TV Asia December 2023

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TVASIA

WWW.WORLDSCREEN.COM

DECEMBER 2023

ASIA TV FORUM EDITION

Selling to Asia / Nippon TV’s Yoshikuni Sugiyama / Farhan Akhtar Rewind Networks’ Avi Himatsinghani / Warner Bros. Discovery’s James Gibbons

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CONTENTS

Rewriting the Conversation Asia may be a few years behind the U.S. when it comes to the state of the streaming wars and cord-cutting, but the region is not immune to the broader shifts in the business worldwide.

Ricardo Seguin Guise Publisher Mansha Daswani Editor-in-Chief Anna Carugati Editor-at-Large Kristin Brzoznowski Executive Editor Jamie Stalcup Alexa Alfano Associate Editors David Diehl Production & Design Director Simon Weaver Online Director Dana Mattison Sales & Marketing Director Genovick Acevedo Sales & Marketing Manager Daphne Menard Bookkeeper

Ricardo Seguin Guise President Anna Carugati Executive VP Mansha Daswani Associate Publisher & VP of Strategic Development TV Asia ©2023 WSN INC. 401 Park Avenue South, Suite 1041, New York, NY 10016 Phone: (212) 924-7620 Website: www.worldscreen.com

Indeed, convening the industry in Singapore for the Asia TV Forum (ATF), organizer RX Global has set “Re-writing the Business of Entertainment” as the theme of this year’s edition. “C-suite executives and decision-makers are set to descend onto the Marina Bay Sands with a focus on exclusive insights and strategic visions for 2024—what this means in the evolution of the industry today, its creative challenges and the ingenuity of business models,” says Hui Leng Yeow, group project director for ATF. As is the case in other parts of the world, there are pain points the industry needs to contend with. SVOD growth has slowed. Ad revenues are on the decline worldwide.

Inflation has meant producers must be more thoughtful about how they cobble budgets together. And yet, a sense of optimism permeated all of the interviews I conducted for this edition of TV Asia.

Yoshikuni Sugiyama, representative director and chairman of leading Japanese media group Nippon TV, acknowledged the softness in that territory’s ad market but is bullish on the company’s ability to remain at the forefront of marketers’ budgets thanks to its consistent ratings success. The company is also investing in bringing Japanese creativity to the global market, from scripted and non-scripted formats and tape sales to its landmark deal to take majority ownership of Hayao Miyazaki’s Studio Ghibli.

Bringing Asian content to global audiences is also a key priority for James Gibbons, the new president for the Asia-Pacific at Warner Bros. Discovery, which operates a successful animation studio in Japan. Gibbons is also excited about the 2024 launch of Max in the region, which will begin with the existing HBO GO territories in Southeast Asia.

While streaming continues to take up more and more time of audiences’ media diets, there’s still room for lean-back television viewing, as Rewind Networks has found with its expanding suite of pay-TV channels.

Building on the success of HITS and HITS MOVIES, the company, led by Avi Himatsinghani, is now building a footprint for HITS NOW, which delivers a slate of entertainment and scripted shows, many within 48 hours of their U.S. telecast. He shared with me the strategy forward for HITS NOW. And as challenged budgets put a squeeze on production ambitions, a raft of distributors heading to ATF are hopeful that buyers will expand their acquired slates or turn to reliable formats as they look for more innovative, savvier ways to entertain audiences in 2024.

—Mansha Daswani

FEATURES

AT A CROSSROADS Distributors heading to Asia TV Forum weigh in on the acquisition trends expected to define their businesses in the region in 2024.

A TASTE FOR ASIA Our third annual TV Asia Screenings Festival spotlights hot properties across dramas, docs, formats and kids’ shows.

INTERVIEWS

Nippon TV’s Yoshikuni Sugiyama

Excel Entertainment’s Farhan Akhtar

Rewind Networks’ Avi Himatsinghani

Warner Bros.

Discovery’s James Gibbons

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Picture Slam

All3Media International Secrets of Our Universe with Tim Peake / Angela Black / Picture Slam All3Media International’s factual slate features Secrets of Our Universe with Tim Peake, which sees astronaut Tim Peake tackle topics such as black holes, what stars are made of and life beyond Earth. On the scripted formats front, Angela Black centers on a woman whose life appears idyllic from the outside, but in reality, she is trapped in a toxic relationship with no escape. She is eventually approached by a private investigator who is able to spill all of her husband’s secrets. The non-scripted format Picture Slam “is universal, studio-based, perfect for viewers to play along at home and easy to understand,” says Amanda Pe, sales executive for the Asia-Pacific. Contestants face a series of pictures that are each worth money. The more they can name, the more cash they win.

“I am excited to be at ATF to meet our partners and to celebrate with them the deals we have done.”

—Amanda Pe

Safir

atv Distribution Safir / Street Birds Safir, leading atv Distribution’s slate, follows Feraye, a housekeeper for a wealthy family who falls in love with Yaman, one of the heirs. When Yaman is forced to marry another woman, Feraye sets the house on fire. Yaman’s brother Ateş saves her and agrees to marry her to unite his family.

Street Birds, meanwhile, centers on five kids who find an abandoned baby while working for a dangerous man. They desert their territory after the man kills the woman who comes looking for the baby. “Turkish dramas are captivating audiences across Asia, gaining popularity in regions like Pakistan, India, the Middle East and Southeast Asia,” says Müge Akar, head of sales. “Known for universal themes, high production quality and cultural resonance, these shows connect with viewers.”

Cyber Group Studios

“We’re committed to growing in this market as we strengthen our ties with our customers.”

—Müge Akar

Press Start!

Press Start! / Alex Player / 50/50 Heroes Among the titles Cyber Group Studios is bringing to ATF, Press Start!, a comedy adapted from Thomas Flintham’s best-selling series of books, follows two siblings who end up playing inside their favorite video game, Super Rabbit Boy, and become best friends with the titular hero. The esports series Alex Player “mirrors Cyber Group Studios’ strong culture of innovation,” says Pauline Bérard, international sales executive, as it is produced with realtime animation. The cartoon comedy 50/50 Heroes centers on two siblings who have to share their powers evenly. “On top of finding families and homes in Asia for these three IPs, our goal is to promote the group’s commitment to expand its slate of content, widening the array of animation techniques and targeting a broader age range,” Bérard says.

“More than ever, we are looking at innovative, creative collaborations on the artistic and business fronts.”

—Pauline Bérard

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Eccho Rights Sandık Kokusu / Golden Boy / Ömer Sandık Kokusu, on offer from Eccho Rights, is a story about motherhood. It is a brand-new launch from the company.

Golden Boy, following two sisters whose paths cross with Ferit and change forever, “has become one of the most successful shows in recent years,” says Berkin Nalbantli, sales consultant for CEE and Africa, adding that “the show is licensed in more than 100 countries, and we look forward to introducing it to Asian buyers.” Ömer tells a love story between two people who come from completely different backgrounds: a younger man and an older woman. Life soon turns upside down, and although the man’s conservative father will never approve of the relationship, the couple has a love strong enough to overcome all obstacles and break taboos.

Golden Boy

“We worked diligently to establish our lineup for this year, and we are thrilled to introduce our catalog.”

—Berkin Nalbantli

GMA Network Royal Blood / Love Before Sunrise Royal Blood, an ATF highlight from GMA Network, is a crime and family drama about the illegitimate son of a business tycoon who struggles to make ends meet for himself and his daughter. When the man’s long-lost father shows up after years of neglect, his life takes an unexpected turn. Love Before Sunrise follows the story of ex-lovers who regret losing each other, each having entered unhappy marriages. After a long separation, they rekindle their relationship despite the circumstances. The shared themes between the two series of love, family and struggle “transcend cultural boundaries and resonate with people from various parts of the world, making the content relatable and emotionally engaging,” says Roxanne J. Barcelona, VP of the worldwide division.

Nippon TV

Love Before Sunrise

“We want to establish and strengthen relationships with key industry players.”

—Roxanne J. Barcelona

The Greatest Teacher

The Greatest Teacher / Koso Koso Nippon TV’s scripted format The Greatest Teacher follows Rina Kujo, a teacher who is pushed off the school balcony on graduation day. As she falls, the last thing she sees is the sleeve of a student’s school uniform, only to find herself back one year ago with a chance to unveil the truth. “The Greatest Teacher recorded the highest streaming viewing record of our company, and we look forward to more Asian productions to follow,” says Yuki Akehi, director of global business. Koso Koso is a new game-show format from the company, co-developed and co-produced with BBC Studios and Empire of Arkadia.

The game, which has a cash prize element, features a team of celebrity secret agents who must prank members of the public.

“Our creative team produces trending series that resonate deeply with young audiences.”

—Yuki Akehi

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Pingo Entertainment Shasha & Milo / PimPim Series / Bboong-Uh Café Global launches have started for Pingo Entertainment’s Shasha & Milo, and the company is looking to meet with buyers and partners from Japan and Southeast Asia for the show. The series centers on shape-shifting guardians—with the power to transform between human, cat and a formidable hybrid form—tasked with preventing dark magic from taking over their home. Pingo Entertainment’s PimPim Series features bright and fun children’s songs, while Bboong-Uh Café is a non-verbal web animation about when a fish-shaped pastry unexpectedly comes across a coffee bean. PimPim Series has previously been broadcast on KBS2 in Korea. Bboong-Uh Café is based on a snack that is familiar within nations of Asia, which Pingo Entertainment believes will help it garner the attention of buyers in the region.

PimPim Series

Rewind Networks HITS / HITS MOVIES / HITS NOW Rewind Networks’ HITS channel brings timeless classics back to television, including shows such as Little House on the Prairie, I Dream of Jeannie and Poirot. On HITS MOVIES, the focus is on iconic blockbusters, featuring titles such as Rumble in the Bronx, Rush Hour and Donnie Brasco.

HITS NOW, which provides current content, features LEGO Masters, Hell’s Kitchen, Survivor and Shark Tank, among other hit series. “Each of our channels has been carefully curated to meet the diverse tastes of the Asian audience,” says Sandie Lee, executive VP. “Our content offerings have consistently stayed true to the brand proposition of ‘The Best TV, Movies and Newest TV Hits—All in One Place.’ Our channels showcase only the best shows—classic, popular and current—anytime and every time you tune in.”

LEGO Masters

“Our participation at ATF this year is centered around three key objectives: content, community and collaboration.”

—Sandie Lee

Studio 100 Media Vegesaurs / 100% Wolf—The Book of Hath / FriendZSpace Studio 100 Media’s Vegesaurs follows unique dinosaurs based on vegetables, including Tricarrotops and Pea-Rexes. A third season with 20 additional episodes has been commissioned and will be completed in summer 2024. 100% Wolf—The Book of Hath, the second season of 100% Wolf, centers on a fluffy pink were-poodle as he proves that he is really a wolf.

“The overall concept of 100% Wolf underlines that heroes come in many forms, displaying diversity by strength in difference and self-confidence by standing up for what you believe in,” says Vanessa Windhager, sales executive. The comedy FriendZSpace sees a group of children travel into outer space to locate new planets, find alien kids and befriend them. “It’s about embracing our differences and getting into exciting trouble in the process,” Windhager says.

Vegesaurs

“Our mission in the kids’ entertainment world is to bring brands to life that are contentdriven and entertain kids and families.”

—Vanessa Windhager

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TV Asahi Ossan’s Love Returns / Hayabusa Fire Brigade TV Asahi’s Ossan’s Love, which gained popularity in Japan and other Asian countries, is returning after a years-long hiatus as Ossan’s Love Returns. It follows a love triangle between three men: Haruta, who is in his 30s and desperately seeking true love; Kurosawa, his married boss; and Maki, his handsome colleague and roommate. “Japan is a developed society, but we continue to face many social issues, and such issues are often the backdrop of our stories,” says Yukie Uwakubo, sales executive for finished content and formats. Hayabusa Fire Brigade is based on the latest novel written by Japanese novelist Jun Ikeido. The story explores a series of arson cases and suspicious deaths in a quiet village. Having aired recently in Japan, the show features twists, turns and an unexpected ending.

Hayabusa Fire Brigade

“TV Asahi is focusing on finished programs and scripted format sales.”

—Yukie Uwakubo

Warner Bros. Discovery The Sympathizer / Tom and Jerry / True Detective: Night Country Spanning all genres—from scripted dramas to factual and lifestyle, kids and reality—there’s a diverse selection from Warner Bros. Discovery, including HBO originals, Max originals, Warner Bros. TV and Warner Bros. Animation titles.

“For those in Asia, The Sympathizer—an HBO original drama set in Southeast Asia—already has people talking,” says Jae Chang, head of content licensing for Southeast Asia, India and Korea. There’s also the brand-new Tom and Jerry series, House of the Dragon season two and True Detective: Night Country, starring Jodie Foster and Kali Reis. Further highlights include The Regime, The Penguin, Dr. Wolf and Found. “After the success of Barbie, and with Wonka and Aquaman and the Lost Kingdom premiering in December, there will also be a keen interest in the Warner Bros. theatrical slate,” adds Chang.

True Detective: Night Country

“At ATF, Warner Bros. Discovery has its usual presence on the market floor, showcasing one of the broadest and most compelling portfolios of new content.”

—Jae Chang

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GMA Network’s The Cheating Game.

AT A

CROSSROADS

Distributors heading to Singapore for Asia TV Forum reflect on the trends they expect will reshape their businesses in the region in 2024.

By Mansha Daswani

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TV ASIA

K

orean content still dominates viewing trends across Asia; per a Media Partners Asia report this summer, shows from that country accounted for a whopping 50 percent of SVOD viewing and 42 percent of freemium views in the first half of the year.

Across Indonesia, Japan, Korea, Malaysia, the Philippines, Singapore, Taiwan, Thailand and Vietnam, 58 million VOD users streamed Korean content in Q1.

“We expect Korea to maintain its stronghold as the top-traveling content category online in the region as total online video investment in Korean content is estimated to top $1.9 billion in 2024,” observed Dhivya T, MPA’s head of content insights, in the report. “Beyond Korea, strong engagement with Chinese and Thai content in the region is promising, pointing to potential further diversification in impactful Asian entertainment with regional travelability.”

Indeed, the rising prominence of Asian content emerged as a key theme in this pre-ATF distributors’ survey, building upon trends seen as the global business convened in Cannes in October for MIPCOM. With China feted as the country of honor and a raft of co-development and co-production agreements both within the region and externally, companies are eager to tap into the region’s creative expertise.

All3Media International has seen a surge in its scripted formats business across Asia, particularly in India, according to Sabrina Duguet, executive VP for the region. “The success has been a mix of the market needing it in terms of more local productions in Asia, and all the VOD platforms wanting to attract new audiences and needing a lot of scripted series as quickly as possible; adapting formats is a way to fast-track that,” Duguet observes. “Our offering has never been better, and the demand has never been higher. That has created a great business opportunity.”

LOCAL FLAIR All3Media International has expanded that opportunity by retaining the rights to several remakes, allowing it to add compelling, high-quality Asian fare to its distribution lineup.

“The first big success was with Miss Fisher’s Murder Mysteries, which we adapted in China for Tencent,” Duguet says. “The international sales have been pretty incredible. A lot of the Indian series we’ve done recently, we’ve had offers from several territories around the world. So it’s a double opportunity here. First, in adapting the formats, creating and helping create a fantastic local version for our clients and partners, and then, on the back of that, selling that local version, sometimes in collaboration with the partners.”

The team at GMA Network has seen steady increases in interest in Filipino content since it cracked the Indonesian market in 2007. “Filipino dramas slowly gained popularity

in the region because of the engaging storylines,” says Roxanne J. Barcelona, VP and consultant at GMA’s worldwide business division. “Following the success of GMA dramas in Indonesia, GMA aggressively pushed its content to other ASEAN countries such as Cambodia and Vietnam, Malaysia, Brunei and Myanmar. As GMA increased its production of local content, more dramas were exported and shown in other countries. At present, our market has increased to include sub-Saharan Africa, the Middle East, Latin America and even Russia.”

Beyond further global expansion, aligning with SVOD operators is a crucial growth opportunity for the com pany. “The Cheating Game, a GMA-produced feature film, was acquired by Netflix for worldwide SVOD rights,” says Reena de Guzman Garingan, who oversees business development and strategic content partnerships at GMA Network. “This is a first for GMA since most of the GMA content acquired by Netflix is limited to the Philippines. We are currently discussing with other streaming platforms in the region for possible co-productions and collaborations.”

JAPANESE TREASURES Japan’s TV Asahi Corporation is also aggressively building its international footprint, arriving in Singapore with highlights such as Ossan’s Love Returns, marking the return of the popular 2018 series. “The Hong Kong version was produced and aired on ViuTV in 2021,” says Yukie Uwakubo, sales executive for finished content and formats. “Ossan’s Love has been commissioned in Thailand and will be produced by GMMTV.” Both scripted formats and tape sales are on the agenda for TV Asahi, Uwakubo notes. “We are finding that stories with strong characters tackling universal social issues attract much interest. Japan is a developed society, but we continue to face many social issues [that] are often the backdrop of our stories. Our storytelling techniques not only do justice to the serious social issues but also incorporate comedic, cynical or sometimes farcical depictions that shed light on the human condition.”

Universal values are also driving sustained interest in Turkish series across the region, according to Müge Akar, head of sales at atv Distribution. “Turkish dramas are captivating audiences across Asia, gaining popularity in regions like Pakistan, India, the Middle East and Southeast Asia. Known for universal themes, high production quality and cultural resonance, these shows connect with viewers. The accessibility of dubbed or subtitled versions and strategic international distribution have fueled their success.”

Malaysia and Indonesia have been among the bright spots for atv in Asia, Akar reports, and new opportunities in India and Vietnam are high up on the agenda for 2024.

“Simultaneously, we are actively engaged in ongoing business negotiations with several other countries,” she adds. “Our objective in entering these new markets is to broaden our sphere of influence, extending our reach to

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All3Media International’s successful scripted formats track record in Asia includes Liar in Malaysia.

additional countries and concurrently fostering relationships with new clients.”

Cyber Group Studios is also keen to expand its well-established presence across AsiaPac, highlighting franchises such as Gigantosaurus, now heading into a fourth season, and the esports series Alex Player, which taps into the technical expertise of Scrawl Animation in Singapore.

“Having set foot in the region thanks to our close partnership with Scrawl Animation, a Singapore-based cutting-edge studio directed by Choon Meng Seng, we benefit from the Singaporean team’s experience and market knowledge,” says Pauline Bérard, international sales executive at Cyber Group Studios, who oversees the com pany’s business in Asia. “We work hand in hand to identify our opportunities in the region. This year, ATF is a time to meet as many partners as we can from all over the region. Then, on an IP

by IP basis, our main objective for Gigantosaurus is to find homes in the Philippines and Malaysia, where we’ve witnessed tremendous growth in awareness on YouTube.”

STREAM ON

Cyber Group Studios tapped into the expertise of Scrawl Animation in Singapore for Alex Player.

atv Distribution is seeing increased interest in Turkish dramas like A Little Sunshine across Asia.

Digital is indeed powering gains for numerous distributors in Asia despite the seismic shifts happening in the streaming business at present.

“Strategies have to be more intentional as it is no longer the traditional way of thinking or doing business,” says Barcelona at GMA Network.

“Windowing is crucial; granting rights and creating content specifically for streaming platforms and not necessarily for mass free-to-air audiences are key factors. Collaborations with streaming or linear platforms are forged, doing business never done before. We need to bring the expertise of both companies together, whether it be in creating content or having technological expertise and having a platform.

It is all about finding the right fit for a partnership and making a story in the region.”

De Guzman Garingan adds that a key initiative for GMA Network in 2024 is ensuring that its shows “are widely available on various streaming platforms across Asia and the rest of the world. This approach helps create more awareness of GMA’s content to a wider audience, which, in turn, drives GMA’s thriving syndication business.”

All3Media International is positioning itself for further gains region-wide following the expansion of its Asia-Pacific team under Duguet. “At the beginning of the year, we created three new roles, so we have more resources to cover the new business. We hired Jaenani Netra to oversee India. Amanda Pe covers all of Southeast Asia. Tony Ziran Tang joined us from BBC Studios, and he covers North Asia. It’s a great reflection of the growth of the business.”

“We are truly happy to be back in Singapore to meet our partners,” Cyber Group Studios’ Bérard adds. “2024 will be a time for change, and it’s thrilling to meet with our partners and discuss the various opinions about the market evolution.”

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Yoshikuni Sugiyama Nippon TV

J

apanese media giant Nippon TV has long been a supporter of anime luminary Hayao Miyazaki. Nausicaä of the Valley of the Wind, which would kick off a string of feature film successes for the famed animator, aired on the broadcaster shortly after its theatrical release. Nippon TV also contributed to the financing of the 1989 release Kiki’s Delivery Service and supported the establishment of the Ghibli Museum. This year, the longstanding relationship between Nippon TV and Miyazaki was formalized when the group acquired a majority holding in Studio Ghibli. For Yoshikuni Sugiyama, representative director and chairman of Nippon TV, the transaction forms part of the media group’s efforts to expand its influence and reach in Japan and globally. International expansion has certainly been vital for the group as it rides the wave of success it has seen with scripted and non-scripted remakes and tape sales. TV Asia caught up with Sugiyama to hear more about Nippon TV’s expansion efforts and its continued ratings success in Japan as it marks its 70th anniversary this year.

By Mansha Daswani TV ASIA: What’s driving Nippon TV’s continued ratings momentum as it marks its 70th anniversary?

SUGIYAMA: I believe the support we receive from our viewers is driven by the stellar in-house production expertise of Nippon TV’s creators, who produce approximately 90 percent of our titles. What sets Nippon TV apart is that we have numerous long-running hit shows that have had success for over 10 to 20 years, some even 30 years, like Old Enough! However, it is worth pointing out that these shows have not stayed the same throughout. As times change, so does what viewers want to see, and our creators have constantly sought to address this. They have a relentless desire to evolve, which could mean that even for the same show, there might be a drastic change in the cast and what is presented in it. Our content creators are tremendously creative and brilliant in promoting their works—a talent continuously passed down from the veterans to the young creators to the point that it has become a part of our DNA. It is what has compelled our viewers to keep supporting Nippon TV over many years, which is something that I am immensely proud of.

TV ASIA: You restructured this year to accelerate your digital transformation. Tell us about the thinking behind the restructure and how you plan to boost your streaming and international businesses.

SUGIYAMA: In May 2022, Nippon TV announced its MediumTerm Management Plan 2022-2024, in which one of the goals stated was to emphasize the content-oriented approach. Specifically, we established a content strategy headquarters to achieve that objective. During the company

reorganization in June of this year, we distributed our digital-related human resources and functions across the departments to enable the entire organization to tackle digital initiatives. The way content is consumed is diversifying, and we are advancing our digital transformation so that Nippon TV works can be enjoyed not only on the linear platform but also on various media. In addition to our linear broadcast, we are optimizing our AVOD, SVOD and TVOD businesses to formulate a comprehensive broadcasting and streaming strategy. Not to be left out are the various platforms, such as YouTube and TikTok, on which we will proactively seek to roll out our content to capture new users and opportunities to expand into related businesses. Another aim of the last company reorganization was to bolster our international businesses. Within the content strategy headquarters is the global business division, which oversees the new studio strategy arm. It is responsible for producing drama series, anime and films with both owned and external platforms in mind from the get-go. One of Nippon TV’s assets is its superb creativity and armed with this, we challenge ourselves every day to expand the international fan base for our content.

The team specializing in global business strategically attends various content markets worldwide to network and negotiate with international clients and analyze the latest trends. This enables them to construct sales strategies tailored to the global market where streaming has become mainstream.

Of late, in particular, Nippon TV has invested great efforts in co-developments with overseas partners, and at MIPCOM 2023, we unveiled Koso Koso, a format we co-developed

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My Neighbor Totoro is among the raft of acclaimed titles from Studio Ghibli, which Nippon TV acquired a majority stake in this year.

with BBC Studios and Empire of Arkadia. The hilarious game show was received with huge applause, and we aim to realize a global version in 2024.

TV ASIA: The ad market globally is under pressure. How is the situation in Japan, and how is Nippon TV positioned in this landscape?

SUGIYAMA: With digital transformation affecting various aspects of our daily lives, we have seen a diversification of how people spend their spare time. Even in Japan, we are witnessing a trend of decreasing real-time television viewing, although not as drastic as abroad. Consequently, television ad expenditures are in a downward [trend], but thankfully, out of the five commercial broadcasters in

SUGIYAMA: Ever since Nippon TV aired Nausicaä of the Valley of the Wind (1984, directed by Hayao Miyazaki) on television in 1985, we have shown Studio Ghibli works on our weekly program Friday Road Show. Nippon TV has a long history of partnership with Studio Ghibli, starting from when it provided funding to produce the film Kiki’s Delivery Service (1989, directed by Miyazaki) and including its support for the opening of the Ghibli Museum, Mitaka. Studio Ghibli has spawned works loved by people from Japan and the world over. Nippon TV decided to acquire the shares of Studio Ghibli due to its conviction that supporting this world-class studio to a greater extent than ever before will contribute to the corporate value enhancement of the entire Nippon TV group. In so doing,

“One of Nippon TV’s assets is its superb creativity, and, armed with this, we challenge ourselves every day to expand the international fan base for our content.”

Japan, Nippon TV has captured the most viewership from our core target, who are viewers in their mid-teens to 40s—those who the sponsors of television commercials place substantial importance on for their purchasing power.

We have accomplished this feat consecutively for the last 12 years, and as a result, we have posted the highest broadcasting revenue out of all our competitors for nine years running. We indeed enjoy an overwhelming presence in the industry.

TV ASIA: What motivated the acquisition of Studio Ghibli, and what does that deal bring to Nippon TV?

we expect synergies that will come in two forms. First, the share acquisition allows us to provide management support, which enables Studio Ghibli to exert unprecedented efforts in the creative process. Second, as a partner who has always respected Studio Ghibli’s belief in cherishing its works, Nippon TV is well-positioned to provide lasting protection to the studio’s brand value.

TV ASIA: There is stiff competition in the Japanese streaming sector. How is Hulu Japan positioned?

SUGIYAMA: As you pointed out, streaming platforms in Japan indeed face fierce competition, with Netflix,

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SUGIYAMA: The Hulu Disney+ bundle we launched in July leverages both platforms to deliver exceptional works from Japan and the world to more users in Japan. This bundle plan is available for a monthly cost of 1,490 yen ($9.80) and is cheaper than subscribing separately to both services. It expands the SVOD options that are currently available, which we expect will translate to growth in our subscriber base. Nippon TV and The Walt Disney Company (Japan) entered a strategic collaboration in 2022, and this is one of the fruits of that effort.

Nippon TV’s acclaimed drama Mother has been remade in several territories across the globe.

Prime Video and Disney+ on the foreign-owned side, going against domestic players like U-NEXT and our very own Hulu. Meanwhile, users are not limiting themselves to single subscriptions. There is a tendency for them to choose a streaming platform depending on the title and genre they want to watch, and they consume that content at the time that is right for them. In actuality, users are subscribed to about three streaming platforms.

Netflix, with its abundance of original content, and Prime Video, which comes as an ancillary service to its e-commerce subscription, have large subscriber bases.

The way we need to compete is to get users to choose us along with our competitors. We launched a Hulu and Disney+ bundle plan and are bolstering our original content lineup to distinguish ourselves from our competitors and emerge victorious.

TV ASIA: Tell us about the Disney+ bundle partnership for Hulu. What are the benefits?

TV ASIA: What’s driving the gains in your international business division across formats and tape sales? What are your overall goals for Nippon TV’s international business in the challenging year ahead?

SUGIYAMA: Nippon TV’s very own Shark Tank (Dragons’ Den in the U.K.), our iconic format, and Mother, the most internationally adapted scripted format from Asia, continue to go strong throughout the world. In addition, Old Enough!, Masquerade and Silent Library, poster formats that have attained success in Japan, have been receiving numerous localization requests from various countries. What we are seeing might be a trend where well-known titles garner more attention as the global market becomes challenging. That said, new works are also enjoying remarkable success, like Rebooting, the drama series and scripted format that Nippon TV debuted in 2023 that received high acclaim in Japan and abroad, ultimately winning numerous awards. It features an elaborately constructed story that has captivated audiences not only in Asia but also in Europe and North America. Indeed, unique ideas such as this one boost Nippon TV’s international formats and tape sales.

Going forward, I hope to see more collaborations between creators and be more proactive about codeveloping with overseas partners to create content for Japan and the world. The process might be different depending on the idea and project, but we at Nippon TV have a track record of flexibly adjusting to our partners, and we look forward to hearing from interested companies. Of course, we are not limited to content creation—whether it be merchandising or event businesses, we welcome the challenge across various realms.

Silent Library, a popular game-show format on Nippon TV, was adapted in Finland this year.

TV ASIA: Beyond the Studio Ghibli deal, are you looking at other M&A opportunities to grow Nippon TV’s business?

SUGIYAMA: We announced our strategic investment policy in May 2022 through our Medium-Term Management Plan 20222024. It lays out the four areas where we are looking to make investments—media content businesses, new businesses, life and health-related businesses and sustainable investments.

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Farhan

Akhtar

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arhan Akhtar has emerged as one of India’s most prolific multi-hyphenates.

He made his directorial and writing debut with the award-winning 2001 film Dil Chahta Hai and first appeared on-screen in the hit Rock On!!, which he also wrote and produced—while also singing several songs for the film’s soundtrack.

With Excel Entertainment, the production company he founded with Ritesh Sidhwani in 1999, Akhtar has also extended his storytelling flair into the television space. The company first made its mark in the episodic sphere with the critically acclaimed Inside Edge, set in the world of cricket, for Prime Video. Excel’s partnership with Prime Video has grown to include the crime dramas Mirzapur and Dahaad; Made in Heaven, about high-end wedding planners in Delhi; and, most recently, Bambai Meri Jaan (Bombay My Beloved). The ten-parter, co-created by Shujaat Saudagar and Rensil D’Silva, was inspired by S. Hussain Zaidi’s nonfiction book Dongri to Dubai: Six Decades of the Mumbai Mafia. A sprawling crime saga, it stars Avinash Tiwary as Dara Kadri, an aspiring crime lord, and Kay Kay Menon as his father, a law enforceBy Mansha Daswani ment officer, against the backdrop of 1970s Mumbai.

TV ASIA: How did Bambai Meri Jaan come about?

AKHTAR: S. Hussain Zaidi is a well-known, world-renowned crime journalist. He put this story together. He’s drawn from many things he’s written about, read about and experienced in his life and created this amazing fictional story.

It’s a classic story of good versus evil, of questioning morality. Does getting rich define you as successful, or does your integrity being intact define you as successful? I was so drawn to the questions that the story was raising. And, of course, beyond that, the writing was engaging. It was immersive and entertaining. These characters were unique in this world, and I loved the way they spoke to each other and the way the screenplay unfolded. It felt like it would make for good, compelling viewing. That was the reason to do it.

TV ASIA: Tell us about the arc of the story you wanted to tell in the first season.

AKHTAR: If you look at this family as one body, you see the heart and the mind being torn apart. They are one, but by the end of it, the father and the son are on opposite ends of the spectrum. It was about that journey. That’s what the

writing was focused on—telling that relationship story. It’s a story of feeling the lack of validation from a parent, and the parent feeling that the child is beyond understanding anything they are trying to impart. And how that gap keeps growing and growing. At the same time, there is this unrequited love almost from both sides to each other. It deals with all of that. To me, that’s what gave this series a beating heart. There’s a lot of style. There’s a lot of substance. But what’s going on with these two characters is the beating heart of the story.

TV ASIA: Excel has a wide-ranging deal with Prime Video.

How has that relationship enabled you to tell the types of stories you want to tell?

AKHTAR: We have a partner that empowers us to be able to go out there and make what we want to make. There’s a vision a filmmaker or writer comes to us with. [Prime Video], when they recognize that you believe in something, they back your belief and then multiply that ten times when they put it out for you. It’s great creative synergy.

We’ve created some really good work together. I hope we continue to do that.

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All3Media International’s Kitchen Nightmares USA

A Taste for Asia

Our third annual TV Asia Screenings Festival spotlights hot properties for Asia TV Forum (ATF) across dramas, docs, formats and kids’ shows.

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riven by strong traction across the region, All3Media International expanded its Asia-Pacific team under Executive VP Sabrina Duguet this year. It arrives at ATF with a mix of titles that speak to the breadth of its catalog. Highlights include two shows fronted

by Gordon Ramsay: Kitchen Nightmares USA, back for an eighth season, and Gordon Ramsay’s Future Food Stars. “Gordon Ramsay is loved all across the globe, and that most certainly includes Asia,” Duguet notes. The company is also showcasing new premium factual such as Secrets of Our Universe with Tim Peake. The buzzy game show The Traitors is a key focus on the non-scripted formats front. Rounding out the highlights is a second season of Trigger Point.

TV Asahi’s Ossan’s Love, which gained popularity in Japan and other Asian countries, is returning after a years-long hiatus as Ossan’s Love

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TV Asahi’s Ossan’s Love Returns

Returns. It follows a love triangle between three men: Haruta, who is in his 30s and desperately seeking true love; Kurosawa, his married boss; and Maki, his handsome colleague and roommate. Hayabusa Fire Brigade is based on the novel by Jun Ikeido. “Viewers were captivated by the unexpected twists and shocking ending,” says Yukie Uwakubo, sales executive for finished content and formats. TV Asahi is also showcasing the romance drama Yuria’s Red String of Fate, based on an award-winning comic.

Also looking to benefit from the surging interest in Asian drama across the region is the Philippines’ GMA Network, which arrives at ATF with highlights such as Love Before Sunrise and Royal Blood. The shared themes between the two series of love, family and struggle “transcend cultural boundaries and resonate with people from various parts of the world, making the

GMA Network’s Royal Blood

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Cyber Group Studios’ Gigantosaurus

content relatable and emotionally engaging,” says Roxanne J. Barcelona, VP of the worldwide division at GMA Network.

Turkish drama is also proving to be relatable across the Asia Pacific, according to Müge Akar, head of sales at atv Distribution, which will be showcasing series such as the brand-new highlight Safir at ATF. “Turkish dramas are captivating audiences across Asia, gaining popularity in regions like Pakistan, India, the Middle East and Southeast Asia,” says Akar.

There will also be an abundance of kids’ fare on offer at ATF, including Cyber Group Studios’ Alex Player, which mirrors the company’s “strong culture of innovation,” says Pauline Bérard, international sales executive, alongside Gigantosaurus.

Studio 100 Media’s 100% Wolf

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Rewind Networks

Studio 100 Media is promoting a slate that includes its returning hits Vegesaurs, with season three arriving in 2024, and 100% Wolf. “The overall concept of 100% Wolf underlines that heroes come in many forms, displaying diversity by strength in difference and self-confidence by standing up for what you believe in,” says Vanessa Windhager, sales executive.

“Our mission in the kids’ entertainment world is to bring brands to life that are content-driven and entertain kids and families.”

Among the wealth of buyers descending on the Marina Bay Sands will be Rewind Networks, which now operates three channels across the Asia Pacific. “Each of our channels has been carefully curated to meet the diverse tastes of the Asian audience,” says Sandie Lee, executive VP.

All3Media International’s The Traitors

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Avi Himatsinghani Rewind Networks

By Mansha Daswani

ver the last few years, as the Hollywood studios shifted their emphasis to their owned-and-operated direct-to-consumer businesses, their channels across Asia-Pacific became far less of a priority. Indeed, many retrenched, shuttering services across the region.

For Rewind Networks, that was less of an alarm bell about the future of the pay-TV channels business and more a flashing sign of opportunity. Founded by Fox Networks Group Asia veteran Avi Himatsinghani a decade ago, Rewind Networks had built a successful business on curating back catalog U.S. fare for two now well-penetrated services, HITS, focused on classic series, and HITS Movies.

This February, Himatsinghani added to that portfolio with HITS NOW, dedicated to first-run general entertainment series that no longer had a home in the pay-TV ecosystem.

Rewind quickly shored up anchor affiliate partners in Singapore, Indonesia and the Philippines for HITS NOW, which delivers a mix of entertainment, reality, game shows, dramas and comedies, largely from the U.S., many within 48 hours of their original telecast. Himatsinghani talks to TV Asia about what’s driving Rewind Networks’ success.

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TV ASIA: What led to the launch of HITS NOW? HIMATSINGHANI: HITS was an aspirational bet that we took on the idea that there’s a place for curated destinations. It goes back to the roots of who we are as a company. We have always wanted to be in a place where we fill real consumer need gaps. A “me first,” not a “me too.” HITS plugged that gap ten years ago.

Even though Netflix had already launched in the U.S. and the signs of the disruption in the linear space had started, we still went out with HITS because we knew there was no place curating the best TV series from the last 40 years. That turned out to be a success. There was a clear audience for that easy-to-watch comfort TV. Fast forward five years, we saw the same gap and opportunity with HITS MOVIES. The HBOs and FOX Movies were curating from the last 15 years, at best. No one was curating from the previous 40. We said those are the golden years of Hollywood, so we went and curated for HITS MOVIES. It filled such a clear need gap that it performed. HITS NOW emerged from Disney’s retreat in the channels business [following its acquisition of the FOX-branded assets]. They wanted to pivot to streaming. All the big media companies did. Of these linear services that Disney-Fox offered in the region, the majority of that content was not owned by Disney; it was third-party licensed content. All of their own content goes onto Disney+, but then there’s a vacuum in the pure general entertainment space. We saw there was a gap developing. No one else was picking up that other content; no streamers, no other linear networks.

There are phenomenal long-running franchises— American Idol, Survivor, America’s Got Talent, Britain’s Got Talent, Hell’s Kitchen, Shark Tank, Project Runway—that people love but no one was curating.

The opportunity fell in our laps. We’re known as HITS, we’re known for curating the best of, why don’t we do the best of now? A year ago, we started talking to all the platforms. Some were proactive. They said there’s a gap, why don’t you fill it? These are pop culture, relevant shows that people want to talk about, but no one’s curating them. I was very fortunate to have the foundation support of several of our affiliate partners who said, If you launch a service like this, we will take it. I knew there was a ready audience. We have a proven track record with HITS and HITS MOVIES. There’s a trust level already in place.

We launched HITS NOW on February 6, live with the Grammy Awards. We pivoted from running library channels and being used to getting content weeks or months in advance and having enough time to subtitle, censor and put it in our system to starting with live. Nine months have gone by, and the traction continues. We are getting phenomenal feedback on our performance.

Three markets, 5 million-plus homes, nine months since launch. At APOS, we announced the launch on Cignal, the largest pay-TV operator in the Philippines. We are in conversations with platforms in Malaysia, Sri Lanka, Maldives, Thailand and Hong Kong and plan to roll out in these markets soon.

Our networks are growing in an environment with headwinds of declining content budgets, the fragmentation of linear audiences and the growth of streaming

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services. Our services must continue to deliver value in a new world where our affiliate and telco partners distribute both streaming and linear. That makes curation even more important. It’s essential to ensure little to no overlap with the streaming services because the consumers are the same. If you look at all our franchises—HITS, HITS MOVIES, HITS NOW—there’s little to no overlap with any streaming services. That is the starting point of conversations we have with our studio partners. If any streamers want [a show], we don’t want it. Our first customer is the business-to-business partner, which is the affiliate. For them, we want to ensure that we are giving a unique, curated destination in a quintessential Rewind style, which is you can’t find this content anywhere else, and it’s the best.

TV ASIA: How have you evolved your marketing strategies to inform consumers that HITS NOW is a home for first-run content?

HIMATSINGHANI: Both HITS and HITS MOVIES are significant in promoting cross-channel because we are already deeply penetrated. HITS is in 13 countries, 23 million homes. HITS MOVIES is in nine countries with 10 million homes. We have to put a disclaimer—selected territories only—but we get the message out. There’s a buzz created in the marketplace naturally through our own network.

On top of that, we are very close to all the affiliate partners. We use their marketing tools and cross-channel promos. We make bespoke spots for the affiliates to put on their channels. We use social media. We have superb shout-outs. When we launched American Idol, we had Lionel Richie, Katy Perry and Luke Bryan doing shoutouts for HITS NOW. Same for America’s Got Talent with all the judges. Our studio partners have been super supportive.

TV ASIA: How much is day and date?

What’s been the approach to scheduling?

HIMATSINGHANI: Ultimately, it’s about the currency and the curation.

Because it’s not live voting, day-anddate has no impact. We’re doing “Express from the U.S.” A lot of our shows are within 48 hours of the U.S. airing. We subtitle where necessary.

Almost all of our reality/talent shows are express from the U.S. We have Entertainment Tonight daily, 12 hours after the U.S. broadcast. For [scripted] shows like Ghosts and Fire Country, when we launched, it was already February, so they were first in Asia but not express. We did the same with the current seasons of Chicago P.D. and Chicago Fire. As time goes on, we will get closer to the U.S. broadcast schedules and sync that. Having said that, there’s no real urgency to make these dayand-date. The only place to watch them is on HITS NOW.

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We’re programming it as a quintessential general entertainment channel. We are taking the best of U.S. broadcast TV. Because there’s a mix of sitcoms, dramas, reality, talent, daily celebrity news and game shows, we are comfortable programming it like the popular terrestrial networks. You switch it on, and there’s always something fantastic to watch.

TV ASIA: And the flagship HITS turns ten this year.

HIMATSINGHANI: We’re bringing in Frasier, Perfect Strangers, The Bionic Woman, The Incredible Hulk, the original Hawaii 5-0, Mission: Impossible and The Waltons.

There are enough great super-hit series from the past that still haven’t debuted on our network. HITS MOVIES, we have 45 years to curate from, just nothing from the last 15 years. We can add something to the slate every year—now we’re going right up to 2008 and before. Five years ago, it was until 2003. We keep that 15-year filter quite strict. There’s so much hit blockbuster movie content we can curate.

Our original thinking of playlists and curation is playing well in this new world, which is about playlists.

That’s turning out to be our biggest strength. It’s our belief in brand promise, curation and execution with finesse and passion that keeps us going. We have a competitive edge. We have relationships on the ground and listen to our partners constantly. We are listening to our consumers constantly. We use social media as a listening board. This puts together an excellent ability to work for the consumer. And at some point, I want to take this beyond Asia. How do we replicate this magic in Africa or Eastern Europe?

HITS NOW is home to a range of first-run entertainment shows from the U.S., including Paramount Global Content Distribution’s hit reality series Survivor.

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James Gibbons

Warner Bros. Discovery

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fter almost two years of restructuring and realignment, the leadership at Warner Bros. Discovery (WBD) has been stressing the firm’s “one-company” mindset as it looks to best position itself for the challenging times ahead. James Gibbons, the recently installed president for the Asia-Pacific at Warner Bros. Discovery, is aware of the pain points amid a difficult economic climate and weakened ad market, but remains confident in the company’s ability to bring its wealth of popular brands and franchises to consumers wherever they are, be it on linear, streaming or via in-person experiences. In his first interview since taking on oversight for a merged regional operation, Gibbons discusses the upcoming launch of Max in Asia in 2024, the continued importance of third-party distribution, investments in local content and the potential to expand its live experiences business.

By Mansha Daswani TV ASIA: What’s your overall strategy for the combined AsiaPac operation you now oversee?

GIBBONS: The point of bringing the region together is to have one team working toward a common goal: to grow the region to the potential that we believe it deserves. We have country managers for the key markets and vertical specialists in charge of streaming, strategy, marketing, theatrical, consumer products and games. We are working toward a common goal: to reach all possible fans of our IP within a healthy business model. Whether you’re delivering a game, a streaming service, a network or a consumer product, we’re trying to ensure that we’re reaching everyone who loves that IP in a way that makes commercial sense. That’s the big picture.

We believe that next year, we can grow all segments. Our theatrical slate has fully bounced back from the pandemic.

This year, we put a strong foot forward with releases like Barbie. Next year, we have a full slate with great new movies and fantastic returning franchises. Streaming is huge for us because next year is the launch of Max in AsiaPac. And then consumer products and themed experiences. The best example is Wizarding World. That franchise is living and breathing every day as a themed experience and in consumer products. The Warner Bros.

Studio Tour Tokyo—The Making of Harry Potter launch in Japan this year was amazing.

TV ASIA: What can you tell us about the Max AsiaPac expansion?

GIBBONS: We’re committed to rolling out in AsiaPac. Converting the regional HBO GO service is a starting point. We’ll

ensure those consumers are fully transitioned to the new product, so Southeast Asia will be a key part of the rollout. We have also talked about our ambitions in Australia and New Zealand. We’ve consciously postponed the rollout of Max in India. We have a partnership with Reliance there, so we won’t be launching direct-to-consumer within this time frame. But all the rest of the markets in the region are part of our ambition.

TV ASIA: What’s your message to clients heading to ATF this December about WBD’s position as both a content supplier and a global streamer?

GIBBONS: We’re open for business as far as content licensing is concerned. We’re a content company, and we reach consumers by different means. Reaching those consumers via third-party relationships is key. We have Warner Bros.

International Television Production in Australia, which produces some shows for us, all the local broadcasters and Foxtel. We announced a movie with Binge recently. Our core output may go on our networks, our streaming platform and third parties. The streaming service is the place where consumers can expect to be able to enjoy the content that we produce. At the same time, we will be working with third parties to ensure that content reaches consumers wherever they are. We will continue to license, whether we do this co-exclusively, or we may do exclusive deals like the one in India. It’s not binary because the distribution system isn’t binary in terms of where the consumers are and how to reach them.

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a few years back, and have announced that we’re working on a new Suicide Squad ISEKAI series. That’s an important part of how we can build for the future.

We recognize in Korea, we have yet to be an active player directly in the scripted production. That’s an area of interest. The other is Chinese-language content. We want to explore the possibility of developing that sector and working with Chinese partners to build a market for that content.

The Chinese-language drama series Scent of Time premiered on HBO GO in October.

TV ASIA: Tell us about the investments you’re making in producing across the region, whether for your services or third parties.

GIBBONS: We have a commitment to independent production in Australia. There are key franchises we produce for our platforms around the world, like Aussie Gold Hunters. We’ve produced a number of Thai titles, reality shows like The Bachelor Indonesia, and kids’ series in India, including Little Singham.

We’ve just rolled out a Chinese drama on HBO GO that is doing well called Scent of Time. Going forward, we see the role of AsiaPac not only as a distribution market but as a source of content for our company globally. There are three areas where this is certainly true. One is Japan, where we have an animation studio that produces five or six series a year.

Those series are mainly with third parties right now. We are committed to growing and expanding that business. You can expect to see more activity on the anime front, especially taking our IP and localizing it. We had a Batman Ninja anime movie

Warner Bros. Studio Tour Tokyo—The Making of Harry Potter opened in Japan this year.

TV ASIA: Let’s talk about the pay-TV channels space. I know revenues are declining, but the landscape still seems pretty robust.

How are you working with your affiliate partners as they navigate cord-cutting and a shift to streaming?

GIBBONS: We’ve kept our channels in business. Our portfolio is an integral part of pay TV. We also believe that once the streaming model settles down, aggregators will still be an important way consumers get their content. No one knows the aggregation business better than the pay-TV companies.

And there are going to be linear channels in the streaming world. This is not a world where linear channels vanish.

They’ll be delivered by IP and bundled differently. Since we share that belief with our pay-TV partners, we can craft partnerships built on mutual interest to help the whole aggregation package transition to the future. We are not the only ones transitioning; it’s also the pay-TV companies. We aspire to work with them to achieve that. You see that in our relationships with many of the key operators around the region.

We’re coming up with solutions that may be a little different from our competitors.

TV ASIA: By all accounts, next year is going to be a difficult one, everywhere. What growth opportunities are you most excited about in AsiaPac? And what are the most significant challenges you expect to have to overcome?

GIBBONS: The theatrical slate is strong, and people are returning to the cinemas, so that’s a good opportunity. We are seeing some trends toward domestic movies in markets like Japan and China, and we have a domestic movie slate in both. On streaming and networks, we expect to see growth with the launch of Max. One of the challenging areas is the advertising business, which we can see globally. But our exposure to advertising is limited in AsiaPac. We do need to pivot to digital ad sales. For example, we are seeing some positive signs in New Zealand, where we have a free-to-air broadcaster. The BVOD product there, ThreeNow, has seen double-digit growth in reach and revenues. The development of the digital advertising market is there. We must be quite tactical about where we go for it, and it will take time to build up.

That’s also an opportunity. There are geopolitical risks that always exist in AsiaPac and can have an impact. One of the biggest opportunities for us is rolling out our franchise experiences. In Japan, we see that it continues to grow steadily. Our ability to roll that out in other high-potential markets like China will be an interesting space. Overall, even though 2024 will be a dynamic year, for AsiaPac, I’m looking at more opportunities than challenges.

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