV after wrapping production in
October last year. These deals are in addition to those recently closed by co-producers VIP 2000 TV in Paraguay, Peru and Panama.
Set against the rugged landscapes of eastern Turkey, Kuma (The Other Wife) tells the compelling story of Ceylan, a woman unjustly accused of murder. Her life takes an unexpected turn when she becomes the second wife, or ‘Kuma,’ of Karan – the man she loves and who is also the brother of the man she is accused of killing. As she navigates her new role within a complex family dynamic, Ceylan embarks on a journey to prove her innocence, weaving a tale of pain, passion, and perseverance. Produced by Stellar Yapim, Kuma delves into the depths of familial ties and explores the redemptive power of love and truth.
ROCK Networks has announced the release of its new documentary, Zero to Macao, set to premiere in 2025 on Now TV Hong Kong.
Co-produced with Lucky Devil Films Production, and in association with Now True, Zero to Macao will be launched exclusively on Now TV in Hong Kong as a two-part series (2 x 52’).
“We’re excited to partner with Now TV for Zero to Macao, a trailblazing documentary that aligns perfectly with their commitment to delivering high-quality, inspiring stories to documentary enthusiasts,” said Beatrice Lee, CEO of ROCK Networks.
Zero to Macao explores female resilience and athleticism in
traditionally male-dominated sports, providing a fresh perspective on gender equality and feminism. Directed by Jonathan Finnigan, renowned for his award-winning series for the National Geographic Channel and Smithsonian Channel, the documentary delves into Vivian Siu’s journey from almost zero driving experience to competing in the formidable Guia circuit.
Jonathan Finnigan shared his thoughts on the film, “As our journey towards Macao unfolded, Vivian began to open up and the real drive behind her ambition started to emerge. That’s what the film ended up being about. Accomplishing something extraordinary always comes at a price.”
Paramount Global to debut new Paramount+ branded destination in Korea with Coupang Play
Paramount Global Content Distribution has announced a new licensing agreement with Coupang Play, the Korean streaming service operated by e-commerce giant Coupang, to provide a Paramount+ branded destination on the service. The new offering will be available on Coupang Play early next year, marking the fourth deal of its type for Paramount Global in Asia. Deals are currently in place with Cosmote in Greece, Streamz in Belgium, MultiChoice in Africa, JioCinema in India, Mono in Thailand, beIN in the Middle East and North Africa and Blast TV in the Philippines.
The new Paramount+ branded destination in South Korea will include access to world-class content from Paramount+ with SHOWTIME, CBS
Studios, MTV Entertainment Studios, Nickelodeon, Republic Pictures and Paramount Pictures, including popular series DEXTER: ORIGINAL SIN, FIRE COUNTRY, HALO, STAR TREK: DISCOVERY, THE AFFAIR, TULSA KING, PAW PATROL as well as the CSI and NCIS franchises and blockbuster features THE GODFATHER, FORREST GUMP, PET SEMATARY: BLOODLINES, CHICAGO, DEEP IMPACT, APARTMENT 7A and THE CAINE MUTINY COURTMARTIAL among many more.
“We are excited to expand our relationship with Coupang to create this Paramount offering with entertainment Korean audiences love,” said Dan Cohen, Chief Content Licensing Officer, Paramount and President, Republic Pictures. “Coupang Play has a deep understanding of their customers’ tastes and demand for critically acclaimed and fan favorite films, originals and television series and we’re happy to join together to create value for subscribers, licensees and us.”
“We are happy to bring Paramount’s exceptional content to our customers,” Coupang Play said. “Coupang Play will continue to expand our offerings to deliver a diverse and differentiated viewing experience.”
Prime Video, India’s most loved entertainment destination, has launched CN Rewind, Warner Bros. Discovery’s new digital channel, as an add-on subscription. As the home to all-time favourite animated shows, CN Rewind is curated exclusively for Prime Video in India, and brings Cartoon Network’s evergreen classics, including The Powerpuff Girls, Tom & Jerry, Scooby-Doo, Johnny Bravo, Looney tunes, Dexter’s Laboratory, Samurai Jack, Ed Edd n Eddy and many more, for fans across India.
Prime members can enjoy a diverse range of celebrated animated programming, available both in Hindi and English.
“Animation remains a popular category on Prime Video across demographics, with younger and older audiences alike. With the launch of CN Rewind add-on subscription on Prime Video India, we are excited to take loyal fans on a nostalgic
trip as they revisit their favourite Cartoon Network toons, as well as for younger audiences to discover and engage with these beloved stories,” said Gaurav Bhasin, head of marketplace (add-on subscriptions and movie rentals), Prime Video, India. “Over the years, through add-on subscriptions, Prime Video has served a platform for several streaming services to curate exclusive channels and take their content to audiences deep within India. We are thrilled to be the exclusive home for CN Rewind, and are certain that the diverse and timeless library will find deep emotional resonance with our customers across the country.”
Cartoon Network is a cultural phenomenon that redefined pop culture and is reminiscent of special memories for millennials and generations across decades. CN Rewind, with the special offering, will provide fans the chance to relive those memories in a modern, on-demand
format, giving them the opportunity to immerse themselves in the same joy and excitement they felt decades ago and to pass those treasured moments to the younger generation.
“There’s a deep emotional connection between Indian audiences and Cartoon Network. CN shows aren’t just cartoons, they’re pieces of our childhood that evoke joy, friendship, and a simpler time,” said Ruchir Jain, Head of Distribution, South Asia, Warner Bros. Discovery. “With CN Rewind, we’re creating a space where nostalgia can thrive while ensuring these beloved characters continue to inspire and entertain today’s kids in a whole new way.”
Celestial Tiger Entertainment (CTE), operator of the largest bouquet of pan-Asian channels dedicated to Asian entertainment, and myTV SUPER, the OTT platform of Television Broadcasts Limited (TVB), Hong Kong’s largest television broadcasting company, jointly announced about the recently launch of a brand new Chinese Online Movie channel, PopC, on myTV SUPER in Hong Kong.
Movie fans can catch China’s finest online movies first time on TV, all in one place, as PopC offers a curation of the most popular and high hit rate online titles, all produced in exceptionally high quality by China’s leading online entertainment platform, iQIYI. These movies span across all genres such as Fantasy, Action, Suspense/Thriller and Comedy, with new titles premiering all year round.
“We are delighted to be launching PopC with myTV SUPER in Hong Kong, which is our first carriage deal globally. The idea of PopC first came about when we saw the amount of great, high quality movies that were being produced for the online space in China. The domestic reception and online hit rates for these movies are just
phenomenal, and we want to bring them to an international audience outside of China by curating them all in one great channel.” said Ofanny Choi, CEO of Celestial Tiger Entertainment. “We believe PopC will be the home of this new wave of Chinese content, and that it will appeal to all young, and youngat-heart movie lovers everywhere.”
“By introducing PopC, we are expanding our diverse portfolio on myTV SUPER. This new channel will showcase top-notch Chinese online movies, enhancing our commitment to bringing a variety of premium content to our viewers. It’s about offering more choices and new experiences every day.” said Rex Ching, President of MyTV Super Limited.
Global film and TV studio FIFTH SEASON has secured a multi-title deal with Hulu in the US across a raft of its premium scripted and unscripted titles – which has begun rolling out on the service earlier this month and mark the US premiere of each show.
The titles included in the deal are Roughcut TV’s critically acclaimed and BAFTA-nominated comedy Big Boys (seasons 1 & 2 are now streaming), which is created, written and narrated by BAFTA-winning Jack Rooke and will also return to commissioning broadcaster Channel 4 (UK) for a third season next year, alongside the docuseries Bad Host: Hunting the Couchsurfing Predator (3 x 60’), from Academy Award-winning Lightbox and based on the hit podcast ‘Verified’. Further titles include high-end reality format Hot Yachts (8 x 60’), which is
set in the world of Miami’s elite super yachts. In addition, the third season of the acclaimed sitcom Run the Burbs created by star Andrew Phung and Scott Townend, will launch on Hulu this month. The new installment joins the first two seasons already available on the service – taking the total available episodes for US audiences to 38 x 30’.
The new multi-title deal also follows Hulu’s recent acquisition of the critically acclaimed and multi awardwinning feature Bones of Crows from FIFTH SEASON, which is written and directed by the award-winning filmmaker Marie Clements. The film began screening on Hulu on 19 November 2024, in celebration of Native American Heritage Month.
Travis Webb, SVP, Americas Distribution at FIFTH SEASON, said, “As one of the leading US streaming services known for curating some of
the best international series and films from around the world – we knew Hulu would be the ideal home for these titles. From the hilarious and heartwarming comedy of Big Boys to the shocking and powerful true crime documentary of Bad Host: Hunting the Couchsurfing Predator – this deal offers something for every Hulu subscriber to enjoy. We can’t wait to see the titles make their US debut and to continue growing our valued partnership with Hulu for the long-term.”
Disney+ Hotstar redefined live entertainment streaming with the exclusive broadcast of Coldplay’s Music of the Spheres World Tour concert in Ahmedabad. The electrifying live stream attracted 83 lakh views and garnered an impressive 16.5 crore minutes of watch time Delighting fans across the nation with an unmatched experience, viewers tuned in from all parts of the country with Maharashtra, Gujarat, Karnataka, NCR Delhi, Uttar Pradesh, Tamil Nadu, and West Bengal contributing 85% viewership. This response further strengthens the platform’s commitment of democratizing premium entertainment for audiences nationwide at an unparalleled scale.
Streaming live from Ahmedabad on January 26, 2025, Coldplay’s
performance marked an iconic moment in India’s music and entertainment landscape. Brought to life through Disney+ Hotstar’s world-class streaming capabilities and an impressive audio quality with Dolby 5.1, the seamless digital experience transformed living rooms into virtual arenas and watch parties into a nationwide festival, demonstrating how cuttingedge technology can unite a nation in shared entertainment experiences.
Disney+ Hotstar leveraged advanced streaming features and an entertaining pre-live segment to create an interactive experience for viewers. The livestream offered a highimpact, data-driven platform to reach audiences at scale. With Jameson Ginger Ale as the Co-Powered By sponsor, Cisco as the Livestream
Event Partner and Courtyard by Marriott as the Livestream Associate Sponsor, brands partnered with Disney+ Hotstar to create memorable and engaging experiences for subscribers, solidifying the platform’s position as the preferred choice for premium visibility.
With the success of Coldplay’s live stream, Disney+ Hotstar continues to shape the future of entertainment in India, offering a blend of premium storytelling, immersive technology, and unrivalled engagement.
Blue Ant Media has announced the launch of its free, ad-supported streaming TV (FAST) channel, Declassified, on VIZIO WatchFree+ for millions of U.S. users to enjoy. Declassified features stories and revelations that have shaped our world, from conspiracies and catastrophes to engineering and ancient civilizations. The deal, led by Julio Sobral, SVP, Channel Distribution, Blue Ant Media, is an expansion of the brand’s existing partnership with VIZIO, in which Declassified joins additional Blue Ant free-streaming
brands, including Love Nature, Love Pets, Homeful and HauntTV.
“The launch of Declassified expands our collaborative partnership with VIZIO even further,” says Carlyn Staudt, EVP, Global Channels & Streaming, Blue Ant Media. “We’re excited to add this channel to the incredible ever-expanding content offering on its WatchFree+ platform.”
Top Secrets UFO Projects: Declassified (6 x 60), which explores the infamous plan to investigate UFO sightings during the Cold War; Super Tunnel (9 x 60), a look at the massive construction project to carve a 42-kilometre-long shaft underneath London while commuters and city landmarks remain undisturbed; Spycraft (8 x 60), which takes viewers on clandestine missions to learn how spies ferret out sensitive intel about
foreign countries with the help of high-tech tools; Hidden Histories of WWII (4 x 60), which looks at the victory of how a British Sherman tank outgunned a monstrous German Tiger tank in an extraordinary 1944 battle in Normandy; The Weather Files (8 x 60), a fascinating journey on the hunt for killer tornadoes; and Forbidden History (18 x 60), the story of two mysteries surrounding the ancient city of Petra in Jordan.
Blue Ant Media’s suite of FAST (free, ad-supported streaming TV) channels offer audiences curated programming that is easy and free to access on platforms like The Roku Channel, Samsung TV Plus, VIZIO WatchFree+, Tubi, Freevee, LG and Pluto TV. The company’s global portfolio of FAST channels include Love Nature, HauntTV, Total Crime, Homeful, Declassified and Love Pets.
Winsing Animation’s flagship preschool IP, GOGOBUS, takes a major step forward with the launch of its English nursery rhymes series on the official YouTube channel – “GoGoBus Nursery Rhymes & Kids Songs”. Partnering with YOBOHO, Winsing and YOBOHO have jointly created a collection of beloved and catchy nursery rhymes accompanied by vibrant new GOGOBUS animations, aiming to engage and entertain young audiences worldwide. First introduced in 2019, GOGOBUS centers on the concept of
“Accompanying children’s growth”, with Gordon the GOGOBUS takes on the role of a safety ambassador, assisting Kids in solving problems and fostering teamwork through transformations and exciting adventures. The series has been distributed in over 60 countries and regions, broadcast on more than 100 TV stations, and has expanded to 16 seasons, with the 17th season slated for release in 2025.
As part of Winsing’s goal to full IP development, Winsing continues to explore ways to enhance its brands beyond animation, including toy development, merchandise and licensing, stage shows, publications, cultural tourism, music and more. This new English nursery rhymes series highlights Winsing’s strategy to diversify its offerings and further strengthen its presence in the
Global content market, with YouTube serving as one of the pivotal plaforms for distribution.
To date, Winsing has launched official multi-language YouTube channels for both GG Bond and GOGOBUS. GG Bond official channels feature Chinese, Thai, and English, with the Chinese channel amassing an impressive 211K subscribers. Meanwhile, GOGOBUS channels are available in Chinese, Vietnamese, Indonesian, Thai, Russian, and Korean, unlocking vast opportunities to connect with audiences in diverse markets.
Looking ahead, Winsing plans to further expand its YouTube network by introducing additional language channels for its IPs in the future, ensuring its content reaches an even broader global audience.
ABC Commercial, a leading distributor of premium Australian television content, has partnered with Amagi, a global leader in cloud-based SaaS technology for broadcast and Connected TV (CTV), to launch a suite of Free Ad-supported Streaming TV (FAST) channels.
This partnership signifies ABC Commercial’s commitment to evolving with the media landscape, leveraging its rich catalogue to connect with international
audiences in new and dynamic ways. The rollout of the channel suite is expected to lead with North America (including the US, where FAST Channel household penetration is over 40%*), with plans to expand into broader English-speaking territories, Europe and Asia.
“This partnership with Amagi represents a significant milestone for ABC Commercial as we expand into the global FAST market, opening new doors for Australian content to thrive on international FAST platforms” says ABC Commercial Digital Sales Manager Brian Lee. “Our channels will allow audiences to access Australia’s most loved and unique stories in innovative ways, whether they’re seeking familyfriendly content, compelling dramas or captivating documentaries.”
As the Commercial arm of the Australian Broadcasting Corporation (‘ABC’), the
business represents a catalogue of over 4,000 hours of premium content across all genres – including scripted, factual entertainment, lifestyle and children’s. The ABC is recognised for its singular, innovative and award-winning programming – with highlights including the cheeky comedy Aftertaste, multiple seasons of the primetime, lifestyle favourite Restoration Australia, stunning natural history series Wild Australians, and charming kid’s animation Reef School.
Amagi provides a complete suite of channel creation, distribution, and monetization solutions. The company’s clients include some of the world’s biggest names, including A+E Networks UK, ABS-CBN, Astro, Cox Media Group, DAZN, Globo, Lionsgate Studio, NBCUniversal, Tastemade, and VIZIO.
Keshet International, Woodcut International, and the Seven Network are launching a FAST channel dedicated to true crime content on Australia’s premier free streaming platform, 7plus.
Titled True Crime Files, this new FAST channel sees KI licensing and delivering nearly 100 hours of true crime content to the Seven Network for its streaming platform 7plus. Launching on 3 December, this initial launch package of factual content
includes true crime content produced predominantly by Woodcut Media, one of the UK’s leading true crime doc producers, including the latest two seasons of the phenomenally successful World’s Most Evil Killers (S8 & S9: 40×60’), alongside Jo Frost on Killer Kids (4×60’, produced with Nanny Jo Productions), and Murdered in the Line of Duty (3×60’) – titles already represented by KI.
KI has also completed a separate representation deal with Woodcut
International for an additional slate of true crime content for 7plus’ True Crime Files that includes: Surviving a Serial Killer (S1 & S2: 14×60’), How I Caught the Killer (S2: 10×60’), The Killer Within (10×60’), and one-off documentaries Knox: The Rob Knox Story (1×60’), Frankie Fraser’s Last Stand (1×60’), The Krays by Fred Dinenage (1 x 60’), and The Richardsons by Fred Dinenage (1 x 60’). KI has further licensed two high-profile British true crime documentaries handpicked from its factual catalog: Top Hat Productions’ Exposed: The Church’s Darkest Secret (2×60’), and Flicker Productions’ Wayne Couzens: Killer in Plain Sight (1×60’).
With a lineup of more than 50 FAST channels, Seven Network’s marketleading, premium video app. 7plus has grown its audience by 29% this year.
KC Global Media Asia, has announced the launch of its new distribution arm – KC Global Media Distribution – positioning the company at the forefront of content sales and partnerships across the region and beyond. With its headquarters based in Los Angeles, and regional offices in Singapore, Taipei, Seoul, Kuala Lumpur, and Beijing, this strategic expansion underscores KC Global Media’s commitment to championing premium storytelling and delivering exceptional entertainment to global audiences.
Led by Bonnie Wiryani, Vice President, Revenue & Head of Content Sales, KC Global Media Distribution debuted at Singapore’s Asia TV Forum & Market (ATF), unveiling an impressive slate of premium, culturally resonant
content from third-party producers. Key highlight includes Breeze By The Sea, the highly anticipated Taiwanese remake of Korean drama, Top Star U Back, as well as a diverse lineup of new programs across genres like drama, reality, anime and more, curated to resonate with international audiences.
These collaborations aim to distribute a series of groundbreaking projects with international appeal and open incredible opportunities to showcase highquality content to global audiences.
With this initiative, KC Global Media builds on its legacy of curating iconic entertainment through brands like AXN, Animax, ONE, GEM, and FAST Channel, KCM. KC Global Media Distribution complements the organization’s
Following a highly-competitive bidding process, Italian-based RIVA Studios has emerged victorious in acquiring TeamTO, saving the beloved French animation studio from bankruptcy. With a dynamic new executive team led by Marco Balsamo, Jay Oliva, and Tara Sibel Demren, RIVA’s ambitious and visionary plan will take TeamTO toward a brighter future as the studio approaches their 20th anniversary in 2025. The acquisition was officially approved by the Tribunal de Commerce de
Paris (Commercial Court of Paris). Under this new leadership team, TeamTO will continue delivering acclaimed content, including Sony Pictures Television’s THE CREATURE CASES as well as original hits JADE ARMOR and ANGELO RULES. Additionally, they will focus on developing new original franchises, including: JUNICHIRO JACKSON, AKIRA’S FLYING WHEELCHAIR, YELLOW CELLO, CRADLE: UNSOULED, ERA: THE LEGEND OF LUGH, and Corvus Belli’s INFINITY: PARADISE LOST.
“Opportunities like this are rare and I couldn’t be more excited to help lead TeamTO into a new era. In today’s evolving animation landscape, this is a golden opportunity to expand the studio into uncharted territories that will push creative boundaries through innovative visual styles and immersive stories that will inspire
vertically integrated business model, focusing on long-term partnerships and expanding its footprint in the global media landscape.
With this bold step, KC Global Media Asia is setting a new standard in the international distribution arena, reaffirming its commitment to championing storytelling, connecting cultures through exceptional content, and shaping the future of entertainment on a global scale.
audiences around the world. I can’t wait for everyone to see what’s next!” exclaimed Oliva.
The studio will continue operating from Valence and Paris, retaining majority of its staff to ensure a seamless transition on all current and upcoming series and films. TeamTO founders Guillaume Hellouin and Corinne Kouper will continue as executive advisors while also serving as executive producers on current and upcoming projects. They will work closely with the new leadership team to ensure seamless collaboration on all productions. “We couldn’t be happier as we know this leadership team will honor our two decades of creative excellence with a visionary plan that will ensure TeamTO’s success for another twenty years and beyond.” said Hellouin.
Award-winning Scottish comedian Larry Dean’s new special Fudnut has launched on YouTube ahead of his appearance at Royal Variety Performance.
Rolling out on the Larry Dean YouTube Channel, operated by Banijay Rights – the global distribution arm of content powerhouse Banijay Entertainment, the hour-long special revolves around Larry’s loving tribute to his best friend, director Paul Byrne. The special
was produced by Chambers Productions & Low Lean Productions.
The launch comes ahead of Larry making his first appearance at the Royal Variety Performance, the world’s longest running entertainment show, in the presence of His Majesty King Charles III.
Larry Dean is an award-winning comedian, writer and actor who has been thrice nominated for the prestigious Edinburgh Comedy Awards for his sellout, critically acclaimed solo stand-up shows. His stand up special Fandan, was released last year and aired on Channel 4 Larry’s broadcasting career includes two appearances on Live at the Apollo (once as host), Mock the Week, House of Games, World’s Most Dangerous Roads, Roast Battle, The Stand Up Sketch Show,
Mediaproxy, the global standard for software-based IP compliance solutions, has announced that it has been awarded formal approval by Dolby for the Dolby Digital Plus and Dolby AC-4 decoders. This highly significant development adds support for all Dolby’s distribution codecs and the Dolby Atmos immersive audio format to the LogServer compliance monitoring software platform and Monwall multiviewer.
Dolby is the leading developer of Next Generation Audio (NGA) technologies for cinema, broadcast, streaming, music and gaming. Its Dolby Atmos immersive system features on major feature films and is also a key element in many movies and high-end drama series streamed on Netflix, Amazon Prime and Disney+. Dolby Atmos is
an object-based audio (OBA) format that is also a feature of Dolby AC-4, which offers a wide range of features including dialogue intelligibility, audio description and alternative languages and commentaries, all with a high degree of personalization.
The Dolby AC-4 codec is part of the approval Mediaproxy has received from Dolby, along with its other key compression technologies: AC-3 (also known as Dolby Digital 5.1 surround sound) and E-AC3, branded as Dolby Digital Plus, which
The Comedy Roast for Stand Up to Cancer, and Michael McIntyre’s Big Show. Larry was also the host for the Scottish Heat of the BBC’s New Comedy Awards 2023-2024. Larry was recently seen in the feature film This Time Next Year (a Top Ten movie on Netflix) and has other acting projects in the pipeline. Larry also co-hosts the BBC Sounds podcast, Famously… On Trial, alongside Stacey Dooley. Dean has performed multiple tours across the UK & Ireland and has built a strong international fanbase with regular appearances at Melbourne International Comedy Festival, New Zealand Comedy Festival, Perth Fringeworld and Just For Laughs in Montreal. In 2023, he made his New York touring debut with his show Fudnut and he is currently on his biggest tour to date with brand-new show, Dodger
supports up to 15.1 audio channels. The LogServer suite of software, including its Monwall multiviewer, now provides full monitoring and analysis of all these formats and the multiple channels and audio objects that comprise them.
Mediaproxy’s chief executive, Erik Otto, adds, “Dolby is not only a highly respected brand in the professional broadcasting and audio worlds, but also a name recognized by consumers as a guarantee of high quality and exciting sound. We are extremely proud to have received approval. As the leading company in our section of professional broadcast engineering, our customers expect us to provide the highest possible standard in our product. Having attained Dolby approval underlines our on-going commitment to engineering excellence.”
The Asia Pacific ’ s media industry is evolving at a rapid pace and Television Asia Plus is here to provide full coverage and an unbiased look at everything that is happening in the region.
Television Asia Plus embraces Asia Pacific ’ s vibrant broadcast, production, and distribution of content across Free TV, Pay-TV, OTT, short video, livestream and new media platforms We take a look at the trends, the current market, and the freshest news and information on what’s happening in the industry today
Our digital platforms comprising tva onscreenasia com an @TVAsiaPlus on FB, Twitter and LinkedIn cover the latest industry news and movements Meanwhile our print version is available as bonus distribution at all major trade events including HK Filmart, APOS, Mipcom Cannes and ATF.
In the market for over two decades, Television Asia Plus has been proven to be a reliable and reputable television content journal We reach 15,000 senior content professionals across Asia Pacifi c through our web, social media, e-newsletters and print products
Ikegami Electronics (USA) announces a new addition to its executive team with the appointment of industry veteran Emilio Aleman as Senior Product Manager. Operating from the company’s New Jersey headquarters, he will be active in technical sales support and collaboration with design and service across the entire Ikegami range of imaging and display equipment.
Graduating from the New Jersey Institute of Technology in 1984, Emilio Aleman advanced into technical, sales and supervisory roles within the electronics industry, gaining four decades of experience in optics, electronic imaging, signal processing and transmission. Progressing to Ikegami from Ross Video, he will be active alongside Alan Kiel, Teri Zastrow and colleagues in promoting Ikegami solutions to the broadcast, security, medical and industrial imaging sectors.
“Emilio is a very welcome addition to the Ikegami team,” comments Alan Keil, Vice President & Director of Engineering at Ikegami Electronics (USA), Inc. “He joins us at a pivotal time as the broadcast industry increasingly embraces IP connectivity and continues the adoption of 4K, HDR and HFR. Among the solutions he will be handling are our recently introduced IPX100 IP Extension Unit, replacing the traditional base station or CCU with a dedicated ST 2110 product.”
“Ikegami has a long history of excellence both in its established product range and as a technology innovator,” Emilio Aleman adds. “The gradual rollout of ATSC 3.0 and MoIP across the Americas is encouraging media content creators and broadcasters to advance from HD SDR to 4K-UHD HDR at an accelerating rate whilst capitalizing on the benefits of modern IT-centric signal transports. This enables broadcasters to maximize the long-term commercial value of their productions by mastering in 4K-UHD and transmitting their programs in whatever standard is required for each specific audience region.”
The leading UK documentary and factual filmmakers’ talent agency Stern & Wild has appointed Camilla Chiverton as Agent for Premium Unscripted Creative Talent.
Camilla brings to the role extensive media experience and a track record in the recruitment and development of offscreen talent for factual and unscripted programming. She joins Stern & Wild directly from UK independent production company Plimsoll Productions where she was most recently Head of Talent. At Plimsoll (the company behind Emmy Award-winning Incredible Animal Journeys, Arctic Ascent with Alex Honnold, and the newly announced Surviving Pompeii with Tom Hiddleston) she was responsible for the recruitment of talent for all productions across editorial and production management. She is a strong advocate for equality, diversity and inclusion in all departments.
Prior to working at Plimsoll, Camilla held various senior positions in production companies such as Development Executive at Tigress Productions and Head of Development at Halo Films.Camilla joins Moray Coulter, Managing Director/Agent and Natalie Spanier, Agent – Documentary/Talent-led Projects at Stern & Wild.
The company was established in 2017 and is a blue-chip talent agency representing high profile showrunners, executive producers and directors of premium documentary and unscripted content.
Camilla Chiverton said, “I have admired the Stern & Wild business model for some time. Having worked closely with both Natalie and Moray throughout my time at Plimsoll to carefully pair the best creative talent to the company’s premium unscripted shows, it quickly became evident to me what an incredibly valuable, unique and personal service the agency provides to support the career growth of its clients which in turn enhances the
projects of the production companies they work with. I couldn’t be more excited to join Stern & Wild and embark on this next chapter together.”
Moray Coulter commented, “Our agency is innovating and growing within a turbulent industry, ensuring that our clients are well-placed as screen content evolves , and Camilla brings a strong creative intelligence to our team. She has a deep knowledge of the factual screen production community, is a seasoned talent manager, and understands the needs of those people who have great creative talent and need back-up for their career paths. Camilla has a track record of promoting and developing the work of both up-and-coming and established freelance documentary filmmakers, which ultimately is what our agency is all about.”
TVU Networks, the global leader in cloud and IP-based live video solutions, has announced the appointment of Mike Cronk as Vice President of Strategy.
With over two decades of experience driving innovation in the media industry, Cronk brings a wealth of expertise from his leadership roles, including Head of Product for Live Media Services at AWS, Vice President of Core Technologies at Grass Valley, and founding Chairman of the Alliance for IP Media Solutions (AIMS). In his new role, Cronk will focus on scaling TVU’s award-winning SaaS services, expanding its adoption among media organizations worldwide, and enhancing the company’s offerings for customers, partners, and the broader media community.
“Mike Cronk joins TVU at a time of unparalleled innovation and momentum for our company,” said Paul Shen, CEO of TVU Networks. “His deep expertise in cloud transformation, media workflows, and product strategy will enable us to continue redefining how broadcasters engage their audiences. With Mike’s leadership, we will further strengthen our position as the trusted partner for media supply chain transformation worldwide, turning our customers’ most ambitious projects into reality.”
Reflecting on his new role, Cronk highlighted TVU’s commitment to innovation, “TVU has been at the forefront of live video production for nearly two decades, forging strong partnerships with media organizations worldwide. This year alone, TVU has enabled groundbreaking cloudbased workflows, from leveraging AI-assisted production during major sports events to powering fully cloudbased workflows for this year’s biggest elections. The opportunity to contribute to such a visionary company at this pivotal moment is truly exciting. Together with our customers, we have the potential to achieve even greater milestones and transform the industry further.”
TVU Networks pioneered the shift to cloud-based and AI-driven broadcasting workflows back in 2018, setting a benchmark for the industry. Six years later, it has developed
a modular ecosystem of cloud services that adapt to virtually any media workflow challenge, enabling broadcasters to meet complex production demands with unmatched speed and agility. Among its latest applications, TVU MediaHub—already recognized with six industry awards and integral to high-profile events like the recent elections and the Games in Paris—assembles these services into a powerful routing solution that Mike Cronk believes will reshape the media industry.
“Mike’s vision and expertise align perfectly with TVU Networks’ mission to transform the broadcast industry,” added Shen. “His addition to our leadership team marks an exciting chapter for TVU as we continue to innovate and collaborate with our clients to redefine what’s possible in live media production.”
Talpa Studios, the creative production company founded by John de Mol, has announced the appointment of Jasper Hoogendoorn as its Chief Creative Officer. Internationally recognized as a visionary creative talent and one of the masterminds behind the hit format The Traitors, Hoogendoorn joins Talpa Studios at a pivotal moment, marking the next step in the company’s journey toward achieving its international ambitions.
John de Mol, Founder of Talpa Studios, commented on the appointment, “I am very excited to welcome Jasper to our team in this important role. We’ve recently collaborated on several projects, and I am impressed by his creativity, pitching skills, and unwavering commitment to delivering top-tier quality in format development and production. His arrival marks a significant step in strengthening our portfolio of original formats and advancing our opennetwork strategy, which brings together the best talent in the industry. Together with Jasper, we aim to further shape the future of Talpa Studios and realize our global ambitions.”
As Creative Director at IDTV, Hoogendoorn was instrumental in the creation of The Traitors, a global phenomenon adapted in over 30 countries and the recipient of numerous awards, including an Emmy Award and the prestigious Rose d’Or. Over his nine-year tenure at IDTV, he climbed the ranks from format developer to Creative Director, creating The Unknown and spearheading the successful production of multiple All3Media formats such as Race Across the World, Lingo and Sort Your Life Out.
On embracing his new role, Jasper Hoogendoorn said, “The past nine years at IDTV and All3Media have been an intense and rewarding journey for which I am deeply grateful. Over time, my focus has increasingly shifted toward developing original IP with global appeal. This new chapter at Talpa Studios feels like the natural next step in my career. John de Mol’s unparalleled passion, boldness, and ambition
in creating original IP and disrupting the international format market is both inspiring and challenging. I’m excited to build on this legacy, inject fresh energy into the creative process, and continue learning along the way.”
With Hoogendoorn on board, Talpa Studios is set to further its creative mission: developing and producing distinctive, impactful formats that captivate audiences worldwide. Working alongside Talpa’s creative team, Hoogendoorn will focus on innovating original formats, enhancingstrategiccollaborationsbothdomesticallyand internationally, and overseeing creative and production responsibilities for select projects within Talpa Studios.
Geoff Gordon, Vice President, Marketing - MainConcept
Media consumption has changed beyond recognition during the past 20 years – a reflection of technological advancements, changing preferences and our lifestyles, which are continuously adapting in response to the world around us. Digital media has become the ‘go to’ for entertainment, from streaming shows and movies on demand, to watching user generated content, scrolling social media, streaming music, and playing video games online.
When YouTube launched in 2005, it revolutionized how viewers engaged with content by providing a platform for people to share their own videos with the masses. This explosion of creator content paved the way for the rise of short form content, with platforms like TikTok, Facebook and Instagram, as well as YouTube, all capitalizing on the trend. Short form, bite-size or snackable content as it is also known, has surged in popularity in recent years, and this is likely to have some major implications for broadcasters and video services going forward.
Short form content is generally defined as a short video lasting less than 60 seconds, which may be created by users themselves (user generated content) or by brands or organizations. This type of content has grown massively in popularity in recent years, alongside the rise of smart phones and social media platforms, which all go hand-in-hand. Social media platforms provide users with a unique, personalized feed delivering bitesized, entertaining content that is carefully curated to
be engaging and highly compelling, making it difficult for users to extricate themselves. Short videos fit in perfectly with the type of consumption, and smart phones allow users to comfortably scroll through this type of content anywhere, anytime. It’s a perfect synergy.
When consuming content on a mobile device, on the move, there is often a very small-time window and lots of distractions. Users don’t want content that they have to fully focus on for long periods of time like a traditional show or movie. That type of content is usually reserved for when viewers have the time and space to fully concentrate and engage. Short form content is appealing because it is accessible and convenient in a way that long form content cannot match. Users can dip in and out of short form content in just a matter of seconds.
TikTok is considered by many to have popularized short form content. It has a massive global audience, with 1.59 billion active monthly users. Its global expansion began in 2017, after which it quickly attracted a loyal following. By July 2020, along with its Chinese equivalent Douyin, owned by the same company, ByteDance, it had reportedly reached 2 billion downloads and 800 million active users. The short form video phenomenon had well and truly begun and other social media platforms such as Facebook and Instagram quickly followed suit, building short form video features into their own platforms.
The popularity of short form content is driven by a complex mix of psychological and social factors. According to research by renowned expert, Dr. Gloria Marks, people’s attention spans have significantly decreased over recent decades. On average, a person used to be able to focus on something for around 2.5 minutes, but this has now dropped to around 47 seconds. This decreasing attention span is perhaps one of the reasons why short videos are so appealing. At under 60 seconds, we can easily focus on them without any perceived effort. Ironically, technology and social media are thought to be key contributors to our attention spans reducing in the first place. Another reason that short videos are so appealing is that they provide instant reward. When users watch a funny, exciting or entertaining video, it triggers
dopamine, a neurotransmitter associated with pleasure and reward, to be released. When users scroll through short videos, they are rewarded by repeated shots of this feel-good hormone. This is one of the reasons social media platforms are so hard to put down. Platforms such as TikTok also have a sophisticated algorithm that analyses user data to deliver dynamic, personalized video stream, offering exactly the right videos to stimulate and engage users at that precise moment.
The social aspect of short form videos is another important factor that has helped to fuel their popularity. When users enjoy short videos, they’re immediately motivated to share them with friends, which creates a ripple effect that boosts entertainment. This sharing culture has helped to grow social media platforms, because users feel a sense of FOMO (fear of missing out) if they’re not part of the conversation. It’s this same ease of sharing and desire to stay connected that propels videos to go viral.
The generations divide in viewing habits is clear, with short form content being especially popular with younger audiences like Gen Z and Millennials. Studies show that Gen Z viewers prefer short form
content over other types of content, which explains their strong presence on platforms like TikTok, Instagram, and Snapchat where visually engaging videos and viral trends quickly capture their attention. Deloitte recently reported that 56% of Gen Z and 43% of Millennials feel that social media content is more relevant to them than traditional content like TV shows or movies. Conversely, only 26% of Gen X and 13% of Boomers feel the same. The same report notes that consumers spend an average of six hours a day on digital media and entertainment activities such as watching TV shows and movies on streaming services, watching cable or livestreaming TV, watching user generated content, using social media, listening to music, playing video games and listening to podcasts. Unsurprisingly, the time spent on different activities varies by generation, with Gen Z and Millennials spending more time watching user generated content and using social media, and less time watching cable or live streaming TV than older generations.
Like short form content, user generated content (UGC) is also very popular with younger generations. According to the Deloitte report mentioned previously, 52% of Gen Z and 45% of Millennials feel a stronger personal connection to social media creators than TV personalities or actors. This number decreases as generations become older, with only 27% of Gen X and 14% of Boomers feeling the same way. It’s clear that younger generations in particular feel a strong personal connection to content creators. User generated content feels authentic and connects more deeply with these viewers than traditional productions. The direct relationship between the creator and the viewer allows the creator to develop a better understanding of what the audience wants, and unlike with studio productions, creators can be incredibly agile, and produce new and timely content in hours or days, not months or years. Unlike traditional broadcasters and streaming services, UGC platforms shift production costs to creators, who
fund their own content. Platforms only pay creators once their videos generate enough views to drive ad revenue. This model minimizes financial risk while still delivering substantial ad income when content succeeds. With no gatekeepers deciding what gets produced, creators offer diverse, relatable content that resonates with a broad audience. In this way, UGC video-sharing services provide a nearly endless stream of free, niche entertainment with no subscriptions or commitments.
The growth of both user generated content and short form content is disrupting traditional advertising models. Of course, TV commercials and printed ads still have their place, yet more and more brands are building short from video sharing platforms like TikTok into their marketing strategies. With their wide reach and ease of shareability, these platforms are ideal for delivering brand messaging to a broad audience. Research shows that digital marketing that is short, with music, humor or with social media influencers is highly effective with both Gen Z and Millennials. To leverage the power of short videos and be effective on these platforms, advertisers need to rethink traditional polished advertising approaches. By embracing authenticity, lived experience and relatability, advertisers can engage with consumers in a whole new way. Interactivity is also a key part of this new world with advertisers having the power to engage with audiences through interactive
elements such as challenges, livestreams and polls. As creators of both short form and long form videos cultivate loyal and highly engaged communities that rival the audience sizes of traditional broadcasts, advertisers are redirecting proportions of their budgets toward videosharing platforms. YouTube, which leads the advertising space in the streaming market, provides unmatched precision targeting, wide-reaching viewership, and cost-effective impressions. This dominance presents a significant challenge to streaming services as well as broadcasters, many of which have transitioned from purely subscription-based models to hybrid subscription and adsupported approaches in recent years to increase revenue.
The huge growth in popularity of short form content is set to have major implications for the industry. As Gen Z matures and gets to the point of having their own (or more of their own) disposable income, broadcasters and video services will need to ensure their offering appeals to this key cohort of consumers. This generation is the first to grow up fully in the digital age, so what worked in the past to engage audiences is not necessarily what will work going forward. As younger generations gravitate towards short form video, many OTT video providers are looking to see how they can incorporate short form video strategies into their own services so that they can better compete with the likes of TikTok and YouTube. In response to this growing need, video service solution providers are launching short video functionality that enable video services to combine and deliver both long and short form content. But getting it right will be no easy task. Netflix briefly experimented with short video content in 2021 with its ‘Fast Laughs’ feature, which delivered short videos including funny clips from new shows and movies, as well as comedy specials. Amazon has also tried to leverage the short form content phenomenon for the shopping arm of its business. It launched ‘Inspire’ on its mobile app in 2022, a short form video and photo shopping
feed. Like Netflix’s “Fast Laugh’s”, this too proved unsuccessful and was shut down 14 months later.
To succeed with short form content and harness its power, broadcasters and video services will need to understand the complex factors that make the format so appealing. Certain verticals, like sports, are a natural fit for bite-sized content. Fans crave more than just the main event, and short form videos can be used to offer pre- and post-match analysis, highlights, player insights, and behind-the-scenes footage. This snackable content can help to boost engagement, especially among Gen Z, who consume sports differently than older generations.
While we are certainly in the midst of a period of enormous change, the growth of short form content doesn’t mean that traditional long form content will disappear. Instead, broadcasters and service providers will need to integrate short form content in ways that enhance their long form offerings, helping to drive reach and engagement.
The divide between user-generated content (UGC) and traditional media (broadcast/streaming) continues to grow in the West. The younger generations particularly Gen Z are glued to their phone screens scrolling through thousands of bitesized UGCs flipping between YouTube, TikTok, Instagram Reels and more. The struggle to keep their attention has been one of the biggest challenges Western TV executives face as they continually integrate these platforms into the marketing of their content. Even to the point of creating content solely focused on the platforms in an attempt to get them to invest their time in longer-form content.
This strategy as many industry experts have pointed out are band aid solutions as they struggle to figure out how to draw in these viewers and get
more advertisers on board. With ballooning costs of productions over the last few years and as the attention span of their viewers dwindle, the push and pull of content remains a battle for them.
But that doesn’t seem to be the case in the Asian market. While these same platforms are similarly popular with everyone of all ages watching these short form content, long form content that isn’t user-generated remains top of mind.
The Asia Video Industry Association (AVIA) has published its latest study, “Premium OTT: Building Its Rightful Place in the Digital Market,” focusing on Indonesia and Thailand. This comprehensive research highlights the superiority of premium OTT services in these markets and their potential for advertisers.
Consumers in each market believe that premium OTT services, such as Disney+, Netflix, TRUEID, Vidio and Viu, who offer ‘professional videos’, unequivocally deliver Quality Content, keep peoples’ Attention and are considered Time Better Spent than usergenerated content (UGC) and social media platforms (social videos) where Negative Emotions dominate.
Key insights from the study include:
Quality of Content: Almost 90% of all viewers say that professional videos offer better video quality.
Positive Emotions: Professional video users report stronger emotions, with all video users generally experiencing more negative emotions
after watching social videos. All video users also agree that time is better spent when watching professional videos compared to social videos.
Smart TV Usage: The increasing adoption of Smart TVs among professional video users is creating more opportunities for Connected TV (CTV) advertising. This shift allows advertisers to leverage advanced targeting and interactive ad formats, enhancing viewer engagement and delivering more personalized ad experiences.
Advertiser Opportunities: The study underscores the untapped potential for advertisers in the
premium OTT space, given the proven quality of the environment and the increased attention and positive emotional engagement it fosters.
“In Indonesia, a 10% higher brand recall and purchase intent from OTT advertising campaigns underscores the platform’s growing impact, encouraging more brands and agencies to diversify their media strategies. The momentum in CTV OTT advertising is equally promising, with Vidio’s 150-minute average daily watch time offering advertisers access to a high-quality audience and premium inventory,” said Hermawan Sutanto, Managing Director, Vidio.
David Sky, Director of Advertising Solutions at TRUE Digital Group, added, “At TRUEID, we are dedicated to providing premium OTT services that deliver highquality professional video content to our viewers in Thailand. We are heartened that almost 9 out of 10 consumers surveyed wholeheartedly agree that premium services out-deliver on quality. And with the increasing adoption of Connected TVs, the time is now for advertisers and brands to take advantage of the increasingly engaged audience on premium OTT.”
“The power and opportunity of premium OTT services in Indonesia and Thailand are significant. This study clearly demonstrates the value these services offer to both consumers and advertisers. We believe this is a call to action for advertisers to leverage the unique advantages of premium OTT,” said Louis Boswell, CEO of AVIA.
The full research deck and methodology is available on AVIA’s website. This study builds on previous research conducted in Indonesia and Thailand in 2023
and continues to explore the evolving landscape of digital video consumption in Southeast Asia.
The Research was conducted by Milieu Insight in November 2024. The study surveyed 500 adults in each market, providing a representative snapshot of consumer attitudes and usage patterns.
Vidio’s latest Vidio Original Series, Bad Guys is a gripping adaptation of the highly successful South Korean crime drama of the same. It is produced by BASE Entertainment in collaboration with CJ ENM Hong Kong Limited. The series delivers an intense action experience, a suspenseful storyline, and complex characters, immersing audiences in a world of crime with a distinctively Indonesian approach.
Bad Guys features a lineup of renowned Indonesian actors, including Oka Antara, Dwi Sasono, Randy Pangalila, Maudy Effrosina, and Omara Esteghlal
The series centers on Jaka (Oka Antara), a Police Commissioner investigating a string of serial murders tied to corruption in the judicial system. His pursuit of justice takes a tragic turn when his own daughter falls victim, plunging him into deep emotional turmoil. Frustrated by bureaucratic limitations, Jaka takes matters into his own hands by forming an unconventional team—three criminals he once put behind bars. Among them are Anton (Dwi Sasono), a drug cartel enforcer with deep underground connections; Haidar (Randy Pangalila), a highly skilled con artist; and Elias (Omara Esteghlal), a brilliant hacker. Joining their cause is Sekar (Maudy Effrosina), a dedicated police officer who not only keeps the team in check but also becomes a crucial ally,
determined to help them complete their dangerous mission. Together, they embrace an unorthodox approach to justice, To catch a criminal, hire your own
Poster designer Evan Wijaya successfully captures the action and crime essence of Bad Guys through a strong and character-driven visual approach. The use of dynamic photo angles, a gritty background, and rough textures enhances the dark atmosphere of the series. A combination of cool and warm color palettes creates a compelling harmony while reinforcing the brutal and action-packed feel of the show.
The dark and intense tone of Bad Guys is further amplified by the official original soundtrack, Mengadili Persepsi by the heavy metal band Seringai. This song delivers untamed energy that perfectly aligns with the characters and storyline, depicting a criminal world filled with conflict, strategy, and adrenaline. With aggressive guitar riffs and meaningful lyrics, Mengadili Persepsi is not just a background track— it solidifies the intense atmosphere of Bad Guys.
As a major tentpole project spanning 10 episodes and featuring large ensemble action sequences with at least 3-5 actors per scene, Bad Guys
is helmed by two esteemed directors, Ferry Pei Irawan and William Chandra. Each brings a distinct style to the project, enriching the storytelling with complementary creative visions.
“In directing Bad Guys, our approach to action and crime scenes is grounded in realism and intensity. We asked ourselves, ‘What if this actually happened?’ That’s why we opted for melee weapons over firearms, as they are more common and relatable in Indonesia. Visually, we pursued a raw, organic aesthetic to immerse audiences in a gritty yet believable underworld,” explained William Chandra
Ferry Pei Irawan emphasized his directorial focus on building tension through cinematography “I leverage geographic space with precise technical calculations to make every shot efficient yet stylish. Additionally, we incorporate a street-fighting approach that resonates with Indonesian audiences,” he added.
While originally a Korean series, Bad Guys provided ample flexibility in its format and themes, allowing it to be reimagined in a way that feels distinctly Indonesian.
“Bad Guys in its Indonesian version delivers intense action sequences, rich emotional depth, and a distinct local touch, blending thrilling and humorous elements that resonate with Indonesian audiences—whether through its characters, settings, or themes that reflect aspects of Indonesian society,” said Shanty Harmayn, Executive Producer of the series and Partner & Chief Executive of BASE Entertainment
“The series offers a compelling mix of action, drama, and subtle humor. What makes it particularly engaging is its portrayal of characters with diverse moral complexities, showing that the line between right and wrong is not always clear. This nuanced storytelling
adds depth and relatability, making it even more immersive for Indonesian viewers,” Shanty added.
Meanwhile, Mark Francis, Chief of Content and Strategy at Vidio, shared, “This adaptation of Bad Guys marks a significant step for Vidio in bringing popular international formats to life via an authentic, hyperlocal approach. We are committed to curating great stories and delivering the most entertaining local productions for our subscribers and sometimes that can mean taking inspiration from the rest of the world. With an exceptional creative team and a stellar cast, we believe our adaptation of Bad Guys offers fans of the Indonesian action and crime genre something fun and fresh. It could pave the way for more experimentation in the future.”
