ContentAsia April 2018

ISSUE ONE 2018

C

NTENT

Drama: Rights holders talk about trends in Asia

American Idol The Journey Begins FremantleMedia International Fmscreenings.com

Formats: Winners & losers in Asia

Plus: Astro’s latest big thing, what’s happening in factual & India’s new angst

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contents...

what’s in this issue...

Trends: drama

The greatest impact on drama content distribution/production in Asia in the past 12 months is the change of platform (linear to OTT) followed by the fight against illegal websites.”

Romance is, by far, Asia’s most popular drama genre, and China is, by far, the biggest buyer. No surprises there. Meanwhile, India owns optimism about volume, scripted formats demand is at record highs, SVOD is rocking catalogues everywhere, and pay-TV platforms are hanging onto their status as Asia’s biggest drama buyers. Here’s what else drama rights holders for Asia think and say...

Haewon Chin, Head of Global Business, MBC (Munhwa Broadcasting Corp, Korea)

8

page 14

Hindi film: Spread the

Newton, Eros

We see that Asian dramas are travelling globally thanks to its high-quality scripted format. The level of production is also getting very refined, fit for global audiences, and gaining much attention from Western countries.”

Shigeko Chino, Senior Director, Nippon TV (Japan)

page 12

India’s Hindi film focus on cinema multiplexes – once seen as an industry saviour – has come back to haunt filmmakers. Can this “multiplex skew” be reversed? Vanita Kohli-Khandekar talks to filmmakers and theatre operators about finding diverse audiences and spreading the love across all screens.

16

Factual: New discoveries

2018 is a watershed year for factual content in Asia, mostly because Discovery has swallowed Scripps, but also because the entire linear proposition of old is being reimagined, significant changes are afoot, major energy is going into online originals, and there’s high demand for more local stories.

The Little Nyonya – New edition, Perfect World Pictures

Formats: Perfect worlds

China’s Perfect World Pictures is reviving Singapore’s biggest TV success in a big-budget scripted format play that rides soaring demand for premium Asian drama.

30 4

Interview: Rohana Rozhan Astro’s group chief executive, Rohana Rozhan, makes her MIP Mastermind keynote debut in Cannes in April with a few clear messages. First among these is her mission – underpinned by significant tech upgrades – to make the Astro experience second to none.

20

We are dominant in the home, expecially in urban areas, where we have about 90% of the main screen in the living room. Now we need to make that experience second to none.”

Formats Update: Q1 2018

Vietnam and Thailand run neck and neck as Asia’s top formats countries by volume. But overall, the number of formats on air/ commissioned in Q1 2018 is down on last year. At the same time, high-value drama formats are way up, led by Japan, Korea and China.

28

Rohana Rozhan, Astro Group CEO

page 34

contentasia issue one, april 2018

Mehmed The conqueror Wildrose Tales of Innocence Price of Passion Broken MIPTV Visit Us at R9.A32 Kanal D International

editor’snote

China, China, China If anyone still needs a reminder, mainland China’s absolute power was on

Daylight Entertainment president, Hou Hong Liang, spoke up for market-

full and glorious display at this year’s Filmart in Hong Kong in March. Film,

driven adjustments and corrections in, for instance, the cost of talent. He

of course, brought out the biggest cameras, the largest hordes and the

also came out strongly for industry self-monitoring and correction. “We can

most security. But TV didn’t do too shabby a job of whipping up a crowd

pay the salaries actors deserve, but we need to demand good perfor-

of its own. Not a week before, China’s sporting energy drove discussion

mance,” he said, adding that unqualified teams in both production and

during SportelAsia in Singapore, where delegates talked about (yes, still)

platforms would be eliminated against a backdrop of rapid development,

the insane amounts of money involved in sports rights, initiatives to create

dramatic expansion and intense competition. “It’s not about regulation or

home-grown and wholly owned properties, and the mainland appetite for

price [caps] or quotas. This is market behaviour. In the coming years, we

every sporting activity imaginable.

will see the price adjusting accordingly,” he said.

Inside the beast, mainland content producers are candid about the

Somewhere in there is the emergence of a media mega

sometimes crazy state of production, the challenges they face, and the

regulator that combines all previous regulators. How

bright side of operating in a market still in high-investment mode.

might this change the environment? Regulations, oth-

In a nuts-and-bolts opening-day discussion on navigating the Chinese

er regulations and changing regulations are not an

market, Ciwen Media’s chairman/president, Ma Zhong Jun, told dele-

unfamiliar state. For now, at least publicly, more at-

gates that “it’s still early days in China”. “We are still star- and actor-centric.

tention is focused on high-action elsewhere, includ-

If the actor chooses to leave, the story won’t hold,” he said, favouring a

ing iQIYI’s US$2.4-billion-US$2.7 billion IPO, launched

more sustainable “mature and established” U.S.-style system that revolves

in New York on the eve of Filmart. iQIYI says half

around producers/show-runners, strong IP, and franchise development.

the money raised will be spent on content.

“We have a lot of limitations and challenges,” added Croton Cultural

On the market floor in Hong Kong, iQIYI’s

Media Co’s executive president, Liu Zhi, who emphasised brand impor-

Chen spoke about a united effort to benefit

tance and awareness. “We need to design the trajectory of the develop-

the entire industry. “How can we improve our-

ment of the IP. We need more planning,” he said.

selves together?”, he asked. “For the TV mar-

Despite the power of streaming platforms and the widespread obses-

ket, we are serving a new market with new

sion with short-form content, traditional television structures hold strong in

content. In the coming years, we will have

the premium global distribution market.

more partners. The water is deep, it’s not

iQIYI vice president, Chen Xiao, described current times as “the best

just about competition, about ourselves, it’s

moments. Although we have a lot of challenges, the market is also filled

about all of us. We are serving something

with opportunities”. For all the innovation though, there’s also some back-

bigger – a global audience, a stronger

peddling to well-worn habits. Chen said early experiments with short-form

China audience. Although we are losing

originals had to be re-edited into the more globally accepted 45-minute

money, we are not afraid. We are moving

format. “45 minutes is common in the world, it’s universally recognised. In the

forward.”

future, it might be a different standard. [But for now] we want to standardise the length of the episodes for Chinese markets and overseas,” he said.

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

INTERNATIONAL Associate Publisher (Americas, Europe) and VP, International Business Development Leah Gordon leah@contentasia.tv

What is ContentAsia?

ASIA Sales and Marketing Manager Masliana Masron mas@contentasia.tv

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contentasia issue one, april 2018

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dramatrends

Drama queens Romance is, by far, Asia’s most popular drama, and China is, by far, the biggest drama buyer.

No surprises there. Meanwhile, India owns optimism about volume, scripted formats demand is at record highs, SVOD is rocking drama catalogues everywhere, and pay-TV platforms are hanging onto their status as Asia’s biggest buyers of drama rights. Here’s what else drama rights holders are saying about acquisition habits in Asia at the moment.

Which TV platform in Asia buys the most drama?

Where is the biggest increase in drama acquisitions coming from?

6%

24%

Free TV/ Broadcaster

0%

Smart TV

All forms of VOD/AVOD/ SVOD

18% AVOD

47%

Subscription/ Cable/Satellite/ IPTV

0%

35%

76% SVOD

TVOD

Streaming/ Online/Mobile

0%

Inflight

Are you seeing an increase in demand for international scripted/drama formats from Asian broadcasters/producers?

What would you most like to see happen next?

6%

Other (says

0%

19%

More Asian drama production

Maybe

13% No

75% Yes

18%

“rationalisation of volume of shows being produced”

Telcos adding more drama content to their mobile video bundles

18%

Less piracy

59%

More local & international drama coproduction/ collaboration

0%

Lower licensing fees 8

contentasia issue one, april 2018

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dramatrends

What’s selling best in Asia at the moment?

Romance

Who buys the most?

41.2%

Action

23.5%

Fantasy

5.9%

Comedy

5.9%

Crime

5.9%

Historical

5.9%

Melodrama

5.9%

Paranormal/sci-fi

5.9%

Thriller

5.9%

Adventure

0.0%

Docu/fiction

0.0%

Horror

0.0%

Musical

0.0%

Mystery

0.0%

Political

0.0% 0%

10%

20%

30%

40%

6% 6% 6% 6% 6%

0% 0% 0% 0% 0% 0% 0% 0%

5%

10%

15%

20%

12% 12% 12% 12%

6% 6% 6% 6% 6% 6%

0% 0% 0% 0% 0% 0% 0% 5%

10%

15%

20%

Which drama market in Asia are you most optimistic about this year in terms of revenue growth?

24%

12% 12% 12% 12% 12%

18%

6%

0%

50%

Which drama market in Asia are you most optimistic about this year in terms of volume?

India China Philippines Japan Indonesia Hong Kong Pan regional Thailand Taiwan Malaysia Cambodia Vietnam South Korea Singapore Pakistan Myanmar Laos Brunei

China Vietnam South Korea Japan Indonesia India South East Asia Pan regional Thailand Taiwan Myanmar Hong Kong Singapore Philippines Pakistan Malaysia Laos Cambodia Brunei

25%

China Thailand Myanmar India Malaysia Indonesia Cambodia Vietnam Taiwan South Korea Singapore Philippines Pakistan Laos Japan Hong Kong Brunei

0% 0% 0% 0% 0% 0% 0% 0% 0% 0% 0%

6% 6%

12%

10%

35%

18% 18% 18%

20%

30%

40%

NOTES: Information was gathered from 17 drama distribution executives from 17 companies offering drama programming to various TV platforms in Asia. The survey was conducted between 27 February and 8 March 2018.

10

contentasia issue one, april 2018

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dramatrends

Asian drama has a whole new international profile, thanks in large part to global streaming platforms, but also because of a gigantic effort going into raising standards and quality. Malena Amzah asked distributors about the state of the drama industy in Asia this year.

What used to be a local drama (Asian drama) is transforming into international drama due to the fast growth of international viewers through OTT and the number of younger viewers who are more receptive to international content. Now one good story could be remade into several local dramas and it will bring change to the original story type of Asian dramas.”

The trend is that we will see more and more SVOD platforms commissioning original content from individual Asian countries (like India for instance) and an overall increase of localised content.”

Haewon Chin, Head of Global Business, MBC (Munhwa Broadcasting Corp, Korea)

Vanessa Shapiro, President, WW TV Distribution & Co-Production, Gaumont

The local governments are making significant efforts to develop cultural industries, which is leading to a rapid increase in local adaptations. While there’s an underlying need for local IP,

“It should be making more shows that can have a global impact” Julius Toh, VP, Content Distribution, Asia Pacific, Fox Networks Group Content Distribution

we’ve always had success with procedurals and fastpaced action/thriller genres, which are significantly harder to produce locally.”

“Asian countries now hold the knowledge to create and produce quality dramas, thanks to efforts made by Korea, Japan and major Hollywood studios. Now that the market seems to be saturated, we must produce content that holds enough creativity to satisfy other global markets. In other words, we must now create content like U.S. megahit House of Cards and The Walking Dead to seek further growth.”

Mayuko Maeda, Director, International Relations, Fuji Television (Japan)

More availability and faster connection speeds throughout Asia are extremely important.

With such a vast array of programming being enjoyed on the move there is a huge demand for content that appeals to millennials.

Noisy and relatable storylines are vital.”

Annie Yim, Vice President, Sales – Asia, Lionsgate 12

We see that Asian dramas are travelling globally thanks to its high-quality scripted format. The level of production is also getting very refined, fit for global audiences, and gaining much attention from Western countries.”

Rashmi Bajpai, Executive Director, Asia, Endemol Shine International

“There is a lot available so we constantly make sure that Filipino dramas are at par in terms of quality of production and compelling stories are concerned.”

Roxanne J. Barcelona, Vice President, GMA Worldwide (Philippines)

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dramatrends

What do you think has had the greatest impact on drama content distribution/production in Asia in the past 12 months?

Lower cost of data allowing greater consumption of

“Scale, quality, and star talent.”

Kylie Munnich, Senior VP, Australasian Distribution, Sonar Entertainment

Greater variety of genres being explored.”

Ken Lo, Senior VP, International, AsiaPac, Sony Pictures Television

Change of platform (linear to OTT) followed by fight against illegal websites.”

Haewon Chin, Head of Global Business, MBC (Munhwa Broadcasting Corp.), Korea

content on non-linear platforms.”

Brendan Zauner, SVP Sales Asia, Twentieth Century Fox International Television Distribution

Netflix”

Vanessa Shapiro, President, WW TV Distribution & Co-Production, Gaumont

Gayatri Singh, Senior Sales Manager, South East Asia, BBC Worldwide

“The increase in the number of platforms.”

Julius Toh, VP, Content Distribution, Asia Pacific, Fox Networks Group Content Distribution

“More SVOD and AVOD platforms looking for drama content.”

Annie Yim, Vice President, Sales – Asia, Lionsgate

“Acceptance of drama remakes in local versions.”

Ayesha Surty, Senior Manager, Content & Format Sales SEA, BBC Worldwide

“The new role that the OTT platforms are playing globally, not just in Asia, in commissioning original series.”

Gayatri Singh

“Screenwriters for scripted content going from Asia to countries like Turkey and U.S.”

Mayuko Maeda, Director, International Relations, Fuji Television (Japan)

“The relevance of local and Asian dramas. The meteoric success of Korean dramas, the popularity of Indian dramas in Indonesia and Pakistan.”

Rashmi Bajpai, Executive Director, Asia, Endemol Shine International

“For distribution, it is the increase in the content that is available from other Asian countries. As a result, competition has become even tougher.”

Roxanne J. Barcelona, Vice President, GMA Worldwide (Philippines)

14

Availability and quality of content.”

Caroline Clarke, Senior Sales Manager, Sky Vision

“Our format sales to Turkey, the mega hit they became, and their distribution to other countries around the world.”

Shigeko Chino, Senior Director, Nippon TV (Japan)

Strong foreign language drama starting to travel means interest from all areas in all drama.”

Samia Moktar, Sales Executive, Banijay Rights

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distributionchannels

Spread the love Newton (Eros)

India’s Hindi film focus on cinema multiplexes – once seen as an industry saviour – has come back to haunt filmmakers. Can this “multiplex skew” be reversed? Vanita Kohli-Khandekar talks to filmmakers and theatre operators about finding diverse audiences and spreading the love across all screens.

It has been a terrible three years for India’s US$2.5-billion film industry.

The 2016 hits Dangal and Sultan (both about wrestling) and the 2018

Tickets sales have been in a freefall and box-office revenue is stag-

hit Padmavat (about a mythical queen) are the kind of films that work

nant. From 2.5 billion a decade ago, Indians bought less than a billion

across single screens and multiplexes.

film tickets last year. More than two thirds of the local film industry’s revenue comes from ticket sales in the world’s largest film-making country.

The multiplex skew is an 18-year-old problem. But it didn’t start out that way.

The corporatisation of the Indian film industry, which began in 2000,

What really has gone wrong here? Everything from low screen count

was led by the growth of multiplexes. These brought order and pro-

and high taxation to rising talent costs. But the biggest reason, say

cess to India’s fragmented film industry, returning a large portion of

industry mavens, is the “multiplex skew”.

revenues which was leaking away. Over the years, multiplexes have

“The film industry has given up on the single-screen market and that is the problem,” says Shailesh Kapoor, CEO of consulting firm Ormax Media.

Saroj Screens director, Akshaye Rathi, says “single screens in small

contributed more than 60% to revenues.

However, this led to a situation where films are being written for the audiences that watch films in 2,000 multiplex screens instead of all of India’s 9,000 screens.

towns are starved of content. They survive only on tent-pole films, the

While multiplexes allow films such as Vicky Donor (about a sperm do-

universal hit”. Saroj Screens owns and operates 17 single-screen the-

nor) or Newton (about elections in Naxal-ridden areas) find their audi-

atres across Central India.

ence, these films don’t yet work in small-town India, which is dominat-

16

contentasia issue one, april 2018

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distributionchannels

Shubh Mangal Savdhaan (Eros), a film on erectile dysfunction.

ed by single screens. And

Tamil Nadu and Andhra Pradesh have nourished the (single screen) audience and kept them coming.

It is very tough now to build the Hindi audience again.”

audiences melted away.

According to Ormax data for 2017, Telugu films sold 240 million tickets against 248 million for Hindi, which is spoken by six times as many people. This is because of the poor penetration of multiplexes in Andhra Pradesh and Tamil Nadu and the dominance of single screens in these markets. That pushed filmmakers to deliver films such as Vikram Vedha (Tamil) or The Ghazi Attack (Telugu) in 2017

Akshaye Rathi Director, Saroj Screens

that work across audiences.

“Tamil Nadu and Andhra Pradesh have nourished the (single screen) audience and kept them coming. It is very tough now to build the Hindi audience again,” Rathi says.

When Hollywood went through a similar crisis, it discovered super-heroes, aliens and snazzy computer graphics.

He points to tent-pole films announced for 2018.

While India has done the odd Bahubali, “we can’t match Holly-

The biggest among these is Yashraj Films’ Thugs of Hind-

wood budgets for spectacle,” says Siddharth Roy-Kapur, president,

ostan, starring Amitabh Bachchan and Aamir Khan. Thugs of Hind-

Film and Television Producers Guild of India.

ostan is the story of a gang of thugs who posed a challenge to the

As luck would have there is a lot of material within Indian history

British Empire in India between 1790 and 1805.

and mythology for spectacle films. But every time someone tries it, like

There is also Red Chillies Entertainment’s Zero, starring Shah Rukh

in Padmavat, a controversy erupts. This leaves studios in a creative

Khan as a dwarf in love with actress Katrina Kai, among half a dozen

quandary that they haven’t found a way out of. Yet.

other films.

Rathi thinks they have.

18

“The process,” Rathi says, “has begun”.

contentasia issue one, april 2018

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factualtrends

New discoveries 2018 is a watershed year for factual content in Asia, mostly because Discovery has swallowed Scripps, but also because the entire linear proposition of old is being reimagined, significant changes are afoot, major energy is going into online originals, and there’s high demand for more local stories.

Over the next few months in Asia, like everywhere else in the world, Discovery Inc will digest its US$14.6-billion dollar acquisition of Scripps

Do you think Discovery’s acquisition of Scripps will have an impact on your business in Asia?

Networks Interactive. Perhaps surprisingly, the majority of buyers and distributors operating in Asia’s factual space don’t expect the acquisition to impact their business in the region. Asked about how their worlds will change with a larger Discovery and no Scripps, 57% of execs told us it won’t. The 43% who are braced for change say they expect prices to rise and some linear channels to fall off the grid as a direct result. Although the future doesn’t look like it is going to be kind to bloated channel bouquets, some still think that the new Discovery Inc in Asia will attempt to push its full linear bouquet onto pay-TV platforms. Other say “good luck with that”.

Inside the two operations, the adjustments will be massive, with the biggest changes happening in Singapore – the Southeast Asia HQ for

43% Yes

57% No

Discovery and the regional HQ for Scripps.

As this issue went to press, integration teams from both sides were eyeball-deep in figuring out logistics, but nothing had been announced. Widespread job losses feared in the wake of the US$350-million global “cost synergies” that were among the deal drivers were still hanging heavy.

Discovery has a significantly bigger presence and a much longer history in Asia than Scripps, but it’s no secret that business is way down and the reinvention for a millennial audience has taken longer than expected. That Discovery Inc’s workforce in Asia will shrink is a given. And not entirely because of role duplication with Scripps.

The axe started to fall in January this year, two months before the Scripps acquisition was finalised. Up to 50 people – said to be primarily from corporate functions – were shown the door as Discovery Networks International president and chief executive, J.B. Perrette, rightsized an

Source: Platforms, buyers, programmers

The biggest impact is expected to be...

• Consolidation of channels • License fees for channel, forced bundling • Pricing will rise

operation past its heyday and bringing in a small fraction of what it used to. Discovery has not confirmed the number of people let go.

now report directly to Perrette. Possible expansion of headcount on the

Perrette says the January streamlining was part of a focus on investment

ground in China and India is still a possibility, although if new Indian gen-

in priority areas – content and digital/direct-to-consumer products. “We

eral entertainment channel, Jeet, doesn’t turn around its disappointing

are delayering the organisation so that we can ultimately spend more

debut, India may be looking increasingly vulnerable.

money on the content and the digital products,” he says, adding that this is a response to broader industry dynamics and the pace of change.

“We are focused on emphasising local leadership teams in specific markets,” Perrette says. This is a continuation of the strategy put in place

Perrette says Discovery is looking to continue leadership in the enthu-

under Bastings. “We are not writing a new book or creating a new strat-

siast community and specialty verticals, such as survival and adventure,

egy,” he adds, confirming that Singapore will remain a “major hub” for

and “dive deep into developing super-fan products for those audienc-

Discovery and the home of its regional broadcast operations.

es”. As a result, the company “is trying to find every efficiency we can” across its global operations.

Although linear channels remain a firm part of Discovery’s business, the bouquet in its current form is unlikely to survive the pivot. The company

The new structure moves forward with some of the logic put in place

currently operates 10 channels in Southeast Asia (Discovery Channel,

under the most recent Asia-Pacific president and managing director, Ar-

TLC, Animal Planet, Eve, Science, DMAX, Discovery Kids, Discovery Asia,

thur Bastings, who exited at the end of 2017. Perrette has confirmed that

Eurosport and Setanta), and 15 channel brands across the Asia Pacific.

the regional MD role will not be resurrected. Country general managers

20

Perrette says attention on linear channels is being refocused rather

contentasia issue one, april 2018

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factualtrends

than de-prioritised. “We are not immune to general trends… some of that has already happened. There has been culling of the portfolio and over

What would you most like to see happen next in Asia’s factual space?

time it is inevitable,” he says, adding: “We are very focused on digital

More factual content added to mobile bundles

products, but we are also very focused on continuing to maximise the linear side… we are in some cases investing more in the linear business”.

Perrette describes the investment in Indian general entertainment channel, Jeet, as “probably the single largest non-sports related new content investment made across the company”.

Jeet (a Hindi word that means ‘victory’) is Discovery’s first-ever general entertainment channel, and carries great hopes for a turnaround in a

Lower licensing fees

market of 240 million homes where Discovery’s 12-channel network lost about 22% viewership over the three years to mid-2017, according to Broadcast Audience Research Council (BARC) data.

100% More factual production in Asia

More local/int’l co-production

Jeet went live on 12 February with an “underdog winning” line, three hours of original content a day in a five-hour programming band against 24-hour schedules programmed by the mightier-than-ever STAR India, ZEE Entertainment, Viacom18, Sony Entertainment Television and others.

The channel debuted with carriage in 100 million homes across India,

Less piracy

most, if not all, of which was paid for in a massive bet that young men would come flocking. They didn’t. Or they haven’t so far.

The Mumbai-based service, which replaced the old Discovery ID on India’s pay-TV dial, was said to be commissioning 1,000 hours of original content for 2018. The channel line-up, targeting young men, includes a local version of survival format Man vs Wild, starring former porn-star and one-time Penthouse Pet of the Year, Sunny Leone (Jism 2, Desi porn site sunnyleone.com) “showcasing her adventurous side… [undertaking] many difficult stunts and adding a dash of humour with her vivacious per-

All of the respondents say they want more factual production in Asia and they also want...

Lower licensing fees.........................57% Less piracy.........................................29% More local+international factual production/collaboration...............29% More factual content added to mobile video bundles......................14%

sonality”. The latest rumour is that the series didn’t survive long enough to make it onto the schedule; Discovery India isn’t commenting on either that or Jeet’s less-than-stellar ratings.

Will Discovery India/Jeet’s “underdog” tactics provide cover for a late entry to a fierce GE market that has, at one time or another, chewed

China, Hong Kong, Japan, South Korea, Taiwan and Thailand are among the top factual markets in Asia, delegates at the eighth edition of factual fest, Asian Side of the Doc (ASD), in Bangkok in January heard. Science, travel and food as well as feel-good programming are also key in Asia.

up and spat out the likes of Turner and NBCUniversal? Or compensate

Gunny Hyoung, executive producer at EBS Korea, says, “Asians are

for way less funding and market nous than slick, entrenched and expe-

very emotional, that’s why people in Asia prefers to watch human or

rienced rivals?

family-related subjects.” Valentin Romero, managing director, 3Boxme-

Ratings say no. Two weeks after the channel went live, Jeet had not

dia International Sales, says buyers are “looking for quality productions

made a dent on a list of entertainment channels topped by Sony Pal,

linked or talking directly about the region, even if they like quality pro-

STAR Bharat and Zee Anmol. Even on the smaller factual chart, week nine

ductions from other parts of the globe.”

GRPs put Jeet in fifth place out of five.

ContentAsia’s new factual report also asked platforms in Asia what had

Aside from what it does next with India, a big question hangs over what

the biggest impact on their business in the past 12 months. Vitto Lazatin,

it does with Scripps, a smaller, tighter, more focused and better-run op-

VP, content acquisition for Cignal TV (Philippines), said cost, while Lucy

eration in Asia. Scripps ramped up its channels presence in Asia only four

Simanjuntak, senior product manager for Indonesia’s Nexmedia said the

years ago, buying Asian Food Channel (AFC) for about US$65 million and

availability of free content online.

opening a regional office in Singapore. The operation runs four channels – AFC, Food Network Asia, HGTV and Travel Channel.

The greatest crossover is probably with Discovery’s lifestyle channel, TLC, in a factual space that has gone nuts on lifestyle.

More than 70% of factual buyers and programmers in Asia have lifestyle programming on their priority lists.

Elsewhere on the factual landscape in Asia, wildlife remains popular.

ContentAsia’s factual survey in the run up to MIPDOC 2018, showed 57% of buyers and programmers put wildlife second only to lifestyle.

Joe Suteestarpon, founder of Thailand’s Mediaplex International Company Limited, outlined dual impacts of licensor expectation and piracy.

“As OTT in Thailand is still considered as new (versus many existing digital terrestrial players), factual licensors tend to have high expectations on OTT players in terms of pricing. Piracy also remains the pain right now, so we need to focus on local content to differentiate ourselves from other players.”

Asked what they would most like to see next, every single one of the respondents said more factual production in Asia. 29% said more local/international

Wildlife distributors say the appetite for the genre remains strong, “in

co-production and collaboration, and 14% said more factual content add-

particular blue-chip natural history films with minimal human presence” says

ed to mobile video bundles. And therein, perhaps, lies an answer for the new

Polina Axenova, sales and acquisitions manager for Albatross World Sales.

Discovery Inc.

22

contentasia issue one, april 2018

DELIVERING AWARD-WINNING CONTENT TO THE WORLD

Delivering Award-winning content to the world China on Film Refugee Chef Super Octogenarans Contentdistribution.mediacorp.sg Content_dist@mediacorp.sg Mediacorp

contentdistribution.mediacorp.sg content_dist@mediacorp.com.sg

factualtrends

Together as one: What Discovery & Scripps are going forth with in Asia Discovery Networks Asia Pacific

Scripps Networks Interactive Asia-Pacific

Distributions include...

• Brunei

Kristal-Astro

Kristal-Astro

• Cambodia

PPCTV, SM Telemedia

PPCTV

• China

Says “As there are strict regulations around foreign media broadcasting in China, we distribute our content as programming blocks to different local TV stations. Our top two flagships blocks are the TanSuo block and Da Zhen Tan block”

Not disclosed

• Hong Kong

Hong Kong Cable Television, Now TV

Now TV

• India

Hathway, Siti Cable, DEN, GTPL, Incable, Fastway, Asianet, Arasu Cable, Ortel, Manthan, UCN

Digicable

• Indonesia

Big TV, First Media, ICTA TV, MNC Vision, My Republic, Nexmedia, Skyasia, Topas TV

Big TV, Biznet, First Media, ICTA TV, MNC Vision, Nexmedia, Skynindo, Topas TV, Transvision

• Japan

J:COM and 262 other operators

Not disclosed

• Korea

CJ, CMB, D’Live, HCN, NIB, Tbroad

Not disclosed

• Malaysia

Astro

Astro, Unifi TV

• Mongolia

Univision, DDish TV, Skymedia

Univision, DDish TV, Skymedia

• Myanmar

MRTV-4, Skynet

Skynet

• Philippines

Accion, Cignal TV, Gsat, Dream Satellite TV, Sky Cable

Cignal TV, Destiny Cable, Dream Satellite TV, Sky Cable

• Singapore

Singtel, StarHub

Singtel, StarHub

• Taiwan

Taiwan Broadband Communications (TBC), Kbro, TOP, TWM Broadband, Chunghwa MOD

Chunghwa MOD, New Taipei City CATV, Ha-TV Digital Television, Tian Wai Tian

• Thailand

TrueVisions

TrueVisions, C.A.S. Cable TV, Cable Chonburi Network, Charoen Cable TV, DC Cable TV, Happyhome Cable TV, Hatyai Cable, M.S.S. Cable, Mahachai Cable TV, PA Cable TV, PTV, RCTV, Samui Cable TV, Sophon Cable, SP Cable TV, SSVTV, STV, TTT Networks, YTV Cable

• Vietnam

Q Net, FTP, Hanoicab, HVTC, K+

FPT, Hanoicab, HTVC, K+, SCTV, MyTV, Next TV

Channel brands...

Animal Planet: Content devoted to animals – from wildlife to pets, mainly targeted at all viewers aged 15+

Asian Food Channel: Pan-regional TV food network in Asia, targets adults between ages 25-54 with a secondary focus on women between ages 25-54

Discovery Channel: Non-fiction entertainment such as blue-chip nature, science, technology, ancient and contemporary history, adventure, cultural and topical docus, targeted at males aged 15-39

Food Network: Lifestyle network that connects viewers to the power and joy of food, targets adults between ages 25-54 with a secondary focus on women between ages 25-54

Discovery HD World: HD television network offering factual and lifestyle entertainment

HGTV: Home and lifestyle channel, targets adults between ages 2554 with a secondary focus on women between ages 25-54

Discovery Jeet: Hindi general entertainment channel, with options of Tamil and Telugu, launched by Discovery Communications India in February 2018

Travel Channel: A travel lifestyle brand for adults between ages 2554 with a secondary focus on men between ages 25-54

Discovery Kids: Mainly targeted at children aged 4-14 Discovery Science: Dedicated to making science accessible, relevant and entertaining for viewers 15+ Discovery Turbo: Dedicated to all things motored. Mainly targeted at males aged 18-54 DMAX: Adrenaline-fueled factual entertainment for young men who live life to the max DSport: Indian sports TV channel launched by Discovery Communications India in February 2017 Eurosport News: Sports news-dedicated channel Eurosport: Sports-focused channel Eve: Female-focused channel, launched in 2014 Investigation Discovery: A channel dedicated to true crime documentaries Setanta Sports: Sports-focused, primarily rugby matches TLC: A global lifestyle destination presenting programmes spotlighting real life stories and universal themes – like food, travel, relationships. Mainly targeted at women aged 15-49 Sources: Companies, ContentAsia

24

contentasia issue one, april 2018

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contentasia issue one, april 2018

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Thrones)

and

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25

factualtrends

Are you seeing any market gaps for sub-genres of factual entertainment?

29% No 71% Yes

Yes, want...

• More technology-related content • More Asian-related factual content • Kids learning channel

Are you producing more or less original factual content compared to last year?

Has the OTT/streaming environment made a big difference in the way you buy and/ or programme factual?

50% No

50% Yes

Yes and handle the change by...

• Acquiring catchup service or VOD right; • Buying content that works well across traditional TV and OTT such as educational/entertainment-oriented factual content

Is any of your original production short-form?

What type of factual content are you looking for at the moment?

Lifestyle Wildlife Human int/social Health History Heritage Biography Fashion Food Education Travel Kids (edu) Short-form Technology Religion Sci & environment Paranormal/Sci-fi Arts Docudrama Archeology

71.4% 57.1% 42.9% 42.9% 42.9% 28.6% 28.6% 28.6% 28.6% 28.6% 28.6% 14.3% 14.3% 14.3% 14.3% 14.3% 14.3% 14.3% 14.3% 0.0% 0%

20% 40% 60% 80%

Are you seeing long-form factual slots on linear services in Asia go up or down?

No change No change

More

Same as last year/No change.......60% More..................................................40% Less......................................................0%

Not at the moment

Yes Yes

Not at the moment.........................60% Yes.....................................................40%

Down

Up

Up...............................................57% Down.................................................29% No change.......................................14%

The companies that participated in ContentAsia’s factual survey are: Babriel Broadcasting Foundation (GOOD TV, Taiwan), BBTV Channel 7 (Thailand), Cignal TV (Philippines), Mediaplex International Company Limited (Thailand), Nexmedia (Indonesia), PT Innovate Mas Indonesia (Indonesia), TrueVisions (Thailand)

26

contentasia issue one, april 2018

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27

Indonesia Korea Philippines India Cambodia China Thailand Vietnam

formatsQ12018

10 10 10 14 17 26 36 36 189

Formats update: Q1 2018 Sri Lanka 1% Singapore 1% Bangladesh 1%

Regional 1% Japan 2% Malaysia 2%

Who has the most...

Myanmar 4%

Vietnam 19%

Mongolia 5% Indonesia 5% Korea 5%

Thailand 19%

Philippines 5%

India 7%

Q12017

Q12018

-/+

Vietnam

44

36

-8

Thailand China Cambodia India Philippines Korea Mongolia Indonesia Myanmar Japan Malaysia Regional Bangladesh Singapore Sri Lanka Pakistan Total titles

30 28 22 17 19 4 7 17 7 1 3 5 0 2 1 1 208

36 26 17 14 10 10 9 10 8 4 4 2 1 1 1 0 189

+6 -2 -5 -3 -9 +6 +2 -7 +1 +3 +1 -3 +1 -1 0 -1 -19

Source: ContentAsia Formats Outlook, Q1 2018

China 14%

Cambodia 9%

Vietnam and Thailand run neck and neck as Asia’s top formats countries by volume. But overall, the number of formats on air/commissioned in Q1 2018 is down on last year. At the same time, high-value drama formats are way up, led by Japan, Korea and China.

Vietnam continues to lead Asia’s formats market by number of titles, al-

radar are a third season of Asia’s Got Talent and possibly The Amazing

though Thailand is catching up, tying with Vietnam for the market with

Race Asia season 6 at Sony Pictures Television Networks Asia, and Asia’s

the largest number of formats on air, in production or commissioned for

Next Top Model season six at FOX Networks Group. Nothing on the record

broadcast in 2018/9 during Q1 2018. Vietnam and Thailand each had 36

about any of them at press time.

titles. China was second, with 26 titles (14%) followed by Cambodia with

Perhaps the best news is that drama/scripted formats are on the rise,

17 titles (9%). According to ContentAsia’s latest Formats Outlook, the top

driven this year so far by Japan, China and Korea. In the first of its kind

three markets – Vietnam, Thailand and China – make up 52% (98) of the

for Japanese drama, Ryota Kosawa’s script for Fuji TV comedy series, The

total 189 titles.

Confidence Man, has been sold to both Korea and China before the Jap-

Overall though, the first three months of 2018 were less robust than the same quarter last year. Total titles dropped by 19 (9%) from last year’s 208.

Vietnam had eight fewer titles this year than last. Indonesia and the Philippines also dropped.

anese version even airs. All three versions are in production. The Japanese version premieres on 9 April.

The two-way traffic between Japan and Korea continues with Fuji TV’s adaptation of Korean drama, Signal, which begins airing in April. In Ko-

Big-brand regional formats were largely MIA for the first quarter, although

rea, CJ E&M has picked up scripted format rights to Nippon TV’s Mother

Singapore’s first MasterChef sizzled briefly, lit up social media for two min-

for cable channel tvN. At the same time, South Korea’s MBC is remaking

utes for seeming to favour Chinese speaking audiences and discriminat-

BBC drama Luther; CJ E&M’s Studio Dragon is adapting Mistresses, and

ing against everyone else, before fizzling out for reasons that backers, in-

a local version of retro detective series, Life on Mars, is in the works.

cluding rights holder Endemol Shine, agency Motion Content Group, and

Teeny-tiny Singapore is also happily basking in China’s attention. In

broadcaster Mediacorp had not, at press time, disclosed. We don’t think

the latest deal, two Singapore dramas – The Little Nonya (2008) and The

it has gone away, it’s just a lot more difficult to keep things together when

Awakening (1984) – are in the works from China’s Perfect World Pictures

chants of racism are being hurled about. The other big-brand titles on our

(see page 30).

28

contentasia issue one, april 2018

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distributionchannels

Perfect worlds

The Awakening

China’s Perfect World Pictures is reviving Singapore’s biggest TV success in a big-budget scripted format play that rides soaring demand for premium Asian drama.

Ten years after its blockbuster run on a local Singapore Chinese TV sta-

Edition, will follow in 2019; the release schedule has not been finalised.

tion, the country’s best-known drama series, The Little Nonya, is back. The

John Ho, Perfect World Pictures Singapore’s chief executive, says the

return is part of a trend fuelled by rampant demand for premium drama

success of the original 2008 series drove his decision on The Little Nonya,

in China as well as for Asian stories, well, everywhere.

which ran on Mediacorp’s flagship service, the Chinese Channel 8.

The sprawling multi-generational tale about an extended Peranakan

The original series was distributed across China by CITVC, and aired on

family from Malacca is part of a debut slate from the Singapore-based

four satellite channels and at least 10 provincial terrestrial stations, along

subsidiary of mainland China’s Perfect World Pictures, which hung up its

with widespread distribution across Southeast Asia and Hong Kong, where

shingle in Singapore in May last year.

it was given a slot on TVB’s flagship Jade channel. The Little Nonya was also

The Little Nonya is one of two scripted formats acquired from Singa-

the first Chinese series to air dubbed in Malay on Mediacorp’s Suria channel.

pore’s sole free-TV broadcaster, Mediacorp. The second title is The Awak-

Perfect World’s version is not the first mainland Chinese go at The Little

ening, a 1984 classic about Chinese immigrants in Singapore in the early

Nonya story. In 2010, Mediacorp sold adaptation rights to Shanghai

20th Century, from the 1920s to the end of the Japanese occupation.

Media Group’s WingsMedia, which produced and distributed the series

The two new productions are among the biggest-budget series to be

as Qian Jin. Mediacorp has also sold adaptation rights for six other titles –

made in Singapore and Malaysia, with the exception perhaps of Netflix’s

including Legend of the 8 Immortals, The Truth, Love Concierge and The

two seasons of Marco Polo shot at Pinewood Iskandar Malaysia Studios.

Dream Makers – to Chinese production houses.

The Perfect World version of The Little Nyonya will be made for be-

Ho says the story of The Little Nonya and The Awakening stood out

tween S$22 million/US$16.7 million and S$32/US$24.3 million. The Awaken-

because they speak of Chinese culture, both inherited and blended

ing is budgeted at upwards of S$30 million/US$22.7 million and could go

with local customs, about the spirit of hard work, the ability to adapt and

to S$42 million/US$31.8 million.

mutual help among clansmen, all of which were among the traits of the

Production on the 45-episode The Little Nyonya remake, with a script

early Chinese immigrants. For Mediacorp, those traits drove the series

by the series’ original writer Ang Eng Tee, begins in July this year for a

to heights unmatched ever since at home or abroad. Perfect World is

scheduled 2019 release. 60-episode period drama, The Awakening – New

clearly hoping for an encore.

30

contentasia issue one, april 2018

See you in May 2018 12th international busan contents market 2018 May 9-11 Bexco, busan, kroean Online Registration available at www.ibcm.tv

Contact Ms Jungwon Lee International Marketing Director Tel: +82 2 786 4701 Email: bcm@ibcm.or.kr

formatswho’swho

Who’s who on Asia’s formats charts for Q1 2018* 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.

1 vs 100 Korea S16 Armchair Detectives Thailand The Band Rules Vietnam S2 Big Brother Hindi S11 Big Brother Kannada India S5 Big Brother Philippines S8 The Big Music Quiz Vietnam Celebrity MasterChef Vietnam The Choice Vietnam Don’t Lose The Money Cambodia The Face All Stars Thailand S4 The Face Vietnam S3 Family Food Fight China Got To Dance Mongolia Humans China Hunted China ICON China Identity Vietnam MasterChef Bangladesh MasterChef Cambodia S1 MasterChef Cambodia S2 MasterChef Myanmar MasterChef Singapore MasterChef Thailand S2 Million Dollars Minute Vietnam S3 Minute To Win It Indonesia The Money Drop Myanmar S2 The Money Drop Myanmar S3 The Money Drop Thailand S3 Odd One In Vietnam S5 Perfect On Paper Korea Perfect On Paper Thailand Show Me Your Son Thailand Sing Your Face Off Thailand S3 Singer Takes It All Cambodia Singer Takes It All China Singer Takes It All Mongolia Singer Takes It All Thailand S3 Singer Takes It All Vietnam The Wall Thailand Your Face Sounds Familiar Kids Philippines S2 Your Face Sounds Familiar Kids Thailand Your Face Sounds Familiar Kids Vietnam S4 Your Face Sounds Familiar Mongolia S3 Your Face Sounds Familiar Thailand Your Face Sounds Familiar Vietnam S6

FremantleMedia 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

32

Asia’s Got Talent S3 Cambodian Idol S4 Cambodia’s Got Talent S3 Cambodia’s Got Talent S4 Family Feud Thailand S3 Heaven Or Hell Cambodia It Girls China La Banda Philippines S2 Man O Man Vietnam Mongolia’s Got Talent S3 My Mum Cooks Better Than Yours India

12. My Mum Cooks Better Than Yours Thailand 13. Myanmar Idol S3 14. Myanmar’s Got Talent S5 15. Philippines Got Talent S6 16. Price Is Right Cambodia 17. Price Is Right Thailand S4 18. Small Talk Thailand S2 19. Sri Lanka’s Got Talent 20. Thailand’s Got Talent S7 21. Thank God You’re Here!

Cambodia 22. To Tell The Truth China 23. X Factor Cambodia S1 24. X Factor Cambodia S2 25. X Factor Myanmar S3 26. X Factor Thailand S2

9.

10.

11.

12.

Little Big Shots Philippines S2 Little Big Shots Thailand S1 Little Big Shots Thailand S2 Little Big Shots Thailand S3

1.

2.

Baggage Indonesia Hollywood Game Night Vietnam 3. Opening Act Indonesia 4. Real Housewives Of Bangkok 5. Saturday Night Live China 6. Still Standing Mongolia 7. Still Standing Thailand S5 8. Suits Korea 9. Top Chef Indonesia S2 10. Top Chef Vietnam S2

CJ E&M

1.

2.

3.

4.

5.

6.

1.

2.

3.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

21.

22.

Keshet 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

Loaded China Lovers or Liars Vietnam Manbirth Philippines Manbirth Vietnam Masters of Dance Vietnam MICE China Prisoners of War, Korea Rising Star Cambodia Rising Star India S2 Rising Star Indonesia S3 The A Word China Traffic Light China Who’s on Top? Indonesia

4.

5.

6.

7.

8.

Crazy Market Thailand Golden Tambourine Thailand Grandpas Over Flowers Thailand I Can See Your Voice Philippines S3 Love at First Song Vietnam Oh My Ghost Thailand Show Me The Money Thailand Signal Japan

2 Broke Girls China The Bachelor Japan S2 The Bachelor Vietnam Cold Case Japan S2 Gossip Girl China S1 Gossip Girl China S2 Gossip Girl China S3 Little Big Shots Indonesia

1.

2.

3.

The Best Of All Thailand It Girls Myanmar Selfie Challenge Vietnam

Nippon TV 1.

2.

3.

Mother Korea Pharaoh! 5 China Your Home Is My Business China

All3media 1.

2.

Are You Normal? China S3 Sexy Beasts China S2

Armoza 1.

2.

I Can Do That! Philippines S2 Pull Over Thailand

MBC 1.

2.

My Coffee Prince Malaysia She Was Pretty Vietnam

Mediacorp 1.

2.

The Awakening China The Little Nyonya China

CBS Studios International 1.

2.

3.

4.

5.

6.

7.

Asia’s Next Top Model S6 Cambodia’s Next Top Model S2 The Doctors Malaysia Hollywood Squares India India’s Next Top Model S3 Mongolia’s Next Top Model S2 Top Model India

Viacom 1.

2.

Lip Sync Battle Philippines S3 Lip Sync Battle Vietnam S2

20th Century Fox 1.

Glee Vietnam

Eccho Rights BBC Worldwide 1.

2.

3.

4.

5.

6.

Criminal Justice Life On Mars Korea Luther Korea Mistress Korea The Office India Orphan Black Japan

1.

Heal Me Kill Me Korea

Emtek 1.

Syurga Yang Ke 2 Malaysia

Fox Networks Group 1.

Heartbeat Malaysia

Bomanbridge

ITV Studios Global Entertainment

1.

2.

3.

4.

5.

1.

Chef In Your Ear Mongolia S2 DNA India S6 DNA India S7 DNA Telugu India Sing My Song Vietnam

Sony Pictures 1.

2.

3.

4.

5.

Chosen China Raid the Cage Vietnam S2 Shark Tank Mongolia S2 Shark Tank Vietnam S1 Shark Tank Vietnam S2

Warner Bros 1.

2.

3.

4.

5.

6.

7.

8.

31 Legged Race Thailand S13 Noisy Neighbours Vietnam S4 Turn Back Vietnam S3

Dori Media NBCUniversal

Talpa 5 Gold Rings Thailand Dance Dance Dance Thailand Human Knowledge Thailand I Love My Country Cambodia It Takes 2 Vietnam S2 The Next Boy/Girl Band Indonesia S2 The Next Boy/Girl Band Vietnam The Next Boy/Girl Band Thailand Stars of Tomorrow Vietnam The Voice Cambodia S3 The Voice Kids Cambodia S2 The Voice India S2 The Voice Kids India S2 The Voice Kids Indonesia S3 The Voice Kids Philippines S4 The Voice Vietnam S5 The Voice Kids Vietnam S6 The Voice Mongolia The Voice Myanmar The Voice Thailand S7 The Voice Kids Thailand S6 The Wishing Tree Vietnam

2.

3.

4.

Fuji TV 1.

2.

3.

4.

First Class China Iron Chef Indonesia Rich Man, Poor Woman Korea Second to Last Love China

TV Asahi 1.

31 Legged Race China

Big Star’s Little Star Vietnam

Notes: *Q1 2018 (from 1 January to 30 March) data updated as of 16 March 2018. Formats listed were on air or premiered in Asia in 2018, or were commissioned for broadcast in 2018/9 on channels in Asia.

This list does not include: format options, formats created solely for a sponsor/s and given for free to broadcasters, and shows created in-house that have not been sold as formats to anyone else. Information was provided by rights holders and distributors. All formats rights holders were given equal opportunity to participate.

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interview

Second to none

Astro’s group chief executive, Rohana Rozhan, makes her MIP Mastermind keynote debut in Cannes in April with a few clear messages. First among these is her mission – underpinned by significant tech upgrades – to make the Astro experience second to none.

Astro group chief executive, Rohana Rozhan, takes to the MIP TV stage for the first time this year with a strong message and a handful of clear priorities. The first is to reclaim Astro’s position as Malaysia’s premium entertainment service provider, pulling together all its assets into a comprehensive ecosystem and offering a holistic experience for consumers, starting inside the home. “We are dominant in the home, especially in urban areas, where we have about 90% of the main screen in the living room. Now we need to make that experience second to none,” she says.

Significant tech upgrades – including cloud-based PVR for seamless viewing across devices derpin this drive, of the year “box that

We are dominant in the home, expecially in urban areas, where we have about 90% of the main screen in the living room. Now we need to make that experience second to none.”

– are being rolled out to unculminating at the end with

an

Alexa-type

kicks off with the World Cup in Russia in June, beginning with its 1.3 million

Astro’s

sports subscribers and then reaching out to everyone in Malaysia within

turbo-charged

spitting distance of a screen. The activity around the World Cup is Astro’s

can

talk”. tech

journey

biggest content initiative in its 22-year history. “It’s going to be unlike anything anyone has ever seen,” Rozhan promises. “We’re using the World Cup to drive numbers and to reinforce our position across all devices,” she says, adding: “The World Cup is a huge differentiator for us”.

Another priority is to deepen engagement with the Malay community, which makes up 70% of Malaysia’s population of 32 million. The plan for the Malay space is to “build an ecosystem and pipeline starting from ideation and talent across our media assets, she says. To this end, Astro inked a joint venture last year with Malaysian publisher, Grup Majalah Karangkraf, to create and monetise vernacular content across all platforms, including digital and on-air. Astro paid RM100 million/US$25 million for its 51% stake in the venture, Karangkraf Digital 360.

Rozhan talks about redefining the customer persona “from cradle to grave, and providing for each and every one of them”. Content and services that don’t move the needle will be culled and replaced with IP that drives deep engagement. Malay vernacular content is a “fundamental differentiator” and “buys us an ability to lead”, she says.

A key content priority continues to be “Nusantara” programming created and developed with partners in ASEAN countries. “We can’t do it alone,” Rozhan says, talking about content pipelines and winwin collaborations that pool resources across borders.

Where does all this leave international channel brands and content rights holders? “We are all for things that are signature and that clearly differentiate us,” Rozhan says, talking about the value of access to a full suite of rights across all devices/platforms and a likely end to exclusive channel carriage. “We have to overdeliver on our promise for premium. It’s an extremely crowded market,” she says. “We cannot,” she insists, “afford to be caught on the back foot.”

34

Rohana Rozhan, Astro Group CEO

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