ContentAsia APOS Special Edition/Issue Two/April 2017 by ContentAsia

APOS SPeciAl editiOn/iSSue twO 2017

ntent

FOX+ Gamechanger. For real.

Formats Q1 in Asia: The Final Report

Relevant. Definitive. Engaging. We are Asia’s Fastest Growing Pay-TV Channel for These Reasons. What are you waiting for? Outdoor Channel

PluS 50+ Industry leaders on the #onething2017 making the most difference to their businesses this year

Turner We share stories with the world. Ben 10 Cartoon Network Grizzy & the lemmings Boomberang Quest Express CNN Saimdang Soulmates Jeruss Time Oh!K (Impractical) Jokers TruTV DC’s Legends of Tomorrow WBTV News Entertainment Kids

CNN WBTV Boomerang Toonami Oh!K TNT CN Cartoon Network Tabi Channel MondoTV WN Now that’s Hollywood! TCM CNN U.S. HLN truTV Pogo [adult swim] tuzki

contents...

what’s inside... what’s going on in... 6

Korea

Korea’s enforced pivot away from China has fasttracked the hunt for a new pot of gold from anywhere/ everywhere. And producers are coming at the challenge with a mix of scripted drama, “dark” social reality and light entertainment.

Forecasts OTT/streaming content spend is soaring, Asian premium IP is on the up, and OTT aggregators are likely to emerge as the new centre of the subscription universe, says Media Partners Asia (MPA)

10 Hong Kong Optimism & gloom run sideby-side in Hong Kong as new services emerge and one of Asia’s oldest players winds down a business that has been on the slide for years.

Golden Tambourine (2017)

Online video is a key addition to TV and the multi-channel business. We can’t afford it to be a full replacement in the medium term.”

Even more FOX Networks Group in Asia just bought itself a whole new path into the future with a streaming platform that lives and breathes “more”.

Vivek Couto, Media Partners Asia

page 12

in its APOS forecasts.

FOX+ is not just another streaming player.” Zubin Gandevia, President, FOX Networks Group Asia

page 16

FormatsOutlook Asia had 208 formats on air, in production or greenlit in the first quarter of 2017. Big-brand talent contests still rule alongside lowcost classics, but the appetite for drama is growing. ContentAsia looks at key trends and influences.

contentasia issue two, april 2017

Say Yes To The Dress, TLC

The Big Influence...

ContentAsia asks execs from across the industry what they think will have the biggest influence on the business this year #onething2017

OTT/numbers

Just how many OTT/streaming players Asia has now, Hong Kong myTV Super’s dramatic linear increase, OTT’s rising stake in content spend in Asia, and other numbers worth counting in Asia at the moment.

editor’snote

FOX+ and then some If you haven’t seen FOX+ yet, find someone to show it to you. It prob-

So why am I looking for the dark side, being so grouchy such a long

ably won’t be difficult in Bali, because APOS will be swarming with FOX

way from Christmas? Because it’s going to be so very easy to swallow the

insiders who have universal versions of the app. You need to see it. It’s

marketing material on this one.

FOX Networks Group’s (FNG) vision of the future, all in one place, and it’s

The thing here is that, if anything, FNG seems to be playing down the sheer power of FOX+ to create a new relationship with consumers in Asia

beautiful even if barely begun. Is FOX+ really a game changer? It sure looks like it could be, right down to giving users the ability to choose the size of the font on the subtitles.

and transform the entire landscape. For now, FNG (like BBC Player on a smaller scale) is handing traditional platforms a multi-screen on-demand

The possible hazard/s? The main one is that the existing pay-TV part-

lifeline they haven’t been able to create for themselves. There’s no talk of

ners, to whom FNG has tied FOX+’s immediate future, screw up. Don’t

cutting out the platform in any way, nothing about a direct-to-consumer

laugh. Many of them have mangled their own products in a hideous

play. Rather, the message is about loyalty, re-build-

swamp of “press one for… press two for… press seven for…”, irritating

ing a battered ecosystem. Together. Supportive.

recorded sales messages, “your call is important to us” (right, of course it

The hope for programmers is clearly to salvage as much of their top-dollar traditional carriage

is, thanks for answering), and two-working-day call backs. Dedicated FOX+ customer service teams inside platforms could be a

fees as they can in a world of erosion. And so

solution, as long as there’s a 10-foot-high sanitary barrier, with hazmat

they’re playing nice, maybe while figuring out

suits and fumigation tents, between the old teams and their habits/prac-

how best to fill the gap between old and new

tices and new teams who live and breathe the kind of SVOD service

revenues, and holding in reserve the option

Netflix showed was possible.

to cut loose and go it alone.

What else could go wrong? Too many consumers download the FOX+

And all the while they’re testing what

app and use it all at once and the network crashes. Maybe. I reckon

works, honing their customer-centric skills,

they are on top of it already.

playing around with streaming linear, with

Or perhaps the separate unit set up to operate FOX+ doesn’t keep

genre composition, collecting user data

innovating and upgrading? No chance, says Prakash Ramchandani,

and knowledge, and shaping the prod-

FNG’s SVP of SVOD Digital, Asia Pacific & Middle East, who created the

uct as an entertainment destination

product out of Singapore with his own team and is driving its launch and

existing consumers know, new viewers

ongoing development.

engage with and everyone loves. And

Keeping content fresh, fabulous and discoverable? That’s a daily goal

gathering even more data. Data that

and a never-ending reality. FNG has a direct line to FOX originals, and has

they own and can use, not have used

already re-shaped its rights relationships with major distributors. What’s

against them. Glorious times. A game

next? Whatever lets them give consumers what they want...

changer indeed.

Or they run out of funding/support from the powers that be? Looks highly unlikely given the backing so far, but it’s a strange world and stranger things have happened.

C Editorial Director Janine Stein Assistant Editor Malena Amzah malena@contentasia.tv Research & Production CJ Yong cj@contentasia.tv Editorial Aqilah Yunus aqilah@contentasia.tv Design Rae Yong

NTENT ASIA

INTERNATIONAL Associate Publisher (Americas, Europe) and VP, International Business Development Leah Gordon leah@contentasia.tv ASIA Sales and Marketing Manager Masliana Masron mas@contentasia.tv

What is ContentAsia?

ContentAsia is an Asia-based information resource that refines today’s info-deluge into usable, digestible, and reliable intelligence about entertainment content creation, funding, financing, licensing, distribution, design and branding and technology across the Asia-Pacific region. ContentAsia’s range of products include electronic, print and online publications.

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Published by: Pencil Media Pte Ltd l 730A Geylang Road, Singapore 389641 l T: +65 6846 5987 l W: www.contentasia.tv

contentasia issue two, april 2017

Measat Defining Ability The region’s leading video distribution partner continues to focus on customized and innovative broadcasting solutions. With flexible service options and leading-edge technology, the MEASAT-3/3a satellites at 91.5E are the premier choice for Asia’s HD and UHD distribution needs. Tel: +603 8213 2188 Email: sales@measat.com www.measat.com

Gold standards Golden Tambourine, CJ E&M

Korea’s enforced pivot away from China has fast-tracked the hunt for a new pot of gold from elsewhere/ anywhere. And they’re coming at the challenge with a mix of scripted drama, “dark” social reality and light entertainment. When Korean formats producers and creators took to the stage at the

famous comic book artist, goes missing.

MIP TV market in Cannes this month, it was with a brave face against a

The other scripted formats presented in Cannes were SBS’ legal thriller,

background of anti-Korean devastation across China that has decimated

Innocent Defendant, and Good Manager, from public broadcaster

their most lucrative foreign licensing/production market ever.

Korean Broadcasting System (KBS).

Their choice? To double down on international markets in the hope of

Good Manager, the story of an accountant who becomes a middle

replicating the success of, for instance, CJ E&M’s Grandpa Over Flowers,

manager to embezzle a large sum of money but instead ends up ﬁghting

which was remade for NBC in the U.S. as Better Late Than Never.

for his employees’ rights, doubled its ratings in its ﬁrst ﬁve episodes on air

Korea’s major creators are coming at the challenge with a wide mix of genres, including drama and “darker side of humanity” reality. These include free-TV broadcaster Seoul Broadcasting System’s (SBS)

despite having no major stars, says KBS Media’s Hanbyul Kim. The 20episode series aired on KBS2 from January to March this year in the primetime Wednesday/Thursday slot.

The Heir, a reality show where rival heirs battle “siblings” en route to

SBS’s Innocent Defendant ran in Korea from January to March this

getting everything. SBS’ Insoon Kim, manager of SBS’ Creative Oasis Lab/

year, as well as on mobile platform Viu and regional linear channel

Global Production Team, describes the series as the “dark side of social

Sony ONE. The series is about a prosecutor who wakes up one day to

hierarchy”.

ﬁnd himself behind bars as a convict on death row with no memory of

Three scripted drama formats were highlighted in Cannes among slates dominated by variety and various competition shows. Of the 12 titles that broadcasters and producers chose to present

how he got there. Light and fun entertainment remains the backbone of Korea’s bid for global attention.

during the Korea formats showcase, 25% were drama, 25% were variety,

Top shows in the arsenal include new CJ E&M game show Golden

and the other six were singing competitions (2), dating competitions (2),

Tambourine, where teams compete noisily for space in a room with a

reality (1) and a new light entertainment eating competition (1).

moving wall.

Free-TV broadcaster Munhwa Broadcasting Corporation (MBC)

“What’s next. Singing? Cooking? Viewers still have a huge appetite

brought its ﬁrst scripted format, supernatural suspense drama The W –

for these genres,” says Jinwoo Hwang, CJ E&M’s head of formats and

Two Worlds Apart, to MIP TV this year.

content development.

The 16-episode 2016 series, directed by Jung Dae-yoon, is about a

“But in order to gain more viewers, we need a slightly different

heart surgeon forced to juggle real and virtual worlds after her father, a

approach,” he says, adding that the way forward is “fun, faster pace

contentasia issue two, april 2017

Halt and catch fire

Fear the walking dead

Into the badlands

Humans

AMC www.amctvasia.com @amctvasia

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眀眀眀⸀愀洀挀琀瘀愀猀椀愀⸀挀漀洀

The Gobbler Race, CJ E&M

and families”. CJ E&M’s first title in this new light entertainment genre is

Late Than Never, the relationship works both ways. CJ E&M affiliated

The Gobbler Race, which premiered in Korea at the end of March.

production house Studio Dragon, has produced a local version of HBO’s

Meanwhile, opinion varies on whether and/or when the China market

Entourage for CJ E&M’s tvN cable channel. Entourage Korea premiered

will come back. There’s a sneaking suspicion that even if political winds

on tvN in Korea in November 2016 with an express window on the

shift and China’s fury over Korea’s deployment of the U.S.-developed

increasingly aggressive regional tvN linear service, which is competing

THAAD missile defence system dissipates, mainland media authorities

fiercely with two regional pay-TV incumbents – Sony Pictures Television

aren’t going to stand by and watch Korean IP soar so far ahead of

Networks’ ONE and Turner’s Oh!K. CJ E&M was also behind a local

domestic Chinese production again. Somewhere between now and

version of CBS Studios’ The Good Wife, which aired on tvN in July/August

whenever, Chinese producers look like they will be given every protection/

last year.

advantage and then some to up their game.

It’s not yet clear – at least not publicly – what impact the China

This year’s nightmare for Korean companies with China on their business

freeze will have on these budding drama co-production romances,

plans follows licensing and production boom times, during which an oft-

but the feeling is that without China, conversations could go quite

repeated line was that there were more Korean producers in China than

differently.

in Korea for everything from formats and drama to live events with Korean

Meanwhile, with or without China, co-development remains a major

idols. Talk is that a single episode of Korean drama could fetch anywhere

trend. Speculation at MIP TV earlier this month was that advanced

from US$400,000 to RMB10 million/US$1.4 million, which is what is thought

negotiations are under way for a U.S. version of The Society Game, a

to have put mainland media authorities on high alert.

reality show co-developed in Asia by Endemol Shine Group/CJ E&M. No

In addition to Korean distributors casting their nets wider for new opportunities, buyers in Asia say the fallout has been higher rights fees for Korean drama as Korean IP owners try to make up for the China shortfall. This comes at a time of unprecedented demand for Korean content from a slew of old and new platforms. Conglomerate CJ E&M, which operates a vast media empire including production and cable channels, leads the country’s efforts to expand its international content footprint. While CJ E&M’s most high profile success in the U.S. has been Better

announcements had been made at press time. There’s also nothing so far out of the NBCUniversal-MBC partnership announced in October 2016 to co-develop/produce original formats. And then we’re waiting for production updates from Korea’s iHQ, in which A+E Networks took a stake last year. Given Asia’s seemingly unquenchable appetite for Korean drama, the investment could mean A+E’s content conversations could have a whole new angle. Will all this fill the hole left by China? Maybe not yet. But it’s not like anyone has a choice.

contentasia issue two, april 2017

Save the date 23 Nov – 3 Dec Singapore Media Festival Market Conferences Screening Awards Labs Singapore Media Festival SGMediaFest www.sgmediafestival.com #SGMediaFest

ups&downs

Dark Cuisine, ViuTV

Optimism & gloom run side-by-side in Hong Kong as free-TV services emerge, TVB ramps up, and one of Asia’s oldest pay-TV players thinks about winding down a business that has been on the slide for years. By the time APOS wraps on 27 April, a major question will be answered:

in the new 40-channel Supreme pack include CJ Media’s tvN channel,

Will Hong Kong Cable TV parent, i-Cable Communications, renew its pay-

RTL CBS Entertainment and Celestial Tiger Entertainment’s KIX and Thrill

TV licence or not? The platform has been given an extended deadline,

channels. myTV Super said the pack would offer more than 32,000 hours

until Wednesday, 26 April, to make a decision. The current pay-TV licence

of content. myTV Super will also offer a new CJ E&M SVOD Zone and

expires in May this year.

SVOD/TVOD content from BBC, and is boosting its TVOD proposition in a

If i-Cable does renew, a million questions will follow about the way

deal with NBCUniversal, which is shutting two of its linear services.

forward after failing to ﬁnd a buyer and being cut loose from the purse

Meanwhile, it’s full steam ahead (or seems to be) on the free-TV front, with

strings of parent company Wharf. If it doesn’t renew, an era ends for one

i-Cable subsidiary, Fantastic TV, at press time still committed to launching

of Asia’s oldest pay-TV platforms and a veil will be drawn over a sad story

its Cantonese channel on 14 May this year, followed in May 2018 with an

one insider called a “case study in value depletion”.

English-language channel. For now, the Chinese channel is expected to

If it shuts down, Cable TV won’t be the ﬁrst to exit the pay-TV biz. In January this year, dominant free-TV broadcaster Television Broadcasts

draw from Cable TV’s robust news division, giving rise to speculation about the fate of the news unit if the pay-TV operation goes down.

Ltd (TVB) pulled the plug on its ever-ailing subscription-TV business,

Much quicker out the gate is PCCW’s Hong Kong Television

TVB Network Vision, shifting to a streaming model under myTV Super.

Entertainment, which went live with its English-language free-TV channel,

The decision followed years of ill-fated attempts at making the pay-TV

ViuTVsix, at the end of March. The schedule has a strong news strand,

business work and billions of dollars in losses.

fuelled by international news outlets, including CNN and Deutsche

TVB’s move is very much a pivot rather than an exit, with news of the shutdown and the dramatic surrendering of its pay-TV licence coinciding

Welle along with ABC’s 20/20 and with the promise of an even balance between local and international news.

with loud backing and even louder expansion for the one-year-old myTV

ViuTVsix’s line up includes HBO Original dramas such as Entourage, True

Super. On the eve of the platform’s ﬁrst birthday in April, TVB said myTV

Blood, The Newsroom and Boardwalk Empire, which have aired across

Super had 2.8 million subscribers.

HBO’s platforms in the territory but have not been shown on local free-to-

The new myTV Super services added in April include a bouquet of thirdparty linear channels, plus SVOD and TVOD options. The linear services 10

air TV channels before, along with programming for dogs and dog lovers. And a big woof to that effort to serve the under-served.

contentasia issue two, april 2017

All3media international Content that captivates. Talent that resonates. Finance that activates. From all3media International, part of the UK’s leading production group.

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Content that captivates. Talent that resonates. Finance that activates. From all3media International, part of the UK’s leading production group.

@all3media_Int all3mediainternational.com

schedulesfactual

Shape shift Content spends: OTT is reaching parity with Pay-TV in emerging Asia Comparison of content spends in Developed SEA (2017)

Comparison of content spends in Emerging SEA (2017)

OTT/streaming content spend is soaring, Asian premium IP is on the up, and OTT aggregators are likely to emerge as the new centre of the subscription universe, says Media Partners Asia (MPA) A new version of the pay-TV environment is emerging – and, in the kinds

where proﬁts are challenging. “At the same

of deals programmers will sign for their content, it looks pretty much the

time, demand and pricing power in MPA-sur-

same as it used to, in the old days. “We believe the future of pay-video

veyed markets continue to rise across both TV

will revert to the pay-TV model – selected players will be on MG, others

and online video, helping sustain Korea’s leader-

on rev-share,” says Media Partners Asia (MPA).

ship position,” MPA says.

In its latest state of the industry report that will be presented at this year’s

“Multiple genres are fueling consump-

Asia Paciﬁc Video Operators Summit (APOS) in Bali, MPA also makes a

tion on free, pay and OTT services. Lo-

case for a higher proﬁle for local and Asian premium content, which has

cal dramas, however, remain the

already started to chip into Hollywood’s dominance of streaming plat-

most important ratings driver

forms’ line-ups.

across much of the region,

“As exclusive local productions make their way to OTT, consumption

despite concerns about

patterns on SVOD/OTT are likely to change,” says MPA executive direc-

stale storylines,” the re-

tor Vivek Couto. Already, typical consumption on online video platforms

port adds.

in Southeast Asia has shifted from 80% Hollywood/20% Asian to 50% Hollywood/20% local/30% Korean.

In India for example, domestic dra-

MPA’s latest forecasts come shortly after the company said Asia’s TV,

ma accounted for

ﬁlm and video production sector “is set to enter a new cycle of growth

more than half of

as economic development and evolving distribution ecosystems stoke

all TV viewing last

competition and demand for better shows, as well as more varied for-

year. Local series

mats and approaches”.

were also popular

Korean content remains the gold standard for production in Asia, ex-

in Southeast Asia,

panding beyond drama and ﬁlm to become a genre in its own right,

representing 46% of

MPA says in its March report, Asia Video Content Dynamics, noting that

viewing in Vietnam,

costs are increasing in Korea’s highly competitive domestic marketplace,

35%

viewing

contentasia issue two, april 2017

Typical content comsumption on online video platforms in SEA Now

At launch

Right now the way it’s building up, online video is a key addition to TV and the multi-channel business. We can’t afford it to be a full replacement vehicle over the medium term because the dollars alone cannot sustainably fund the premium content ecosystem.” Vivek Couto, Executive Director, Media Partners Asia (MPA)

In 2016, MPA figures show SVOD OTT players in the region spent almost US$200 million on content (excluding sports), compared to about US$250 million that pay-TV platforms spent. OTT spend on content in developed Southeast Asia is way lower at about US$100 million compared to about US$800 million in the pay-TV industry. MPA’s picture of the future is drawn against an environment where SVOD services’ indirect reach will outstrip direct reach by a long way in 2021. Taiwan and India, where direct-to-consumer reach will be significant, are the exceptions. Netflix, says MPA, is slowly emerging as key direct-to-consumer proxy across the region, driving deep consumption of its platform in markets such as India, Malaysia, Philippines and Thailand. SVOD revenues are forecast to “climb rapidly from a low base”, reaching US$500 million a year in aggregate across Southeast Asia and Hong Kong and US$200 million in India alone by 2022. The SVOD-based online video business in Southeast Asia generated

Thailand and 31% of viewing in the Philippines. Movies also tend to

US$80 million last year. The average annual growth rate over the next

rate well on TV, especially in countries with a strong domestic ﬁlm

ﬁve years is about 40%, “with many markets on a long-term growth cycle

industry. “This is especially evident in India as well as Indonesia and

(10-15 years) due to telco ubiquity especially in Indonesia, Philippines,

the Philippines, the two markets in Southeast Asia with the largest box office and where local films also have the highest share of revenue,” MPA says. MPA predicts that OTT/streaming content aggregators – Amazon Prime, Fox+, iflix, Netflix and Viu – will play a central role

Thailand and Vietnam,” Couto says. There will be about 400 million mobile broadband subs in Southeast Asia by then, about 60% of the combined population, by 2021. In Hong Kong and Taiwan, MPA expects the SVOD opportunity to scale to US$285 million a year by 2021 compared to US$90 million a year today.

in the future of pay-video, replacing the channel owners

Couto describes AVOD as “a big opportunity” in Southeast Asia at

of days gone by and shifting telco’s direct relationship

about US$250 million, growing to US$850 million by 2021. This is large-

with channel/content brands a layer down.

ly dominated by YouTube and Facebook, “but we see a world where

This follows signiﬁcant content spend by OTT/streaming platforms, particularly in emerging Southeast Asia.

contentasia issue two, april 2017

big local free-to-air players with digital platforms start taking share here, much as Hotstar and Voot are doing in India,” Couto says.

schedulesfactual

Evolution of pay TV to pay video

“The key thing there is that while mobility, SVOD and AVOD take all of us into massive reach and engagement and moves beyond households and into users, the monetisation of that reach is far lower than that of TV,” he adds. “In fact, right now the way it’s building up, online video is a key addi-

less than 5% of new subscription revenue growth coming from traditional free-TV/pay-TV services between now and 2021. India remains overwhelmingly a traditional television subscription market; more than 90% of new subscription dollars over the next ﬁve years will come from TV services.

tion to TV and the multi-channel business. We can’t afford it to be a full

SVOD in India is led by players such as Netﬂix and Amazon and then

replacement vehicle over the medium term because the dollars alone

layers within Hotstar, but the on-demand sector is dominated by AVOD

cannot sustainably fund the premium content ecosystem,” Couto says.

models. “We see the India OTT opportunity at more than US$1.3 billion a

The emerging SVOD story will run alongside signiﬁcant shifts to digital

year by 2021 with SVOD at less than 15%,” Couto says.

advertising in Asia. MPA says ﬁve markets in Asia retain “big actionable

India is followed by Vietnam, where digital will be about 15% of the

opportunities” for advertising growth for free-to-air and, in some instanc-

subscription markets. The third market where digital will take less than 20%

es, pay-TV businesses over the next ﬁve years.

of new subscription dollars is Korea.

Indonesia, India, the Philippines and Thailand will remain important

Traditional subscription businesses in the Philippines, Indonesia, Taiwan,

markets for TV advertising, says MPA. New video advertising dollars in the

Malaysia and Thailand will take more than 50% of new subs revenue in

other markets will come mostly from digital, with the most extreme shift

the next ﬁve years but SVOD services from pan regional majors, global

happening in Singapore, followed by China.

players and local incumbents will eat their way into the share of wallet in

About 80% of new video ad dollars in Indonesia in the next ﬁve years

all these markets

will be from free-TV businesses, followed closely by the Philippines and

Another key trend is the rapid growth of broadband in Asia. In many

then Vietnam. More than 60% of new advertising revenue in Thailand

cases, ﬁxed broadband penetration is higher than pay-TV penetration.

and India will also come from traditional video.

Singapore, for instance, has 100% broadband penetration, but less than

Digital is making a real mark in Hong Kong, Malaysia, Korea, Taiwan,

80% pay-TV penetration and it’s likely to veer towards 70% in the future.

China and Singapore, where no more than 40% of new ad revenue will

The gap is biggest in Japan, which has 80% broadband penetration and

come from free-TV/pay-TV, MPA says. Both China and Singapore are be-

20% pay-TV penetration. Broadband penetration is also higher than pay-

low 10%, and Taiwan and Korea are below 20%.

TV penetration in Hong Kong, China, and Vietnam. India has the highest

The subscription shift is perhaps less dramatic, with new revenue growth

gap the other way, with over 80% pay-TV penetration and about 10%

still beating out digital revenue growth in eight markets, hovering at the

broadband penetration. Smartphones and 4G will fuel mobile broad-

50% mark in one, and dipping to 40% and below in two.

band penetration, and next generation mobile broadband will fuel OTT

Singapore will see the most startling shift to digital subscription, with

and channels.

contentasia issue two, april 2017

Get ready for the ultimate entertainment experience.. TiVo

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proﬁle

Even more FOX Networks Group in Asia just bought itself a whole new path into the future with a streaming platform that lives and breathes “more” and a focus that reaches beyond video right into the heart of the consumer. FOX Networks Group (FNG) Asia president, Zubin Gandevia, is in plus

ment where consumers’ every

mode, adding angles to an ecosystem built up over the past two and a

need has been anticipated.

half decades and subtracting nothing except, perhaps, the fear that has

That’s a turn-the-critics-away-

wracked a traditional subscription video industry in decline.

tail-between-legs moment for

At the core of the way forward is FOX+, a multi-screen streaming product that has promised “an unrivalled combination of the latest

FNG. And they’ve only just got started.

TV series, ﬁrst-run Hollywood blockbusters, hit Chinese series and movies, live sports and thrilling documentaries, all in one place, accessible from any device, at any time, in high deﬁnition”. So that’s the press release. The reality? Well, maybe not every single documentary uploaded so far is thrilling. The “unrivalled combination” of content could be debated title by title, window by window, across 11,000+ titles against streaming rivals. But then add live sports streaming. And in an environ-

contentasia issue two, april 2017

Gandevia talks about FOX+ as more than just an app. It’s a multimillion dollar commitment to a future that builds rather than breaks.

legacy businesses who adapt to the future. We see this as a huge opportunity,” he adds.

He’s clear about why. “Our requirement is different from other play-

He is single-minded about “working with current partners first and

ers who might be in valuation mode or doing in to disrupt the system.

foremost” and won’t be drawn into a direct-to-consumer conversa-

We are trying to strengthen the ecosystem, building value, not de-

tion. “We believe we are better off working through partners than

stroying it”.

going direct because they have scale. Key is the marketing and the

“We are being accretive, building on an amazing ecosystem that we have built over many years,” he adds. There’s a good reason, among many other reasons, why. For now, as Media Partners Asia’s (MPA) data shows, there’s a gap between traditional and “digital” revenues that means supporting co-existence is a very sensible idea. And it may always be in one form or another, but that’s a ques-

retailing scale,” he says. Gandevia talks about “incentivising existing subscribers” and says FNG’s “number one priority is to improve the experience of our loyal fans… thereby protecting the businesses of our affiliate partners”. A high-value experience is a bet against the lure of piracy and losing viewers to other channels. “Let’s make sure we serve our fans firsts and then we will go for new ones,” he says.

tion for another year. The question for today is “how can one create

What does success look like? A couple of weeks after the FOX+

a strategy where the market is arguably declining but can become

launch in the Philippines, FNG won’t go on the record with download

stronger. FOX+ is part of that,” Gandevia says.

numbers. The service is available through Cignal, PLDT and Smart in

“Our belief is that the game will be won by people who have big

the Philippines. “A measure of success is not the number of down-

Zubin Gandevia, President, Asia Pacific & Middle East, FOX Networks Group

contentasia issue two, april 2017

profile

Our requirement is different from other players who might be in valuation mode or doing it to disrupt the system. We are trying to strengthen it.”

FNG also acquired U.S. Open rights, giving the network rights to all four tennis grand slams, along with rights to The Voice and The Blacklist. FOX+ went live in the Philippines on 7 March with Deadpool, Star Wars: The Force Awakens and The Revenant, and full catalogues of shows such as The Walking Dead, and Homeland, along with recent titles The Young Pope and 24 Legacy. Gandevia’s second imperative is to “make products for the future”. FOX+ is an example of that. There’s more in the works, along with a stronger push beyond video. All this new thinking required significant changes to the way FNG’s

Zubin Gandevia, President, Asia Pacific & Middle East, FOX Networks Group

business is structured. “Digital changes the product, distribution, advertising sales, the way we organise ourselves,” Gandevia says. FOX+ was created in Asia by a dedicated unit under Prakash Ramchandani, FNG’s senior vice president of SVOD digital, Asia Pacific &

loads, it’s customer satisfaction,” he says. It’s a good story being told by a company that has made story telling a priority. “If you step back, our DNA and ethos is story telling,” Gandevia says. “We might make and tell them ourselves or someone else might. Movies or sport, maybe Hollywood, Chinese or Indian. That’s what we are about. That’s how we define our business. It’s not

Middle East, with a team that will continue to operate as an individual unit within FNG. Ramchandani will also have his own teams on the ground in every FOX+ market to manage local implementation. The groundwork for the new structure that gave rise to FOX+ and its content strengths was, however, laid long before. “When we looked to do this, we were clear about two things. One is it must start with what the consumer needs/wants.

a channels business. We tell stories in branded destina-

It’s easy to say but the industry has not done a good

tions that consumers trust and love,” he adds, describ-

job. We thought we had to fix that and to play to our

ing brands as “the castle in which the king lives”. “Stand alone content is good but not as good as marrying it with a powerful brand,” he says. Three elements underpin the way forward. First, he

strengths, which we have a lot of in this part of the world,” Gandevia says. “If you are a consumer, the industry has forced you to make a choice. If you are on linear, you get a good

says, “in a market under pressure, we are becoming

experience,” he says. The on-demand experience, not

stronger by doubling down on the best content and

so much. Giving consumers what they want was dif-

brands so that we can expand market share... our strat-

ficult because of the rights windows, Gandevia says. So

egy is to get all rights to the best content, get it first and

he set about changing the relationship with distributors,

get it exclusive”. Within that, FNG is going “upstream” and investing in producing its own content. The first two TV series are Chinese finance

and redistributing the advantage that used to belong solely to linear. FOX content was less of an issue. “Luckily for us, we also make a lot of our own content,” Gandevia says.

thriller Trading Floor and five-part crime

In the new world created by FOX+, the latest shows are

thriller Stained, which is inspired by

streamed day and date with the U.S. and on the same day

real-life crimes in Hong Kong. Both series were announced at Hong

as the shows air on the linear channel. FOX+ also offers box sets of past seasons.

Kong Filmart in March this year,

Hollywood and Chinese movie titles will also be

and mark a new original pro-

available on FOX+ as soon as they go on the chan-

duction era for FNG in Asia.

nel.

Both will be available on FOX+

“For the first time we are allowing the consumer

as well as on FOX channels

to marry old and new, bringing the entire experi-

worldwide.

ence in one place. It’s never been done before,” Gandevia says. For his part, firsts and never-done-before’s have become a way of life for Ramchan-

Prakash Ramchandani SVP of SVOD Digital, Asia Pacific & Middle East, FOX Networks Group

dani, tasked with building the platform from the first one and zero.

contentasia issue two, april 2017

The world is listening Discover the depth and intricacies of global politics from a reliable source of news and information. DW is there when it matters.

The world is listening

Deutsche Welle | Ms. Mee Fung Lee | T +60 (3) 2093-0866 | meefung.lee@pikfilm.com. my

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proﬁle

We will always be in beta mode... educated by our consumers.” Prakash Ramchandani, Senior Vice President of SVOD Digital, Asia Paciﬁc & Middle East, FOX Networks Group

Everything he has lived and breathed for the past year at least has been about making the app easy to use, from the unique episode descriptions and images, the size of the subtitles and the language customisation, to the ability to download a movie in three minutes on a 4G network and to dial into the call centre directly from the app. “We want to be as close to the user as possible,” Ramchandani says. Although FOX+ is tethered to existing pay-TV partners, the product will be available as a standalone to non-FOX subscribers through the platform. That said, “we are working with our partners and incentivising consumers,” Gandevia says. Deals will differ market by market, but generally if viewers already subscribe to one of the higher ARPU packs, FOX+ may well be bundled in at no extra cost. The idea is to make the bigger subscription pack more attractive than buying FOX+ alone. FOX+ will be geoblocked for speciﬁc markets. While this eliminates the ability for subscribers to take the subscription with them wherever they go, it also allows FNG to customise pricing market by market. “We are being very careful not to cannibalise our existing business,” Gandevia says. “We have to give our consumers a good, legitimate experience that’s world class and better than any other.” Gandevia said the more programmers moving into the streaming environment the better. “Anyone who owns content can do this,” he says, adding: “The question is do you own enough and are there enough consumers who want to consume the content to make it worthwhile?” With FOX+ up and running in the Philippines, the immediate mission is to roll out everywhere else. Singapore is likely to be next, although nothing had been conﬁrmed at press time. The more users the service has, the bigger the data – another critical change from the un-sharing environment that characterised traditional pay-TV relationships. Going forward, FOX+ will be shaped to some extend by that data, although Gandevia stands by the line that “people don’t watch algorithms, they watch content”. Is there anything he doesn’t like about the FOX+ experience? “I’m very impatient. I would like to do it much faster. But tell myself it’s a marathon. One step at a time.”

contentasia issue two, april 2017

Starhub Astro nowTV Cignal Indovision SingtelTV Bbtv Leco Tonton Skycable Welcome more partners soon. HITS www.hitstv.com The best tv All in one place Asia’s basic channel service Linear . HD. Catcj-up. OTT. TV Everywhere Rewind A Rewind Networks Presentation

formatswho’swho

Formats Outlook Q1 Top left: Asia’s Next Top Model S5 Top right: I Can See Your Voice Indonesia Left: Say Yes To The Dress Far Left: Old Enough! Vietnam S5 Above: Indonesian Idol Jr Below left: Strictly Come Dancing India S9

Vietnam, Thailand and China continue to top Asia’s formats market by volume, with 50% of the total number of formats on air in Q1 2017 or commissioned for broadcast in 2017/2018. The total formats count is also up on this time last year, with more than 200 titles on air or commissioned so far. Vietnam, Thailand and China lead Asia’s formats market this year. The

land ranked third in last year’s first quarter formats analysis, with 27 titles

three markets account for a combined share of 49% (102 titles) of the

(Q12016: 14% share of 193 titles).

total 208 shows on air, in production or commissioned for broadcast in

China dropped to third spot this year with 28 titles (13.5% of the total),

2017/2018, according to ContentAsia’s Formats Outlook for Q1 2017. The

only one less than last year, according to data provided by rights hold-

three markets also topped last year’s Q1 list, although their share has

ers and distributors. This is despite some serious disruption to the business

dropped from 53%.

by regulations that mandate IP ownership rests with the Chinese party

ContentAsia’s Formats Outlook for Q1 this year puts Vietnam on top by

and a ban on all things Korean. We’re expecting co-development, a

volume of the 15 countries being tracked. Vietnam has 44 titles (21% of

new generation of partnerships, and other creative deal-making to con-

208 titles), three titles down from last year’s 47 (Q1/2016: 24% of 193 titles).

tinue while the regulations are in place. Japan plays a significant role

Titles this year include Asia’s first version of celebrity singing competition It

in drama adaptations in mainland China. Current activity is driven

Takes 2 (seasons 1 & 2) airing on VTV3 since February, as well as the long-

by Fuji TV formats, including A Restaurant With Many Problems China,

running Who Wants to be a Millionaire Vietnam, which has been on air

Dating: What’s it like to be in Love? China and First Class China.

since 2005 and is currently in its 12th season. Thailand is second by volume this year, with 30 titles (14.4% of 208 ti-

Cambodia retained both market share (11%) and fourth place position with 22 titles in Q1 this year, up one from last year’s 21 (11% of 193 titles).

tles, three up from last year’s 27), including returning seasons of The

The country with the biggest increase in the number of formats in Q1 is

Choice Thailand, Price is Right Thailand and Still Standing Thailand. Thai-

the Philippines, with six more titles (from 13 last year to 19), including new

contentasia issue two, april 2017

mb 10 odia Sri La .9% n 0.5 ka %

Who has the most... Ind

i 8.2 a %

Sri Lanka 0.5% Sin Singapore 0.5% ga

Ind

on 7.8 esia %

Ja pa 0.5 n %

Q12016 Q12017 -/+ Vietnam 47 44 -3 Thailand 27 30 +3 China 29 28 -1 Cambodia 21 22 +1 Philippines 13 19 +6 India 15 17 +2 Indonesia 13 17 +4 Mongolia 4 7 +3 Myanmar 7 7 0 Korea 8 5 -3 Regional 3 5 +2 Malaysia 2 3 +1 Japan 2 1 +1 Pakistan 1 1 0 Singapore 1 1 0 Sri Lanka 0 1 +1 Total titles 193 208 +15

India 8%

po r % e

0.5

Cambodia 11%

Indonesia 8% Vie tn 21 am .3%

JapanKo0.5% r

e 2.4 a %2% Korea Ma lay sia Malaysia 1.51.5% % Mo ng 3.4 olia Mongolia 3% %

Vietnam 21%

an 3.4 mar Myanmar 3% % P

kis Pakistana0.5% t 0.5

Philippines 9%

Thailand 14%

ilip p 8.2 ines %

Regional 2% R eg

io 2.4 nal %

China 13.5%

ail 14 and .5%

Ch i 13 na .9%

Left: Hole in the Wall Vietnam

seasons of Bet On Your Baby, Cash Cab Philippines, The Money Drop Philippines and The Voice Kids Philippines. Myanmar (seven titles, 3% share), Pakistan (one title, 0.5%) and Singapore (one title, 0.5%) are all level with Q1 last year.

Warner Bros and Keshet also grew significantly. Warner was up from two titles (Q1 2016: 1%) to 12 (6%) this year. Keshet, which set up its first Asia office in Hong Kong about 18 months ago, was up from nine (Q1 2016: 5%) to 20 (10%) this year.

Sri Lanka was included in this year’s Formats Outlook report with one

Sony Pictures Television (seven titles, 3%), Dori Media (rights to two titles,

title – Who Wants to be a Millionaire Sri Lanka season seven. The game

1%) and Globo (one title, 0.5%) have maintained their number of shows

show premiered in January this year on terrestrial station Sirasa TV.

on air/commissioned this year from last year.

Endemol Shine (47 titles, 23% share) and FremantleMedia (45 titles, 22%) were once again the two leaders in the region, separated by more than 20 titles from their closest rivals Talpa and Keshet International, with 20 titles (10% share) each. Talpa came in with the biggest increase of all the companies tracked, up by 12 titles from eight to 20 shows this time last year.

contentasia issue two, april 2017

Source: Distributors/rights holders, broadcasters, ContentAsia Notes: Updated as of 5 April 2017. Q1 2016’s data was updated/complied on 10 Mar 2016. Titles were on air or premiered in 2017, or were commissioned for broadcast in 2017/8 in Asia. Does not include: format options, titles/formats created solely for a sponsor/s, and shows created by broadcasters for their own channels that have not been sold as formats to anyone else. All distributors and formats rights holders were given equal opportunity to participate. For information/feedback, please contact aqilah@contentasia.tv

formatswho’swho

Formats by genre D0?+%6'(")*+,,"%' E.'

F6:+29' <.'

/0%(+'(")*+,,"%' 1.'

!""#$%&' (")*+,,"%' -.'

Broadcast on: TLC (Q3 2017). Broadcast details: To be conﬁrmed Produced by: Endemol Shine Group Commissioned by: Discovery Networks Asia Paciﬁc The pitch: Say Yes to the Dress Follows brides-to-be on their search for the perfect wedding dress.

/20)0' 34.'

5%6+260$%)+%6' 7.'

B$%&$%&'(")*+,,"%' <C.'

CAMBODIA Boom! Cambodia

Genre: Game/trivia challenge Broadcast on: Bayon TV Date: Ongoing, since 5 March 2016 Slot: Saturdays, 8pm Episodes: 52 Produced by: Bayon Radio & TV Original created by: Ido Rosenblum, July-August Productions, Keshet Broadcasting Rights: Keshet International The pitch: Action movie meets video game in a trivia challenge.

Cambodia’s Got Talent S2-4 80)+'9:";' <=.'

>+0?$6@'A'/0,%&' 3<.'

Cambodian Idol S3/4

Source: ContentAsia Formats Outlook, Q1 2017

REGIONAL

Asia’s Next Top Model S5

Asia’s Got Talent S2/3

Genre: Talent competition Broadcast on: AXN Dates: Season 2 (2017), season 3 (2018) Commissioned by: AXN Asia distribution: FremantleMedia Rights: FremantleMedia/Syco The pitch: The talent show with no age limit, no talent restrictions and no cultural boundaries.

Genre: Talent competition Broadcast on: HMTV Date: Season 2 (2017), season 3 & 4 (to be conﬁrmed) Commissioned by: Hang Meas Distributor: FremantleMedia Rights: FremantleMedia/Syco

Genre: Modelling competition Broadcast on: StarWorld Date: Premiered 5 April 2017 Slot: Wednesdays, 8.45pm Produced in Asia by: Reﬁnery Media Rights/distributed in Asia by: CBS Studios International

Rights: NBCUniversal Original created in: U.S. The pitch: Style-challenged participants get a new look. Season three changes include extending casting to couples. No further details about season three and no conﬁrmation at presstime whether host of original U.S. series and Asia’s season two Jeannie Mai, is being brought back to front the third season (5 April 2017).

Say Yes To The Dress

How Do I Look? Asia S3

Genre: Makeover reality show Broadcast on: Diva Broadcast details: To be conﬁrmed Producer: RedFlame TV

Genre: Wedding reality

Genre: Singing competition Broadcast on: HMTV Date: Season 3 (2017), season 4 (to be conﬁrmed) Commissioned by: Hang Meas Distributed in Asia by: FremantleMedia Rights: FremantleMedia/Syco The pitch: To ﬁnd an outstanding unsigned solo recording artist.

Cambodia’s Next Top Model S2

Genre: Modelling competition Broadcast on: CTN Broadcast details: To be conﬁrmed Original created in: U.S. Rights/distributed in Asia by: CBS Studios International

Don’t Lose Your Money Cambodia S1

Genre: Game show Broadcast: Q4 2017 Commissioned by: Hang Meas HDTV Rights: Endemol Shine Group The pitch: Two teams go headto-head to win a life-changing amount of money.

contentasia issue two, april 2017

The world of Chinese entertainment Celestial movies Celestial Classic Movies CHK HD Miao Mi Celestial Movies [Now Streaming] Celestial Tiger Entertainment For more information, please contact Annie.chan@celestialtiger.com or annie.lim@celestialtiger.com

formatswho’swho

Got To Dance Cambodia S1

Genre: Dance competition Broadcast on: Hang Meas HDTV Date: Q4 2017 Produced by: Hang Meas HDTV Created by: Princess Productions Rights: Endemol Shine Group The pitch: Talent show searching for the nation’s best dance act of any age, size or style.

MasterChef Cambodia S1/2

Singer Takes It All Cambodia S1

Genre: Singing game show Broadcast details: To be confirmed Commissioned by: Hang Meas HDTV Rights/distributed by: Endemol Shine Group The pitch: Viewers at home take control of a singing game show, becoming both judge and jury via a real-time interactive app.

Genre: Cooking competition Broadcast on: CTN Date: To be produced in Q4 2017 Produced by: CTN Created by: Shine TV, in association with Ziji Productions Rights owner: Endemol Shine

Thank God You’re Here Cambodia

Minute To Win It Cambodia S3 (1 Neati Daembi Chhneah)

Your Face Sounds Familiar Cambodia S1

Genre: Game show Broadcast on: CTN Date: Ongoing, since 26 Jan 2016 Slot: Sundays, 8pm-9pm Produced by: CTN Original created in: U.S. Rights: Endemol Shine Group The pitch: Every challenge successfully completed in 60 seconds pushes contestants one step higher up the ladder. 10 successful challenges in a row equals a life-changing amount of money.

The Noise Cambodia S2

Genre: Game show Broadcast on: MYTV Date: 2017 Commissioned by: TSI Films Rights/distributor: FremantleMedia

Price Is Right Cambodia

Genre: Game show Broadcast on: HMTV Date: 2017 Commissioned by: Hang Meas Group Produced by: FremantleMedia

Rising Star Cambodia

Genre: Singing competition Broadcast on: Town TV Date: Q4 2017 Slot: Prime time, weekend Length: 26x120 mins Produced by: Town TV Created by: Tedy Productions and Keshet Broadcasting Rights owner: Keshet International The pitch: Talent format in which viewers control the show’s narrative via an integrated app.

Genre: Game show Broadcast on: HMTV Date: 2017 Commissioned by: Hang Meas Rights/distributor: FremantleMedia

Genre: Singing/impersonation Broadcast: Q2 2017 Commissioned by: Hang Meas Created by: Endemol Spain Rights: Endemol Shine Group

The Voice Cambodia S3

Genre: Singing competition Broadcast on: Hang Meas HDTV Date: To be confirmed Episodes: 16 Produced by: Hang Meas Original created in: Netherlands Asia/global rights: Talpa

The Voice Kids Cambodia

Genre: Singing competition Broadcast on: Hang Meas HDTV Date: April-July 2017 Episodes: 16 Produced by: Hang Meas Original created in: Netherlands Asia/global rights: Talpa

X Factor Cambodia S1/2

Genre: Singing competition Broadcast on: HMTV Date: Season 1 (2017), season 2 (to be confirmed) Commissioned by: Hang Meas Distributed/produced by: FremantleMedia Rights: FremantleMedia/Syco The pitch: Hopefuls whittled down across a number of key stages, including auditions and Judges’ Houses. The remaining lucky few contestants battle it out in the all-important live shows for the chance to be crowned the X Factor champion.

CHINA 2 Broke Girls China

Genre: Sitcom Broadcast details: To be confirmed Length: 24x30 mins Commissioned by: Cenic Media Produced by: Cenic Media Rights: Warner Bros International Television Production The pitch: Two girls from different backgrounds wind up as waitresses in the same urban diner and strike up an unlikely friendship.

A Restaurant with Many Problems China

Genre: Comedy drama Broadcast details: To be confirmed Commissioned by: Lajin Film Co-produced by: Fuji TV & Lajin Film Rights: Fuji TV, Japan Original created by: Fuji TV, Japan The pitch: A woman quits her job after being harassed and fed up with the corporate life, decides to open her own chic restaurant. Women who are unreasonably outcasted in a male-chauvinist world gather at this restaurant to challenge the men who have ridiculed them.

The A Word China

Genre: Drama Broadcast details: To be confirmed Slot: Weekly, prime time Length: 26x46 mins Created by: Keren Margalit Rights owner: Keshet International The pitch: Every family is a puzzle. And sometimes the pieces just don’t fit.

Produced by: Now Investment Media in collaboration with Endemol Shine China Original created in: Germany Rights owner: Endemol Shine Distributor: Endemol Shine Asia The pitch: Talent show that celebrates gifted minds and skills. New segment include Human vs AI.

China’s Next Top Model S3

Genre: Modelling competition Broadcast details: To be confirmed Length: 12x60 mins Produced by: IPCN Rights/distributed in Asia by: CBS Studios International

Dance Dance Dance China

Genre: Dance competition Broadcast details: To be confirmed Produced by: Zhejiang Tangde Rights/original created by: Talpa

Dancing Nation China S5

Genre: Dance competition Broadcast on: CCTV 12 Date: Early May 2017 Slot: Daily, 5.51pm Produced by: CCTV 12 Original created in: Argentina Rights: Sony Pictures Television The pitch: Dance competition that illustrates how hundreds of people can come together for a worthy cause.

Dating: What’s It Like To Be In Love? China

Are You Normal? China S3

Genre: Survey quiz show Broadcast on: Tencent China Broadcast date: To be confirmed Commissioned by: Shenzhen Tencent Computer Systems, China Original created by: Zoo Productions/all3media Distributed in Asia by: all3media The pitch: Participants are asked whether they think various behaviours are normal or not & are compared with the rest of the universe.

The Brain China S4 (最强大脑/ Zui Qiang Da Nao) Genre: Talent show Broadcast: Jiangsu Satellite TV Date: 6 Jan-24 March 2017 Slot: Fridays, 9.10pm-11pm Episodes: 12

Genre: Drama Broadcast on: Tencent Date: 21 Feb 2017 Length: 20x30 mins Slot: Tuesdays and Thursdays Commissioned by: Shanghai Media Group (SMG), China Co-produced by: Fuji TV and SMG Distributed in Asia by: SMG Rights/original created by: Fuji TV, Japan The pitch: A story of a man and a woman, both searching for that significant other but completely lacking in the skills to nurture a true romantic relationship.

contentasia issue two, april 2017

A New Scripted Series from Executive Producers DOMINIC MINGHELLA and JEREMY RENNER A New Scripted Series from Executive Producers DOMINIC MINGHELLA and JEREMY RENNER Knightfall Stories of the knights Templar

Sales.aenetworks.com A+E Networks

sales.aenetworks.com

formatswho’swho

First Class China

Genre: Drama Broadcast on: To be confirmed Date: 2017 Slot: To be confirmed Commissioned by: SMG Co-produced by: Fuji TV and SMG Distributed in Asia by: SMG Rights/original created by: Fuji TV, Japan The pitch: Survival of the fittest is the name of the game where women clash daily in a treacherous catfight for a constant power struggle to reach the top of the world.

Gossip Girl China S1-3

Genre: Teen drama Broadcast on: iQIYI.com Date: Q3/Q4 2017 Length: 24x60 mins Commissioned by: Beijing iQiyi Science & Technology Produced by: Beijing iQiyi Science & Technology Distributed in Asia by: Warner Bros Original created in: U.S. The pitch: Lives and times of privileged students at an exclusive private school.

Humans China S1

Genre: Drama Broadcast details: To be confirmed Date: Q4 2017 Slot: Prime time Episodes: 24 Produced by: Shanghai Croton Culture Media, in collaboration with Endemol Shine China Original created in: Sweden Rights: Matador Film, Sveriges Television Distributed in Asia by: Endemol Shine China The pitch: Discussion of what will happen if technology is so advanced that it can affect or even take over our lives.

ICON China

Genre: Fashion/lifestyle Broadcast on: iQiyi Date: Q2 2017 Episodes: 104 Commissioned in Asia by: SIMEI, in collaboration with Endemol Shine China Rights: Endemol Shine Beyond Distributed in Asia by: Endemol Shine China The pitch: Inspirational lifestyle content for millions of millennials.

Loaded China

Genre: Comedy drama Broadcast on: To be confirmed Date: To be produced in 2017, broadcast in 2018 Produced by: Huace-Croton Original created by: Muli Segev, Assaf Harel Rights: Keshet International The pitch: Four friends and owners of a gaming company race to protect their new project against a younger, richer rival.

Master Class China S3 (音乐大师课/Yin Yue Da Shi Ke)

Genre: Talent show Broadcaster: BTV Beijing Satellite TV and Sichuan TV Date: Q2 2017 Episodes: 12 Original created by: Yoav Tzafir, Tamira Yardeni, Zvika Hadar Rights: Keshet International The pitch: Children’s talent show with classic songs, only positive reviews and no eliminations. Others: Season one student Zhou Anxin and his mentor, singer/dancer Li Guyi, performed the closing song of the Spring Festival CCTV1 Gala, Lunar New Year 2016.

MICE China

Genre: Drama Broadcast details: To be confirmed Slot: Weekly, prime time Length: 26x46 mins Created by: Ron Leshem, Amit Cohen, Giora Yaalom and Daniel Syrkin Rights owner: Keshet International The pitch: He gave everything for his country, his parents gave everything for theirs.

Operation Love China

Genre: Drama Broadcast on: Dragon Television and Tencent Date: End June 2017 Length: 30x45 mins Commissioned by: SMG Co-produced by: Fuji TV and SMG Distributed in Asia by: SMG Rights/original created by: Fuji TV, Japan The pitch: A romantic comedy about a young man who, with the help of a good fairy, gets to go back in time to fix his regrets, including not telling his true love how he really feels.

Saturday Night Live China

Genre: Entertainment Broadcast details: To be confirmed Commissioned/produced by: Sohu Rights: NBCUniversal Int’l Formats The pitch: Topical and political subject matter mixed with observational humour and parody.

Sexy Beasts China S2

Genre: Entertainment Broadcast on: Tencent Broadcast date: To be confirmed Commissioned in Asia by: Shenzhen Tencent Computer Systems, China Original created in: U.K. by Lion Television for BBC 3 Rights: all3media The pitch: In a world where attraction can be based purely on looks, and social media encourages us to choose a date in a split second, Sexy Beasts uses Hollywood-style prosthetics to transform people, taking their real looks out of the equation.

Singer Takes It All China

Genre: Singing competition Broadcast on: Wuhan Dianshiju TV, Jiangxi Yingshi TV, Changsha Zhengfa TV and Tencent Broadcast details: To be confirmed Episodes: 12 Produced by: TV Zone Media Distributor: Endemol Shine Group Original created in: U.K. Rights: Endemol Shine Group

Still Standing China S7

Genre: Singing competition Broadcast on: Jiangsu Date: Ongoing, since 11 Jan 2016 Slot: 9.20pm Episodes: 52 Commissioned/produced by: Jiangsu Rights owner: Armoza The pitch: Online talent hunt. Amateurs are given a once-ina-lifetime chance to open for a music superstar’s concert with only a few days’ notice.

SUPER BOYS China

Genre: Game show Broadcast on: Zhejiang TV Date: 4 March 2017 Length: 12x90 mins Slot: Saturdays, 8.20pm Commissioned by: Zhejiang TV Co-produced by: Zhejiang TV and Fuji TV The pitch: A group of five popular Chinese idols and actors team

up to go against various guests in offbeat games.

Supernanny China S4

Genre: Factual entertainment Broadcast on: Anhui Satellite TV Date: 2 Mar 2016-4 January 2017 Slot: Wednesdays, 9.15pm Length: 40x35 mins Produced/commissioned in Asia by: IPCN - 80 Entertainment Rights: Warner Bros International Television Production Created by: Ricochet Television, U.K. The pitch: Professional nannies help parents in China.

Trade Up China

Genre: Game show Broadcast on: CCTV-2 Date: Q3 2017 Slot: Prime time Episodes: 12 Produced by: Beijing Tong Chang Tong Ying Rights: Keshet International Original created by: Ori Goldberg, Lia Lachmiand and Keshet Broadcasting The pitch: Family teams play to win a new car.

Traffic Light China

Genre: Comedy drama Broadcast on: To be confirmed Date: To be produced in 2017 and broadcast in 2018 Produced by: Huace-Croton Rights owner: Keshet International The pitch: Friends navigate life together, with hilarious results.

The Voice of China S5

Genre: Singing competition Broadcast details: To be confirmed What you might like to know: Seasons 1-4 were produced by Star China. Season 5 shifts following Talpa’s US$110-million deal with Zhejiang Tangde. Star China, which had started production on S5 when the Zhejiang deal was done, went ahead successfully with its own Sing! China.

INDIA Big Brother Hindi S10 (Bigg Boss Hindi)

Genre: Reality (social experiment) Broadcast on: Colors Date: Oct 2016-28 Jan 2017 Commissioned by: Colors Produced by: Endemol Shine India

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Rights: Endemol Shine Group What else you might like to know: S10 mixes ordinary people with celebrities for the first time, breaking the 9-season habit of celebs only.

Big Brother Kannada India S4 (Bigg Boss Kannada)

Genre: Reality (social experiment) Broadcast on: Colors Kannada Date: 9 Oct 2016-29 Jan 2017 Slot: Daily, 9pm Episodes: 113 Commissioned by: Colors Kannada Produced by: Endemol Shine India Rights: Endemol Shine Group

Big Brother India S10 (Bigg Boss) Genre: Reality (social experiment) Broadcast on: Colors Date: 16 Oct 2016-29 Jan 2017 Slot: Sat-Sun, 9pm; Mon-Fri, 10.30pm Episodes: 105 Commissioned by: Colors Produced by: Endemol Shine India Rights: Endemol Shine Group

Deal Or No Deal Malayalam India S2

Genre: Game show Broadcast on: Surya TV Date: 25 Dec 2016-24 June 2017 Episodes: 52 Slot: Sat-Sun, 9pm Commissioned by: Surya TV Produced by: ES India Distributed in Asia by: Endemol Shine Social media managed by: Surya TV Rights/Created by: Endemol Shine Group

India’s Next Top Model S2

Genre: Modelling competition Broadcast on: MTV India/ Viacom18 Media Date: To be confirmed Slot: Sun, 7pm India rights acquired by: Bulldog Media & Entertainment Rights/distributed in Asia by: CBS Studios International The pitch: 12 girls live under one roof and battle for top model spot.

Indian Idol S9

Genre: Singing competition

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Broadcast on: Sony Entertainment Television Date: 24 Dec 2016-2 Apr 2017 Slot: Sat & Sun, 8pm-9pm Commissioned by: Sony Entertainment Television Produced by: FremantleMedia India Social media managed by: Sony Entertainment Television Rights/original created by: 19 Entertainment and FremantleMedia, U.K. The pitch: The search for a solo pop superstar.

Prisoners of War, India S1/2 (P.O.W. – Bandi Yuddh Ke)

The Kids Are All Right Malayalam India (Kutti Kalodano Kalli)

Rising Star India

Genre: Family game show Broadcast on: Mazhavil Manorama (MMTV) Date: 11 Aug 2016-14 April 2017 Episodes: 72 Slot: Thurs-Fri, 9pm Commissioned in Asia by: MMTV Produced by: Endemol Shine India Distributed in Asia by: Endemol Shine Social media managed by: MMTV Rights/created by: Endemol Shine Group The pitch: Seven ‘super kids’ stand between four adults and cash prizes that could be theirs – if they can get past the smart young team aged between nine and 15 whose goal is to see them go home with nothing.

Minute To Win It Kannada India S3 (Super Minute)

Genre: Game show Broadcast on: Colors Kannada Date/slot: To be confirmed Episodes: 32 Commissioned by: Colors Kannada Produced by: Endemol Shine India Distributed in Asia by: Endemol Shine Social media managed by: Colors Kannada Rights/created by: Endemol Shine Group

Minute To Win It Malayalam India

Genre: Game show Broadcast on: Mazhavil Manorama (MMTV) Date: 9 Apr 2016-5 Feb 2017 Slot: Sat-Sun, 8.30pm Episodes: 80 Commissioned by: MMTV Produced by: Endemol Shine India Distributed in Asia by: Endemol Shine Social media managed by: MMTV Rights/created by: Endemol Shine Group

Genre: Drama Broadcast on: Star Plus Date: Q2 2017 finale Length: 1x37 mins, 109x23 mins Producer: Emmay Entertainment Original created by: Gideon Raff Rights: Keshet International The pitch: Soldiers attempt to readjust to their lives after returning home from 17 years in captivity. Based on the original drama remade in the U.S. as Homeland.

Genre: Singing competition Broadcast on: Colors Date: Premiered 4 Feb 2017 Slot: Saturdays & Sundays, 9pm Length: 60 mins Producer: Optimystix Entertainment Created by: Tedy Productions and Keshet Broadcasting Rights owner: Keshet International

Strictly Come Dancing India S9 (Jhalak Dikhhla Jaa)

Who Wants To Be A Millionaire India – Marathi S3 (Kon Hoeel Marathi Crorepati)

Genre: Game show Broadcast on: Colors Marathi Date: 3 Oct 2016-4 Jan 2017 Slot: Mondays-Wednesdays, 9pm Episodes: 42 Licensee/commissioned by: Colors Marathi Produced by: Colors Marathi/Big Synergy Rights/distributed in Asia by: Sony Pictures Television

Who Wants To Be A Millionaire India – MalayalamS4 (Ningalukum Aagam Kodeeswaran) Genre: Game show Broadcast on: Asianet Date: 16 Jan 2017 Slot: Mondays-Thursdays, 9.30pm Episodes: 80 Commissioned by: Asianet Produced by/licensee: Big Synergy Rights/distributed in Asia by: Sony Pictures Television

Who Wants To Be A Millionaire India – Telugu S4 (Meelo Evaru Koteeswarudu)

Genre: Game show Broadcast on: Maa TV Date: 13 Feb 2017 Slot: Mondays-Thursdays, 9.30pm Episodes: 60 Commissioned by: Maa TV Licensee/produced by: Big Synergy Rights/distributed in Asia by: Sony Pictures Television

The Voice India S2

Genre: Dance competition Broadcast on: Colors, India Date: 30 July 2016-21 Jan 2017 Slot: Saturdays, 10pm Episodes: 26 Commissioned by: Colors TV Produced by: BBC Worldwide Productions, India Social media: Twitter, Facebook & Instagram managed by Colors Rights: BBC Worldwide The pitch: Celebrities are paired with professional dancers. Others: Average 1.1 TRP of the entire season (source: BARC India, provided by BBC Worldwide)

Genre: Singing competition Broadcast on: &TV Date: To be confirmed Produced by: Endemol India Created in: Netherlands Rights: Talpa

INDONESIA Baggage Indonesia

Genre: Dating Broadcast on: Net TV Broadcast details: Deal done in 2015; show still not scheduled Commissioned by: Net TV Creator: Game Show Network, U.S. Rights: NBCUniversal Int’l The pitch: A dating show to discover what people are really willing to put up with in the hope of finding true love.

formatswho’swho

Dr. Oz Indonesia S3

Genre: Health talk show Broadcast on: Trans 7 Date: Ongoing, since 11 Apr 2015 Slot: Fridays, 8am; Sat-Sun, 3pm Commissioned/producer: Trans TV Rights owner/Asia distribution: Sony Pictures Television Original created in: U.S. The pitch: Long-running health series

I Can See Your Voice Indonesia

Iron Chef Indonesia

Genre: Cooking competition Broadcast on: RCTI Date: 4 March 2017 Length: 30x60 mins Slot: Saturdays & Sundays, 5pm Commissioned/produced/ distributed in Asia by: RCTI Rights/original created by: Fuji TV, Japan The pitch: Seasoned “Iron Chefs” are challenged by confident contestants from every area of the culinary fields.

Let’s Make A Deal Indonesia (Super Deal)

Genre: Singing competition Broadcast on: MNC TV Date: January 2017 Episodes: 26 Slot: Mondays, 4.30pm Rights/original/distributor: CJ E&M

Indonesian Idol

Genre: Singing competition Broadcast on: RCTI Date: Late 2017 Social media: Facebook, Twitter, YouTube, Instagram and G+ managed by FremantleMedia Produced/commissioned by: RCTI (MNC Group) Rights/original created by: 19 Entertainment and FremantleMedia, U.K.

Indonesian Idol Junior

Take Me Out Indonesia

Opening Act Indonesia

Genre: Singing competition Broadcast on: Net TV Date: To be confirmed Rights: NBCUniversal Int’l The pitch: Online talent hunt. Amateurs are given a once-ina-lifetime chance to open for a music superstar’s concert with only a few days’ notice.

Price Is Right Indonesia

Genre: Dating reality Broadcast on: ANTV Date: Ongoing, premiered Aug 2016 Slot: Weekends Episodes: 156 Commissioned by: ANTV Producer: FremantleMedia, ANTV Rights/distributor: FremantleMedia Created by: FremantleMedia France The pitch: A single man dates one of 30 single women.

Thank God You’re Here Indonesia

Genre: Game show Broadcast on: ANTV Date: Ongoing, since 6 Aug 2016 Slot: Weekends Episodes: 81 Social media: Facebook, Twitter, YouTube, Instagram and G+, managed by FremantleMedia Commissioned by: ANTV Asia Distribution: FremantleMedia Produced by: FremantleMedia, ANTV Rights: FremantleMedia and Hatos Hall Production Original created by: Hatos Hall Production The pitch: Selected members of the audience (“traders”) make deals with the host

Minute To Win It Indonesia S1

Genre: Singing competition (kids) Broadcast on: MNCTV Date: 2 Oct 2016-26 Feb 2017 Social media: Facebook, Twitter, YouTube, Instagram and G+ managed by FremantleMedia Produced/commissioned by: MNCTV (MNC Group) Rights/original created by: 19 Entertainment and FremantleMedia, U.K. The pitch: Talent search for the next generation of pop superstars.

Talpa Global, The Netherlands The pitch: Two record labels take each other on to create the next boy/girl band.

Genre: Game show Broadcaster: MNCTV Date: To be confirmed Commissioned/produced by: MNCTV (MNC Group) Rights: Endemol Shine Group Original created by: Friday TV, U.S.

The Next Boy/Girl Band Indonesia Genre: Talent competition Broadcast on: Global TV Date: 4 May 2017 Episodes: 13 Slot: Thursdays, 7pm Commissioned/produced by: Global TV Rights/distributor: Talpa Global Original created by:

Genre: Game show Broadcast on: RCTI Date: Ongoing, since 10 Dec 2016 Episodes: 65 Slot: Sundays, 4pm Commissioned by: RCTI Produced by: FremantleMedia Indonesia Social media: Facebook, Twitter, Instagram and YouTube managed by FremantleMedia Rights: FremantleMedia The pitch: Contestants guess the prices of everyday (and some not-so-everyday) items.

Rising Star Indonesia S2

Genre: Singing competition Broadcast on: RCTI Date: Q2 2017 Slot: Prime time Length: 24x150 mins Produced by: RCTI Created by: Tedy Productions and Keshet Broadcasting Rights: Keshet International

The Singing Bee Indonesia

Genre: Karaoke game show Broadcast on: RCTI Broadcast details: To be confirmed Episodes: 30 Commissioned/produced by: RCTI Original created in: U.K. Rights: Magnify Media The pitch: Offbeat karaoke-style competition in which contestants don’t have to sing it well... they have to sing it right.

Genre: Improvisation comedy Broadcast on: Net TV Date: 10 Dec 2016-5 March 2017 Episodes: 26 Slot: Saturdays & Sundays, 6.30pm Commissioned by: Net TV Produced by: FremantleMedia Indonesia Rights/original created by: Working Dog, Australia The pitch: Celebrities walk through a door and into a scene they know nothing about... and have to ad lib their way out.

Top Chef Indonesia S2

Genre: Cooking competition Broadcast on: SCTV Broadcast details: To be confirmed Commissioned/produced by: SCTV Rights: NBCUniversal Int’l The pitch: Chefs compete against each other in culinary challenges.

Who’s on Top? Indonesia

Genre: Variety game show Broadcast on: RCTI Date: Q4 2017 Slot: Biweekly, prime time Length: 20x120 mins Produced by: RCTI Created by: Erez Tal, Flare Media International, Keshet Broadcasting

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Rights owner: Keshet International The pitch: A show where money isn’t the only thing that goes up and down, contestants do too.

JAPAN The Bachelor Japan

Genre: Dating reality Streaming on: Amazon Prime Video Japan Date: Premiered 17 Feb 2017 Slot: Fridays Episodes: 12 Co-produced by: Amazon Japan, Warner Bros Int’l TV Production, Yoshimoto Kogyo/Dentsu joint venture, YD Creation Rights: Warner Bros International Television Production Original created by: Warner Horizon Television The pitch: One man has the opportunity to find the woman of his dreams in Amazon Japan’s first reality commission.

KOREA 1 vs 100 Korea S15

Genre: Game show Broadcast on: KBS 2 Date: To be confirmed Slot: Tuesdays, 8.55pm-10pm Produced by: KBS Created by: Endemol Netherlands Rights: Endemol Shine Group The pitch: One player against 100 opponents. The player’s goal is to eliminate all the opposition by correctly answering questions.

Prisoners of War, Korea

Genre: Drama Broadcast details: To be confirmed Produced by: Star J Entertainment Rights: Keshet International About the show: Adaptation of Israeli drama, remade as Homeland. Other things you might like to know: This deal has been around since Feb 2014, when Keshet said Korea’s Star J Entertainment had bought the format rights.

Saturday Night Live Korea S8

Genre: Entertainment Broadcast on: tvN Date: Ongoing, since 27 Feb 2016 Episodes: 18 Slot: 11pm Commissioned/produced by: CJ E&M Rights: NBCUniversal Int’l Formats

Scarlet Heart Korea

Genre: Drama Broadcast on: SBS Date: Premiered 29 Aug 2016 Slot: Mondays and Tuesdays, 10pm Episodes: 20 Produced by: NBCUniversal, YG Entertainment Created in: China Rights: Tangren Media China The pitch: During a total eclipse of the sun, Go Ha-jin slips back in time from today to the Goryeo Dynasty in 10th Century Korea.

Suits Korea

Genre: Scripted drama Broadcast details: To be confirmed Produced by: Entermedia Created in: USA Network, U.S. Rights owner: NBCUniversal The pitch: A college dropout gets a job in a law firm without actually attending law school.

MYANMAR Family Feud Myanmar S5

Genre: Quiz show Broadcast on: MRTV4/Channel 7 Date: February 2017 Commissioned by: Forever BEC-Tero Produced by: FremantleMedia Created by: Mark Goodson, U.S. Rights/distributor: FremantleMedia

IT GIRLs Myanmar

Genre: Docu-reality Broadcast on: To be confirmed Date: 2017, commissioned in Jan Episodes: 20 Commissioned by: MKCS Global Rights/distributor: Dori Media Group Created by: Abot Hamaeiri, Israel The pitch: Four beautiful and enviable “It Girls” in their early twenties join forces to build a fashion and lifestyle site gaining hundreds of thousands of followers.

The Money Drop Myanmar S1

Genre: Game show Broadcast on: Channel 7 Date: 2017 Commissioned/produced by: Forever Group Rights: Endemol Shine Group Original created by: Remarkable Television, U.S.

Myanmar Idol S2

Genre: Singing competition Broadcast on: Myanmar National TV Date: 2017 Commissioned by: Procter & Gamble International Operations SA Distributed by: FremantleMedia Rights: FremantleMedia/Syco

Myanmar’s Got Talent S4

Genre: Talent competition Broadcast on: MRTV-4, Channel 7 Date: 2017 Commissioned by: Forever BEC-Tero Rights: FremantleMedia/Syco Distributed by: FremantleMedia

X Factor Myanmar S2

Genre: Singing competition Broadcast on: MRTV-4/Channel 7 Date: Ongoing, since Sep 2016 Commissioned by: BEC-Tero Distributed/produced by: FremantleMedia Rights: FremantleMedia/Syco

PAKISTAN Big Brother Pakistan S2

Genre: Reality (social experiment) Broadcast on: Ary Digital Date: To be confirmed Episodes: 98 Commissioned by: Ary Digital Produced by: Endemol Shine Rights: Endemol Shine Group

PHILIPPINES Bet On Your Baby Philippines S3

The Kids Are All Right Myanmar S1

Genre: Family game show Broadcast on: MRTV4 Date: TBC Produced by: Thai BEC Tero Original created by: Endemol U.K. Rights owner: Endemol Shine

contentasia issue two, april 2017

Genre: Game show Broadcast on: ABS-CBN Date: Q2 2017 Slot: Weekends Episodes: 25-52 (45-60 mins each) Produced by: ABS-CBN

Rights: Electus International Original created by: Electus, U.S. The pitch: Families compete to see which parents can predict their child’s next move.

Big Brother Philippines S7 (Pinoy Big Brother)

Genre: Reality (social experiment) Broadcast on: ABS-CBN Channel 2 Date: 11 July 2016-26 Feb 2017 Slot: Daily, 5pm & 10.15pm Social media: IPTV, online and mobile managed by ABS-CBN Produced by: ABS-CBN Rights: Endemol Shine Group

Bingo Banko Philippines S1

Genre: Game show Broadcast on: TV5 Date: To be confirmed Episodes: 60 Commissioned by: TV5 Network Produced by: Sari Sari Network Rights: Endemol Shine Group Original by: TV2 Denmark The pitch: Interactive bingo game show where numbers are determined by the outcome of funny challenges. Viewers call in to claim prizes.

Boom! Philippines

Genre: Game/trivia challenge Broadcast on: GMA Date: To be confirmed Slot: Mon-Sat, as a segment in noon variety series Eat Bulaga! Length: 78x20 mins Commissioned/produced by: Television and Production Exponents (TAPE) Original created by: Ido Rosenblum, July-August Productions, Keshet Broadcasting Rights: Keshet International

Cash Cab Philippines S2

Genre: Game show Broadcast on: AXN, Philippines Broadcast date: To be confirmed Commissioned in Asia by: Sony Pictures Television Networks, Asia Produced by: activeTV, which acquired rights from all3media for the Philippines Original created in: U.K. by Lion Television for ITV Rights: all3media The pitch: Taxi passengers answer questions for prizes.

Dancing with the Stars Philippines

Genre: Dance competition Broadcast on: ABS-CBN Channel 2 Date: 2017 Episodes: 26 Commissioned/produced by:

formatswho’swho

ABS-CBN Rights: BBC Worldwide

Family Feud Philippines Luiz Manzano, host of Family Feud Philippines

Rights: Warner Bros International Television Production Original created by: Warner Horizon Television The pitch: Family programming featuring extraordinary engaging kids.

Manbirth Philippines

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Formats Outlook 2017 The where, when, what, why and how of Formats in Asia. Ongoing updates.

Genre: Game show Broadcast on: ABS-CBN Channel 2 Date: Ongoing, since April 2016 Slot: Sat, 5.15pm & Sun, 5pm Commissioned by: ABS-CBN Produced by: FremantleMedia Created by: Mark Goodson, U.S. Rights/distributor: FremantleMedia The pitch: Family Feud pits two families against each other and asks if they can guess the answers from a survey of 100 people.

Philippines’ Next Top Model S2 Genre: Modelling competition Broadcast on: TV5 Date: Premiered 21 March 2017 Slot: Sundays, 8.30pm Produced by: MediaQuest Rights/distributed in Asia by: CBS Studios International

La Banda Philippines S2 (Pinoy Boyband Superstar) Please contact Aqilah at aqilah@contentasia.tv or +65 6846-5987 to add your formats deals and productions in Asia

Genre: Singing competition Broadcast on: ABS-CBN Channel 2 Date: To be confirmed Commissioned by: ABS-CBN Rights/distributor: FremantleMedia The pitch: The hunt for the next global superstar five-piece boyband captivates fans from the very beginning, embracing audience participation like no show has before.

Lip Sync Battle Philippines S3 www.contentasia.tv @Contentasia Facebook/Contentasia

Genre: Lip-sync competition Broadcast on: GMA’s Channel 7 Date: TBC Length: 14x60 mins Produced/commissioned by: GMA Social media by: GMA Network Created by: Viacom/Spike TV, U.S. Rights: Viacom International Media Networks

Little Big Shots Philippines S1/2

Genre: Kids entertainment Broadcast on: ABS-CBN Channel 2 Date: TBC Slot: Prime time Length: 30x60 mins (S1), 30x60 (S2) Commissioned/produced by: ABS-CBN

Genre: Social experiment Broadcast on: CNN Philippines Date: Q4 2017 Length: 6x60 mins Slot: Weekly, prime time Produced by: Group M Created by: IFA Media Rights owner: Keshet International The pitch: It’s time for dads to discover what to expect when expecting… Are you man enough to be a mom?

Minute To Win It Philippines S3

Genre: Game show Broadcast on: ABS-CBN Date: 28 Sep 2016-12 Apr 2017 Commissioned/produced by: ABS-CBN Rights: Endemol Shine Group Original created by: Friday TV, U.S.

The Money Drop Philippines S3

Genre: Game show Broadcast on: TV5 Date: To be confirmed Episodes: 13 Commissioned by: TV5 Network Produced by: Sari Sari Network Rights: Endemol Shine Group Original created by: Remarkable Television, U.S.

Philippines Got Talent S6 (Pilipinas Got Talent)

Genre: Talent show Broadcast on: ABS-CBN Channel 2 Date: To be confirmed Commissioned by: ABS-CBN Distributed by: FremantleMedia

Your Face Sounds Familiar Kids Philippines S1

Genre: Singing/impersonation Broadcast on: ABS-CBN Date: 7 Jan-1 April 2017 Slot: Saturdays, 7.15pm Commissioned by: ABS-CBN Rights: Endemol Shine Group The pitch: Eight celebrities from previous Your Face Sounds Familiar series come together to mentor talented kids.

The Voice Kids Philippines S4

Genre: Singing competition (kids) Broadcast on: ABS-CBN Channel 2 Date: TBC Slot: Prime time Social media: IPTV, online and

mobile managed by ABS-CBN Produced by: ABS-CBN Rights: Talpa

The Voice Teens Philippines

Genre: Singing competition Broadcast on: ABS-CBN Date: 16 April 2017 Produced by: ABS-CBN Asia/global rights: Talpa

SINGAPORE The Young Ones Singapore (Turn Back The Clock)

Genre: Docu-reality Broadcast on: Channel NewsAsia Date: 26 Dec 2016-16 Jan 2017 Slot: Mondays, 8pm Length: 5x30 mins Commissioned by: Mediacorp Produced by: Channel NewsAsia Rights: Warner Bros International Television Production Original created by: Wall to Wall The pitch: Participants return to their heydays with unpredictable results.

The Voice Singapore/Malaysia

Genre: Mandarin singing competition Broadcast on: Hub E City Date: Q2 2017 Produced by: mm2 Entertainment Rights: Talpa

SRI LANKA Who Wants To Be A Millionaire – Sri Lanka S7 (Obada Lakshapathi Mamada Lakshapathi) Genre: Game show Broadcast on: Sirasa TV Date: Premiered January 2017 Slot: Fridays, 9pm Commissioned by: Sirasa TV Licensee/produced by: MBC Networks Rights/distributed in Asia by: Sony Pictures Television

Adapted from ContentAsia Formats Outlook Q1 2017, which covers 15 countries. For information on how to get your copy, please contact CJ at cj@contentasia.tv Compiled by: Aqilah Yunus, Malena Amzah Source: Distributors, production houses, channels Notes: Listings updated on 5 April 2017. All distributors were given equal opportunity to participate.

contentasia issue two, april 2017

formatswho’swho

Who’s who on Asia’s formats charts for 2017* Endemol Shine 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47.

1 vs 100 Korea 15 The Band Rules Vietnam Big Brother Hindi 10 Big Brother Kannada India 4 Big Brother India 10 Big Brother Pakistan 2 Big Brother Philippines 7 Bingo Banko Philippines The Brain China 4 The Choice Thailand 3 Deal Or No Deal Malayalam India 2 Deal Or No Deal Vietnam 12 Don’t Lose Your Money Cambodia The Face Thailand 3 Golden Goal Vietnam Got To Dance Cambodia ICON China Humans China The Kids Are All Right Malayalam India The Kids Are All Right Myanmar MasterChef Cambodia MasterChef Cambodia 2 MasterChef Thailand Million Dollars Minute Vietnam 2 Minute To Win It Cambodia 3 Minute To Win It Malayalam Minute To Win It Kannada 3 Minute To Win It Philippines 3 Minute To Win It Indonesia The Money Drop Mongolia 5 The Money Drop Mongolia 6 The Money Drop Myanmar The Money Drop Philippines 3 The Money Drop Vietnam 2 Odd One In Vietnam 4 Out of Control! Vietnam 2 Singer Takes It All Cambodia Singer Takes It All China Singer Takes It All Thailand So You Think You Can Dance Vietnam 5 Step Right Up Thailand 8 Your Face Sounds Familiar Cambodia Your Face Sounds Familiar Mongolia 2 Your Face Sounds Familiar Mongolia 3 Your Face Sounds Familiar Vietnam 5 Your Face Sounds Familiar Kids Philippines Your Face Sounds Familiar Kids Vietnam 3

FremantleMedia 1. 2. 3. 4. 5. 6. 7. 8. 9.

Asia’s Got Talent 2 Asia’s Got Talent 3 Cambodia’s Got Talent 2 Cambodia’s Got Talent 3 Cambodia’s Got Talent 4 Cambodian Idol 3 Cambodian Idol 4 Family Feud Myanmar 5 Family Feud Philippines

10. Family Feud Thailand 2 11. Family Feud Thailand 3 12. Hear Me, Love Me, See Me Thailand 13. Heaven Or Hell Vietnam 14. Hole In The Wall Junior Vietnam 15. Hole In The Wall Vietnam 16. Idol Kids Vietnam 2 17. Indian Idol 9 18. Indonesian Idol 19. Indonesian Idol Junior 20. La Banda Philippines 2 21. La Banda Thailand 2 22. Let’s Make A Deal Indonesia 23. Match Game Vietnam 24. Mongolia’s Got Talent 3 25. My Mom Cooks Better Than Yours Vietnam 3 26. Myanmar Idol 2 27. Myanmar’s Got Talent 4 28. The Noise Cambodia 2 29. Philippines Got Talent 6 30. Price Is Right Cambodia 31. Price Is Right Indonesia 32. Price Is Right Thailand 3 33. Price Is Right Thailand 4 34. Price Is Right Vietnam 11 35. Small Talk Thailand 36. Take Me Out Indonesia 37. Take Me Out Thailand 11 38. Thailand’s Got Talent 7 39. Thank God You’re Here Cambodia 40. Thank God You’re Here Indonesia 41. Thank God You’re Here Vietnam 3 42. To Tell The Truth Thailand 43. X Factor Cambodia 1 44. X Factor Cambodia 2 45. X Factor Myanmar 2

Talpa 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

Dance Dance Dance China I Love My Country Thailand 2 It Takes 2 Vietnam 1 It Takes 2 Vietnam 2 The Next Boy/Girl Band Indonesia The Next Boy/Girl Band Vietnam Stars of Tomorrow Vietnam 1 Stars of Tomorrow Vietnam 2 The Voice Cambodia 3 The Voice Kids Cambodia The Voice of China 5 The Voice India 2 The Voice Mongolia The Voice Kids Philippines 4 The Voice Teens Philippines The Voice Singapore/Malaysia The Voice Thailand 6 The Voice Kids Thailand 5 The Voice Vietnam 4 The Voice Kids Vietnam 5

Keshet

Sony Pictures Television

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20.

1. 2. 3.

The A Word China Boom! Cambodia Boom! Philippines Boom! Thailand Boom! Vietnam Loaded China Master Class China 3 Master Class Vietnam Prisoners of War India 1 Prisoners of War India 2 Prisoners of War Korea Rising Star Cambodia Rising Star India Rising Star Indonesia 2 Trade Up China Traffic Light China Manbirth Vietnam Manbirth Philippines MICE China Who’s on Top? Indonesia

NBCUniversal 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17.

Baggage Indonesia Dance Your Ass Off Vietnam 2 Hidden Singer Vietnam 3 Hollywood Game Night Thailand 2 How Do I Look? Asia 3 Opening Act Indonesia Real Housewives of Bangkok Saturday Night Live China Saturday Night Live Korea S8 Scarlet Heart Korea Still Standing China 7 Still Standing Thailand 4 Still Standing Vietnam 2 Suits Korea Top Chef Indonesia 2 Top Chef Thailand Top Chef Vietnam 2

4. 5. 6. 7.

Fuji TV 1. 2. 3. 4. 5. 6. 7.

1. 2. 3. 4.

Are you Normal? China 3 Cash Cab Philippines 2 Cash Cab Thailand 4 Sexy Beasts China 2

Viacom 1. 2. 3.

Lip Sync Battle Philippines 3 Lip Sync Battle Thailand Lip Sync Battle Vietnam 2

Armoza 1. 2.

Celebrity Battle Vietnam I Can Do That! Vietnam 2

BBC Worldwide 1.

2 Broke Girls China The Bachelor Japan Gossip Girl China 1 Gossip Girl China 2 Gossip Girl China 3 Little Big Shots Philippines 1 Little Big Shots Philippines 2 Little Big Shots Thailand 1 Little Big Shots Thailand 2 Little Big Shots Thailand 3 Supernanny China 4 The Young Ones Singapore

A Restaurant with Many Problems China Dating: What’s It Like To Be In Love? China Operation Love China First Class China Iron Chef Indonesia Super Boys China

All3Media

Warner Bros 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

Dancing Nation China 5 Dr Oz Indonesia 3 Who Wants To Be A Millionaire India (Marathi) 3 Who Wants To Be A Millionaire India (Malayalam) 4 Who Wants To Be A Millionaire India (Telugu) 4 Who Wants To Be A Millionaire Sri Lanka 7 Who Wants To Be A Millionaire Vietnam 12

Dancing with the Stars Philippines Strictly Come Dancing India S9

CJ E&M 1. 2.

I Can See Your Voice Indonesia I Can See Your Voice Thailand

Dori Media 1. 2.

IT GIRLs Myanmar Selfie Challenge Vietnam

ITV Studios Global Entertainment 1. 2.

Big Star’s Little Star Vietnam Born To Shine Vietnam

CBS Studios International 1. 2. 3. 4. 5. 6. 7. 8.

Asia’s Next Top Model 5 Cambodia’s Next Top Model 2 China’s Next Top Model 3 India’s Next Top Model 2 Mongolia’s Next Top Model Vietnam’s Next Top Model 8 Philippines’ Next Top Model The Doctors Malaysia

Red Arrow 1. 2.

Mister Perfect Vietnam You Deserve It Vietnam 4

& with one title each... • Comarex Papi Ricky Malaysia • Discovery Say Yes to the Dress • Electus Bet on Your Baby Philippines S3 • Globo Hidden Truths Vietnam • Magnify Media The Singing Bee Indonesia • MBC The Mask Singer Thailand • Nippon TV Old Enough! Vietnam 5

Notes: *Updated 5 April 2017. Formats listed were on air or premiered in Asia in 2017, or were commissioned for broadcast in 2017/8 on channels in Asia. This list does not include: format options, “formats” created solely for a sponsor/s and given for free to broadcasters, and shows created in-house that have not been sold as formats to anyone else. Information was provided by rights holders and distributors. All formats rights holders were given equal opportunity to participate.

contentasia issue two, april 2017

ContentAsia @

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Busan Contents Market 2017 BCM BroadcastAsia 2017 CommunicAsia 2017 Content Tokyo 2017

The ContentAsia Summit MIPCOM

TIFFCOM Marketplace for film&TV in Asia CASBAA represent inform connect

PromaxBDA Asia ATF Asia TV Forum Be included! Book your advertising now Masliana Masron (Asia Pacific/Middle East) E: mas@contentasia.tv T: +65 6846-5988 Leah Gordon (Americas/Europe) E: leah@contentasia.tv T: +1 310 926 6761

www.Broadcast-Asia.com

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The 28th International Communications and Information Technology Exhibition & Conference

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Be included!

Book your advertising now Masliana Masron (Asia Paciﬁc/Middle East) E: mas@contentasia.tv T: +65 6846-5988

Leah Gordon (Americas/Europe) E: leah@contentasia.tv T: +1 310 926 6761

#ONE THING What’s the one thing that will make the most difference to your business this year? ContentAsia asked 50+ media execs in Asia what they think... Asked what they think is the one thing that will make the most difference

tion among execs involved in delivering quality video and stories to audi-

to their business this year, media execs with Asian businesses are, prob-

ences across Asia. This may well be because social media is considered

ably unsurprisingly, pretty much united around (1) content of all shapes

one of the platforms in “multi-platform”. Whatever, we know for certain

and forms, with both a local angle and global legs, more creatively fund-

that no entertainment brand with an eye on the future doesn’t have

ed and with higher production values; (2) the customer and everything

social media on its radar.

that goes into delivering the most relevant, compelling and engaging

Pricing and costs are raised a few times, mostly as necessities for the

entertainment experience; (3) technology, and particularly high-speed

overall health of the video ecosystem in Asia. There’s also Multi Chan-

broadband and the ability to collect and leverage user data; and (4)

nels Asia boss Gregg Creevey’s observation that the most important influ-

the dangers – like piracy and pricing – that stand in the way of delivering

ence this year will be the “continued culling of the herd of under perform-

a successful product.

ing generic channels as operators continue to face slow/zero growth”.

Nestled under those categories are myriad one-things, including evolv-

Related one-things are the ability to “unshackle and go back to ba-

ing funding models. There’s a strong feeling, for instance, that demand

sics – focused on delivering solid viewer experiences and value through

for local original content (already unprecedented) is about to get a

power of curation and simplicity of proposition”, says Rewind Networks’

whole lot higher. A lot because Netflix and Amazon are investing heav-

founder and chief executive, Avi Himatsinghani.

ily in Asian titles and green-lighting local fare in a big way, and iflix will

The health of that ecosystem in Asia is a key concern for others as well.

join them (no details yet). But also because there’s a land grab among

Piracy remains at the top of the lists of at least two people, which gives

streaming/mobile services in places like Indonesia. Platforms need local

this scourge a 4% share of our list.

content to drive take up so they’re buying up whatever rights they can

Actually, we think piracy is a much bigger threat than that figure in-

get their hands on and tying up with whichever production house they

dicates; leading players in the industry have united recently to throw

can to make more. Another original content driver is short-form, particu-

more resources than ever at aggressive and structured initiatives to, for

larly for younger audiences.

instance, stop the flood of Android and other boxes in Singapore. We will,

Delivering anywhere/everywhere content and the multi-platform consumer is a one-thing for about 14 execs, giving it a 25% share of the list. The knock-on impact of catering to a hyper-served generation is, for some, all about innovation, experimentation and learning. Social media came up once as a priority worthy of its very own men-

contentasia issue two, april 2017

undoubtedly, be hearing more as the new unit, which we understand is backed by real money and full-time focus, gets going. Good, old-fashioned story telling and talent made it onto the list, along with a reminder that authenticity, accuracy and originality still count for a whole lot. Here’s what they all said....

With the power now firmly in the hands of consumers, 2017 will favour the bold as we see more change, more trials and more learnings.”

Online piracy.” Anurag Dahiya

Head of Content & Ad Sales Singtel (Singapore)

Ricky Ow

President, Turner Asia Pacific

One word – Digital. Two Customisation. words: short form. Each market requires different Three words: multipunch!” platform consumer.” Indriena Basarah

President, FremantleMedia Indonesia

Amit Malhotra

Vice President & General Manager The Walt Disney Company SEA

2020 Tokyo Olympics! Experience the power and creativity of our future content.”

Content over-pricing. Higher costs will force platforms to increase prices & piracy will increase. Balance is key.”

Sayumi Horie

Head of Global Content Development NHK (Japan)

Indra Suharjono

CEO, Next Animation Studio

Flexibility. Killer content Commercially, to engage creatively and in terms of reach across viewers, whenever, all platforms.” wherever.” Fotini Paraskakis Managing Director, Asia Endemol Shine Group

Crossbreed. Unification of media, geography and technology.” Toru Ota

Senior Executive Managing Director, 36 Fuji TV (Japan)

Jonas Engwall

CEO, RTL CBS Asia

OTT is creating a brand new media platform that draws on its unique living room scenarios and home entertainment features as its defining characteristics, with more new applications and methods of interaction to follow.” contentasia issue two, april 2017 Zhao Gang

General Manager, Tencent OTT TV

In this world of audience fragmentation, success lies in how we drive our content as close to consumers as possible.” Leena Singarajah

Managing Director, Asia Scripps Networks Interactive

Content originality and differentiation will be key in 2017. With far more platforms now available, unique, relevant and exclusive content is crucial to winning this race.” Virginia Lim

Senior Vice President and Head, Content, Production & Marketing Sony Pictures Television Networks Asia

Synchronicity with the viewers’ tastes, cuttingedge platforms, and new global partners.”

Mobile wallets to expand reach of content and services.”

Shigeko (Cindy) Chino

Senior Director, International Business Development Nippon TV (Japan)

Ken Lo

SVP, International Distribution Asia Paciﬁc, Sony Pictures Television

Competition.” Zainir Aminullah

Chief Executive Ofﬁcer Ideate Media (Malaysia)

Viewer experience. Convenience and watching content whenever, wherever and however!” Airin Zainul

Director, tonton & Licensing and Merchandising, Television Network Media Prima (Malaysia)

The strength of any broadcaster lies in its own original content production.”

Mobile and user insight.” Unmish Parthasarathi

David Fernando Audy

Global Head of Digital Sales International Cricket Council

#onething2017 contentasia issue two, april 2017

Chief Executive Ofﬁcer, Media Nusantara Citra (Indonesia)

Our ability to unshackle and go back to basics – focused on delivering solid viewer experiences and value through power of curation and simplicity of proposition.” Avi Himatsinghani Founder & CEO, Rewind Networks

Continued China’s rising culling of the inﬂuence in herd of under performing generic channels as Southeast Asia – operators continue to culturally, politically face slow/zero growth.” and economically.” Gregg Creevey

Managing Director Multi Channels Asia (MCA)

Todd Miller

President & CEO Celestial Tiger Entertainment

2017 is the year Asia’s TV industry will bring content marketing and social media to the heart of business.”

#onething2017

Andrea Edwards

Founder & CEO The Digital Conversationalist

The on-going growth of mobile TV is enabling TV Everywhere to become a greater reality. Creating a balanced ecosystem with our partners is key.”

As viewers continue embracing on-demand consumption, pay TV content and platform providers need to get more creative to stay relevant and in business in 2017.”

Mark Whitehead

David Weiland

President & MD, Asia Paciﬁc Viacom International Media Networks

EVP Asia, BBC Worldwide

Content is and will always be king. Scripts, story, format, production values, stars, platform orientation and proﬁles will determine success in our industry.”

Clearing geographical rights for global borderless access.” Mee Fung Lee

Gary Pudney

Deutsche Welle, Asia/ Chief, PIK Film

Head, Keshet International Asia

Formats that create some noise: as the Asian market continues to fragment, using formats to push boundaries and create a buzz are becoming key.” 38

Jamie I

VP Sales for Asia Paciﬁc Red Arrow International

Fact: Content is king. Fact version 1.0: Content that is immersive, adaptable & efﬁcient stays king.” Sunita Uchil

Chief Business ofﬁcer – Global Syndication & Production, International Ad Sales Zee Entertainment Enterprises Ltd

contentasia issue two, april 2017

Fresh, innovative programmes and partnerships to create more original IPs.”

Content creators need to collaborate with alternative sources of funding.”

Jangho Seo

Lina Tan

General Manager, Global Content Business Division, CJ E&M (Korea)

Founder, Red Communications (Malaysia)

Access to content and pricing turn out to be just as important as the content itself.” Steven Murphy

Director of Programming, Asia Pacific, GroupM Entertainment

Asian stories. It’s their time.” Ahmad Izham Omar

Chief Executive Officer Primeworks Studio (Malaysia)

Bundling is key. By providing a 360degree approach; a one-stop service ranging from fixed internet at home to 4G mobile coverage and TV content at home and on the go, we are giving value and creating customer loyalty.”

Digital service distribution platforms, operating with the mindset of a sharing and caring economy, provide the best opportunity to the public. Fiber TV is one of the new trends in Thailand.”

Meena Kumari Adnani EVP, Content Development/Business Affairs, First Media and Content & Marketing Director, Linknet (Indonesia)

Chairoj Nopchalermroj

Founder, Fiber One PLC (Thailand)

Compelling content that travels well across all cultures. This is our challenge and we are making it happen.”

www.contentasia.tv

Roxanne Barcelona

Vice President, GMA Worldwide

Fighting against online piracy with good content offering and right price point are the main keys to reach more subscribers.” Joe Suteestarpon

contentasia two, april 2017 CEO, issue DOONEE (Thailand)

2017 is the year of empowered Asian viewers. Greater variety of services, More choice of content, higher content quality, seamless multi devices experience, better infrastructure, better product features.” Tony Zameczkowski

VP, Business Development Asia, Netflix

Dynamic partnerships between providers and platforms with the goal of making content more local, more relatable & more marketable.” Vitto Lazatin

Vice President – Content Acquisition, Management & Strategy CIGNAL TV (Philippines)

It’s not the brand that shouts loudest – it’s the brand that listens hardest; that spends more time talking about the things that matter to its audiences.” Angela Cheung

Managing Director, APV

In an environment filled with sound and fury (thanks @williamshakespeare), the qualities at the heart of good journalism will matter to audiences more than ever, regardless of how and where they consume news. Those qualities are authenticity, integrity and originality.”

The growth of high-quality OTT content providers, leveraging better digital connectivity and offering targeted and affordable content packs.”

Michael Kearns

Joyee Biswas

VP International Digital, and Head of News & Programming APAC, CNBC International

Head, Southeast Asia, ESPN

Despite all the hullabaloo about platforms and technology, the best way to gain an audience is still with oldfashioned storytelling and talent.” Byron Perry

Founder & CEO, Coconuts Media

Staying relevant in the fast changing media landscape by engaging audiences across multi-platforms and building strong commercial structures to support the new trends.” Ng Say Yong

Managing Director mm2 Entertainment (Singapore)

In a world of protectionism, Pan-Asian shows serve to highlight the diversity of Asia and unite us.”

Delivering stellar creative talent to the Asian viewers who continue to seek the reassurance of well-known brands.”

Rezal Rahman

Chief Executive Officer Pinewood Iskandar Malaysia Studios

Katrina Neylon

EVP International Sales & Marketing, STUDIOCANAL

There is only one path to high-quality dubbing – create content, not just sounds.”

With 4G services rolled out, Asian telcos may be less likely to subsidise OTT beyond this year. The low tide will hurt some players.”

Andrei Zinca

Iskandar Samad

President, Voxx Studios

Chief Executive Officer, Tribe

contentasia issue two, april 2017

The growing Localised importance of content – it will having robust offer a refreshed wave OTT rights, including of creative ideas and a concurrencies, multisigniﬁcant increase in and download both IP and revenue screening, rights, to the content on rewards.” your channels.” Sonia Fleck Founder and CEO, Bomanbridge Media

Ofanny Choi

Executive Vice President, TV Networks Celestial Tiger Entertainment

If only the networks could trust their own programming strategy enough to commission based on ideas instead of ROI - now that would make a difference!”

Content provider & internet service provider are a perfect match!” Winnie Ngai

Lim Siu Min

Deputy Controller, Programme Division Television Broadcasts Limited (TVB) (Hong Kong)

Head of Production, Digital Vision (Malaysia)

#onething2017

The growing interest in Asia by OTT services, studios and investors will fuel a content production boom. We’ll see more digital native content and new, innovative types of programming targeting younger demographics and purely OTT viewers.” Joanne Waage

Senior Vice President of Partnerships and Programming, Viki Inc

In this tough and challenging year for TV and advertising in Thailand, my goal is to initiate H to H – ‘human to human’ or ‘heart to heart’ – communication through genuine storytelling, enjoyable & engage-able content.”

Content will always remain king but I believe that 2017 will see more emphasis on telling stories that are relevant and appealing to the Asian audience.”

Tatiya Sinhabaedya

Zaﬁra Shareef

Chief of Content Acquisition, CIA (Dentsu Thailand)

Head of Content Acquisition, HOOQ

The availability of broadcasting technology to customise viewers’ experience is an absolute pre-requisite.” contentasia issue two, april 2017

Azuan Muda

Co-founder, Teeb TV (Malaysia)

We are a multifaceted media company. For every big format we develop, we have a tailored content plan – across multiple platforms – ready to offer.” Maarten Meijs

Managing Director, Talpa Global

ottupdates

68% Hong Kong’s OTT platform, myTV Super, by dominant broadcaster Television Broadcasts Limited (TVB) upped its linear+on-demand oﬀering by 68% from 19,000+ hours (as of December 2016) to 32,000 hours in April 2017. The driver is the new 40-channel Supreme pack, which includes a bouquet of third-party linear channels, plus SVOD and TVOD options. Linear services include CJ Media’s tvN channel, RTL CBS Entertainment and Celestial Tiger Entertainment’s KIX and Thrill. myTV Super is also oﬀering a new CJ E&M SVOD Zone and SVOD/TVOD content from BBC, and is boosting its TVOD proposition in a deal with NBCUniversal, which is shuttering two of its regional linear services – Universal Channel and Syfy – in Asia in mid-2017. The Supreme roll-out drives up optimism among a regional channels industry rocked recently by, among other issues, lower carriage rates across the region and the expected shutdown of Hong Kong pay-TV platform Hong Kong Cable. myTV Super said in early March that it had topped the 2.8 million subscriber mark.

35%

of content spending by all on-demand/ pay-TV platforms this year is attributed to OTT players in ﬁve markets: Indonesia, Malaysia, the Philippines, Thailand and Vietnam, according to Media Partners Asia’s (MPA) Video Content Dynamics report. OTT platforms are also starting to compete on early windows for Asian content and, in time, premium pay-TV channels and operators are likely to lose their current hold on Hollywood movies. Investment in local content and original productions for the OTT window is also growing rapidly in India and is slowly expanding across Southeast Asia, MPA says. 42

155 OTT/streaming/ online services across 16 countries in Asia as of early April 2017, with India (21), Japan (16) and China (15) in the lead.

Entertainment brand hmv has launched Hong OTT

Kong’s player,

sixth joining

myTV Super, Netﬂix, Viu, LeEco and Amazon

Prime

Video.

hmvod offers 1,500 movie and TV titles for

HK$88/US$11

month

and

plans

to increase titles to 5,000 by 2018. Programming is being acquired

from

Eu-

US$90m Sean Carey, Chief Content Ofﬁcer, iﬂix Group

Streaming platform iflix has US$90-million more to spend and the big questions now are (1) how much of it are they going to spend on content acquisitions and production, (2) what, exactly, new content boss Sean Carey is going to do with a sprawling catalogue that was assembled fast and furiously, and (3) what the local content slate is going to look like. The new funding, announced in March, is the largest round to date. iflix went live in May 2015, and now has more than five billion minutes streamed to date and over five million members in 10 territories across Asia, with 2017 launches in Pakistan, Vietnam & Myanmar.

11,000 hours

rope, the U.S., Hong

FOX Networks Group (FNG) has debuted its much-anticipated streaming platform

Kong and Asia.

in Asia, kicking oﬀ a new era in the company’s 24-year history in the region. FOX+ launched in the Philippines via Cignal, PLDT and Smart in March for Ps390/ US$7.75 a month (no stand-alone direct-to-consumer access) and oﬀers about 11,000 hours of original FOX, FOX+ exclusive and third-party programming, including TV series shown on the same day as the U.S., and movies shortly after theatrical release. FOX+ will also stream Chinese series and movies, live sports and docus. (The full story is on page 16)

The BFG on hmvod

US$205b

2017 is the ﬁrst year in which more money will be spent on internet advertising than advertising on traditional TV, Zenith’s Advertising Expenditure Forecasts shows. Global internet adex is forecast to grow 13% to reach US$205 billion in 2017. Advertising on traditional TV will total US$192 billion. Internet advertising will attract 36.9% of all advertising expenditure, up from 34% in 2016. Social media adex is also forecast to reach US$55 billion in 2019, overtaking adex on printed newspapers, which will total US$50 billion.

contentasia issue two, april 2017

the c

The contentasia summit

ntent asia

7-8 September 2017 Parkroyal on Pickering Singapore www.contentasiasummit.com Contact CJ Yong at cj@contentasia.tv for details

7-8 September 2017

PARKROYAL on Pickering • Singapore www.contentasiasummit.com Contact CJ Yong at cj@contentasia.tv for details

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