ContentAsia April 2017

issue One 2017

c

ntent

For Real Asia’s factual landscape

Japan Who’s who & what they’re up to Live: 235 Trim: 245 Bleed: 260.0

PLus Formats, shows most in demand & top-of-mind issues across the region

A new scripted series from executive producers Dominic Minghella and Jeremy Renner Knightfall Stories of the knights Templar

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contents...

what’s inside...

18

The Big Influence...

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

12

Japan Japan, the world’s second largest content market after the U.S., stands to benefit

20

We intend to aggressively collaborate and make capital investments in companies that can give us a new edge in the world of entertainment.”

Big&bigger

most from China’s freeze on all things Korean.

Mamiko Maekawa

page 20

Mamiko Maekawa, Fuji TV

22

24 BBC Earth

Factual is holding its own in

30 History

Asia’s evolving video enter-

32 Love Nature

For real

tainment environment.

Malena Amzah looks at who’s expanding where and with what.

34 National Geographic 35 Smithsonian

42 Data Drama is Asia’s fave genre, HBO’s

FormatsOutlook

Game of Thrones rocks online

Asia had 206 formats on air, in

activity, and Korea’s Running

production or greenlit in the first

Man and Japanese anime fly

quarter of 2017. Big-brand talent contests still rule alongside lowcost classics, but the appetite for

contentasia issue one, april 2017

Japan’s Fuji TV has embarked on an ambitious expansion programme that spans finished programming, formats, coproduction and co-development. Mamiko Maekawa, senior executive director, international department, talks about the strategy.

Chef Kurogi, IronChef © Fuji Television Network, Inc.

36

Wild Wild East, Love Nature

The Last Cop season two Nippon TV

the digital flag for made-in-Asia content. Parrot Analytics’ Kayla

drama is growing. ContentAsia

Hegedus looks at what else the

looks at key trends and influences.

data coming out of Asia shows.

3

Sonar Entertainment Created by David E. Kelley from the novel by Stephen King Mr Mercedes Booth R7.N11 Sonarent.com Pierce Brosnan The Son The Shannara Chronicles Season 2

BOOTH R7.N11 S O N A R E N T. C O M

Sonar Entertainment Created by David E. Kelley from the novel by Stephen King Mr Mercedes Booth R7.N11 Sonarent.com Pierce Brosnan The Son The Shannara Chronicles Season 2

editor’snote

Brains trust How many streaming apps is too many? Is there such a thing as too much

growth in markets such as Australia, China, Japan and Korea,” he adds.

TV? For me, there can never be too much of anything as long as every-

Companies that used to be seen as disruptors are being given signifi-

thing is fabulous and, no, of course there’s no such thing as too much TV

cant airtime at APOS along with traditional players in a grounded, sen-

as long as it’s, well, fabulous. For me.

sible, inclusive approach that recognises faults and failures, highlights

Not everyone agrees wholly or even a little. And out of the debate

challenges, doesn’t shy away from real questions, explores options for a

on this and other ways forward emerges energised conversations about

viable way forward, and taps some of the best minds around the issues in

uber-aggregators, tech-driven functionality that will drive (or keep) SVOD

Asia and elsewhere for thoughts and opinions.

services at the front of an ever-swelling pack, stages along the path to

If it all goes according to plan (and there’s no reason to think it won’t),

interface excellence, and the brand of marketing magic that will drive

telcos will talk about how they’re integrating video and driving consump-

constant viewing. Plus solution-driven customer service and tech support

tion; incumbent pay-TV operators will discuss their

(sounds like a no brainer, right? Well it’s clearly not, and it deserves its

focus on improving (or trying to) the customer ex-

place at the let’s-figure-out-solutions table).

perience and how they’re optimising SVOD/OTT

And so we head into this year’s edition of Media Partners Asia’s (MPA)

services; big brand broadcasters will answer

Asia Pacific Video Operators Summit (APOS) in Bali at the end of April,

hard questions about how they’re protecting

with industry-changing questions and issues, and enough original thinkers

and growing their legacy channel businesses

and innovators on stage and off potentially to blow the heads off any-

or, as NBCUniversal just did, shutting up shop on

one still wallowing in yesterday’s pay-TV industry woes. There will prob-

what’s not working for them; the thinking on

ably be remnants of fear, and maybe even nostalgia for days gone by.

developing direct-to-consumer businesses

But there’s also a level of energy that didn’t used to be there around

and who is best placed to go this route.

solutions and options across a broad range of industry sectors.

Plus, there’s the big reveal on FOX Net-

There is also a different respect for content and content creators, very

works Group’s FOX+, which may just turn

likely as acquisition/investment/partner targets, but that’s not a bad thing.

out to be one of those uber-aggregators

Plus it opens up a direct line to delving deeper into content issues at the

everyone will be talking about....

ContentAsia Summit in Singapore in September. More about that later.

One of MPA’s lines in shaping the agenda for this year is that the

See you in Bali and for everyone attending MIP TV, have a great market!

growth of advanced mobile connectivity is creating an abundance of new opportunities for IP owners, aggregators and curators – “in particular the opportunity to multiply their reach, gain access to granular customer demographics, and monetise through subscription and advertising,” says MPA executive director, Vivek Couto.

“We are just at the start of an exciting journey, one that will help reframe and resize the opportunity for many in markets such as India, Indonesia, Philippines and Thailand while also providing new avenues for

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.

To receive your regular free copy of ContentAsia, please email i_want@contentasia.tv Copyright 2017 Pencil Media Pte Ltd. All Rights Reserved MCI (P) 091/11/2015 Printed by: Print Dynamics (S) Pte Ltd 123 Genting Lane, #02-01, Singapore 349574

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

6

contentasia issue one, april 2017

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onething

2017: The Big Influence is...

ContentAsia asks media execs in Asia about the one thing that will most impact the industry this year

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

Synchronicity with the viewers’ tastes, cutting-edge platforms, and new global partners.”

Shigeko (Cindy) Chino

Senior Director, International Business Development, Nippon TV

Joe Suteestarpon

CEO, DOONEE (Thailand)

Asian stories.

It’s their time.”

Ahmad Izham Omar

Chief Executive Officer, Primeworks Studio (Malaysia)

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

Winnie Ngai

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

Despite all the hullabaloo about platforms and technology, the best way to gain an audience is still with old-fashioned storytelling and talent.”

Viewer experience.

Convenience and watching content whenever, wherever and however!”

Airin Zainul

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

Byron Perry

Founder & CEO, Coconuts Media

Staying relevant 2020 Tokyo in the fast changOlympics! ing media landscape Experience the by engaging audiences power and creativity across multi-platforms and building strong comof our future mercial structures to content.” support the new trends.”

Sayumi Horie

Head of Global Content Development, NHK (Japan)

8

Ng Say Yong

Managing Director, mm2 Entertainment

contentasia issue one, april 2017

FROM THE WORLD’S LEADING PRODUCER OF LIFESTYLE CONTENT From the world’s leading producer of liftstyle ContentAsia Mysteries at the Museum Ayesha’s Homemade Flip flop Vegas Join us at Stand P4.C20 Scrippsnetworks interactive HGTV Food Channel Travel DIY Cooking Great American Contest TVN Fine Living AFC Sales.scrippsnetworks.com

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onething

#onething2017 Compelling The strength content that of any broadtravels well across caster lies in its own all cultures.” original content Roxanne Barcelona

VP, GMA Worldwide (Philippines)

production.”

David Fernando Audy

Chief Executive Officer, Media Nusantara Citra (Indonesia)

Bundling is key... fixed internet at home to 4G mobile coverage and TV content at home and on the go.”

Digital service distribution platforms, operating with the mindset of a sharing and caring economy, provide the best opportunity to the public.”

Meena Kumari Adnani

Chairoj Nopchalermroj

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

Founder, Fiber One PLC (Thailand)

Customisation.

Each market requires different punch!”

Indriena Basarah

President, FremantleMedia Indonesia

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

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

Content Flexibility. over-pricing.

Commercially, Higher costs will creatively and in force platforms to terms of reach across all platforms.” increase prices & piracy will increase.

Fotini Paraskakis Balance is key.”

Managing Director, Asia, Endemol Shine Group

Indra Suharjono

CEO, Next Animation Studio

10

contentasia issue one, april 2017

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countryprofiles

spread the love

4K/8K documentary, Yayoi Kusama: My Eternal Soul, is part of NHK’s slate at MIP TV 2017

Japan, the world’s second largest content market after the U.S., stands to benefit most from China’s current freeze on all things Korean. The break – as painful as it is for Korea – coincides with Japanese media companies stronger-than-ever will to spread their home-grown love.

Japan, the world’s second largest content market after the U.S., stands

remains absolute and challenged at great peril. In short, what the agen-

to benefit most from China’s current freeze on all things Korean, including

cy says goes. And the agency says no on-demand streaming/online/OTT

(much to Korea’s dismay) drama series that were fetching US$400,000 or

rights to outsiders. In an environment where international buyers need on-

US$450,000 an episode. Although this started happening in 2016, China’s

demand/streaming/digital rights, the result of Johnny & Associates opposi-

full-blown displeasure at Korea’s commitment to the U.S.-backed THAAD

tion is limitations on international licensing potential for content with one

missile defence system firmly kicked in in 2017. What happens next is at

of its stars.

the top of our watchlist for this year.

Few expect this to change any time soon. But the effort to shift hearts

According to IHS’s 2016 World TV Production Report, Japan’s TV pro-

and minds is ongoing, and buyers note progress in the rights clearance

gramming spend (original and acquired) in 2015 was US$9.8 billion, well

process in the past few years. At the same time, producers with interna-

ahead of China’s US$8.4 billion with South Korea trailing in third place at

tional expansion ambitions are, where they can, casting around Johnny’s

US$2.6 billion. Japan has an 8% share of global TV spend, equal to the

talent and hoping for the best.

U.K. The U.S. leads with 33%.

They are also looking abroad with collaboration in their hearts and co-

While it’s too soon to put a value on the impact that the Korea/China

development on their minds. At MIP TV this year, for instance, Fuji TV-af-

tension will have on other players, Japan’s shifting environment – in-

filiate Kansai TV’s drama Crisis is the first Asian drama ever on the World

cluding healthy slates of high-quality drama and more outward looking

Premiere TV Screening schedule.

domestic players – mean Japanese rights holders are well-placed to step into the gap.

But the Japanese market is not without its usual challenges, led by ageold rights issues that are hobbling digital distribution efforts abroad.

Say “Johnny’s” to anyone involved in Japan’s production scene, and the response goes something like: “Ah, you know about Johnny’s”. In-

Stronger expansion strategies are not the sole preserve of Japan’s commercial broadcasters.

While public broadcaster NHK has long been an active co-production partner in high-end factual programmes around the world, the latest rights acquisitions and distribution strategies are seen as part of a new era of the broadcaster’s involvement with the international market.

deed. And the knowledge is spreading as streaming platforms up and

NHK took another step forward into its new international reality in late

down Asia and the rest of the world dig into every corner everywhere for

2016, going global with Netflix for the first time with World War II mini-

unexploited rights to quality drama.

series, Tokyo Trial. The four-part series, a co-production between NHK,

Johnny & Associates is an all-powerful talent agency whose 55-year

Canada’s Don Carmody Television (DCTV) and the Netherlands’ FATT

reign over the creme de la creme of Japan’s male singers and actors

Productions, aired in Japan in December 2016, followed by a global re-

12

contentasia issue one, april 2017

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CREATED BY BERKUN OYA MIPTV Visit us at P-1.G51 Kanal D Sales.kanald.com.tr

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countryprofiles

Boss, which NHK acquired in 2016.

NHK produces about 35 series a year and more than 20 one-off TV dramas – a total of 600 episodes that vary in length from 42 mins to 72 mins. Among the series is the weekly 60-minute historical drama that runs for a year.

Another schedule staple for NHK is the famed 15-minute morning drama serials that have been running since 1961, adding approx 300 episodes to NHK’s annual total. The dramas air Mondays to Saturdays at 8am, and new stories are introduced every six months to a year. 95% of the stories are about women. The basic idea is to depict women living positively despite adversity.

On the commercial front, Fuji TV produces 12 series a year, each about 10 episodes, for a total of 120 hours of drama a year. That’s excluding series from its affiliate stations, which bump up the total to about 200 hours a year. Fuji’s top-rated show at home is War of Lie, produced by affiliate Kansai TV and starring former Japanese boy-band SMAP star Tsuyoshi Kusanagi. Outside of Japan, the Fuji TV title with the longest legs at the moment is Everyone’s Getting Married, a female-focused drama that has sold to OTT platforms in Hong Kong, Taiwan and Korea and a few others.

Commercial free-TV rival Nippon TV commands top spot on the domestic broadcast landscape. For full-year 2016, Nippon TV won all three ratings categories – all day (6am to midnight), prime time (7pm to 11pm) and golden time (7pm to 10pm) – for the third year running. Even if rating are down a fraction, the commercial free-TV environment remains healthy and viciously competitive.

Nippon TV produces 120 hours of drama a year for its domestic channel. The top-rated drama (March) was rom-com Tokyo Tarareba Girls, about a 30-year-old struggling screenwriter hit with a painful truth about her hunt for a husband.

Leveraging its content strengths, Nippon TV tied up with Sony Pictures Television Networks Asia on regional Asian entertainment channel GEM two yeas ago. The channel launched in Hong Kong and Southeast Asia Philippines’ Krissha Viaje, crowned winner of GEM’s singing competition, I Can Sing in Japanese!

in October 2015, featuring hit Japanese dramas Death Note and Angel Heart, available within a week of the Japanese broadcast, as well as Chinese romance Lady & Liar. As part of its commitment to increase relevance for local audiences, GEM launched a hunt in December last year

lease on Netflix. With its public broadcast hat firmly on, NHK said the Net-

for singers to participate in Nippon TV’s long-running TV show, I Can Sing in

flix deal ensured the series would be seen “by viewers everywhere and

Japanese!. The GEM winner, Krissha Viaje, will compete in Tokyo this year.

send a message to a world where conflicts still rage”.

Another commercial player on the regional channels stage is Waku-

Japan’s expanded horizons are playing out particularly well on the dra-

Waku Japan, majority owned by Sky Perfect JSAT, which ups the ante in

ma front for Fuji TV, once best known as the home of whacky ideas for

April with same-day telecast rights to Kansai TV/Fuji TV drama Crisis – Spe-

formats that could be developed for global markets.

cial Security Squad. The action feature, starring Hidetoshi Nishijima and

Fuji has a five-series scripted drama co-development deal with China’s

Shun Oguri as special squad agents, premieres on 11 April 2017 two hours

Shanghai Media Group (SMG). The first series, Dating: What’s It Like to be

after the Japanese telecast with local language customisation for Indone-

in Love? streamed on Chinese online platform Tencent in early 2017.

sia, Myanmar, Singapore, Taiwan, Sri Lanka and Mongolia.

The five titles also include Operation Love, the story of a young man who,

AND THEN THERE ARE THE GAMES... One of the most significant influenc-

with the help of a fairy, gets to go back in time to fix his regrets, including

es on Japan’s content environment at the moment – as it is across every

not telling his true love how he really feels.

other sector in the country – is the 2020 Olympics in Tokyo and glorious

NHK, a powerful force in technical innovation, is also not unaware of the need for content innovation that has opened up welcome new opportunities for international format rights holders.

national ambition on multiple levels, including determination to air the games in 8K (Super Hi Vision) for the first time.

The effort is already well underway. In August 2016, NHK started test

In 2016, NHK bought/produced its first foreign scripted format, The Sniffer,

broadcasts with a two-year timetable to roll out full services. With fore-

a Ukrainian drama about a detective who uses his hyper sense of smell to

cast penetration of 4K television sets in Japan rising from around 6% of

solve cases. The series premiered in October 2016 in a prime time slot on

households in 2016 to more than half of the marketplace by 2020 – ahead

NHK’s flagship national terrestrial channel. Other format headliners in the

of forecasts for either North America or Europe – other broadcasters and

space are all3media’s factual/reality titles, Gogglebox and Undercover

producers are not far behind.

14

contentasia issue one, april 2017

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countryprofiles

Nippon TV Established in October 1952, Nippon TV began broadcasting in August 1953 as Japan’s first commercial terrestrial broadcaster. The general entertainment station won the “triple crown” top ratings across three time categories (all day 6am-midnight, prime time 7pm-11pm and golden time 7pm-10pm) for full year 2016. This is the third consecutive year Nippon TV has won all three categories. At the same time, the 2016 ratings show a small dip from the year before. All day ratings were 8.4% (down from 8.6% in 2015), prime time was 12% (down from 12.5% in 2015), and golden time was 12.3% (down from 2015’s 12.6%), according to Video Research data for the Kanto region provided by NTV. Producing about 89% of its content in-house, Nippon TV broadcasts news, documentaries, sports, drama, entertainment and animation content. Its best-known title internationally is, perhaps, Dragons’ Den, which has been remade in 29 countries and sold as a finished programme in 184 countries (October 2016). The company also has interests in international content/format sales, TV shopping, media apps and events. Nippon TV’s international expansion includes GEM, a joint venture with Singaporebased regional network, Sony Pictures Television Networks Asia.

TBS Tokyo Broadcasting System (TBS) was established in 1951, and broadcasts news, information, entertainment and variety. The station ranked fourth Japanese drama Crisis from Fuji TV-affiliate Kansai TV features at MIP TV 2017 as the first-ever Asian World Premiere TV Screening.

among Japan’s six terrestrial broadcasters with 6% TVR for all day (6am12am), 10.1% TVR for golden time (7pm-10pm) and 10% TVR for prime time (7pm-11pm) from April-July 2016 (source: Video Research, Kanto

Who’s who in Japan: Free TV

region). TBS is also involved in satellite/cable TV (BS-TBS, TBS News Bird), VOD (TBS On Demand, geo-blocked), programme distribution (including original formats Sasuke and Takeshi’s Castle) and radio.

Fuji Television Fuji Television was established in 1957 and started broadcasting in 1959. The

TV Asahi

general entertainment schedule includes news and sports, and targets pri-

TV Asahi Corporation was founded in November 1957 as Nippon Educa-

marily younger viewers. From April to July 2016, Fuji TV ranked fourth among

tional Television (NET) and launched in February 1959. The terrestrial station

commercial broadcasters with an average 5.7% TVR for all day viewing

shifted from educational to general entertainment in November 1973, of-

(source Video Research, April-July 2016, Kanto region, weekly basis). Fuji TV

fering content spanning news, infotainment, animation and entertainment.

continues to expand its international agenda, including drama co-produc-

About 10 hours of news/information content airs live on weekdays. TV Asahi

tion/development in mainland China.

generally ranks second place with an average TVR of 7.2% among six terrestrial broadcasters (source: Video Research, all day 6am-12am, Kanto

NHK

region, April-July 2016). The group also operates BS and CS broadcasting,

Nippon Hoso Kyokai (NHK/Japan Broadcasting Corporation) was found-

The Asahi Shimbum (newspaper) and Toei, a producer and distributor of

ed in 1926 and became a public broadcaster in June 1950. NHK oper-

movies, TV dramas and animation. Internationally, TV Asahi is best known

ates two terrestrial TV channels (General TV, Educational TV), two satellite

for manga series Doraemon, Crayon Shin-chan, Masked Rider Wizard and

TV channels (BS 1, BS Premium) and three radio channels (Radio 1, Radio

Tokumei Sentai Go-Busters.

2, FM). Funded by receiving fees from Japanese households, NHK also offers international TV stations (NHK World TV, NHK World Premium) and

TV Tokyo

radio services (NHK World Radio Japan) under the NHK World brand. The

Established in April 1964, TV Tokyo provides terrestrial, BS and CS broad-

network has 54 domestic broadcasting stations and 30 overseas offices.

casting as well as online (TV Tokyo Play) and mobile content services. TV

NHK is supported by a licence fee for both terrestrial and satellite broad-

Tokyo transmits via six stations in Tokyo, Osaka, Nagoya, Okayama, Sap-

casts and had 40 million paying homes in July 2016.

poro and Fukuoka, and claims reach of about 70% across Japan. The daily line-up is mass market general entertainment content, including

Adapted from ContentAsia’s annual directory, ContentAsia’s The Big List 2017

16

news, documentary, animation, travelogue/food, variety, drama, movies, sports and music.

contentasia issue one, april 2017

globo.com/licensing

Fatima L. Nascimento 28 06 09 Art 33 Adriana Esteves Mauricio Oliveira 28 06 09 Art 121 Cava Reymond Rose S Dos Santos 28 06 09 Art 33 Jessica Ellen Vicente Menezes 28 06 09 Art 121 Jesuita Barbosa Above justice Series 16x1 Hr Justice lies in the eye of the beholder.

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distributionchannels

Happily ever-lasting

The Last Cop season two

Nippon TV is counting down to the theatrical release of a film that is part of a multi-dimensional content development strategy around a German format about a 53-year-old cop and his 23-year-old sidekick.

Nippon TV takes a film version of TV crime drama, The Last Cop, to theatres

Ueno says the decision to produce the free-to-air series followed the

in Japan in May, driving even further the multi-platform agenda that has

success of the show on SVOD. “At that point, we realised that creating

so far straddled free-to-air broadcast and SVOD streaming.

a theatrical version to add to the free-to-air and SVOD drama series

Based on hit German series, Der Letzte Bulle, by ITV Studios in association with Red Arrow International, The Last Cop tells the story of a detective who wakes up from a coma after 30 years to a modern world that has completely changed.

would result in a much grander rollout that would benefit the entire portfolio,” he says.

Success in thickening the plot for season two also drove momentum for the theatrical effort, Ueno says. “We had already depicted everything that

Nippon TV was the first – and remains the only – broadcaster in Asia to

we wanted to in season one’s one-off special drama and SVOD drama se-

pick up adaptation rights. In addition to its domestic success, the Japa-

ries, so it was a challenge coming up with ways to add even more value

nese version aired on Nippon TV’s joint venture GEM channel with Sony

to the content. Ultimately, we decided to thicken the plot by modifying

Pictures Television Networks Asia across Hong Kong, Indonesia, the Philip-

the buddy relationship of Kosuke and Ryota and tweaking the story. The

pines, Singapore, Thailand and Cambodia. Rights were also sold in Taiwan

freshness that we offered was met with high acclaim from loyal and new

and China.

viewers alike, adding more momentum for our theatrical endeavour.”

The TV series actors – Toshiaki Karasawa (20th Century Boys, Toshiie and

The film will, undoubtedly, build on awareness generated by the first two

Matsu) and Masataka Kubota (Mars, Death Note) – reprise their TV roles as

seasons, and marketing campaigns customised to drive tune-in to both.

a rough-and-tumble duo that solves one heinous crime after another.

“While The Last Cop already had a lot of fans by the time we produced

Nippon TV chose the format originally for its multi-platform potential, says

the free-to-air drama series, we wanted to address the viewers who would

producer Hiroyuki Ueno. “Since we were not looking for a drama series

be watching it for the first time. We kicked off production keeping these

in the beginning, our focus was on finding a concept that our audience

two groups in mind,” he says.

would understand instantly. In that sense, The Last Cop was a perfect

He also emphasises a holistic integrated strategy built into the plan from

match. I knew that its buddy cop dynamic that bridges generational gaps

the beginning. “Because this is a grand, long-term undertaking that con-

would resonate with the Japanese market,” he adds.

tains a free-to-air and SVOD drama series as well as a theatrical version,

The decision to produce a theatrical version followed the success of the show on free-TV broadcast and SVOD platforms. Season one, which aired on Hulu in 2015, is credited with significantly driving subscription to the Nippon TV-owned platform. Season two aired in October 2016.

18

we wanted to create a buzz that encompasses the project in its entirety,” he says.

That may include a third TV series. For now, no final decisions have been made.

contentasia issue one, april 2017

The hopes and fears of a generation Discover how migration is changing the world. The Migration Millennium explores the stories about the bitter challenges faced by migrants struggling to improve their lives. It’s just one of the many fascinating series of documentaries that DW Transtel has to offer.

Deutsche Welle | Ms. Mee Fung Lee | T +60 (3) 2093-0866 | meefung.lee@pikfilm.com.my Meet us at MIP TV 03-06 April 2017 Stand P-1.K22

MEET

US AT

MIP T V 03 - 0

6 APR . 2017 STAN D P-1.

K22

The hopes and fears of a generation

Discover how migration is changing the world.

The Migration Millennium explores the stories about the bitter challenges faced by migrants struggling to improve their lives. It’s just one of the many fascinating series of documentaries that DW Transtel has to offer.

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

dw.com

sponsoredprofile

Expand & deliver Iron Chef’s Hiroshi Tamaki © Fuji Television Network, Inc.

Japan’s Fuji TV has embarked on an ambitious expansion programme that spans finished programming, formats, co-production and co-development. Mamiko Maekawa, senior executive director, international department, talks about the strategy and what’s driving it.

Japanese broadcaster Fuji TV is staking out a stronger global footprint,

new technology from fresh and burgeoning

leveraging the successes of formats such as Iron Chef and Hole in the

enterprise will deliver exponential growth,”

Wall and maximising the new distribution opportunities of the digital/

she says, adding: “We intend to aggres-

streaming environment.

sively collaborate and make capital invest-

Mamiko Maekawa, Fuji TV’s senior executive director, international department, says the company is expanding its programme profile in

ments to companies who can give us a new edge in the world of entertainment”.

the coming year through internet distribution and satellite broadcast,

Other than animation, Fuji TV’s biggest

with a focus on collapsing windows between the original broadcast in

finished-programme success in international

Japan as well as on multi-device viewing. “These factors are all aimed

markets so far has been Iron Chef. This includes

to expand our content market,” she says.

the U.S., where the original Japanese version

The burgeoning OTT environment opens a path to younger viewers,

premiered on the Food Network in 1998. A

Maekawa says, pointing out heavy usage and high appetite for Japa-

U.S. version, Iron Chef America,

nese content in East and Southeast Asian countries, and the rising ability

aired for more than 10 years,

to service Japanese content fans in the rest of the world.

and is credited with creating

At the same time, Maekawa acknowledges the struggle to break into

the culinary TV game show

Western markets. “For both our programme and format sales, we are

genre as well as for driving

focusing on penetrating Western markets, an area where we have strug-

the popularity of Japa-

gled to breakthrough. We hope to find a quick entry with our scripted

nese food in America,

programmes, at the same time creating a winning non-scripted show

Maekawa says. The Iron

that will succeed Iron Chef and Hole in the Wall,” she says.

Chef brand returns to the

Partnerships are already well under way, including an equity invest-

U.S. in April after a three-

ment with American gaming giant Niantic, the company behind

year break as Iron Chef

Pokémon Go and Ingress. “We think that the synergy of our production

Gauntlet.

expertise fostered from traditional entertainment business teamed with

20

In Asia, Iron Chef

Mamiko Maekawa, Senior Executive Director, International Department, Fuji TV

contentasia issue one, april 2017

China Dating: What’s it Like to be in Love? © Fuji Television Network, Inc. All rights reserved

Thailand marks its fifth year this year and remains a solid favourite.

major strengths that Japanese TV stations possess, to be able to carry out

Maekawa also points out the 360-degree strategy around the brand,

consistent productions,” she adds.

including the Iron Chef Table restaurant in Bangkok. A local version of the format premiered in Indonesia in March.

While Iron Chef has topped licensing revenue charts for Fuji TV, Hole in

On the scripted level, Fuji TV has had similar success in the past with its drama Hero, and has embarked on an ambitious co-production strategy in, among other markets, China.

the Wall is the format with the largest global footprint. Game show Total

Hero is the story of a maverick public prosecutor with unorthodox but

Blackout, a co-production with FremantleMedia, was also a winner with

brilliant investigative instincts. The series was broadcast in Taiwan, Korea,

sales in more than 20 markets.

Hong Kong, China, Singapore, Malaysia, Thailand, Indonesia, Burma,

Maekawa notes the relative absence of breakout blockbuster formats

Philippines and other Asian countries. In Taiwan, Hero debuted in 2001,

on the global stage at the moment. “It may be the case that produc-

becoming so popular with local audiences that rights have been renewed

tion and creative skills in each country have improved from introducing

eight times since.

innovative formats so perhaps we’re seeing less people simply purchas-

Maekawa says one of the strengths of the Japanese content business

ing ready-made versions from overseas,” she says. “With that in mind,

include the “cornucopia of stories where many of the world renowned

we’ve shifted to international co-production of formats, custom-made

manga and anime are brought to life in drama and film versions”.

to suit the local culture and demands,” she adds. The initiative is built

Other strengths are flexibility and length. Most Japanese drama series

on Fuji TV’s decades-old relationships with TV stations and production

are about 10 episodes long. Maekawa says “the compressed and speedy

companies around the world.

story executions make them all the more suitable for OTT environment.

“We announced this ‘custom-made format’ arrangement at Mi-

What’s best, any single content can be morphed into animation, comic,

pcom last year and gathered a tremendous amount of attention

drama, motion picture, even games. Each and every content is versatile

from global buyers,” Maekawa says. One of the results so far is Super

and adaptable into different genres of entertainment so I am confident

Boys, a co-production game show with China’s Zhejiang TV. A project with Hunan TV is also in progress, and Fuji TV is entertaining offers from the U.S., France, South America and Asian countries.

that all are vastly user-friendly.”

“We think that Japan is an ideal business locale with great advantages for a couple of reasons,” she says, adding: “First, the Asian market remains

“International co-production of non-scripted show formats is an

to be the core global engine of growth (where we have a geographical

area where we expect further business opportunities,” Maekawa

advantage). Second, Japanese law guarantees the freedom of speech

says. “We carry an extremely sharp and energetic creative troop

and free enterprise. Third, our digital infrastructure is at the top international

in-house where we develop formats, produce, and broadcast

level. All these environmental factors contribute to safely challenge and

entirely on our own. Unlike TV stations overseas, this is one of the

implement business experiments using an assortment of technologies.”

contentasia contentasia issue one, issue april one, 2017 april 2017

21

schedulesfactual

For real

Hazen Audel in National Geographic’s Primal Survivor

Factual is holding its own in Asia’s evolving video entertainment environment. Malena Amzah looks at who’s expanding where with what.

For all the angst over the future of factual, the debate over the lines be-

FOX Networks Group (FNG), for instance, launched FOX+ in the Philip-

tween fact and fake and where to draw them, whether or not the racer

pines in early March this year with Killing Reagan on the streaming plat-

snakes and the marine iguana actually happened for real (it did) or with

form’s home screen right beneath high-action thriller 24 Legacy and

a little bit of help from CGI (none at all, says BBC), and how much future

the iconic Star Wars. The hero image was The Story of God with Mor-

leisure time will (or not) be filled with short-form, long-form documenta-

gan Freeman, a high-profile factual series that follows Morgan Freeman

ries and series remain a solid part of Asia’s evolving video entertainment

around the world exploring different cultures and religions in a quest to

environment.

uncover the meaning of life, God and “all the questions in between” –

Programmers give plenty of good reasons. And they just got one more in a recent global research study that shows watching nature programming makes viewers happier. That’s on top of a growing body of literature that links nature and human wellbeing.

The new quantitative study involved 7,500 participants from six countries, including Singapore, India and Australia. The results have driven BBC

Where do we come from? What happens when we die? Why does evil exist? How is science changing religion?...

Those are but two of the 500 hours of factual programming that populates the game-changing OTT platform’s seven factual categories.

Tent-pole titles also include Mars, Gender Revolution: A Journey with Katie Couric, 1000 Days for the Planet and Wild Canada.

Worldwide, on the back of natural history show Planet Earth II, to launch

“For us, FOX+ is all about TV for the new world,” says Keertan Adyan-

The Real Happiness Project (“a mission to bring real happiness to as many

thaya, FNG’s executive vice president, content and marketing, for Asia

people as possible by improving their connection to the natural world”).

Pacific/Middle East. “Documentary is a very important aspect of TV,” he

The research, conducted with University of California Berkeley emotion

adds. And it will continue to be until the data from the digital platform

expert, Professor Dacher Keltner, says that even short engagement with

proves otherwise – or not.

such shows leads to significant increases in positive emotions, including

For BBC Worldwide, which has rolled out its BBC Player in Singapore

awe, contentedness, joy and amusement. The study also found substantial

and Malaysia so far, BBC Earth is a critical programming pillar alongside

decreases in emotions such as nervousness, anxiety, fear, stress and tired-

BBC First (premium/original British drama such as SS-GB and Love Nina),

ness, as well as enhanced attention, focus and cognitive performance.

BBC Brit (factual entertainment/reality, including Top Gear season 24

Psycho-good aside, Asia’s programmers are betting that factual continues to be good business in pushing forward with their digital plans.

22

and Special Forces Ultimate Hell Week), BBC Lifestyle, CBeebies and BBC World News. The app-based player, bundled with pay-TV packages on

contentasia issue one, april 2017

Arctic Secrets, Love Nature

Tales from Zambia, Love Nature

etersen (2015) and murder investigations such as Half Ton Killer (2012), about the world’s heaviest Genius, National Geographic/ FOX Networks Group Asia

woman who squashed and killed her two-yearold nephew.

Singapore’s StarHub and Malaysia’s

Asia’s other regional factual leaders, A+E Net-

HyppTV, offers about 150 hours of fac-

works and Discovery haven’t gone down the brand-

tual content (see page 28).

ed app-based streaming path, for now throwing their

National Geographic’s presence on

lot in with OTT attempts by traditional pay-TV/cable plat-

FOX+, like BBC Earth’s on the new BBC Player in Asia, is – however jaw-dropping the titles and their impact – perhaps not so surprising given the documentary

forms. A+E Networks’ History and H2 both have streaming SIX, History/A+E Networks

legacy of both brands.

For SVOD streaming platform iflix, which had rolled out in 10 markets in Asia by mid-March 2017, the decision to carry factual is about pure choice and commitment to breadth of content.

catch-up (latest four titles) for cable subscribers and a selection of box-sets on, for example, StarHub’s mini Go Select pack for S$9.98/US$7 for 30 days available to anyone who could be bothered to navigate a buggy, clunky app.

Natural history brand, Love Nature, meanwhile, has chosen a different route into Asia, with an HD linear channel available through Gregg Creevey’s

iflix offers about 150 documentary titles (as of March 2017). These run

Multi Channels Asia (MCA) and a direct-to-consumer SVOD platform that

from Show of Force/Fugitive Films’ Half the Sky (2012) and A+E Networks’

hosts about 200 hours of documentary content at the moment. The online/

entertainment series Ancient Aliens (2009) to BBC Earth’s Land of the

streaming platform is available in eight markets in Asia – Japan, Hong Kong,

Monsoon and David Attenborough’s Natural Curiosities, and Australia’s

Taiwan, Philippines, Thailand, Indonesia, Malaysia and Vietnam.

Change My Race (2013, Screen Australia/Prospero Productions), which

In line with our deep-dive commitment to content in Asia, ContentA-

aired on SBS. The series looks at Australia’s beauty ideal and asks: “If you

sia’s annual focus on factual channels takes an in-depth look at what’s

weren’t born with a white face can you buy one?” In between history,

on in Asia, what’s new this year and, where available/possible, how this

natural history and social issues, iflix offers sports such as ITV’s Being Kevin Pi-

compares to last year. Here’s what we found...

contentasia issue one, april 2017

23

schedulesfactual

BBC Earth Date/ Day/Time 7pm 7.15pm 7.20pm 7.25pm 7.45pm 8.05pm 8.10pm 8.20pm 8.30pm 9pm 9.05pm 9.10pm 9.20pm 9.45pm 9.50pm 9.55pm 10.05pm 10.10pm 10.35pm 10.40pm 10.45pm 11pm

30-Jan-17 Monday 6.45pm: Deadly Pole to Pole: Special - The Wolf

11.55pm

1-Feb-17 Wednesday

2-Feb-17 Thursday

6.45pm: Deadly 360: Dogs

6.45pm: Deadly 360: Wasps and Spiders

6.45pm: Deadly 360: Bears

The Supervet: Dolly, Anya & Lola

The Supervet: Cyrus, Ghost, Bella & Bucklesbury Bear

The Supervet: The Supervet: Speedy, Christmas in the Clinic Snoopy & Winston Nature’s Greatest Lands of the Monsoon: Dancers: Dancing for Drought Love Extreme Fishing with Robson Green: Florida Where the Wild Men Are with Ben Fogle: Ibiza

Trust Me I’m a Doctor Series 2, Episode 2

11.05pm 11.30pm 11.35pm 11.40pm 11.50pm

31-Jan-17 Tuesday

Extreme Fishing with Robson Green: California Life Below Zero: Against the Tide

Wild Alaska: Spring

Atlantic: The Wildest Ocean on Earth: Mountains of the Deep

Extreme Fishing with Robson Green: Ascension Island Flying to the Ends of the Earth The Himalayas

Extreme Fishing with Robson Green: Patagonia Joanna Lumley’s TransSiberian Adventure Series 1, Episode 1

Xploration Earth 2050: Human Universe: What The Future of Outer Space Is Our Future?

Xploration Earth 2050:

Sparks of Invention: Shock and Awe

The Future of Driving

Nature’s Greatest Lands of the Monsoon: Dancers: Dancing for Drought Love

Wild Alaska: Spring

Atlantic: The Wildest Ocean on Earth: Mountains of the Deep

3-Feb-17 Friday 6.50pm: Deadly 360: Aerial Assassins The Supervet: Maximillion, Spud and Maya Life Below Zero: Against the Tide Extreme Fishing with Robson Green: Papua New Guinea Steve Backshall’s Extreme Mountain Challenge Part 1

Trust Me I’m a Doctor Series 2, Episode 2

Life Below Zero: Against the Tide

4-Feb-17 Saturday

5-Feb-17 Sunday

6.35pm: Joanna Lumley’s Trans-Siberian Adventure Series 1, Episode 1

6.50pm: Human Universe: What Is Our Future?

Steve Backshall’s Extreme Mountain Challenge Part 1

Xploration Earth 2050: The Future of Outer Space

Life Below Zero: Against the Tide

Flying to the Ends of the Earth: The Himalayas

Nature’s Greatest Dancers Dancing for Love

Joanna Lumley’s Trans-Siberian Adventure Series 1, Episode 1

Lands of the Monsoon: Drought

Where the Wild Men

Wild Alaska: Spring

Where the Wild Men

Steve Backshall’s Extreme Mountain Challenge Part 1

Are with Ben Fogle: Ibiza

Are with Ben Fogle: Ibiza

Nature’s Greatest Dancers: Dancing for Love

Source: BBC Worldwide, linear schedule, prime time, week of 30 Jan 2017. Schedules correct as of Feb 2017

Animals/Wildlife

Nature

Science

Action/Adventure

Travel

Health/Wellness

demand (SVOD) platform launched in Asia in September 2016, and in driving the re-entry of BBC’s branded linear entertainment services into India in a joint venture with Sony Pictures Networks (SPN) India, which operates 22 channels.

The co-branded Sony BBC Earth channel, available in English, Hindi, Tamil and Telugu, went live in India on 6 March 2017. The deal gives the new channel potential access to SPN India’s 500 million viewers.

The channel is operated by MSM Worldwide Factual Media, major-

People/Lifestyle

BBC Earth: 2017 vs. 2016 12 10 8 6 4 2 0

ity owned by SPN India. At the launch, BBC Worldwide’s global markets president, Paul Dempsey, called the venture “a pioneering model for us

1-7 Feb 2016 30 Jan-5 Feb 2017

Source: ContentAsia from published schedules

streaming environment as part of the BBC Player subscription video on

No. of hours

BBC Earth’s most significant shifts in the past year have been in the

Activities/Sports

in global markets”.

Sony BBC Earth programmers say a key differentiator for the channel in India’s wickedly competitive market are its defined programming slots.

While the India JV breaks new ground in a well-established market that

Prime time kicks off with a Why, How & What on Earth (“fun and insightful

BBC hasn’t managed in the past to tame for its entertainment channel

science”) band at 8pm; followed by Wild Wild Earth at 9pm and Earth

brands, the BBC Player catapults BBC into an entirely different league in

Explorers (adventure and human interest) at 10pm. The tentpole week-

other parts of Asia.

end slot is Earth Specials, featuring titles such as The Hunt, Where The Wild

The app is easy to use, the interface is beautiful, content curation is

Men Are with Ben Fogle, Trust Me I’m A Doctor, Snow Chick and Planet

coherent, and although not everything BBC is on it there are more than

Earth II.

enough premium titles to satisfy. The commercial strategy, pegging ac-

24

contentasia issue one, april 2017

The infection begins Crow’s Blood Miramax At MIPTV Stand R8.D2 worldwidesales@miramax.com 2450 Colorado Ave, Suite 100 East, Santa Monica, CA 90404, USA | Tel: +1 310 409 4321 1-4 King Street, Covent Garden, London WC2E 8HH, UK | Tel: +44 203 056 1630 Ground Floor, 111 Flinders Street, Surry Hills, Sydney, NSW 2010, Australia | +61 2 8302 5536 miramax.com

At MIPTV Stand R8.D2

worldwidesales@miramax.com 2450 Colorado Ave, Suite 100 East, Santa Monica, CA 90404, USA | Tel: +1 310 409 4321 1-4 King Street, Covent Garden, London WC2E 8HH, UK | Tel: +44 203 056 1630 Ground Floor, 111 Flinders Street, Surry Hills, Sydney, NSW 2010, Australia | +61 2 8302 5536 miramax.com CROW’S BLOOD © HJ HOLDINGS, LLC. “MIRAMAX®” and the “MIRAMAX” Logo are the registered trademarks, trademarks and service marks of Miramax, LLC. All Rights Reserved.

schedulesfactual

Planet Earth II, BBC Earth

cess to existing pay-TV partners, is designed to protect and hopefully grow pay-TV revenues (still higher than anything the streaming world is offering) and to future-proof the brand in a multi-screen video environment.

Genre

1-7 Feb 2016 (hours)

30 Jan-5 Feb 2017 (hours)

5.5

3

Whether legacy partners, some of which remain steeped in the annoying

Action/Adventure

and destructive habits of the old cable TV world, are able to manage

Activities/Sports

4

4

customer relationships in the on-demand environment remains to be seen.

Animals/Wildlife

9.3

10.2

But, at the very least, BBC Worldwide now owns its user data and has the

Health/Wellness

5.3

1.8

Nature

7.3

6.5

Hub) and Malaysia (HyppTV) – where the Player is offered, at no additional

People/Lifestyle

0.8

3.3

cost, only to premium pack subscribers. There is no stand-alone subscrip-

Science/Educational

0.8

4.1

2

2

beginnings of direct consumer access if it ever needs to go it alone.

BBC has so far secured Player carriage in two markets – Singapore (Star-

tion option, and BBC Earth titles, at least in Singapore, are not included in the stand-alone platform-branded SVOD services populated with other

Travel

Source: ContentAsia from published schedules

factual brands. Discussions are ongoing in other markets.

The BBC Player’s BBC Earth section offers a selection of cross-platform

in October 2015, is alive and well across Asia, according to BBC World-

titles such as Planet Earth seasons one and two mixed with Player-only

wide’s Asia HQ in Singapore, and has been the number one channel in

Horizon shows such as Should You Really Play Video Games? and How to

its category for the month at least four times in markets measured.

Find Love Online. All content can be streamed or downloaded.

Prime time on the 16-month-old channel runs from 7pm to midnight

As it does for BBC’s six channel brands, the BBC Player offers access via

(SG/HK). The channel still features the eight genres with which it launched.

either the channel or by genre. The factual category, which is one of five

The biggest change in the linear schedule this year from last year is the

genres (drama, entertainment, factual, lifestyle, children), pulls shows

amount of health and wellness content, which is down in 2017, and in

from across BBC channels.

people/science/education, which is up.

In early March 2017, the player offered 37 titles, some with multiple sea-

ContentAsia’s analysis shows a significant increase in science pro-

sons, in the factual category. These include talk show Hardtalk and tech

gramming from 48 minutes in 2016 to 3.3 hours this year. People-related

title Click (2 x 22 mins / 2 x 23 mins, 2017) from BBC World News along with

titles increased from 48 mins in 2016 to 2.5 hours this year. Health/wellness

BBC Brit’s Sir Alex Ferguson: Secrets of Success (51 minutes, 2015) and a

content dropped 66%.

selection of Louis Theroux episodes, also from BBC Brit, including A Different Brain (2016) and Law and Disorder in Philadelphia (2008).

Meanwhile, the linear channel, which replaced BBC Knowledge in Asia

26

The dominant genre this year – as it was last year – is natural history, led by wildlife/animals and nature. Clearly, BBC Earth in Asia is as committed as anyone who has read the research to a happier universe.

contentasia issue one, april 2017

TV Azteca International AZ ContentAsia

Shakes Me IRON Lady 150x42 Living to race 40x46 Facebook /AZ Contenidos Twitter @AzContenidos www.tvaztecainternacional.com MIPTV Booth R8-B10

schedulesfactual

BBC Player – Factual Title Click S1 Dangerous Earth Dara O Brian's Science Club S1 Dara O Brian's Science Club S2 David Beckham: Into the Unknown Extreme Fishing with Robson Green S4 Factomania S1 Fishing Impossible HARDtalk How to Find Love Online Ice Town: Life on the Edge Joanna Lumley's Japan Life Below Zero S3 Louis Theroux: A Different Brain Louis Theroux: Beware of the Tiger Louis Theroux: Drinking to Oblivion Louis Theroux: LA Stories – City of Dogs Louis Theroux: Law & Disorder in Philadelphia Louis Theroux: Miami Mega-jail Our World S1 Planet Earth S1 Planet Earth S2 Robson Green's Extreme Fishing Challenge S1 Robson Green's Extreme Fishing Challenge S2 Robson Green: Extreme Fisherman Round Planet Should You Really Play Video Games?

Sir Alex Ferguson: Secrets of Success Sparks of Invention Special Forces: Ultimate Hell Week S1 Special Forces: Ultimate Hell Week S2 Stephen Fry in Central America Steve Jobs: Billion Dollar Hippy The Coffee Trail with Simon Reeve The Immortalist The Tea Trail with Simon Reeve The Travel Show S1 Trust Me, I'm a Doctor S4 Wild Things with Dominic Monaghan S2 Wonders of the Solar System S1 Year of Adventures S1 Source: BBC Player (Singapore, 10 March 2017) compiled by ContentAsia

28

Year 2017 2016 2012 2013 2014 2010 2014 2016 2017 2016 2016 2016 2015 2016 2011 2016 2014 2008 2011 2016 2006 2016 2011 2013 2014 2016 2015 2015 2014 2015 2017 2015 2011 2014 2016 2014 2017 2015 2014 2010 2012

Episodes 4 1 6 6 1 3 10 10 9 1 10 3 20 1 1 1 1 1 1 4 11 6 8 6 8 10 1 1 5 6 5 4 1 1 1 1 4 4 10 5 5 197 Episodes

Length (mins) 22/23 49 49 49 (av) 91 43/44 47/48 47/48 24 51 47/48 45/46 42/43 51 52 51 52 50 49 22/23 47/48/49 57/58 42/43 42/43 43/44 25 51 51 46 50/51/52 49/50 46 49 49 51 51 22/23 49/50/51 42/44/45/46 48/49/50/51 49/50 8598 Minutes

Total minutes 90 49 294 294 91 130 472 478 216 51 475 137 854 51 52 51 52 50 49 91 529 346 343 257 346 250 51 51 230 305 248 184 49 49 51 51 90 200 448 247 246 143.3 Hours

contentasia issue one, april 2017

P.O.W. Bandi Yuddh Ke After 17 years held hostage, their war continues….

“Not to be missed” The times of India “Sets a new standard for Indian Television” India Today

AFTER 17 YEARS HELD HOSTAGE, “Breaks new grounds” THEIR WAR CONTINUES… Financial Chronicle

The acclaimed Asian Series Available Now 110 x 30’

Catalogue: www.keshetinterantionalc.om Contact us: info@keshetinternational.com @KeshetAsia StarPlus

"Not to be missed" The Times of India

"Sets a new standard for Indian television"

"Breaks new grounds"

India Today

The Acclaimed Asian Series Available Now 110 X 30'

Catalogue: www.keshetinternational.com Contact us: info@keshetinternational.com @KeshetAsia KeshetAsia @Keshet.Asia

Financial Chronicle

schedulesfactual

History Date/ Day Time 6pm 6.10pm 6.30pm 6.35pm

30-Jan-17

31-Jan-17

1-Feb-17

2-Feb-17

3-Feb-17

4-Feb-17

5-Feb-17

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday 5.15pm: History Drama: Six - Tour Of Duty (3)

Sunday

Storage Wars: Texas (S5) Hands Off Embroidery Storage Wars: Texas (S4) Rules To Buy By (40)

Storage Wars: Texas (S4), Storage Wars: Canada, A Storage Wars: Canada Mayor Of Money Town Bad Day To Be Bogart Ursula’s Just Not That Into You

Pickers (S6), The - Off The Road (0)

Storage Wars (S6) - Best Of: The Feuds (4)

Storage Wars (S7), Hestered In The Highlands (134)

Storage Wars (S7) - Auction Boogaloo (135)

Pawn Stars (S15) - Book Of Rick, The (338)

Pawn Stars (S15) - Van Gogh A Go Go (339)

Pawn Stars (S15) - Tough Cookie (340)

7pm 7.05pm 7.30pm 8pm 8.30pm

9pm 9.30pm 9.55pm 10pm 10.30pm 10.55pm 11pm 11.20pm 11.30pm 11.45pm

Pawn Stars (S15) Birthday Blues (336) Food Factory (S1) - In The Hot House (11) Ride N’ Seek: Quest For The Priestess’ Cloak Hero In Ground Zero (5) Ride N’ Seek: Quest For The Priestess’ Cloak - Way Of The Warrior (6) Counting Cars (S5) Best Of: One Of A Kind Commissions (10)

Pawn Stars (S15) - Pawn Fiction (337)

Food Factory (S1) Food Factory (S1) - Gone Food Factory (S1) - Griller Come Fly With Me (12) Fishing (13) Thriller, A (14) Storage Wars: Canada, Asia’s Special Forces With A Bad Day To Be Bogart Terry Schappert #3 (25) UFO Hunters (S3) Storage Wars: Canada, Underwater Area 51 (8) Asia’s Special Forces With Ursula’s Just Not That Into Terry Schappert #4 You (26) Storage Wars (S6), Best Of: The Feuds (4)

Hunting Hitler (S2) Eyewitness Accounts (3)

Big Easy Motors Storage Wars: Texas (S4), Crescent City Cuda (16) Mayor Of Money Town #44 Pawn Stars (S17) - No Pawn For You! (407) Pawn Stars (S14) Spacing Out (313)

Pickers (S9), The - Beetle In A Haystack (176)

Alone (S3) - Of Feast & Famine (8)

Curse Of Oak Island (S4), History Drama: Vikings The - Going For Broke (1) (S4) - Reckoning, The (20)

Food Factory (S1) - Like Momma Makes (15) Alone (S3) - Of Feast & Famine (8)

Asia’s Special Forces With Terry Schappert #3 Asia’s Special Forces With Terry Schappert #4 History Drama: Six - Tour Of Duty (3)

Pickers (S9), Storage Wars (S6) - Best The - Beetle In A Of: The Feuds (4) Haystack (176) Storage Wars: Texas (S4) - Mayor Of Money Town (44) Counting Cars (S5) Best Of: One Of A Kind Alone (S3) - Of Feast & Famine (8) Commissions (10) Big Easy Motors Crescent City Cuda (16) Pawn Stars (S17) - No Pawn For You! (407) Pawn Stars (S14) Spacing Out (313)

TACTICAL SUNDAYS Warfighters, The Ambush Of April 7th (12)

Curse Of Oak Island (S4), TACTICAL SUNDAYS The - Going For Broke (1) History Drama: Six Tour Of Duty (3) Hunting Hitler (S2) Eyewitness Accounts (3)

History Drama: Vikings (S4) Reckoning, The (20)

Storage Wars (S6), Best Of: The Feuds Alone (S3) - Of Feast & Storage Wars: Texas Famine (8) (S4) - Mayor Of History Drama: Six - Tour History Drama: Vikings (S4) Money Town (44) Of Duty (3) Reckoning, The (20) Asia’s Special Forces With Hunting Hitler Terry Schappert #4 (S2) - Eyewitness Big Easy Motors Accounts (3) Crescent City Cuda (16) Source: A+E Networks Asia, 6pm-midnight, 30 January 2017-5 February 2017. Analysis by ContentAsia

Asia’s Special Forces With Terry Schappert #3 History Drama: Vikings (S4) - On The Eve (19)

Alone (S3) - Hungry Beasts (7)

11.50pm

Competition

Drama

Character-led

History

Food

Automobile

Mythological/Paranormal

Travel

A+E Networks’ History channel has kept a steady hand on its prime-time

Weapon/Millitary

25

2017 vs. 2016 vs. 2015

schedule for Southeast Asia, keeping competition series, drama and character-led factual in the same pole positions this year as they did last year.

20

9-15 Mar 2015 1-7 Feb 2016 30 Jan-5 Feb 2017

The biggest difference in the past three years is in the amount of survival 15

The week of 30 January to 5 February 2017 featured 31% (13 hours) of competition programming; 19% (8 hours) drama; and 18% (7.5 hours) char-

10

acter-led shows. The rest of the schedule was 10% (4 hours) history; 7% (3 hours) weapons/military; 6% (2.5 hours) food; 5 % (2 hours) automobile; 2% (1

5

No. of hours

series featured in prime time.

hour) mythological/paranormal; and 2% (1 hour) travel.

Outside of survival shows, the most significant difference over the past

0

three years is in the number of hours devoted to the top three sub-genres.

Competition shows command top spot on the prime time schedule this year, with 13 hours compared to four hours in 2016 and nine hours in 2015.

Fact-based drama is second, with eight hours this year, compared to seven hours in 2016 and four hours in 2015.

Character-led shows such as The Pickers and Pawn Stars – among the 21 hours History devoted to the reality sub-genre in 2015 – fell off dramatically in 2016/2017, although they continue to be in the top three genres

30

on the prime-time schedule. Levels were similar in 2016 (7 hours) and 2017 (7.5 hours). The Pickers returned for season seven this year and Pawn Stars is back with season 17.

Survival (Mountain Men, Woodsmen) dropped off the radar this year, after a strong presence last year with seven hours.

contentasia issue one, april 2017

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31

schedulesfactual

Love Nature Jo Parkinson, Managing Director, Love Nature International; Above: Wild Wild East; Left: Guardians of the Wild

Blue

Ant

Media

and

mer, content will in-

Smithsonian

crease to 300 hours.

Networks’ joint venture channel, Love

How do Love Nature

Nature, launched on StarHub in Singapore at

programmers

the end of November 2016, following the launch of

decide

what goes where and

Smithsonian Channel, also on StarHub, in September. Both

what’s shared?

carriage deals were the first in Asia.

Love Nature’s linear proposition runs alongside a standalone direct-

Love Nature’s linear sched-

to-consumer SVOD platform, www.lovenature.com, in Asia. The SVOD

ule is simple with easy to under-

service is currently available in eight Asian markets – Hong Kong, Ja-

stand themes such as Water Wednesdays and Friendly Fridays, Parkin-

pan, Taiwan, Philippines, Thailand, Indonesia, Malaysia and Vietnam –

son says. While it’s early days for the linear channel, the SVOD online

for US$2.57 a month. A percentage of the subscription is donated to

platform is all about AB testing, Parkinson says, highlighting the critical

wildlife charities around the world.

role data is playing in shaping the product.

At the same time, Love Nature International’s managing director, Jo Parkinson says B2B relationships with platforms are critical. “The two businesses are complimentary,” she says, adding: “We have to cater to all viewing needs.”

In Singapore, the HD linear channel is available on TV only. The 4K SVOD service hasn’t officially launched in Singapore yet although it is available.

“We are constantly tracking to make sure we are giving users what they want,” she says, adding: “We are really in a learning curve”.

Some of the content, including programming being filmed in Cambodia in partnership with the World Wildlife Fund (WWF), is funneled both to the channel and the SVOD platform.

The most sticky content so far is family friendly and about giving back, she says. Audience feedback also indicates a higher volume of co-

The linear schedule in Singapore features titles/sections such as Wild Wild

viewing than programmers initially anticipated, as well as take-up of

East, Nomads of the Serengeti, Coastal Africa, The Living Beach, Water-

the multi-device option that lets viewers continue watching the same

world Africa, Guardians of the Wild and Arctic Secrets and an abundance

programme across different screens.

of nature scenes from deer and butterflies to the Nashville Zoo and Cozumel. These are not replicated/duplicated on the SVOD service.

Love Nature’s programming pipeline is underpinned by a commitment to creating 200 hours of 4K wildlife and nature content a year

The SVOD platform, launched in February 2016, hosts about 200 hours

for five years from 2014. This includes a two-year partnership with Plim-

of documentary content, ranging from Ocean Voyagers (70 mins) nar-

soll Productions on natural history project, Camp Zambia, to create 50

rated by Meryl Streep, to Attack of the Sun (25 mins) and science/life-

hours of 4K wildlife and nature content for Love Nature. There’s also

style title, The Brando Hotel (26 mins), about the zero-carbon-footprint

a focus on tech and constant innovation and upgrades. As Parkinson

luxury resort founded by actor Marlon Brando. By the end of this sum-

says, “offering diversity and innovation is 101 in the space”.

32

contentasia issue one, april 2017

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schedulesfactual

National Geographic Date Day/ Time 7pm 7.30pm 8pm 9pm 9.30pm

30-Jan-17

31-Jan-17

1-Feb-17

2-Feb-17

3-Feb-17

4-Feb-17

5-Feb-17

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Sunday

Rise Up: The Legacy of Nat Turner

Highway Thru Hell: Ep 6

T. Rex Ultimate Survivor

Megastructures: Korean Superlink

Dirty Rotten Survival: Car-B-Que

Trekking the Great Wall

Classified: CIA Confidential: Hunt For Bin Laden

Air Crash Investigation: Who’s In Control?

Locked Up Abroad: Mexico Or Bust

Mega Factories: Supercars: Porsche 911

Wicked Tuna: Bluefin Beatdown

The Border: Defensive Line

Megastructures: Dubai Racecourse

Human Inferno

Taboo USA: Strange Obsessions

Ultimate Airport Dubai: Ep 1

StarTalk: Jay Leno

StarTalk: Science of Game of Thrones The Border: Dangerous Divide

10pm

Highway Thru Hell #6

11pm

Dirty Rotten Survival: Car-B-Que

Dog Whisperer: Ultimate Airport Dubai: Fondue, Chip, Hope & Ep 1 JoyJoy, and Elmer Cesar’s Recruit: Asia: Operation Sumatran Ep 4 Rhino Desperate Hours: Pope vs Hitler Disasters In The Air Mission Critical: Wicked Tuna: Anchor Orangutan On The Anger Edge Air Crash Investigation: Rise Up: The Legacy of Locked Up Abroad: Who’s In Control?

Nat Turner Kidnapped In Iraq Live Free Or Die: Colbert

Cesar’s Recruit Asia Ep 4 Desperate Hours: Disasters In The Air Mission Critical: Orangutan On The Edge

Source: FOX Networks Group Asia, prime time, 30 January 2017 - 5 February 2017. Analysis by ContentAsia

Animals/Wildlife

Investigative

Crime

Business/Jobs

History

People/Lifestyle

Building/Engineering

Talkshow

Survival/Disaster

Action/Adventure

Activities/Sports

Automobile

National Geographic has evened out the genre-mix on its prime time

2017 vs. 2016 vs. 2015

schedule over the past three years, shifting from significant spikes in food

10

and science/tech/medical content in early 2015 to a broader content mix prominent genre.

8

Prime time (7pm-midnight) this year (week of 30 January to 5 February)

7

tive; 11.4% (4 hours) crime; 11.4% (4 hours) business/jobs; 8.6% (3 hours) history; 8.6% (3 hours) people/lifestyle; 5.7% (2 hours) building/engineering; 5.7% (2 hours) talk show; 5.7% (2 hours) survivor/disaster; 5.7% (2 hours) action/adventure; and 5.7% (2 hours) activities/sports.

The biggest difference has been in the amount of time allocated to food programming. This has been slashed from nine hours in 2015 (Think Food) to zero last year. The category is clearly not missed, and it’s a zero once again on this year’s schedule.

No. of hours

aired factual series from 12 genres, ranging from wildlife (17%/6 hours) to vehicles (2.7%/1 hour). The rest of the schedule is 11.4% (4 hours) investiga-

9-15 Mar 2015 1-7 Feb 2016 30 Jan-5 Feb 2017

9

led this year by wildlife/animals with a much lower lead over the next most

6 5 4 3 2 1 0

Science content has declined over the past three years, from eight hours (episodes from Entertain Your Brain: Science of Stupid) in 2015 to five hours in 2016 (Brain Games) and zero this year.

If the story of Albert Einstein can be tagged as science, then the category is back in a big way from April 2017 in new 10-part series Genius

Source: ContentAsia

starring Geoffrey Rush and directed by Ron Howard in his first TV project.

Genius, Nat Geo’s first-ever scripted mini-series, premieres on 23 April at 7pm on the Southeast Asia/Hong Kong feed. Based on the book Walter Isaacson, Einstein: His Life and Universe, the series explores the turbulent journey of the brilliant physicist who changed the way we view the universe.

New genres on the Nat Geo schedule this year are crime/prison break series (The Border, Locked Up Abroad) and talk show StarTalk.

34

These run alongside increases in wildlife/animals shows, which are up to six hours this year from three hours in 2015.

Investigative shows are also up sharply, from one hour in 2015 to two hours in 2016 and doubling again this year to four hours.

Travel, meanwhile, has been demoted off the schedule this year, from two hours a week in prime time in 2016 and 2015.

contentasia issue one, april 2017

Smithsonian Channel Date Day/ Time 6pm

30-Jan-17

31-Jan-17

1-Feb-17

2-Feb-17

3-Feb-17

4-Feb-17

5-Feb-17

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Sunday

Sacred Sites: Chaco Canyon

B2: Stealth at War

Civil War 360 S1: The Union

Air Warriors S1: F-15

Civil War 360 S1: The Confederacy

Mighty Ships S1: Africa Mercy

Aerial America S1: New England

Civil War 360 S1: Fight for Freedom

Sports Detectives S1: Ali’s Missing Gold Medal

Air Warriors S3: Chinook

Aerial America S1: Ohio

Mighty Ships S1: Oasis of the Seas

Aerial America S1: Montana

Sports Detectives S1: 100-point Game Ball

Aerial America S1: The South

Civil War 360 S1: The Confederacy

Mighty Ships S1: Africa Mercy

Smithsonian Spotlight: Space: Bots of Bodies

History in HD S1: America in Space

7pm Seriously Amazing Aerial America S1: Alabama 7.30pm Objects S1: Trailblazers History in HD S1: Air Warriors S3: Chinook 8pm The Last Bomb 9pm

America’s Greatest Monuments

History in HD S1: Shooting Iwo Jima

America’s National Parks at 100

The Unknown Flag Raiser of Iwo Jima

Aerial America S1: Wilderness

Sports Detectives S1: 100-point Game Ball Stories from the Vaults S1: Beauty Stories from the Vaults S1: Firsts

History in HD S1: Shooting Iwo Jima

Mighty Ships: Oasis of the Seas

10pm

History in HD S1: America in Space

Stealth: Flying Invisible

11pm

History in HD S1: The Last Bomb

Air Warriors S3: Chinook

6-Mar-17

7-Mar-17

8-Mar-17

9-Mar-17

10-Mar-17

11-Mar-17

12-Mar-17

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday

Sunday

7pm

White House Revealed

Planes, Cranes and Rockets

Air Warriors S1: Ep1

Aerial America S1: Ep48

The Wyeths: A Father and His Family

8pm

Sacred Sites S1: Ep 5

Air Warriors S1: Ep1

Designing Dogs

9pm

Lincoln’s Washington At War

Mighty Ships S1: Ep9

Nature’s Matchmaker

10pm

Million Dollar American Princesses S2: Ep4

Alaska Aircrash Investigations S1: Ep5

Aerial America S1: Ep63

Air Warriors S1: Ep1

Aerial America S1: Ep4

Mighty Ships S1: Ep9

Aerial America S1: Ep25

11pm

Sacred Sites S1: Ep 5

Air Warriors S1: Ep1

Designing Dogs

Alaska Aircrash Investigations S1: Ep4

Aerial America S1: Ep18

Asian Tsunami: The Deadliest Wave

Mighty Ships S1: Ep10

9.30pm

Date Day/ Time

Aerial America S1: Natural Wonders

Alaska Aircrash Investigations S1: Trapper Creek Tragedy Alaska Aircrash Investigations S1: Engine Out in Midair Aerial America S1: The South

Garden Secrets S1: Urban Gardening Ep 1 & 2 Aerial America S1: Wilderness

Alaska Aircrash Aerial America S1: Ep18 Investigations S1: Ep4 Seriously Amazing Objects Aerial America S1: Ep53 S1: Ep2

Alaska Aircrash Cruise Ship Down: Saving Investigations S1: Ep6 Concordia Asian Tsunami: The Mighty Ships S1: Ep10 Deadliest Wave Cruise Ship Down: Saving Sacred Sites S1: Ep6 Concordia

Source: StarHub Singapore. Prime time, February/March 2017

Travel/Landmarks

Wars/Millitary

Archaeology/Artifacts

Aircraft/Automobile

Business/Jobs

Investigative

Animals/Wildlife

Engineering

Survival/Disaster

People

Royalty/History

Nature

History

Science

Smithsonian Channel is part of the new breed of factual services in Asia.

also planning original content in/for Asia; details to come.

Distributed by Gregg Creevey’s Multi Channels Asia (MCA), the channel

For now, travel/landmark series dominate prime time, with 29% (10 hours)

launched in the region in September 2016 as part of Singapore platform

of the schedule for the two weeks (beginning 30 January 2017 and 6

StarHub’s bid to refocus its linear packages and boost its on-demand

March 2017) we looked at. The sub-genre levels were highest on Wednes-

proposition. News of new distribution deals are expected at end-April.

days and Fridays for the week of 30 January, with back-to-back episodes

The linear HD Smithsonian Channel is available as part of StarHub’s ba-

of Aerial America season one. Aerial America continued to fill prime-time

sic-upsize pack, with on-demand content offered on StarHub’s standalone

for the week of 6-12 March, although some of the Wednesday schedule

mobile platform, StarHub Go Select (S$9.90/US$7 a month). 17 of StarHub

gave way to war series (Air Warriors season one), animals (Designing Dogs)

Go Select’s 44 documentary titles (excluding reality/competitions) are

and wildlife (Nature’s Matchmaker). Aerial America season one still domi-

from Smithsonian. These include Alaska Aircrash Investigations, Civil War

nated, filling 20% (seven hours) of the prime-time schedule.

360, Animals Aloft, Genius in America, Asian Tsunami: The Deadliest Wave and America’s Greatest Monuments.

The linear schedule covers air and space, history, science, nature and pop culture, including shows such as Uncommon Courage: Breakout at

The rest of the prime-time schedule for the week of 30 January featured 22.9% (eight hours) war/military; 17% (six hours) investigative; 14.3% (five hours) aircraft; 8.6% (three hours) jobs; 5.7% (two hours) archaeology/artifacts; and 2.9% (one hour) nature.

Chosin, about Asian American Lt Chew-Een Lee; Unbelievable Flying Ob-

For the week of 6 March, the genre balance outside of travel/landmarks

jects about the ideas that didn’t quite fly in the history of aviation; and

shifted to 14.2% (five hours) archaeology/artifacts; 14.2% (five hours) jobs;

Million Dollar American Princesses, which chronicles the real life stories of

11.4% (four hours) investigative; 11.4% (four hours) war/military; 8.6% (three

American heiresses who inspired the TV drama Downton Abbey.

hours) animals/wildlife; 5.7% (two hours) engineering; 5.7% (two hours)

Smithsonian programmers move into 2017 with more wildlife and Asiafocused programming than the channel launched with in Asia. They’re

contentasia issue one, april 2017

natural disaster; 2.9% (one hour) aircraft; 2.9% (one hour) people; and 2.9% (one hour) royalty series.

35

formatswho’swho

Formats Outlook The Mask Singer Thailand

Asia had 205 formats on air, in production or greenlit in the first quarter of 2017. Big-brand talent contests still rule alongside low-cost classics, but the appetite for drama is growing, particularly from Fuji TV, Keshet, NBCUniversal and Warner Bros. ContentAsia’s Formats Outlook tracks key trends REGIONAL

Asia programming/production head, Virginia Lim, has consolidated three

In December 2016 we asked: Is there life left in pay-regional formats?

advertiser-driven/content marketing series from Imagine Entertainment.

And the answer was: Yes of course there is. It’s not easy, the big ones

The first show under the new deal is The Apartment, which bounces back

aren’t cheap, and there’s a stronger focus as always on market-specific

to Sony after three seasons on rival StarWorld. The new season, The Apart-

production. But, we predicted, the pressure on regional channels to pro-

ment: Rising Stars Edition, premieres on Sony Channel on 16 March, with

duce defining originals would drive commissions and broadcasters would

an encore on flagship channel AXN on weekends.

continue to tap regional advertising dollars from marketers with messages

Meanwhile, a few million dollars down the scale from Asia’s Next Top

that span borders and want high-end video entertainment vehicles with

Model and Asia’s Got Talent but still with big punch, NBCUniversal has

which to help spread them.

greenlit a third season of makeover show How Do I Look? Asia for Diva,

How’s 2017 looking so far? Better than last year, although commissioning

and Discovery is going ahead with the first local version of Say Yes to the

editors still draw sharp breaths at anything that comes in much over US$3

Dress for TLC. Endemol Shine Asia, is producing the wedding show for Dis-

million, and nothing has matched the budget of the first Asia’s Got Talent

covery, and speculation is that Glenn Sims will take the helm of How Do

in 2015.

I Look? Asia 3 under his new shingle, RedFlameTV. Sims produced season

At the same time, sponsor integration is becoming more sophisticated

two for FremantleMedia Asia.

and promises are being made (and sometimes kept) that noxious efforts to

One of two formats on the regional watch list is MasterChef Asia, which

hijack storylines with advertising messages are being parked as far away

debuted on A+E Networks’ Lifetime in 2015. The high-profile culinary show,

from the action as possible.

which has local versions on air in three markets in Asia this year so far, isn’t

FOX Networks Group (FNG) kicks off the regional formats year on 5 April

off the regional table completely, although no one is over the line yet on a

with Asia’s Next Top Model season five, produced out of Singapore by

second season. There is also talk of a regional version of The Voice, prob-

indie production house Refinery Media.

ably at FNG, but again, nothing is being confirmed.

Sony Pictures Television (SPT) Networks Asia is on fire, backing the re-

So, yes, for all the pain of trying to make magic happen on budgets that

turn of Asia’s Got Talent for second and third seasons for flagship action

are lower than anyone would like, there is life left in pan-regional formats.

channel AXN. We think there’s a very decent chance that, given the

As we said at the beginning of this year, it might not look the same as it used

ratings of the most recent season, The Amazing Race will come back

to, but it will draw breath, move around and contribute to original content

for a sixth season. In another move to boost original series, SPT Networks

creation across all platforms. And that’s a good thing. – Janine Stein

36

contentasia issue one, april 2017

formatswho’swho

months of high drama over The Voice of China season five, which has also shifted to Zhejiang Tangde. Star China, meanwhile, may bring back Sing!

China, but there’s no confirmation. Other singing shows are Singer Takes It All China (Endemol Shine), and Still Standing China S7 (Armoza).

Given political tensions between Korea and China over the THAAD missile defence system, it’s not surprising that there’s a gaping hole where Korean formats might have been. Media insiders are praying that the ban, official or not, ends soon but no-one is putting any money on it for now.

INDIA India had 32 formats on air or commissioned in 2016. In the first quarter of this year, the market weighed in with 17, including two seasons of a high-end drama, P.O.W. – Bandi Yuddh Ke, based on Keshet’s Prisoner of War (Homeland in the U.S.), for Star India’s Star Plus, and three versions of Big Brother in Hindi and regional languages for general entertainment channel Colors.

India’s appetite for big shiny shows remains high, including newest entrant Rising Star India, which debuted on Viacom joint venture channel Colors in February this year. Meanwhile, a second season of India’s Next P.O.W. – Bandi Yuddh Ke

Top Model is on its way to MTV India and Sony Entertainment Television remains committed to Indian Idol. Season nine of the search for a pop

CAMBODIA

star runs on the flagship SET channel until early April.

Cambodia ended Q1 2017 with 22 formats on air or commissioned. These

The market also retains a strong appetite for old favourite Who Wants

are mostly ambitious high-profile productions, although the market has

to be a Millionaire. Season three of the quiz show ran on regional service

also been a happy landing ground for classic long-running formats such

Colors Marathi from October 2016 to January 2017, a fourth season ran

as The Price is Right and Minute to Win It on CTN, which has been running

in Malayalam on Asianet in Southern India, and Maa TV brought the quiz

back to back seasons since January 2016. Cambodian programmers are

back for a 60-episode season four in February this year.

also open to experimenting with new shows such as Endemol Shine game

Regional markets show up in a big way this year. In addition to Big

show, Don’t Lose Your Money (Hang Meas HDTV), which is scheduled to

Brother and Millionaire, India has Malayalam versions of Minute to Win It,

air in the fourth quarter of this year, and talent show Got to Dance season

Deal or No Deal and The Kids are All Right. Game show Minute to Win It

one, produced by Malaysia’s Juita Viden also for Hang Meas HDTV. Big-

has been sold to Colors Kannada.

brand titles include Cambodia’s Next Top Model S2 (CTN), Cambodia’s Got Talent S2/S3/S4 (HMTV), MasterChef Cambodia S1/S2 (CTN), Cambo-

THAILAND

dian Idol S3/S4 (HMTV) and The Voice Cambodia S3 (Hang Meas HDTV).

Thailand had 30 formats on air or commissioned in the first three months of this year, giving the market a share of about 15% of the regional

CHINA

total. The dominant genre is fun game shows, competitions and trivia

Despite a difficult regulatory environment and constant uncertainty of

challenges, most of which are in second, third or fourth seasons. The

where new lines will be drawn, China had 28 formats on air or commis-

longest running game show at the moment is Step Right Up, currently

sioned in the first quarter of 2017 (including series that started in 2016 and

in its eighth season on MCOT/Channel 9. Real Housewives of Bangkok

are still running with new episodes).

flies the flag for character-driven reality in this market of 22 million tel-

The multi-genre slate include local adaptations of long-form drama

evision households. Korean formats have made headway in Thailand;

(Fuji TV’s A Restaurant with Many Problems, Dating: What It’s Like to be in

the two on air at the moment are I Can See Your Voice from CJ E&M

Love?, First Class China and Operation Love; Keshet International’s The A

and The Mask Singer from MBC. The Mask Singer was originally commis-

Word and MICE; Warner Bros’ Gossip Girl; Endemol Shine’s Humans) and

sioned by Workpoint TV as a 13-episode series and was so successful

comedy (Warner Bros’ 2 Broke Girls). Four of the 26 titles (15%) are singing

it was extended to 27 episodes. New entrants this year are likely to be

and dancing formats.

MasterChef Thailand, which has been commissioned by the Heliconia

State-controlled broadcaster China Central Television (CCTV) brings

H Group; details to be confirmed.

back Sony Pictures Television’s Dancing Nation China in May this year for a fifth season. A second dance format, Dance Dance Dance China, is

Extracted from ContentAsia’s Formats Outlook 2017

being planned for sometime this year as part of the US$110-million dol-

For information on the Formats Outlook, please contact

lar alliance between Talpa and Zhejiang Tangde. The alliance kicked off

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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.

Indian Idol 9 Indonesian Idol Indonesian Idol Junior Let’s Make A Deal Indonesia Price Is Right Indonesia Take Me Out Indonesia Thank God You’re Here Indonesia

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.

Family Feud Myanmar 5 Family Feud Philippines Thailand’s Got Talent 7 X Factor Myanmar 2 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 Thailand 2 Family Feud Thailand 3 Hear Me, Love Me, See Me Thailand La Banda Philippines 2 La Banda Thailand 2 Mongolia’s Got Talent 3 Myanmar Idol 2 Myanmar’s Got Talent 4 The Noise Cambodia 2 Philippines Got Talent 6 Price Is Right Cambodia Price Is Right Thailand 3 Price Is Right Thailand 4 Small Talk Thailand Take Me Out Thailand 11 Thank God You’re Here Cambodia To Tell The Truth Thailand X Factor Cambodia 1 X Factor Cambodia 2 Thank God You’re Here Vietnam 3 My Mom Cooks Better Than Yours Vietnam 3 Match Game Vietnam Price Is Right Vietnam 11 Idol Kids Vietnam 2 Hole In The Wall Vietnam Hole In The Wall Junior Vietnam Heaven Or Hell Vietnam

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 S2 It Takes 2 Vietnam S1 It Takes 2 Vietnam S2 The Next Boy/Girl Band Indonesia The Next Boy/Girl Band Vietnam Stars of Tomorrow Vietnam S1 Stars of Tomorrow Vietnam S2 The Voice Cambodia S3 The Voice Kids Cambodia The Voice of China S5 The Voice India S2 The Voice Mongolia The Voice Kids Philippines S4 The Voice Teens Philippines The Voice Singapore/Malaysia The Voice Thailand S6 The Voice Kids Thailand S5 The Voice Vietnam S4 The Voice Kids Vietnam S5

Keshet 1.

Boom! Cambodia

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

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 Who’s on Top? Indonesia MICE China The A Word China

4.

5.

6.

7.

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

Fuji TV 1.

2.

3.

4.

5.

6.

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

NBCUniversal 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

Baggage Indonesia Dance Your Ass Off Vietnam 2 Hidden Singer Thailand 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

All3Media 1.

2.

3.

4.

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

Armoza 1.

2.

Celebrity Battle Vietnam I Can Do That! Vietnam 2

BBC Worldwide 1.

2.

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

Warner Bros

Dori Media

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

1.

2.

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

CBS Studios International 1.

2.

3.

4.

5.

6.

7.

8.

Asia’s Next Top Model S5 Cambodia’s Next Top Model S2 China’s Next Top Model S3 India’s Next Top Model S2 Mongolia’s Next Top Model Vietnam’s Next Top Model S8 Philippines’ Next Top Model S1 The Doctors Malaysia S1

IT GIRLs Myanmar Selfie Challenge Vietnam

ITV Studios Global Entertainment 1.

2.

Big Star’s Little Star Vietnam Born To Shine Vietnam

Red Arrow 1.

2.

Mister Perfect Vietnam You Deserve It Vietnam 4

Viacom 1.

2.

Lip Sync Battle Philippines S3 Lip Sync Battle Vietnam S2

& with one title each...

Comarex Papi Ricky Malaysia

Discovery Say Yes to the Dress

Globo Hidden Truths Vietnam

MBC Sony Pictures Television

The Mask Singer Thailand

1.

2.

3.

Nippon TV

Dancing Nation China 5 Dr Oz Indonesia 3 Who Wants To Be A Millionaire

Old Enough! Vietnam 5

Note: *Updated 10 March 2017. Formats listed were on air or premiered in 2017, or were commissioned for broadcast in 2017/8 on channels in Asia. This list does not include: format options, titles/formats created solely for a single sponsor, 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.

40

contentasia issue one, april 2017

who’swatching

High drama

Drama is Asia’s fave genre, HBO’s Game of Thrones rocks online activity, and Korea’s Running Man and Japanese anime fly the digital flag for made-in-Asia content. Parrot Analytics’ Kayla Hegedus looks at what else the data coming out of Asia shows.

Drama is by far Asia’s favourite genre online, Game of Thrones generates the most digital activity of all TV titles in the region, and U.S. networks ABC, CBS, FOX, NBC and The CW show up as the top five suppliers of content most in demand among connected audiences across the region.

Meanwhile, Netflix originals drive online activity, making the streaming platform the only SVOD service to show up on the region’s top 25 channels and platforms in 2016 by total demand, according to Parrot Analytics, which measures total audience demand being expressed for video titles. Across the region, the only Asian channels that show up are TV Tokyo, Tokyo MX and MBS. This is driven by animated titles.

HBO’s Game of Thrones dominated digital activity across Asia in 2016, with 72% more demand than the second most-popular title, The Walking Dead. Third is South Korean variety show, Running Man, which is the only Asian title to make it over the 10 million average demand expres-

a with 72% ar title The was South onal series n the most ell as HBO’s title in Asia ich ranked

TV Demand Most in-demand content genres in Asia MIPTV Special: 2016 Trends for ASIA

Most in-demand titles in Asia

TV Demand MIPTV Special: 2016 Trends for ASIA

Most in-demand content genres in Asia

Top 10 Sub-Genres

by Total Demand in 2016

Top 10 Titles of 2016 Game Of Thrones

21,928,406

The Walking Dead

12,777,986

Running Man

12,223,364

The Flash

10,454,435

Pretty Little Liars

10,174,773

The Big Bang Theory

9,948,728

Quantico

8,254,599

Suits

8,064,477

One Piece

8,040,955 0

The share of demand by genre reveals how much of the yearly demand in a region went to each type of series. With the largest number of titles, dramas naturally dominate. ΖQ $VLD RI DOO GHPDQG ZDV IRU GUDPD RYHU WLPHV JUHDWHU WKDQ WKH IRU WKH VHFRQG SODFH FRPHGLHV ΖQ contrast, sports-related and factual (news) titles had few titles and very little demand.

The total demand for each sub-genre was ranked to gain PRUH LQVLJKW LQWR WKH PRVW SRSXODU W\SHV RI WLWOHV ΖQ $VLD sitcoms (a sub-genre with many entries) attracted the most demand in 2016, while crime dramas were second ZLWK OHVV GHPDQG 0DQ\ RI WKHVH VXE JHQUHV DUH SRSXODU DURXQG WKH ZRUOG EXW $VLD KDG D SDUWLFXODU interest in Japanese animated series.

5 Million

10 M

15 M

20 M

Genre Share in 2016

Children 8.42%

Action and 8.38% Adventure Animation 5.86% Variety 3.12%

Factual 0.31%

Horror 2.20% Documentary 1.69%

25 M

Demand Major studios with TV the highest demand in Asia MIPTV Special: 2016 Trends for ASIA Demand ExpressionsTM: Total audience demand being expressed for a title, within a market.

-52%

-56%

Procedural Drama

-57%

School-Age Children

-58%

Japanese Animation

-65%

Comedy Drama

-76%

Teen Drama

-76%

TV Demand

Total Share of Demand for Studios

Top 8 Studios %URDGFDVW

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SVOD

500 B

Share of Demand Expressions™ Warner Bros. Television

4.85%

ABC Studios

2.83%

20th Century Fox Television

2.36%

400 B

200 B

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Science Fiction Superhero Series

MIPTV Special: 2016 Trends for ASIA

Share of Demand for Major Studios

600 B

mand being expressed for a title, within a market.

-42%

Studios with the highest demand in Asia

Top 25 Channels and Platforms in 2016 by Total Demand

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-29%

Fantasy Drama

Demand Expressions™

nd being expressed for a title, within a market.

Top channels and platforms in Asia

Sitcom Crime Drama

Sports 1.06%

Average Demand Expressions™

atforms in Asia

d platforms is em, hence the U 86 EURDGFDVW r titles in 2016, G 1%& 7KH &: opularity, then HG 1HWȵL[ ZDV HOV DQG KDG WKH

Drama 43.95%

Reality 8.83%

11,117,917

Westworld

op ten was ood actress d, the series e past year, in Asia.

Comedy 16.35%

3HUFHQW GL΍HUHQFH IURP GHPDQG IRU Sitcoms

in Asia

sions line. Running Man raced ahead of the most popular superhero title on the list – The Flash – as well as HBO’s newer show, Westworld. In 10th place – giving Asian content two of the top 10 in-demand titles making the most online noise in Asia – is long-running iconic Japanese anime series, One Piece.

Seven U.S. studios and the BBC account for 15.5% of all demand online in Asia in 2016.

Warner Bros has the largest individual share of demand. ABC Studios and 20th Century Fox are the only other studios to command more than 2% of demand in the region. Though HBO has produced the least number of titles out of the eight studios on the list, it ranks fourth with 1.7% of demand in Asia, “a testament to the popularity of its titles around the world,” says Parrot Analytics’ industry data scientist and report author, Kayla Hegedus.

+RPH %R[ 2ɝFH +%2 CBS Television Studios

15.58%

1.68% 1.18%

84.2% All Other Studios

6RQ\ 3LFWXUHV 7HOHYLVLRQ

0.96%

Universal Television

0.95%

BBC

0.77%

Demand Expressions : Total audience demand being expressed for a title, within a market.

Source: Parrot Analytics’ TV Demand, MIP TV Special: 2016 Trends for Asia Demand ExpressionsTM: Total audience demand being expressed for a title, within a market.

42

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