Television Asia Plus | May-Jun 2026

Editor’s Note

Dear Reader,

Welcome to the May-June 2026 issue of Television Asia Plus!

The Television landscape remains malleable thanks to the rise of new and emerging technology. What was once thought of as content that is only viewed on TVs via broadcast or cable has now changed. Streaming has become the go-to for companies looking to sell their materials, which allows for a much broader audience. Content these days is produced with not just local viewers in mind but a global appeal as well. And in this streaming era, a new competitor has risen through short-form vertical content.

Our cover story features the rise of the vertical/microdrama and who the top players are, including ReelShort from the COL group. Here we’ll learn how much the industry is set to grow and how much revenue it will bring, as well as how technology like AI will accelerate its expansion.

Vertical dramas are taking the world by storm, and our next feature will be about the REALIST: Vertical Drama International Festival, which is positioned as the first independent festival in Russia, and one of the first global events dedicated to the format.

AI is said to play a big part in the growth and evolution of vertical dramas. Whether its used in the backend to develop stories and storyboards to the actual production, AI will be a driving force for the format. We have a feature from ShareLook, and how AI programs will make converting data into video presentations and the like easier.

And will vertical format remain the shiny new toy the industry is exploring, non-scripted formats are often seen as Asia’s next big global export. Our last feature by Nicholas Sercombe, Harry King TV, explores just that.

Editor

EDITORIAL/PUBLISHER

Keen Whye Lee Publisher

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

TECHNICAL SUPPORT

Michael Magsalin tech@harvest-info.com

Television Asia Plus is published by

Harvest Information Pte. Ltd. 531 Upper Cross Street,#04-16, Singapore 050531

Tale Wind Animation Studio Announces Turbozaurs Launch on StoryZoo & Friends Across the Netherlands and GSA Region

Tale Wind, the animation studio behind the popular preschool series Turbozaurs, has signed a new distribution agreement with Dutch edutainment company StoryZoo & Friends for the Netherlands and the GSA territories (Germany, Switzerland, and Austria).

Under the deal, Turbozaurs will be available in both German and English, expanding the brand’s reach to young audiences across key European markets.

The series will be featured on StoryZoo & Friends, a FAST channel and digital platform focused on high-quality, safe, and educational content for children aged 3+. The platform is distributed across major partners, including Samsung TV Plus and Joyn in Germany, as well as Amazon Prime Video FAST channels and NLZIET in the Netherlands. In addition, Turbozaurs will also be available on the Germanlanguage StoryZoo & Friends YouTube

channel. StoryZoo & Friends is a global edutainment brand delivering ageappropriate, character-driven content for children aged 2-8, with a focus on storytelling, real-world learning, and early development. The brand reaches tens of millions of viewers worldwide across streaming, broadcast, and digital platforms. “We are excited to partner with StoryZoo & Friends and bring Turbozaurs to German-speaking audiences,” said Karen Asatryan, CEO, Tale Wind Studio. “This collaboration allows us to introduce our characters to new families across

Europe on platforms that combine entertainment with educational value.”

Johannes Gropp, CEO, StoryZoo & Friends adds that, “The addition of Turbozaurs to our portfolio further enriches the StoryZoo & Friends offering with premium content for kids.”

The launch marks another step in the international expansion of the Turbozaurs franchise, which continues to grow its global presence through broadcast, digital distribution, and consumer products.

5 greenlights Woodcut Media’s documentary special The Three Kings of 1936

Indie prodco Woodcut Media and distributor Woodcut International has announced a brand-new doc special The Three Kings of 1936 (1 x 90’), greenlit by 5 in the UK.

The Three Kings of 1936 marks the 90th anniversary of one of the most extraordinary and turbulent years in the history of the British monarchy. The film explores the whirlwind of events of 1936, starting with the shocking death of George V in January, and his son Edward VIII, the most world’s most eligible bachelor, taking the throne. Edward had a secret – he was in love with American divorcee Wallis Simpson. His abdication in December rocked the world and the monarchy. His younger brother, the shy and nervous George VI succeeded him. All this was against the backdrop of the gathering storm of war in Europe

and unrest on the streets of Britain. The documentary attempts to understand the motivations of those at the heart of the story, and to gauge the impact on the average Briton. It shows how, although traumatic, the events of 1936 gave Britain the wartime monarch it needed. The Three Kings of 1936 features documents from the archives, rarely seen photographs, alongside interviews with historians which bring the drama of the year vividly to life. Julie Montagu, the Countess of Sandwich,

an American who married into the British aristocracy, gives valuable insights into how Wallis Simpson must have been baffled by the British. Celebrated actor David Suchet shows how his beloved grandfather James Jarché took a series of secret pictures of Edward and Mrs Simpson at a West End nightclub. Woodcut Media’s Jonathan Mayo is Series Producer, alongside Executive Producer, Kate Beal. Worldwide sales are being handled by Woodcut International.

Keshet

International’s BOOM! heads to Brazil

with new record adaptation

Keshet International, the global content producer and distributor, has licensed its hit gameshow format BOOM! to Brazilian production company Boxfish for a brand-new local adaptation for RECORD in Brazil.

Hosted by one of the country’s best-known entertainers, Tom Cavalcante (Show do Tom, and RECORD’s Acerte ou Caia!), Boxfish’s version of BOOM! will bring the highstakes trivia format to millions of viewers across Brazil, marking the latest international adaptation of the globally successful show. This 15×90’ version for RECORD will feature two teams in a head-tohead competition, each lead by a celebrity contestant competing alongside their friends or families to win R$100,000. BOOM! is set to

premiere in Brazil on RECORD on 8 March.

Created by Ido Rosenblum and Keshet Broadcasting for Keshet 12, BOOM! sees teams of players compete to tackle a series of high-pressure trivia challenges. Each question presents multiple possible answers represented by coloured wires, and contestants must cut the correct ones before the countdown clock runs out — with every decision bringing them closer to victory or elimination.

Kelly Wright, Managing Director of Distribution at Keshet International, said, “We’re delighted to be bringing BOOM! to Brazil with our fantastic partner, Boxfish, to create this game show night on RECORD. We have been selling BOOM! globally for 12 years now. This ever-popular format never fails to deliver a compelling mix of tension, trivia, and surprises.”

BOOM! has become one of Keshet International’s most successful formats, with 22 international adaptations produced to the end of 2025, including in Spain (8 seasons for Atresmedia’s Antena 3 – see below), Italy (3 seasons for Discovery), Hungary (3 seasons for TV2), Vietnam (2 seasons for VTV), Colombia (2 seasons for Caracol), Iran (2 seasons for IRIB TV3) and the US (Fox).

Eccho Rights seals new deals for Turkish mini-series Beneath the Surface

Eccho Rights has secured a number of international broadcast deals for the premium Turkish mini-series Beneath the Surface.

Produced by Karga Seven Pictures as a TOD Original, the tightly paced thriller has been licensed to broadcasters across Latin America, the Middle East and North Africa, and Israel. Telecom Argentina has acquired the series for its channels in Argentina, Paraguay and Uruguay. In MENA, Abu Dhabi TV has secured free TV rights across 23 territories, while in Israel the series has been picked up by Dori Media. Alshana in Morocco has also picked up the local rights to the series.

Beneath the Surface stars Hazal Kaya as Cihan, a determined police officer whose father’s mysterious death pushes her into a personal investigation running parallel to an official murder case, led by her colleague Metin, played by Çağlar Ertuğrul. As the two officers work closer

together, professional boundaries blur, emotions surface and long-buried family secrets begin to unravel, turning the investigation into a deeply personal reckoning. Handan Özkubat, Director of Sales at Eccho Rights, commented, “Beneath the Surface perfectly illustrates the global appeal of premium Turkish drama with A-list talent and a strong

creative vision. Its compact episode run and cinematic storytelling make it ideal for international broadcasters, and these deals with linear channels clearly show that shorter run Turkish series are not limited to VOD platforms internationally, but can perform very successfully on free and pay television when the content is right.”

Authentic announces major sales to National Geographic, RTVE, Czech Television and Prima Group

Autentic has announced a series of new international sales across premium factual genres, underlining strong global demand for high-end history, wildlife, and blue-chip documentaries from its catalogue.

National Geographic has acquired Secrets of Ancient Structures (6 × 52’), produced by Go Button Media, a premium history series revealing the engineering mastery, advanced knowledge, and enduring mysteries behind some of the world’s most iconic ancient monuments. The deal also covers two visually striking nature titles from Terra Mater Studios: American Amazon (2 × 52’), an immersive bluechip wildlife journey into one of North America’s last great biodiversity hotspots, and Shells – Within a Sheltered Spiral (52’, 45’), a poetic exploration of the beauty, evolution, and cultural

significance of seashells.

In Spain, RTVE has acquired a selection of premium wildlife documentaries, including Kui Buri – Thailand’s Hidden Eden (52’), a blue-chip natural history title set in one of Southeast Asia’s most important wildlife sanctuaries, Europe’s Amazon (2 × 52’), a visually rich exploration of one of Europe’s last great river ecosystems and Golden Eagle – Call of the Wild (2 × 52’, 90’). Czech Television has secured new blue-chip wildlife and people & places documentaries. The package deal includes Oman – Jewel of Arabia (2 × 52’, 2 x 45’), Penguin Baywatch (2 × 52’), Same Same – But Different (52’), and Mara: Rebirth (2 × 52’), reflecting a strong focus on high-quality factual storytelling.

Additionally, Czech broadcaster Prima Group has acquired Vincent

Between Hitler and Stalin: Europe’s Darkest Years (90’), a powerful history documentary examining mass violence and repression in Eastern Europe between 1930 and 1945. Mirjam Strasser commented, “These new sales demonstrate the continued strength of our catalogue across key factual genres and territories,” said Autentic. “From blue-chip wildlife and captivating history storytelling, we are delighted to see these titles reach leading broadcasters worldwide.”

ABS-CBN’S 2 Good 2 be True breaks into Middle East Free TV

ABS-CBN, the Philippines’ leading media and entertainment company, advances its international distribution as its primetime drama “2 Good 2 Be True” becomes the first Philippine drama series to air on free TV in the Middle East.

The launch was strategically timed during the Ramadan season, one of the highest television consumption periods in the region, maximizing visibility and audience reach across Middle Eastern markets. Dubai One, owned by Dubai Media Incorporated, is a widely distributed English-language free-to-air channel reaching millions of households across the Middle East and North Africa (MENA). The channel primarily features western content, besides telenovelas, with Arabic subtitles, positioning ABSCBN’s Filipino drama among leading international series.

The series airs in English-dubbed version with Arabic subtitles, enabling it to reach both Arabic and English speaking audiences in the region.This latest milestone reinforces ABS-CBN’s continued international expansion as it transitions into a global storytelling company, bringing heartfelt Philippine stories to international audiences across broadcast, streaming, and digital platforms.

It also builds ABS-CBN’s growing presence in the Middle East. In 2024, “A Soldier’s Heart” became the first Filipino series to debut in Arabic-dubbed version on major video-on-demand platforms in the region. Both “2 Good 2 Be True” and “A Soldier’s Heart” are distributed by the company’s local partner, Rabee Alhajabed Art Prod’n. & Dist’n. “2 Good 2 Be True,” which stars Kathryn Bernardo and Daniel Padilla, previously demonstrated strong performance in

the Philippine market, remaining in the Netflix Philippines Top 10 for 32 consecutive weeks.

With over 50,000 hours of content sold to more than 50 countries worldwide, ABS-CBN continues to expand the global reach of Filipino storytelling across broadcast, streaming, and digital platforms.

Productions’

Ji Chang-wook Headlines South Korean-Filipino Culinary Series Kumusta Cooking soon on TV5 and Viu

The upcoming culinary travel show Kumusta brings together two vibrant food cultures—South Korea and the Philippines—in a unique gastronomic adventure that celebrates connection and heritage. Set in Gangnam, Seoul, the show introduces Filipino flavors to the heart of South Korea’s thriving dining scene, highlighting the richness of both culinary traditions.

Kumusta was officially launched in a grand media conference held at The Collab at Sheraton Manila Hotel, Newport World Resorts, headlined by South Korean star Ji Chang-wook. Joining him was a powerhouse cast of Filipino celebrities including Jodi Sta. Maria, Janella Salvador, Francine Diaz, Arci Muñoz, and chef-restaurateur JP Anglo, offering a first look at the crosscultural collaboration set to delight

audiences across Asia. The highly anticipated show is set to premiere soon as part of TV5’s Weekend Trip block and on the Viu app, taking that “Uy, Pilipins!” pride on the global stage.

The show blends food and cultural exchange as the stars break aside

from their typical on-screen roles to run a fully operational Filipino popup restaurant in one of Seoul’s most dynamic districts.

Leading the kitchen is respected culinary figure Chef JP Anglo, a former MasterChef Philippines judge whose presence in the kitchen serves as an anchor for Kumusta’s culinary direction, bridging Philippine heritage with Seoul’s discerning food scene. The series further boosts its cross-cultural lineup with guest appearances from South Korean celebrities Kim Min-seok, Kim Myung-soo, and Seo In-guk.

Filming and editing for Kumusta is fully handled by Korean production company PODO Creative, while Rebisco serves as the program’s main sponsor.

KC Global Media Secures Global Rights to Culinary Series Eat with Xiami

KC Global Media Distribution announced their newest acquisition – the popular food series currently on the Bilibili platform, “Eat with Xiami.” Hosted by Foodie Xia and Chef Mi, “Eat with Xiami” is an 11-episode food and travel series that takes viewers on a vibrant journey through Asia’s most iconic streets, hidden eateries, and bold, unconventional flavors.

KC Global Media Distribution will handle the worldwide rights for the culinary travel & culture program which airs now in both English and Mandarin (with English subtitles). Future episodes will explore different areas of Asia and highlight their unique cuisines.

Each 22-minute “Eat with Xiami” episode blends immersive street food adventures with rich cultural storytelling, as Chef Mi offers culinary expertise and insight while Foodie

Xia brings humor and the curiosity of an adventurous eater. Together, they uncover the people, traditions, and philosophies behind Asia’s dynamic food scene. With a focus on warmth and authentic connection, the series serves as an inviting gateway for international audiences to experience the vibrant energy of Asian culinary traditions.

The deal between KC Global Media Distribution and Xiami Video was facilitated by filmmaker & producer Barbara Lee, a valued partner of KC Global Media based in Vancouver, Canada. Lee has over 30 years of

experience as a community advocate championing diverse representation and increasing opportunities for Canadian Asian artists across film, television, media and music.

KC Global Media continues to build their distribution arm with strong global partnerships and a diverse slate of projects rooted in regional identity with strong international potential. Together they reflect KC Global Media’s continued commitment to connect content creators with new audiences across international borders and to elevate high quality Asian storytelling.

Nippon TV Announces Korean Remake of its Leading Drama Series Life’s Punchline for Studio Dragon

Nippon TV, Japan’s leading multiplatform entertainment powerhouse, announced that it has licensed the Korean remake rights for its drama series Life’s Punchline to Korea’s Leading Scripted TV Studio, Studio Dragon. This agreement marks the second international remake for the series, following the recent announcement of its Hong Kong

adaptation. Nippon TV’s original series, Life’s Punchline (10 × 60’), follows three young men in a comedy trio who decide to disband at age 28 after ten years of chasing stardom. Facing the harsh reality of having no career or savings while their peers move on to marriage and stable jobs, they find themselves in the midst of a “quarter-life crisis.” Their story intertwines with their biggest fan, a

young woman working at a diner. Once an elite professional, she fell into despair after a career burnout and now lives with her younger sister. As the sisters find hope in the trio’s performances, all five find the courage to restart their lives. The series features a unique structure where each episode opens with a comedy skit performed by the main characters as a “play-within-aplay,” which eventually blends into the bigger plots of the drama.

The original broadcast on Nippon TV in 2021, starring prominent actors including Masaki Suda and Kasumi Arimura, captured a large share of younger audiences and achieved significant digital engagement, with almost 14 million total views on VOD within 10 weeks of its release. The series was also well-received in the industry, earning an award at the 2021 Japan Commercial Broadcasters Association Awards.

CAKE signs deal with BBC Studios on animated sitcom Nikhil & Jay for Poland, South Africa, Asia, and India

Leading kids’ entertainment specialist CAKE has announced a deal with BBC Studios for 2D animated family sitcom Nikhil & Jay. The agreement finalised by CAKE’s Director of Sales Julien Farçat will see the 52 x 11 minute funny family centred series launch later this year on CBeebies in Poland, South Africa,

Asia and India. Based on award-winning author Chitra Soundar’s book series, Nikhil & Jay is produced by King Banana TV (Yakka Dee!, Meet the Experts), Paper Owl Films (Pablo, Happy The Hoglet), exec produced and distributed by CAKE (Angry Birds Summer Madness and Supa Team 4) and with funding from Northern Ireland Screen. The series premiered in the UK on

CBeebies and iPlayer in 2025. A multiaward-winning series, Nikhil & Jay most recently won an RTS Northern Ireland Award for Children’s Animation as well as being nominated for a Rockie Award in 2025. The series is a finalist in the 6+ fiction category at this year’s Prix Jeunesse.

Nikhil & Jay follows the adventures of two dual heritage brothers and their loveable family. With both Indian and English grandparents, their life is a rich blend of customs, traditions, festivals, foods and music.

A family sitcom written from a place of knowledge, love and authentic, lived experience of two cultures coming together, Nikhil & Jay celebrates the similarities and differences with funny and relatable stories, full of warmth, heart and humour.

Talpa Studios’ The Alliance lands first international commission with Banijay Asia for Prime Video India

Talpa Studios’ hit reality format

The Alliance has reached a major milestone: the format is set for its first international adaptation. The format is from the global content house founded by John de Mol, whose credits include creating global reality hit Big Brother. In the show, trust, strategy and social gameplay are key, as players must navigate shifting team dynamics and rising pressure. Following the previously announced collaboration between Talpa Studios and Banijay Asia, the format has now been commissioned in India. Banijay Asia will produce a Hindi-language version for Prime Video India, where the series is slated to launch globally as premium flagship content.

Since its launch in the Netherlands, The Alliance has proven to be a highly addictive reality format, driven by strategy, trust and constantly shifting dynamics. Now in its third

year, the show has become the best performing long running reality series on SBS6, consistently delivering strong ratings and engagement. At the start of 2026, it achieved a record breaking 20.8% market share (key demo 25-59, live +6), significantly outperforming the channel average. The format also ranks as the number one title on streaming platform KIJK and continues to generate strong online engagement across social media platforms, delivering over 60 million monthly views, underlining its broad and loyal

fanbase. Sebastian van Barneveld, Director Global Distribution at Talpa Studios commented, “Proven in the Netherlands, dominating access prime time with the strongest ratings seen in the past three decades, this highly flexible Talpa Studios format brings together all our core strengths into one powerful show. Seeing The Alliance expand into India is a proud milestone for us. With Banijay Asia, we couldn’t have asked for a stronger launch partner in this genre.”

Global Constellation boards first official Netherlands-Malaysia television co-production Heaven’s Gate

International sales and financing outfit Global Constellation, a Vuelta Company, has boarded the first official Netherlands-Malaysia television co-production Heaven’s Gate for global sales.

The five-episode limited series Heaven’s Gate (Hemelrijk) is produced by New Amsterdam Film Company and co-produced by Kinovisuals, commissioned by Netherlands Public Broadcasters NPO and NTR. The production is supported by The Netherlands Film Production Incentive, the National Public Broadcasting Fund (NPO Fund), and the Film in Malaysia Incentive (FIMI), administered by Perbadanan Kemajuan Filem Nasional Malaysia (FINAS), Heaven’s Gate is directed by Jim Taihuttu (The East, Hardcore Never

Dies, Wolf) and Lisette Donkersloot (Sihame). The series is written by Jim Taihuttu together with Randy Oost (Mocro Maffia, Suga: Ride or Die), Amira Duynhouwer (Nemesis, Mocro Maffia) and Victor D. Ponten (Mocro Maffia, Rabat).

The cast includes Denise Aznam (The East, Ninja Nanny), Anneke Sluiters (Heresy), Gijs Naber (The Night Manager, The Story of My Wife), Bront Palarae (Ghost in the Cell, Satan’s Slaves, Rajah) and Abimana Aryasatya (The Night Comes for Us, The Big 4).

Set across dual timelines in 1942 and the mid-1990s, Heaven’s Gate follows Saskia, a woman who travels to Indonesia with her teenage daughter after inheriting a long-abandoned plantation, called Heaven’s Gate. What begins as a practical decision

soon evolves into a haunting journey into buried secrets of her family’s colonial history. Saskia relives the life of Anisa, a Javanese woman in 1942 – entangled in a love triangle with plantation owner Jan Stokman and his wife, Marie.

Production is currently underway in Malaysia with delivery scheduled for early 2027.

Fremantle tees up global production hub for epic mini-golf competition series Holey Moley

Fremantle has announced it has secured global production and distribution rights to Holey Moley [also know as Hole In One], an original smash hit format from ABC and Eureka Productions, a Fremantle label. Fremantle is building a significant global Holey Moley Production Hub for the format in Portimão, Portugal, designed

to enhance production values and deliver partner efficiencies. Initial filming is slated for May and June 2026. Global territories adapting the format will be announced in due course. Holey Moley is an extreme mini-golf competition where contestants face off against each other on massive, larger-than-life holes designed to test their putting precision,

agility, and nerves of steel. Along the way, they brave wild obstacles like spinning windmills, erupting volcanoes, planetary rings and slippery slopes, all while enjoying hilarious, quick-witted commentary from charismatic hosts.

With the ultimate goal of earning the coveted plaid jacket, the golden putter, and a cash prize, Holey Moley offers non-stop fun and spectacle, making it unforgettable entertainment for audiences worldwide. Since launching in the US and Australia, the format has proven a breakout success. On ABC in the US, Holey Moley was a summer ratings hit, regularly ranking as the #1 show of the night. On Channel 7 in Australia, the consolidated audience more than doubled the channel’s primetime average. The announcement comes at a time of great momentum for Fremantle Entertainment. In 2025, the division delivered 345 commissions across 62 territories, cementing Fremantle’s position as one of the world’s leading creators of entertainment formats.

Behind the Veil renewed for fourth season on Kanal 7

Türkiye’s Kanal 7 has commissioned a fourth season of hit daily drama series Behind the Veil (Gelin), which will return to screens after the summer with the same cast and production team that have driven the show’s remarkable success.

Produced by Film Yapim Merkezi, Behind the Veil is a powerful contemporary drama exposing

the hidden emotional battles inside a marriage of convenience. Since its debut, the series has proved to be one of the most successful dramas of its type on Turkish television, breaking a number of viewing records for Kanal 7 and regularly scoring higher ratings than some of the biggest series on Türkiye’s major channels – particularly striking achievement for a show produced on a modest budget for a smaller

broadcaster. The renewal comes on the back of strong international momentum for the title, with Eccho Rights having recently concluded sales across Poland, Bulgaria, Serbia, Montenegro, Romania, Moldova and Georgia. The series has also already sold in Israel, Dominican Republic, Paraguay, Bolivia, Peru, Ecuador, North Iraq and Indonesia. Now heading into its fourth season, Behind the Veil has taken viewers on an extraordinary journey.

Season one saw orphaned Hançer enter a marriage of convenience with wealthy heir Cihan – only for genuine love to take root against all odds. In season two, that love was pushed to breaking point by the scheming of Cihan’s ex-wife Beyza and his formidable mother Mukadder. Season three brought fresh devastation with the return of Hançer’s long-absent mother and the arrival of a vengeful sister determined to destroy Cihan’s family at any cost.

WeWatch Partners with Mango TV to Elevate Premium Entertainment Lineup

MangoTV has officially launched on WeWatch, bringing its iconic portfolio of phenomenal variety shows and hit dramas to the Southeast Asian market. This strategic partnership strengthens WeWatch’s premium content matrix by introducing high-productionvalue titles that resonate with regional audience trends.

Known for its global variety IPs, MangoTV’s lineup on WeWatch includes the flagship Hello, Saturday (starring Dylan Wang), alongside hit franchises Sisters Who Make Waves, Call Me By Fire, and Who’s the Murderer. These programs are complemented by a powerhouse roster of scripted series, led by the highly anticipated historical epic The Flourished Peony, featuring the iconic reunion of Yang Zi and Li Xian. The collection further includes the critically acclaimed Glory, the romantic Deep Affection Eyes, and the grand saga Youthful Glory.

Sarah Wang, CEO of WeWatch, stated, “Our partnership with MangoTV marks a milestone in expanding premium entertainment in Southeast Asia. With its hit shows and celebrity talent, MangoTV brings vibrant new content to the WeWatch platform, making high-quality entertainment more accessible to local audiences.

WeWatch remains committed to delivering advanced technology, richer viewing experiences, and new opportunities for local partners and young talent.”

Li Dongxu, Senior International Operations Director of MangoTV, added, “Leveraging Southeast Asia’s dynamic youth market and robust demand for quality content, we will collaborate closely with WeWatch. Our goal is not only to export highquality Chinese content but also to explore content creation models that resonate more deeply with local cultural contexts.”

By integrating MangoTV’s influential IPs with WeWatch’s local distribution expertise, both parties aim to deliver a culturally resonant, immersive viewing experience for users across the region.

ZDF Studios Brings wedotv on Board as a New Distribution Partner for its Pash Kids & Family Channel

ZDF Studios has signed a new agreement with global channel provider and distributor wedotv. Under this agreement, wedotv will serve as the pay-TV partner for Pash, a previously digital-only on-demand service for children and families.

Pash offers a portfolio of more than 500 hours of high-quality animation and live-action series,

featuring internationally successful programmes from renowned broadcasters and production partners. The brand follows clear editorial principles and reflects the values of ZDF and Germany’s public-service children’s television, especially KiKA. An experienced team of specialists curates the programming, ensuring it meets strict quality standards. Via the new agreement with wedotv, Pash will make its pay-TV debut, after previously being available solely as a VoD service. wedotv will launch localised versions of Pash in Hungary, the Czech Republic, and Poland. It will also make the channel available in English across the Middle East, Northern Asia and Southeast Asia.

Pash highlights include the KiKA brand Dibidoo, The Muscleteers, the multiaward-winning sci-fi series Space Nova, H2O – Mermaid Adventures, and children’s classics including Lassie, Peter Pan, and The Jungle Book.

Pash is already available as a streaming channel on numerous platforms in more than twelve European countries, as well as in North and South America. Its distribution partners include Amazon Prime Video (Germany, the UK, Italy, Spain, the Netherlands, France and Poland), YouTube, and a range of local platforms and telcos. The brand is further supported by audience-targeted content strategies on Instagram, YouTube, TikTok, and Facebook.

Philipp Rotermund, founder and CEO of wedotv, adds, “Pash is an ideal addition to our portfolio: high-quality, trustworthy, and internationally successful children’s series, carefully curated and backed by clear quality standards. We are delighted to bring this content to new territories together with ZDF Studios and to continue expanding our audience base.”

Dean Devlin’s ElectricNOW to Debut Upgraded App

ElectricNOW, the free streaming service from Electric Entertainment, is going big! New apps for phones, web, tablets, Roku, FireTV, AppleTV, and smart televisions. The service is a complete upgrade — sporting new features, expanded content, and now carrying over 60 Live Channels, all available for free.

Kicking it all off is ElectricNOW’s first Original Scripted Series, “The Poly Couple,” a humorous and entertaining look at the complications of navigating love, life, and relationships as a polyamorous couple in Los Angeles.

The launch of the original “The Poly Couple” series coincides with the expanded services of ElectricNOW streaming platform. More movies and television series have been added along with fresh seasons of Electric Entertainment shows that will make their debut on the app this year, including season 1 of the TNT hit show

The Librarians: The Next Chapter, season 3 of the hit Amazon series Leverage: Redemption, and both seasons 1 and 2 of the SyFy breakthrough show The Ark.

The newly remodeled apps will also feature a LIVE Channels section with more than 60 FREE channels. Each channel is strategically curated to energize the platform’s loyal fanbase while drawing in viewers seeking premium, free escapist entertainment and beloved cult classics.

ABS-CBN partners with Amazon MX Player to expand Asian footprint

ABS-CBN, the Philippines’ leading media and entertainment company, has secured its first syndication agreement in India through a multititle streaming deal with Amazon MX Player, marking the first time Filipino drama series will be carried on the platform.

Under the agreement, seven ABSCBN drama series, namely “It’s Okay to Not Be Okay,” “2 Good 2 Be True,” “Can’t Buy Me Love,” “Senior High,” “Love in 40 Days,” “He’s Into Her,” and “He’s Into Her Season 2,” will launch on the platform in 2026.

The deal marks ABS-CBN’s entry into India’s fast-growing OTT market via Amazon MX Player, one of the

country’s largest free ad-supported video-on-demand (AVOD) services with over 250 million monthly active users Industry data indicates that 70–80% of OTT viewing hours in India are driven by free, ad-supported platforms, underscoring the strategic importance of AVOD in the market.

While Amazon MX Player carries a broad selection of Chinese, Korean, Turkish and Thai dramas on top of its original content, the ABS-CBN package will represent the platform’s first Filipino drama titles. The series will be dubbed in Hindi and possibly in other Indian languages.

The agreement was concluded by ABS-CBN’s International Sales Division

Dean Devlin said, “We built ElectricNOW to be a place of community for all of our fans to congregate and hang out together, no log-in or subscription required, and everything for FREE. When we launched, our live channel became the most widely distributed scripted FAST (free ad-supported streaming TV) channel in the US. Now, with more than 60 FAST Channels, there’s more reason than ever to hang out and spend time on ElectricNOW.”

and forms part of the company’s distribution across South and Southeast Asia as most of the titles from the same slate have also been licensed in various Asian territories.

With over 50,000 hours of content sold to more than 50 countries worldwide, ABS-CBN continues to expand the global reach of Filipino storytelling across broadcast, streaming, and digital platforms.

yallo

expands content discovery on yallo TV with auto-generated Highlights powered by Media Distillery

yallo, a full-service telco provider in Switzerland, has expanded yallo TV with an expansion of its Highlights feature with the addition of auto-generated video previews, powered by Media Distillery’s Preview Distillery™. This enhancement allows yallo TV to expand the availability of highlights by 20%, helping viewers to discover more engaging content quickly.

yallo TV’s existing Highlights feature, crafted by its editorial team, presents short, curated video previews that capture the essence of shows and movies, as well as promos for upcoming events like sports. With the integration of Media Distillery’s Preview Distillery, yallo TV is now expanding Highlights to include auto-generated previews.

The spoiler-free previews, which are 1520 seconds long, give viewers a good overview of a program and help them decide what to watch. The Highlights are shown on all devices – including smart TVs and mobile devices. These previews will be available for movies, shows and series in German, French and Italian. 200 clips are provided each month, without any editorial workload.

“With the ever-increasing availability of content, we want to support viewers find relevant content quickly. The solution of Media Distillery allows us to expand the availability of clips for more engaging content efficiently”, Stefan Fuchs, Chief Consumer Officer – Flanker Brands at Sunrise.

yallo TV’s editorial team currently

produces 80 highlights per week for catch-up content and event promos, such as sports games. The auto-generated Highlights from Media Distillery complement these editorial-made previews. The solution is seamlessly integrated via Media Distillery’s API, allowing yallo TV to combine both editorial and auto-generated content for a richer, more diverse viewer experience.

Media Distillery and yallo TV have worked intensively to ensure the auto-generated previews meet the high standards set by yallo TV’s editorial team.

Pro Direct Group invests in LifeJacket, the digital channel from John Fendley and Sharp House

Pro Direct Group, one of the UK’s leading sports retail and media businesses and home to SoccerBible, has made a strategic investment in LIFEJACKET, the digital football culture platform founded by former Soccer AM star John Fendley (‘Fenners’) produced by Sharp House Digital Media.

The partnership sees Pro Direct Group take an equity stake in LIFEJACKET and a seat on the board, with Pro Direct’s Adrian Lake joining as a director. The investment is intended to support LIFEJACKET’s next phase of growth –scaling its content output, expanding its audience across platforms, and developing new commercial opportunities through the combined reach of both brands. The strategic partnership will see LIFEJACKET draw on Pro Direct’s industry-leading position in football retail, its SoccerBible editorial platform, and its extensive talent and brand relationships to accelerate the channel’s development.

Since launching, LIFEJACKET has built significant momentum across digital platforms, generating well in excess of 4 million views on YouTube, over 2 million monthly views on Instagram, and nearly 2 million views on TikTok. The channel’s flagship formats –including The Boot Room, Life Jacket Meets, One2Eleven and The Rail –have attracted guests including Noel Gallagher, Frank Lampard and Tom Grennan, establishing LIFEJACKET as a destination for authentic football

culture storytelling. The partnership with Pro Direct will also see the group become the founding sponsor of The Boot Room, LIFEJACKET’s signature interview format, further strengthening the alignment between both brands at the intersection of football, fashion and culture. Sharp House Digital Media is the digital division of Sharp House Entertainment, the film and television production company founded by Ian Sharp.

Bizaar Studios Expands Adult Animation FAST Channel Offering to Prime Video

Bizaar Studios, a rising force redefining adult animation, has announced its Bizaar FAST Channel offering has expanded to leading streaming service Prime Video. The larger footprint adds to the channel currently available on Samsung TV Plus, Xumo Play, Plex and Hisense. The new deal comes on the heels of the recent addition of Funimation Founder Gen Fukunaga to Bizaar’s advisory board that also includes George R. R. Martin, Jimmy Iovine and Conrad Vernon.

“Our strategic expansion to Prime Video underscores the global momentum behind adult animation and Bizaar’s deep relationships with premium storytellers,” said Eric Bromberg, CoFounder, Bizaar Studios. “Their global reach helps us to continue championing bold creators and bring their animated

work to audiences around the world.”

Created for discerning adult viewers and animation fans, the Bizaar FAST Channel offers an always-on slate of worldclass animated content – from globally recognized franchises to avant-garde indie hits. Launched in early 2025 with hundreds of hours of curated premium content, key programming for the

channel includes: Speed Racer, Lupin the 3rd, Kenichi: The Mightiest Disciple, Requiem from the Darkness, Virtua Fighter, Animated documentaries from The New Yorker, & Viral indie animation shorts

Backed by fantasy icon George R.R. Martin, legendary entrepreneur Jimmy Iovine, animation veteran Conrad Vernon, and Funimation Founder Gen Fukunaga, and led by co-founders Jeremy Iovine, Amir Mohamadzadeh, and Eric Bromberg, Bizaar Studios is on a mission to entertain global audiences through bold adult animated content, working with world-class storytellers to develop bleeding-edge IP. The FAST channel reflects its pursuit to give creators a bigger stage to spotlight animated work, whether it premiered last month or decades ago.

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 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.

ZED is boosting its ai-powered in-house production slate

ZED presents an ambitious slate of history documentaries featuring high-end AI-powered reconstructions developed within its own studio. With this line-up, the company further reinforces its position at the forefront of

innovation in documentary storytelling.

Blending state-of-the-art generative tools with historical expertise, ZED is crafting premium history titles that deliver a level of realism and cinematic intensity rarely achieved in the genre:

William the Conqueror: The Great Landing - Produced for the millennium of William the Conqueror’s birth in 2027, the documentary retraces the largest sea invasion of the Middle Ages – from the colossal logistics of the Norman fleet to the decisive Battle of Hastings, through the perilous crossing of the Channel. Directed by Camille de Brèvedent. Produced for NOVO19. Delivery: End of 2026.

Babylon: The Tower to the Heavens 52’ & 70’ - Set in the heart of ancient

TeamTO launches TeamTOKO Animation

After more than two decades as a leading force in European animation, TeamTO has announced the launch of TeamTOKO Animation, a dedicated anime-inspired production division focused on original animated series and feature films, alongside select high-end service work. The studio also unveiled a refreshed brand identity.

Together, these initiatives mark a significant new chapter for TeamTO, reflecting its creative evolution following a year of postacquisition stabilization under RIVA Studios and signaling its expanding global ambitions. TeamTOKO is a creator-led production division dedicated to original 2D and 3D projects rooted in anime-inspired storytelling, developed through close collaboration between European and Japanese talent. The division operates as an integrated yet distinct creative unit within TeamTO, expanding the studio’s creative scope while its established slate of premium 3D CGI projects continues in parallel. TeamTO first hinted at this

Mesopotamia, the film explores one of the greatest architectural feats in ancient history: the construction of the monumental Etemenanki ziggurat, a symbol of Babylon’s power that inspired the biblical tale of the Tower of Babel. Directed by Thomas Risch. Produced for RMC Découverte & AMC Networks International Southern Europe. Delivery: Spring 2026.

Building on this dynamic slate, ZED is currently launching the production of a new flagship history documentary: Spartacus, The Man Who Shook Rome (2×70’, dir. Fabrice Buysschaert). Through large-scale AI-powered cinematic reconstructions and in-depth expert analysis, the series will retrace the heroic destiny of the fearsome gladiator who led the greatest slave revolt in Roman history.

creative direction at the 2025 Annecy International Animation Film Festival with the announcement of Shadow Soccer (26 x 22’), a shōnen series directed by French filmmaker Slimane Aniss. That momentum continued with the selection of the original animated feature film Akira’s Flying Wheelchair (90’) at the 2026 edition of Cartoon Movie in Bordeaux, developed in collaboration with French, Italian, and Japanese talent.

Alongside the launch of TeamTOKO, TeamTO has introduced a refreshed visual identity anchored by the tobiuo,

the Japanese word for flying fish, and the inspiration behind the “TO” in TeamTO. A symbol of movement, transition, and creative freedom, the flying fish reflects the studio’s ability to move fluidly between cultures and storytelling traditions, honoring its long-standing admiration for Japanese animation while remaining firmly rooted in its European identity. TeamTOKO debuts with its own complementary logo and visual identity, signaling a focused creative direction defined by cross-cultural exchange, authorship, and artistic ambition.

Dubhub partners with Animotion Media Group

Stockholm- and Istanbul-based localisation company Dubhub is partnering with UAE-based Animotion Media Group to localise the animated series The Question Club for international audiences. Thve first batch of 28 episodes will be localised into English using Dubhub’s new technology Evocion, an AI-based system for emotion transfer that combines advanced technology with management by human editors and translators.

“We see a major opportunity in the animation field for audio dubs with new technologies. Once the first language version is produced, the Dubhub workflow allows additional language versions to be created at very competitive prices and delivery speeds,” says Irina Divnogortseva, Head of Sales and Acquisition at Dubhub. “At

Animotion we are constantly exploring new technologies that help our stories travel across languages and cultures. Our partnership with Dubhub allows us to combine the efficiency of AI-driven dubbing with careful human oversight, ensuring that the characters’ emotions and performances remain authentic for international audiences,” says Maria Makedonskaya, Head of Content Sales

at Animotion Media Group. 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 and line-by-line direction of voices.

Synamedia launches first-of-its-kind edge watermarking to combat piracy

Leading video software provider Synamedia has announced the launch of the industry’s first edge watermarking solution that enables faster disruption of pirated video streams.

ContentArmor Edge Watermarking overcomes long-standing technical challenges by inserting watermarks at the CDN edge, resulting in the faster detection of leaks and removal of pirated content as well as reducing infrastructure requirements. The new solution is CDN-agnostic and the first CDN integration is with Synamedia Fluid EdgeCDN which is available now. It will debut at NAB 2026, marking ten years since ContentArmor was founded. A server-side solution that embeds unique watermarks directly into the compressed stream at the CDN edge, Synamedia ContentArmor Edge Watermarking cuts insertion and extraction times in half, reducing end-to-end session disruption time

to below five minutes. Achieving such speeds is critical to protect live sports and other high-value content and events. Since its inception in 2016, ContentArmor had a vision for edge watermarking but technical constraints – including limited CPU capacity and the absence of DRM encryption keys on edge server – made deployment impossible. The industry instead relied on A/B watermarking, where two distinct versions of the same encrypted content are cached in the CDN and aunique, scrambled sequence of A/B segments is served to

each user. While A/B watermarking is effective, Edge Watermarking provides many new benefits as streamers look for new ways to fight piracy faster and cost-effectively.

The new solution works by encoding the content once at the headend then distributing it through the CDN. Then, at the edge, a lightweight watermarking agent inserts a unique identifier for each session on the fly. The watermark is extracted faster than A/B watermarking thanks to a higher bit density.

FOR-A’s Software-Defined, AI-Powered Development Advances with Nippon TV and NVIDIA Technology

Long recognized for its precisionengineered broadcast hardware, FOR-A Corporation is redefining its future. The company has announced a major step forward in its transformation into a softwaredefined, AI-driven solutions provider, built for modern live production workflows that span cloud, IT infrastructure, and edge-based intelligence.

At the center of this shift is viztrick AiDi, an on-device AI solution developed by Nippon TV, delivered globally by FOR-A, and powered by NVIDIA AI infrastructure (NVIDIA GeForce RTX 5090 with 24GB GDDR7 Laptop GPU and NVIDIA GeForce RTX 5070 Ti with 16GB GDDR7 desktop GPU.) The collaboration marks a turning point for FOR-A that

positions the company squarely at the intersection of AI, software, and realtime live content creation. As further proof of its commitment to a softwaredefined workflow, FOR-A also recently introduced the live production platform, FOR-A IMPULSE®, and the MixBoard® software switcher. viztrick AiDi has been deployed by NBC Sports, marking its first commercial implementation and signaling a broader expansion into AI-enhanced live production markets worldwide. NBC Sports is using it to deliver live sporting events in 9:16 mobile-first formats with minimal delay, which is essential to reach today’s audiences.

It delivers real-time player tracking, face tagging, object recognition, 2.5D telestration, auto-score graphics, and

motion data analytics – without internet connectivity. Automatic 9:16 cropping with auto-tracking using highly intuitive operation enables incremental streaming business for mobile phones. Delivering AI-driven cropping, tracking, and analysis in real time demands extraordinary computational power. viztrick AiDi’s core processing is driven by NVIDIA accelerated computing, selected specifically for their ability to handle the intense workloads required to manipulate live video streams without latency. Unlike cloud-based alternatives, viztrick AiDi operates entirely ondevice, eliminating reliance on internet connectivity while ensuring consistent performance in outside broadcast and remote production environments.

Australia’s national broadcaster chooses state-of-the-art LED screen experience from Magna Systems

Australia’s national broadcaster has purchased and installed a state-of-the-art LED screen experience from Magna Systems, an experience that redefines visual storytelling.

Magna Systems and PCB Digital were chosen and engaged to supply and install the 15-metre x 3-metre LED mobile screen into the broadcaster’s studio environment, then configure the installation so that the screen is able to be separated into individual three metre sections. The individual and combined screen sections are driven by a single Novastar H2 video processor consisting of 180 cabinets using modules with a 1.9 mm pixel pitch.

Designed to deliver exceptional clarity, vibrant colour and flexibility the new LED screen experience marks a significant step forward in the national broadcaster’s commitment to innovation and audience engagement.

This cutting-edge display technology ensures every moment is brought to life with stunning precision whether it’s live events or studio productions. In addition, with ultra-high resolution and seamless integration into the broadcaster’s production environment, the new LED screen empowers content creators to push creative boundaries. The new LED screen integrates dynamic

backgrounds, immersive visuals and real-time graphics that now enhance storytelling like never before, elevating both the viewer experience and on-screen talent. This investment also reflects the broadcaster’s ongoing dedication to delivering world-class broadcast quality content while embracing the future of digital media.

Media Distillery launches Sports Engagement Suite

Media Distillery, the AI-driven video intelligence company trusted by leading streaming services, broadcasters, and video platforms worldwide, has announced the launch of the Sports Engagement Suite – an end-to-end AI platform that helps sports streaming services and broadcasters deliver the fan experiences their audiences expect, without the manual effort.

Global investment in sports rights has reached record levels, driven by intense competition between traditional broadcasters and streaming platforms, with global spending projected to exceed US$78 billion by 2030, according to Ampere Analysis. Yet turning that investment into compelling viewer experiences remains largely manual – slow, inconsistent, and hard to scale across live and on-demand content. The Sports Engagement Suite changes this. It automatically detects key moments, generates

Atomos to Acquire Flanders Scientific

Atomos announced the acquisition of Flanders Scientific (FSI), one of the most respected names in professional reference monitoring. This strategic move reinforces Atomos’ long-term commitment to precision monitoring across the entire production pipeline, from on-camera capture through to final color grading and delivery. By bringing Flanders Scientific into the Atomos group, the company combines world class expertise in color science and reference display technology with Atomos’ global reach, product innovation, and connected ecosystem. The acquisition positions Atomos to deliver a more complete and integrated monitoring solution for filmmakers, broadcasters, and content creators worldwide.

Atomos has already established a broad monitoring portfolio spanning

navigable sports chapters, produces match highlights, and surfaces relevant shoulder content – all in real time, across linear and on-demand streams.

What sets the Sports Engagement Suite apart is its coverage of the full fan journey. While most solutions address a single use case – highlights, navigation, or tagging – Media Distillery unifies real-time moment detection, in-programme navigation, automated highlights, and related pre- and postmatch content discovery into a single

multiple stages of production. This includes on-camera monitoring with the Shinobi range and the Ninja family of monitor-recorders, on-set monitoring with the Sumo range, and rack-mounted solutions for broadcast and corporate workflows with the Shogun AV line. In addition, the previously announced Studio Pro line will complement Atomos’ growing reference monitoring capabilities later this year. With the addition of Flanders Scientific, Atomos now spans the full spectrum of monitoring, from oncamera, on-set, and live production, through to postproduction and final delivery. This combined portfolio reinforces Atomos’ commitment to delivering high quality, valuedriven solutions across the entire professional video ecosystem. Beyond expanding the product portfolio, the acquisition of FSI enables Atomos to immediately support the highest tier of the professional monitoring market. Reference-grade monitoring is not simply defined by higher performance,

integrated platform.

Roland Sars, CEO of Media Distillery, is excited about this new launch, “Sports has become the new battleground for viewer loyalty. Platforms are investing billions in rights – but without the right experience, that investment underdelivers. Our goal is simple: help every fan find the moments they care about instantly, on any platform. That’s how sports rights translate into real engagement and retention.”

but by industry validation and trust. Flanders Scientific monitors are widely approved and relied upon by postproduction houses, broadcasters, and major content studios, where strict requirements exist to ensure that content is accurately mastered for delivery.

This announcement builds on Atomos’ broader investment in advanced display technologies and its ongoing development of the Studio Pro line. Together with Flanders Scientific, Atomos is accelerating its vision to deliver a complete monitoring ecosystem that spans every stage of production.

Talpa Studios expands global team to accelerate international expansion and partnership-driven growth

Talpa Studios, the international production company founded by John de Mol, appoints Marloes Sturkenboom as Managing Director Global IP, Strategy and Operations.

Following the company’s recently announced sharpened strategy and strengthened leadership structure, her appointment bolsters Talpa Studios’ global organisation, expanding its position as a leading creator, producer and distributor of nonscripted formats. Working closely with the Global distribution team, she will deepen strategic partnerships, accelerate new business and further scale Talpa Studios’ formats worldwide.

Sturkenboom brings more than 15 years of media experience across content acquisition, business affairs and strategic partnerships. Most recently at RTL Nederland, she was responsible for Content Acquisitions and Business Affairs across all platforms. Earlier in her career, she held senior roles at The Walt Disney Company EMEA, FOX Sports, SBS and Fremantle Netherlands.

Sturkenboom will play a key role in connecting IP strategy, development, partnerships and dealmaking across markets. Working closely with the Global Distribution team led by Sebastian van Barneveld, Director Global Distribution, she will help drive the continued rollout of Talpa Studios’ formats and expand long-term collaborations with broadcasters, streamers and creative partners.

“It is great to welcome Marloes to Talpa Studios at this stage of our growth,” said Maarten Meijs, CEO of Talpa Studios. “She brings a strong combination of dealmaking experience, commercial judgement and operational discipline. She has a clear ability to turn creative ambition into structured, scalable collaborations that create long-term value. Her arrival adds further depth to our global team and strengthens the way we build and grow partnerships across markets.”

Sturkenboom adds, “Talpa Studios has built a powerful global footprint with an impressive portfolio. I look forward to working closely with the team to further align our international dealmaking and go to market approach, so our formats continue to travel consistently and at scale, built on commercially sustainable models that create long term value across markets.”

Marloes-Sturkenboom

Ross Video Expands Oceania Team to Strengthen Customer Engagement and Local Support

Ross Video, a global leader in live video production technology, has announced the continued expansion of its Oceania team as part of its ongoing investment in regional customer engagement, service, and technical support.

As Ross Video’s presence in Australia and New Zealand continues to grow, the company is strengthening its local team to support customers deploying increasingly sophisticated live production workflows. This expansion ensures organisations across the region benefit from closer collaboration, faster response times, and deeper technical expertise.

As part of this growth, Tom Wilson has been promoted to the newly created role of Technical Account Manager (TAM) for Oceania. The position has been established to support customers with larger and more complex Ross deployments, providing dedicated technical guidance and helping organisations maximise the value of their systems over time. Tom has been a key member of the Ross Video Oceania team and brings extensive experience working with broadcasters, production teams, and organisations across the region. In his new role, he will act as a trusted technical advisor, working closely with customers and partners to support the long-term success of Ross solutions in mission-critical production environments.

The introduction of the Technical Account Manager role forms part of Ross Video’s broader strategy to expand its regional capabilities and provide enhanced support for customers operating increasingly complex production infrastructures.

“Ross Video continues to see strong momentum across Oceania, with more organisations adopting Ross solutions at scale,” said Adam Duncombe, General Manager – Oceania, Ross Video.

“Expanding our local team ensures we can deliver the level of expertise and ongoing support our customers expect. The creation of the Technical Account Manager role is an important step in strengthening that support, and Tom’s experience and customer focus make him an excellent choice for the position.”

Ross Video’s continued investment in Oceania reflects its long-term commitment to the region and its growing community of customers across broadcast, sports, entertainment, corporate, education, and government sectors. By expanding its regional team and strengthening local technical support, Ross Video aims to ensure organisations across Oceania have access to the expertise, partnership, and service needed to maximise the value of their live production technology.

Tom Wilson

Fred Media recruits Amazon MGM VP for APAC

Sales

Fred Media, part of Australia’s independent WTFN Group, has announced that experienced content sales executive Jamie I is joining the team as APAC Sales Manager.

I will replace Jimmy Elkington, who has represented Fred’s catalogue in multiple markets over time, most recently APAC, Middle East, Africa and Inflight. The new appointment comes following Elkington’s decision to temporarily step away from the international TV industry.

Jamie I joins Fred Media from Amazon MGM, where she has spent four years as Vice President, Asia Pacific for MGM International Television Distribution. She has also held senior sales roles at ABC in Australia and for Red Arrow International (now Seven.One Studios International), based out of Hong Kong.

WTFN Chief Commercial Officer Derek Dyson said, “We are excited to welcome Jamie to the Fred Media team. She joins us with more than 20 years’ experience in the business and has an impeccable knowledge of APAC territories. We look forward to capitalising on this expertise – as well as her impressive network – to further grow our footprint in the region”.

In related news, long-term team member Anna Wooley, who has previously worked across Operations and Marketing at Fred Media, takes on the new role of Acquisitions & FAST Lead, acquiring content for linear sales by the Fred team, as well for Radar, WTFN’s rapidly growing digital distribution business.

Derek Dyson, who oversees both Fred Media and Radar, added, “Distribution remains core to our business, with our unscripted catalogue expanding with premium titles from WTFN Entertainment as well as third-party partners from around the world. Since we launched our Total Distribution strategy,

creatively maximising content rights across all platforms and channels, we have bucked the trend and seen three years of growth, powered by Radar’s rapid evolution, a growing FAST business and strong results from linear sales. With new team members and new roles in place and some exciting developments ahead, we expect 2026 to be another strong year.”

ASG Names Broadcast Engineering and System Design Veteran Andrea Cummis VP of Systems Engineering

Advanced Systems Group, LLC (ASG), a technology and services provider for media creatives and content owners, announced the appointment of Andrea (Andy) Cummis as Vice President of Systems Design and Engineering.

In this role, Cummis will lead design and engineering for ASG’s Systems Integration business, leading broadcast engineering, system design, and complex integration projects. She is recognized as a trailblazer in the industry, having been the first woman to serve as President of the national board of the Society of Broadcast Engineers (SBE).

“Andy is one of the most experienced and trusted engineering leaders in media and entertainment,” said Dave Van Hoy, President of ASG. “She has the rare ability to not only understand the technical challenges of a project but to be able to manage and educate the design team. We couldn’t be happier that she’s joining ASG. She offers a wealth of knowledge and practical experience to our team and our clients.”

Cummis has built her career at the forefront of broadcast and media technology transformation, working for integration firms and founding her own company to deliver scalable solutions for broadcasters, content creators, and enterprise media teams. She was the SVP of Engineering and Operations for Oxygen Media, responsible for its successful launch. Cummis was the founder of a highly regarded New Jersey-based integrator known for designing and building advanced broadcast facilities, control rooms, and production environments. She’s held several highlevel engineering roles within broadcast networks, TV stations, media organizations, and live event venues during her career.

At ASG, Cummis will focus on guiding engineering strategies and execution within the Systems Integration team, ensuring projects are delivered efficiently and aligned with client requirements. “I’m excited to work with the great team here at ASG and contribute my skills and leadership expertise to deliver

outstanding outcomes for our clientele,” said Cummis. “ASG has a strong reputation for delivering high-quality solutions, and I’m looking forward to continuing that legacy.” Her appointment comes at a time when media organizations are rapidly adopting IP-based workflows, cloud production, and hybrid infrastructure models, increasing the demand for experienced engineering leadership and proven integration expertise. Cummis’ extensive background positions her to help ASG clients navigate these changes with confidence. With this addition to the team, ASG continues to invest in top-tier talent to support its growing portfolio of clients across broadcast, sports, corporate media, and content production environments.

Andrea (Andy) Cummis

The Vertical Revolution: How Microdramas Are Rewriting the Streaming Playbook

Vertical content or often called microdramas or short-form dramas has become the undisputed hot ticket item in the global entertainment and streaming industry. Since its breakout onto the international stage, transforming from a uniquely Chinese phenomenon into a global obsession, dozens of platforms have sprung up overnight to claim a slice of the proverbial pie.

What started as an experimental way to capture mobile-first audiences has evolved into a high-stakes gold rush. Established Hollywood studios, tech giants, and traditional streaming platforms are now forming strategic partnerships, launching dedicated apps, and investing hundreds of millions of dollars to keep pace with a trend that is projected to generate billions.

To understand where this genre is heading over the next five years, we must first look at the ashes of its predecessors, the giants currently dominating the

space, and the massive financial projections shaping the future of digital storytelling.

The Ghost of Quibi and the Rise of the Vertical Screen

The concept of bite-sized, high-production entertainment isn’t entirely new. In April 2020, the North American streaming service Quibi (short for “quick bites”) launched with immense fanfare. Founded by industry titan Jeffrey Katzenberg and led by Meg Whitman, the platform aimed to deliver premium, Hollywood-grade content with episodes lasting ten minutes or less.

It was designed specifically for on-the-go viewing— commuters, people waiting in line, or anyone looking to kill a few minutes.

Despite raising a staggering $2 billion in funding and attracting top-tier talent, Quibi infamously collapsed, shutting down by December 2020 and selling its

content library to Roku. While many blamed the COVID-19 pandemic for eliminating the very daily commutes Quibi relied on, the platform suffered from a fundamental misunderstanding of mobile culture. The primary flaws of Quibi lay in its rigid framework: it relied on an expensive horizontal-vertical hybrid format, cost upwards of $100,000 per minute to produce, prohibited users from sharing clips on social media, and forced a traditional monthly subscription model onto a casual audience.

In stark contrast, modern microdramas succeed by operating on a completely opposite philosophy. They utilize a pure, native vertical 9:16 format designed exclusively for single-handed mobile use. Their budgets are ultra-lean and optimized for rapid execution, and the platforms natively encourage social sharing and viral loops. Furthermore, instead of charging upfront subscriptions, they rely on flexible pay-per-episode microtransactions and ad-supported models that match modern consumer habits.

Fast forward to today, and the short-form landscape looks entirely different. The explosive boom of TikTok, YouTube Shorts, and Instagram Reels proved that consumers didn’t just want short content—they wanted vertical content that integrates seamlessly with how they naturally hold their phones. Microdramas were born directly out of this desire to monetize the exact spaces where people already spend hours scrolling.

The Power Players: ReelShort, DramaBox, and the Corporate Land Grab

Where Quibi stumbled, a new wave of agile, techdriven platforms has succeeded. By stripping away traditional Hollywood bureaucracy, companies like

COL Group, Crazy Maple Studio, and regional streaming giants have turned microdramas into a highly lucrative science.

ReelShort (Crazy Maple Studio / COL Group)

As one of the pioneering apps to successfully export the microdrama model out of China, ReelShort (backed by digital publishing giant COL Group) cracked the code on Western audiences. By focusing on highly addictive, trope-heavy genres—such as werewolf romances, billionaire revenge plots, and secret heiresses— ReelShort mastered the art of the cliffhanger.

COL Group’s strategy relies on an incredibly vast library of existing web novels, which they rapidly adapt into 60-to-90-second vertical episodes. Their announcements signal a massive expansion into localized production hubs across Europe, Latin America, and Southeast Asia, ensuring that the content feels culturally native to every viewer.

DramaBox (Dianzhong Tech)

Emerging as a fierce rival to ReelShort, DramaBox has aggressively expanded its market share. DramaBox owes much of its meteoric rise to sophisticated algorithmic targeting and a relentless production schedule. DramaBox has recently announced major capital injections aimed at securing exclusive intellectual property (IP) and partnering with local screenwriters globally.

Their strategy prioritizes volume and hyper-targeted niches, ensuring that whether a user wants a martial arts redemption story or a high-society melodrama, there are 100 episodes ready to be binged.

Viu and Traditional Streamers Step In

The microdrama phenomenon is no longer isolated to indie apps. Major established players are entering the ring to protect their market share. Viu, the leading panregional over-the-top (OTT) video streaming service in Asia, has actively begun incorporating short-form, vertical-friendly content into its ecosystem.

Recognizing that younger demographics are split between long-form K-dramas and short-form TikToks, Viu and similar regional platforms are forming joint ventures with microdrama producers. By integrating vertical feeds directly into traditional streaming apps, they are creating a hybrid ecosystem where premium long-form and ultra-fast short-form live side-by-side.

Market Projections: A Multi-Billion Dollar Juggernaut

The financial trajectory of the microdrama market is nothing short of staggering, driven by extreme efficiency and massive consumer demand. Currently, the global market valuation for microdramas sits comfortably between $5 billion and $7 billion, with

top-tier individual platforms pulling in an impressive $20 million to $30 million in monthly revenue. This immense profitability is supercharged by an ultra-fast production cycle, where an entire series boasts an average turnaround time of just 7 to 14 days.

Looking forward into the next five years, the market is projected to shift into an absolute juggernaut, with total global valuation expected to soar past $15 billion.

Individual leading apps are anticipated to eclipse $100 million in monthly revenues, fueled by an even tighter production turnaround time of 3 to 5 days as AI-assisted workflows become the norm. The secret to these economics lies in the unique monetization model. Unlike traditional streaming services that charge a flat monthly fee (like Netflix or Disney+), microdrama apps utilize a pay-per-episode microtransaction system or ad-supported tokens.

While the first 5 to 10 episodes of a drama are typically free, unlocking the remaining 60 to 80 episodes requires purchasing in-app coins. A fully hooked viewer can easily end up spending $20 to $50 to finish a single 90-minute narrative arc. This high average revenue per user (ARPU), combined with incredibly low production costs (often ranging from just $20,000 to $150,000 for an entire series), allows profitable titles to recoup their investments within days of launching.

4 Things to Expect in the Microdrama Era

As the industry matures from a novel trend into an institutionalized entertainment pillar, the next five years will bring radical shifts in how these dramas are made, distributed, and consumed.

1. The Integration of Generative AI

Perhaps the most disruptive force over the next five years will be the implementation of Generative AI in microdrama pipelines. Because these shows rely on fast turnaround times and high volume, tools that can automate scriptwriting based on trending web novel tropes, generate realistic digital backgrounds, or instantly provide perfect AI voice-overs in multiple languages will become industry standards. This will cut production costs even further and allow a series shot in Los Angeles to be localized for global audiences instantly.

2. A Shift Toward “Premium” Short-Form (The Professionalization Phase)

While early microdramas have been characterized by campy acting, exaggerated plots, and guerrilla-style filmmaking, the entry of major brands and traditional studios will elevate production values. Expect to see established Hollywood actors, SAG-AFTRA writers, and

seasoned directors entering the space as platforms compete for prestige. We will witness the birth of the “Premium Vertical Drama”—shows that maintain the addictive, fast-paced nature of the medium but boast cinematic lighting, complex storytelling, and elevated performances.

3. Interactive and Gamified Narratives

As the lines between mobile gaming, social media, and streaming continue to blur, microdramas will become increasingly interactive. Platforms are already experimenting with choose-your-own-adventure mechanics, where viewers can spend tokens to vote on a character’s decision, unlocking branching storylines. This gamification will turn passive viewing into an active, communal experience, driving engagement and monetization to unprecedented heights.

4. Merging with E-Commerce (Shop-The-Look)

The future of microdramas is deeply intertwined with social commerce. Given that audiences are already watching on their phones, the next logical step—already seeing massive success in Asian markets—is seamless e-commerce integration. Viewers will be able to pause a microdrama, click on an actress’s outfit or a product placed in the scene, and purchase it instantly without ever leaving the streaming app.

The New Shape of Storytelling

The meteoric rise of vertical microdramas proves that the entertainment landscape has fundamentally changed. The failure of Quibi wasn’t a failure of the short-form concept, but rather a timing and format mismatch. Today, powered by the infrastructure of platforms like ReelShort and DramaBox, and validated by the entry of legacy institutions like Viu, the vertical drama has solidified its place as a permanent pillar of modern media.

Over the next five years, as the market swells past the $15 billion mark, the format will evolve from a guiltypleasure mobile habit into a highly sophisticated, AIenhanced, premium storytelling medium. Hollywood is no longer just looking at the silver screen or the living room television; the battleground for the future of entertainment has officially shifted to the palm of your hand.

REALIST LAUNCHES RUSSIA’S FIRST INDEPENDENT FESTIVAL DEDICATED TO GLOBAL VERTICAL DRAMA

REALIST: Vertical Drama International Festival, a new international event focused on microdramas and vertical series, will debut in Moscow this summer. Positioned as the first independent festival in Russia and one of the first dedicated global events dedicated to vertical drama, REALIST will bring together audiences, platforms, rights holders, producers and creators working in one of the fastestgrowing audiovisual formats in the world.

REALIST will run in a hybrid format, combining a program of vertical drama from international producers hosted on an online platform with an in-person industryfocused B2B program and masterclasses in Moscow. Participants from 25 countries have been invited to join the event, which aims to become both a showcase for vertical storytelling and a gateway into the Russianspeaking market for international partners.

Anton Kalinkin, Festival founder said, “REALIST is designed as a practical entry point for international creators and platforms looking at the Russian-speaking market. At a time when the vertical format is scaling globally, we’re creating a space where partners can test content, build relationships and explore real distribution opportunities in a territory that’s only beginning to take shape.”

The team behind REALIST festival is a group of seasoned professionals with extensive expertise in the field:

Anton Kalinkin, REALIST festival founder, has deep experience in the industry event space, operating three successful independent festivals in Russia that play an important role in shaping the local media and festival landscape.

Katerina Pshenitsyna is REALIST festival program director and an international media executive with a track record of more than 12 years in distribution and international projects and a deep understanding of the global market. Katerina is also General Manager of TwelveP Animation, based out of UAE, focusing on international co-productions and digital-first content.

Prosyanov has an extensive expertise in online media and currently oversees business development of Chill online platform and the launch of the Chill mobile app which will host the offline part of the festival.

The festival program will include Competition and Out-of-Competition sections. Award categories currently include Best Classic Microdrama, Best Genre Vertical Series/Microdrama, Most Outstanding Character, Best Animated Vertical Series, Best Vertical Unscripted Series/Show, and the Grand Prix. Winners will be selected by audience vote directly on the platform. Eligible submissions include microdramas, vertical series and animated vertical series across genres, including unscripted projects. Applicants shall submit the minimum of 6 episodes, each episode not exceeding 5 minutes runtime. Call for submissions is open from May 12th, 2026, and will run until June 20th, 2026.

Zhan

Anton Kalinkin

REALIST will also feature an offline industry program in Moscow including panels on the future of vertical content in Russia and the CIS, country-focused programming and creator-led master classes, including a planned “Deconstructing Microdrama” deep-dive format. Organizers are developing the festival as an independent international meeting point for the next phase of the vertical storytelling market.

Katerina Pshenitsyna, Program Director commented, “Vertical storytelling is moving faster than the traditional festival circuit. REALIST reflects both its creative edge and commercial potential, while offering international players a direct entry point into the still-untapped Russian-speaking market.”

REALIST is launching at a time when Russia is emerging as a new prospective market for this format where audience demand is visible and the ecosystem for vertical-first production is still being formed. In that environment, REALIST is designed not only to present content, but also to help international producers, studios and platforms test market response, build relationships and explore distribution opportunities in Russia and CIS region.

The festival will be hosted on Chill, a platform that accounts for 2.5 million monthly visitors and which is launching the vertical mobile app especially designed to run the online festival. The event is also being developed with an industry-facing component aimed at connecting international partners with the local market through panels, discussions and direct meetings in Moscow.

Zhan Prosyanov, Director of Business Development, Chill online platform added, “REALIST is a strategic step for Chill, opening the door to international partnerships and content acquisition in the vertical space. We see it as the foundation for a broader platform connecting Russian-speaking audiences with global creators.”

Katerina Pshenitsyna

Zhan Prosyanov

AI Is Not Just Changing Video Production; It Is Changing How Stories Are Built

For years, the media industry viewed AI primarily as a production tool: generate visuals faster, edit footage quicker, automate subtitles, and create synthetic presenters. But a more important transformation is now emerging, one that goes beyond production efficiency and directly into the architecture of storytelling itself. The future of AI video is not just text-to-video. It is knowledge-to-story.

The Real Shift Happening in Media

The explosion of digital content has created a paradox for modern organizations: there is more information available than ever before, yet less audience attention available to consume it. Reports, presentations, research papers, strategic documents, training material, podcasts, newsletters, and internal communication systems contain enormous volumes of valuable knowledge. Most of it never becomes compelling media. The bottleneck is narrative construction. Turning raw information into engaging visual storytelling has traditionally required multiple layers of creative interpretation scripting, storyboarding, scene development, editing, pacing, visual direction, and production coordination. That process remains expensive, fragmented, and difficult to scale. Meanwhile, demand for video continues to accelerate.

According to Wyzowl’s Video Marketing Statistics 2026, 91% of businesses now use video as part of their

communication strategy, while 95% of marketers consider video an essential part of their overall strategy. Video is no longer a supporting content format. It is becoming the default communication layer of the internet.

From Production AI to Narrative AI

The first generation of AI media tools focused heavily on production automation. Platforms such as Runway, Synthesia, and Pictory made it easier to generate scenes, presenters, and visual sequences from scripts. Now the industry is moving toward something more foundational. Systems such as LTX Studio are beginning to explore AI-assisted narrative orchestration structuring scenes, pacing, cinematic direction, and storytelling flow from prompts and source material. This represents a shift from production AI to narrative AI.

Sharelook’s AI video creator reflects this same evolution. Rather than focusing solely on generating visuals, it is built around transforming knowledge, research, expertise, and source materials into coherent narrative frameworks that can be translated into compelling visual stories. Instead of simply asking, “What visuals should be generated?”, the next-generation question becomes, “How should information be transformed into a story?” That distinction matters enormously.

The Rise of Knowledge-to-Story Workflows

The most valuable media assets today are often not raw footage, but intellectual assets: research, expertise, institutional knowledge, strategic thinking, educational

material, brand positioning, and internal insight. These forms of knowledge contain the ideas, context, and perspectives that ultimately drive meaningful communication.

The next generation of AI systems is being designed to ingest these knowledge sources and transform them into structured narrative frameworks optimized for visual communication. Rather than starting with a camera, script, or production team, the process increasingly begins with information itself.

This shift is reflected in emerging platforms such as Sharelook’s AI video creator, which is built around the idea that knowledge can become the starting point for storytelling. Organizations upload source material, define their audience and objectives, and configure elements such as tone, pacing, genre, and narrative structure. AI then generates a story architecture, translates that narrative into scenes and cinematic sequencing, and ultimately produces a finished video output.

What previously required a fragmented process involving researchers, strategists, writers, creative directors, editors, and production teams can now be compressed into a unified creative workflow.

Why This Changes the Economics of Storytelling

Historically, storytelling at scale required large production ecosystems. AI changes that equation. Data suggests 59% of marketers now create video primarily inhouse rather than relying entirely on external production vendors. The barrier between creator and production is collapsing. But the deeper shift is that the barrier between knowledge and storytelling is also collapsing. Subject-matter experts, educators, strategists, journalists, trainers, and brand teams increasingly have

the ability to transform expertise directly into visual narratives without navigating traditional production bottlenecks. This does not reduce the importance of creativity. It changes where creativity is applied. The creative focus moves away from managing production complexity and toward refining narrative quality, audience resonance, and story structure.

The Next Era of Media

The media industry is entering a phase where storytelling becomes increasingly systemized, iterative, and knowledge-driven. AI-powered platforms are not simply accelerating content production; they are redefining how information itself becomes media. The organizations that thrive in this environment will not necessarily be those producing the highest volume of content. They will be the ones capable of converting knowledge into emotionally resonant stories with speed, clarity, and adaptability.

This points toward a broader transformation in the next era of media. Content creation is shifting from a production-first model to a knowledge-first model, where expertise, research, and strategic insight become the primary creative inputs. As AI systems become more capable of structuring, visualizing, and personalizing information, the boundary between knowledge management and media production will continue to blur.

In that future, competitive advantage will come not only from owning distribution channels or production resources, but from possessing unique knowledge and the ability to transform it into compelling narratives at scale. The next era of media may be defined less by who can create content, and more by who can turn knowledge into stories that inform, persuade, and inspire.

Why the collectables format just well may be Asia’s next global TV export opportunity

By Nicholas Sercombe, Harry King TV

In our industry, there is often a heavy emphasis on finding and developing the ‘next big thing’. But many easily overlook unscripted daytime shows which are some television’s most popular and valuable formats. Many daytime shows are staples in audience’s viewing calendars and for producers and channels, crucially, they can be cost effective, travel well, and work for many generations at a time.

Format creators and producers have always gravitated towards formats that revolve around light entertainment and fun: quiz shows, talk shows, travelogues, and in Britain we have a terrific heritage in the world of antiques formats. There is a like-minded audience in Asia, and we are seeing a market that mirrors our own where they do exactly what good formats should: deliver scale, audience loyalty and longevity. Japan’s Nandemo Kanteidan is inspired by the UK’s classic Antiques Roadshow, the genre has quietly become one of the most culturally adaptable and commercially viable.

But why is that? The allure of daytime TV formats lies in their consistency and ability to evolve. Repeatable structures, trusted experts and audience participation create habitual viewing patterns that translate seamlessly across linear and digital platforms. In

Raj Bisram

markets across Asia, where co-viewing remains a strong cultural behaviour, this consistency is a feature, not a limitation.

For buyers and commissioners, that reliability reduces risk. For producers, it creates formats that can travel with ease, be produced in volume and have high volume repeat value.

The UK to Asia pipeline

The UK remains the world’s leading exporter of unscripted formats. We are particularly good at producing shows that explore the worlds of antiques and collectables. The numerous iterations have been finely tuned over the decades to balance expertise, storytelling and accessibility. And yet, despite this track record, many of these formats remain under-exploited across Asian markets.

At their core, UK-originated formats are built on principles that naturally align with Asian audiences: a respect for heritage, an appreciation of craftsmanship, and a strong appetite for educational entertainment. But rather than simply exploring finished versions, there is a great opportunity to repurpose and reimagine these formats as collaborations in local contexts. Whether that’s embedding region-specific histories and cultural artefacts or including local talent and

experts, there are many ways to build cultural authority and win audiences’ trust – showing that the value isn’t just in selling the format, but in how well it can be made to feel at home.

What makes a format truly travel

Travelability is often discussed quite vaguely, but in practice, I feel it comes down to two things: universality and flexibility. Collectables formats are not only about the objects at hand, but about the stories they tell and the people behind them. The moment of discovery, the reassessment of something’s value, the connection to a personal or shared history - these are the narratives that resonate across cultures.

Structurally, this sub-genre of daytime TV is also forgiving as it is modular by design. Locations can shift, experts can change, and the overall storytelling can flex between studio and field without losing its identity. This makes the format highly adaptable which is an increasingly important factor in a fragmented commissioning landscape.

Asia is not simply a recipient of formats but an innovator in its own right. More broadly, local adaptations often reflect distinct cultural relationships with heritage, craftsmanship and value.

In some cases, these adaptations have introduced new storytelling techniques and audience dynamics that travel into Western markets. Just look at The Masked Singer, originally produced and broadcast in South Korea. It’s the obvious example of a format that has moved from East to West with considerable success.

This two-way exchange creates a more interesting dynamic and there is growing potential for co-development, with

formats being specifically designed to work across multiple territories. More specifically, the collectables market is expanding rapidly. Recent research indicates that the Asia Pacific collectables sector generated over $75 billion in 2025, with continued growth projected over the coming years.

Younger viewers are even engaging too, albeit differently - through interests in sustainability, upcycling, resale culture and digital communities –plus the major crazes that have found their way from APAC to Europe and the USA (just look at Labubus!). But thinking as a producer, this opens up opportunities to extend these formats far beyond the television screen.

Partners in brands, licensing and merchandising companies, and even local infrastructure and tourist boards are important as these can all benefit.

Looking forward

As for what comes next, the industry will no doubt continue its search for the next global primetime spectacle. But there is a strong argument for looking in the opposite direction. Daytime formats, particularly in the collectables space, offer something far more dependable. In a market that increasingly demands both creativity and caution, that is not a bad place to be, is it?

Henning-WehnDNME AW

Nicholas Sercombe