ContentAsia October 2021

OCTOBER 2021

C

NTENT

Thai Content: The Outlook

On The Job: Director Erik Matti

Plus: Japan’s latest plan, linear’s new dawn & insights into streaming in Asia

Are we

�right ?

A successful businesswoman and mother.

A younger man.

Can their love bridge the gap?

Will they be alright?

New prime-time drama series from Channel 3, Thailand Romance, Comedy | 15 x 85’ Contact : inter-sales@becworld.com For more information, please visit www.becworld.com and www.ch3plus.com/contentlicensing

Great ideas can come from anywhere.

We take them everywhere.

New and returning series and formats at fremantlescreenings.com

contents...

what’s inside...

Formats: Indonesia

Love wins

The new season of Indonesia’s

drama, Are We Alright?, deals

Next Top Model debuts in a

with love across age lines. “We

market hard hit by but recovering

would like to show that love is

from the pandemic.

beautiful regardless of age or

6

JET propelled Fuji Television Network has launched a content e-commerce platform to smooth Japanese rights holders path to international expansion. The Japan Entertainment TV programmes market (JET) changes the sales game, Fuji TV says.

Brought to you by Fuji TV

17

Learning curves Da Vinci Kids has expanded its playground with a focus on content that supports creativity and social-emotional learning. This is all part of a comprehensive strategy focused on helping parents raise exceptional humans, says Macademia co-founder and COO, Estelle Lloyd.

Brought to you by Macademia

23

Editorial Director Janine Stein Assistant Editor Malena Amzah malena@contentasia.tv Research & Production CJ Yong cj@contentasia.tv Design Rae Yong Research Assistant Rhealyn Rigodon iyah@contentasia.tv

Are We Alright?

Erik Matti, one of Asia’s best known filmmakers and winner of last year’s ContentAsia Award for Best Director, talks about his latest award-winning project, On the Job, and the win-win that maximised cinema and mainstream TV screens.

Upcoming prime-time Thai

8

gender,” say Thailand’s Channel 3 bosses.

What’s most in demand in...

18 Singapore: Disney+ rules Drama is by far Singapore’s favourite genre, according to data science platform Parrot Analytics.

20 Japan: a new reality YouTube Premium’s Japanese reality show, “Fishers and the Lost Treasure”, pushed aside every other digital original in Japan during Q2 2021.

18

Home & Away

Five months to go until Asia’s annual FILMART content expo, and organisers are ready to showcase the best Hong Kong has to offer, and say they are expecting demand from streamers to continue to drive business on the market floor.

Brought to you by FILMART

19

Share split New research puts Amazon Prime

partnerships has picked up pace

Video way ahead in Japan, but

with a string of new international

the rivalry is fierce. Disney+’s new

alliances. Meanwhile, the

Star general entertainment slate

relatively closed to international

24

adaptations.

12

FILMART countdown

Japan’s appetite for global

domestic market remains

On the job

will increase competition even further, says Media Partners Asia.

27

Gift horse Christmas came early this year for at least five indie linear channels operators, who are merrily stepping into the void left by the exit of Disney’s Fox channels. The new pickups also signal confidence in the enduring ability of linear to service large swathes of audiences in Asia.

32

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

To receive your regular free copy of ContentAsia, please email i_want@contentasia.tv

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.

Copyright 2021 Pencil Media Pte Ltd. All Rights Reserved

Published by: Pencil Media Pte Ltd l www.contentasia.tv l www.contentasiasummit.com l www.contentasiaawards.com

contentasia october 2021

3

@all3media_int all3mediainternational.com

New prime time series in the UK and the US

Recently launched in the UK and US

FUN BEHIND EVERY DOOR

DECEPTION IS AN ART. HERE, IT’S A GAME.

New series now on-air in the US

Innovative formats that speak your language

CHEF TO THE RESCUE

@all3media_int all3mediainternational.com

ABC’s hit series back for a second series in the US

countryformats

Formats: Indonesia

The new season of Indonesia’s Next Top Model debuts in a market hard hit by but recovering from the pandemic. Although Indonesia is nowhere near its 2019 formats highs, the market remains a staunch supporter of big-brand international formats and leads in returning seasons.

Indonesian free TV broadcaster, PT Net Mediatama (Net TV), premieres

Formats in Indonesia in....

its second season of Indonesia’s Next Top Model, in November this year,

1H 2017

nine months after the end of season one.

Bookending a year of pandemic high-anxiety with the modelling talent reality show, the Jakarta-based national network had no second thoughts about greenlighting the big-brand format from ViacomCBS, first

1H 2018

1H 2019

1H 2020

1H 2021

Rank by vol.

# Titles/ seasons

Rank by vol.

# Titles/ seasons

Rank by vol.

# Titles/ seasons

Rank by vol.

# Titles/ seasons

Rank by vol.

# Titles/ seasons

7th

19

6th

15

5th

22

5th

17

8th

6

in 2020 and then, building on that success, again in 2021.

“The pandemic has definitely added to the challenge in succesfully completing production of this (and of any) show,” says Net TV chief executive, Deddy Sudarijanto, talking about the success of the show outweighing the extra cost and effort of implementing strict protocols

Source: Distributors/rights holders, titles/seasons either on air or commissioned by broadcasters or platforms in 19 countries/markets., ContentAsia Formats Outlook 1H2021, updated 8 Oct 2021

and adding layers of production complexity.

“Our cycle one production process last year had gone very well without any casualty nor meaningful disruption to the process,” he adds. The same processes have been implemented for

programme Amanah Islam, which features conversation on modern dayto-day topics in a relaxed, youthful setting hosted by popular young, moderate and modern hosts, Habib Husen Ja’far Al Hadar and Abdel Achrian; and

season two.

“We see Next Top Model as a premium world class talent

reality show de

Hakim hosted by Irfan Hakim that

show which resonates well with what our brand stands

highlights life stories of everyday

for,” Sudarijanto says.

heroes in local society.

The 40-episode season one aired from 28 November 2020 to

9 Apr 2021 at 8pm on Saturdays and

Sundays. The new season, which started production

Indonesia remains among Asia’s top 10 countries by

volume,

toggling

this week, will air in a prime time slot at 7pm on

between

weekdays (days to be confirmed) next month,

2020), 6th (2018) and 7th

with simulcast streaming on the network’s YouTube channel.

5th

(2019,

(2017) spots and now tying with Malaysia for the 8th place

Season two, which ran virtual

in the latest ContentAsia’s

auditions in July, gathered 1,800

Formats Outlook for the first

participants across the country.

half of this year.

40 were flown in to the Jakarta studio and 18 selected as finalists.

The network, which is producing the show in-house, hasn’t changed too much for season two.

The panel of judges is led by returning

Deddy Sudarijanto, CEO, Net TV

Indonesian acquisitions or commissions in the first half of this year were down 65% to just six. This is a dramatic fall from 17 in the first half of 2020. 2019 was a top-performance year for formats in Indonesia, with 22 titles/seasons commissioned/aired.

Singing-related formats were the largest genre by far in

host/actress/model, Luna Maya. Fashion

Indonesia in 1H 2021. Four out of the six formats were singing

choreographer, Panca Makmun, is also

contest titles and one cooking competition.

back as judge/mentor, with celebrity fashion designer Iwan Gunawan and Ayu Gani, the winner of Asia’s Next Top Model season three, added to the panel of judges.

Indonesia’s Next Top Model is part of a

Five of the titles were aired/commissioned by MNC-branded channels. The five are MasterChef Indonesia S8 on RCTI; I Can See Your Voice Indonesia S5, from Korea’s CJ ENM on MNC TV; The Voice Kids S4 from ITV Studios for GTV; Rising Star Indonesia DangDut S4 (MNC TV) from

broadcast schedule that targets family/kids and

Keshet International; and Sing for the Stars, a

the younger demographics, offering a local and

singing competition format from Thailand’s

foreign programming mix, including religious

6 Luna Maya, Indonesia’s Next Top Model Cycle 1/2 host

Workpoint Group for GTV.

contentasia october 2021

productioninterview

Somching “King” Srisupap

Love wins Upcoming prime-time Thai drama, Are We Alright?, deals with love across age lines. “We would like to show that love is beautiful regardless of age or gender,” say programmers from Thailand’s Channel 3. ContentAsia speaks to producer/director Somching “King” Srisupap and BEC World’s president of TV business unit, Surin Krittayaphongphun about the new series.

An older woman. A younger man, with a mother who is less than

old owner of a bookstore recently dumped by her lover of 30 years.

impressed at her son’s romantic choice. As a vein of comic situations to

Refusing to succumb to the reality of aging, she embarks on a mission to

tap and recreate on screen, what could go wrong?

regain the look she had when she was 20. Along the way, she develops

“The story makes you feel happy... gives you hope,” says veteran

a crush on a young table tennis player old enough to be her son.

producer/director, Somching “King” Srisupap, who was also behind

May-December Romance followed Dare to Love, starring Bella

Thai dramas Toong Sanaeha (2020), love triangle fantasy drama Plerng

Ranee as an enthusiastic lawyer who works 24/7 to become her law

Prang Tian (Candle in the Sun, 2019) and Duang Jai Nai Fai Nhao (Cold

firm’s first female partner, and new actor, Kongthap Peak, who plays a

Heart, 2018).

young intern at the firm.

The new series, Are We Alright? (Carat Ruk), premieres on Thai free TV channel, Channel 3, in November.

Anne Thongprasom, who says she is much more familiar starring

Channel 3 says while themes that highlight love regardless of gender are popular, the older-woman-younger-man theme is under-exploited in Thailand.

opposite actors her own age, plays a successful businesswoman.

“Are We Alright? is a love story crossing social boundaries set by

James Jirayu is an intern with a crush on her and the nerve to act on

society. We want to tell a love story regardless of sex or age. More

it. The furthest thought in his mind is that he’s too young. She first meets

Boy Love (BL) stories are being told in Thailand, but there aren’t many

him when her clothes get caught in a car door, rain is pouring and he

love stories between an older woman and a younger man,” says BEC

appears with an umbrella.

World’s president of TV business unit, Surin Krittayaphongphun.

The Are We Alright? story was created by Ploychuen & Good Feeling,

“Society often frowns upon it, but we would like to show that love is

and the screenplay was written by Ping Lumpraplerng and the Good

beautiful regardless of age or gender. We design each character to

Feeling team.

reflect a cross-section of today’s society. We want it to be relatable. The

The older-woman-younger-man situation is not a first for Channel 3 or its owner, listed entertainment company BEC World. Are We Alright? is the third show this year that involves a romance between an older woman and a younger man.

Currently airing is May-December Romance, about the 52-year-

8

female lead is intelligent but not annoying. While the male lead, though young, knows what he wants and is not afraid to go for it,” he adds.

Srisupap says Are We Alright? was not derailed in a major way by Covid-19 production pauses or protocols.

“We were fortunate that we managed to finish shooting before

contentasia october 2021

productioninterview

James Jirayu and Anne Thongprasom in Are We Alright?

Thailand entered its second restricted wave. During

Are We Alright? is the first time Thongprasom and

the restriction, we were locked-in in post-production

Jirayu have been cast together.

Srisupap says he had no doubts about their

work,” he says.

on-screen chemistry. “When you have talented

Channel 3’s other productions weren’t quite as lucky, scrambling to follow rules set by

artists, it makes the work so much easier,”

Thailand’s Office of National Broadcasting

he says, emphasising that the show targets

and

audiences of all age groups.

Telecommunications

Commission

The one thing he would like audiences to

(NBTC) and the Centre for Covid-19 Situation Administration. Production crews were limited

take away with them? “I would be pleased if

to 50 people on the set, resulting in release

the series could touch and change a couple’s life, to tell them that it’s okay to be in love and to

delays for the last quarter of this year and the first

shout it out to your family and friends,” he says.

quarter of next year.

Channel 3 dramas drive a key goal – international

“The pandemic has had a significant impact on our

expansion – for Channel 3 parent, BEC World, for the next

production... it was challenging to complete shooting,” Krittayaphongphun says.

Surin Krittayaphongphun

Like others around the world, the channel scheduled some

12 months at least.

“After the third pandemic wave, our TV business has been

reruns instead of all-new content in its prime-time 8.30pm-10.30pm slots.

impacted by aggressive competition among digital terrestrial (DTT)

During Covid, Channel 3 is showing two new series and one rerun a

broadcasters, the decline in advertising spending, and Covid-19-

week instead of three fresh dramas.

related restrictions on production, which resulted in increased costs,”

In addition to Are We Alright?, new series for the rest of this year

Krittayaphongphun says.

and 2022 include Help Me! Oh My Ghost (Help me Khun Phee Chuay

“Fortunately, TV is still a critical mass medium, and drama series are

Duay), about a famous blogger and an obsessive male ghost; action

Channel 3’s core competency. We are supplementing our decrease in

series Game of Outlaws (Game Lah Torrachon), starring ContentAsia’s

ad-sales revenue with international business, and we are confident that

Best Male Lead 2020, Mark Prin, about sisters in love with the same

our stories, artists and productions can travel further than Southeast

man who end up on opposite sides of the law; and romantic drama

Asia,” he says, adding: “Now that Thai dramas have traveled well in

Bad Romeo, starring Yaya Urassaya and Mario Maurer in the story of

Asia, our intention is to move forward and bring Thai content that comes

two people who manage to overcome social differences thanks to

with attractive casts, beautiful locations, good values, and cultures to

modern technology.

more eyeballs in the global market.”

10

contentasia october 2021

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countryprofiles

On The Job Erik Matti, filmmaker

Erik Matti, one of Asia’s best known filmmakers and winner of last year’s ContentAsia Award for Best Director, talks about his latest award-winning project, On the Job, and the win-win that maximised cinema and mainstream TV screens.

Erik Matti’s high-profile Filipino crime thriller, On the Job, has a deliciously

in Cannes as part of the Directors’ Fortnight. Written by Matti and Michiko

complicated back story.

Yamamoto, the film stars Gerald Anderson and Joel Torre as two hitmen,

Eight years after two episodes debuted as a feature film in Cannes,

and Piolo Pascual and Joey Marquez as law enforcement officers.

the latest version – On the Job: The Missing 8 – premiered in September

Winner of the ContentAsia Award for Best Director in 2020, Matti takes

this year at the 78th annual Venice International Film Festival, the only

us behind the scenes of On The Job, a bold, multi-faceted production

Asian film screening in the competition. The feature won the Volpi Cup

with many incarnations and which now screens and streams in a very

Best Actor Award for John Arcilla, who plays corrupt newspaper reporter

different social, political and entertainment environment.

Sisoy Salas.

Two days later, a six-episode premium series, with previously unseen

You’ve said On the Job is about more than assassins and prisoners being

and remastered footage, debuted on HBO Go across Southeast Asia,

brought out of prison to kill. How much more? “We wanted a film that

Hong Kong Kong and Taiwan.

would tackle the difficulties, the moral decisions, that people make on

Inspired by true events, the original On The Job centres around crime

the job. So, in the case of the first film, in addition to the story of the pris-

syndicates, controlled behind the scenes by sitting politicians who re-

oners, there’s also the story of the policemen and their difficulty in finding

lease prison inmates to carry out political assassinations.

the killers because they are already back in prison. There’s also the poli-

Matti is open about domestic feedback to his idea in the early days;

tics, and the moral grey areas and dilemmas, getting into the crossroads

he started pitching it around 2010 and the response was pretty much ‘no

of what is right or what is wrong... so it becomes even more interesting

way’. “It was a strange time in the Philippines,“ he says. ”We hadn’t been

and layers the whole film as opposed to just another bang-bang movie.

doing that kind of a film back then. So we never got the popularity”.

For the second version, we didn’t want to just mimic the first one and

Three years later, in 2013, the first feature was produced by Matti’s Reality

do another story that kind of looks familiar, with the same structure and

Entertainment with the Philippines’ Star Cinema, and had its world premiere

tone as the first one. So we dug deeper. When we started writing this four

12

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countryprofiles

From early on, I wanted to root my films in something very Filipino, but with a universal story...if you keep the balance really well, you can come up with something true to your country of origin but also something others can identify with.”

Erik Matti, Producer/Director

John Arcilla as Sisoy Salas in On The Job: The Missing 8

years ago, I was really interested in how the news cycle had changed

You also brought in a whole lot of footage and plot points that were left

because of the internet, because of social media and how TV, news-

out of the first version...

papers and even social media affect certain issues that are in the fore-

“Back then I wanted a longer film. I shot a whole lot of footage for the

ground of government or a country. And with this new story, we chose

movie. But since it’s a movie and we know how difficult it is to release a

journalism as the job to zero in on and dissect.”

film that goes beyond two hours in our cinema circuit, I ended up taking out some of the plot points and just focusing on the main thread of the film.

Why did you chose journalism as the central job in the second version?

And of course, later on, we went into On the Job 2; the new film runs for

“We started thinking about this around the time that the Cambridge

three hours and 28 minutes because I wanted to bring in all the plot points.

Analytica scandal emerged, and we found out that the Philippines was

I wanted to tell the entire story. That allowed me to use it for a series.

Cambridge Analytica’s first testing ground, before Trump used it for the

When you go into a series you’re allowed to linger a little more on char-

U.S. elections. That started the whole idea of how stories could change

acter nuance and stories... because it’s episodic, viewers tend to be a

with the use of media. We wanted to show what goes on behind the

little more patient. Looking at it as a series made it interesting. The extra

scenes of a big event, which is totally opposite of what’s in the news.”

plot points worked.

Your On the Job journey has run for more than eight years, with festival

ed exactly where the second film starts. So it’s just a nice viewing experi-

releases, lots of remastering for film and TV, and different versions of the

ence to see the first one, where it all started and then continuing into the

story. What’s that been like?

new installment.”

For the series, we included the first movie because the first movie end-

“The first On the Job, way back in 2013, was done on HD. Right now films are output in 2K or 4K. We regraded and remastered the whole film into

Have you ever done anything like this before? Take two movies and

2K, and fixed some of the visual effects. In 2K, you get more clarity, you

turned them into a TV series?

can see the seams of the visual effects. So we cleaned it up a bit more

“No. But I think the pandemic does a lot of things to all of us. When we

and adjusted the colour to make it a little more modern, because the first

finished the film last year, we were really confused. We didn’t know where

one had stronger, more saturated colours. That was typical of films back

to bring it. It’s not a popcorn film and cinemas were closed. And it’s not

then, of influences of the kind of films that were coming out during that

easy to sell a three-hour-28-minute film.

time. Now colours are a bit more subtle, simpler, not too in-your-face and

“Before my fellow co-producers even saw it, I was already thinking of

that also allowed me to link the colours of the first one to the second one

how I can sell the whole idea without them saying, ‘Oh my God, Matti

... if you’re bringing the whole thing from 1 to 6, you get to see an uninter-

you did a three-hour-28-minute film, where are we going to show it in this

rupted colour palette as you move on from one episode to the next.”

pandemic’, right?

So prior to them seeing the film, I had a three-hour-28-minute cut. Together with that, I already did the presentation where I could turn it into

14

contentasia october 2021

countryprofiles

Piolo Pascual as Francis in On The Job: The Missing 8

series and by hearing that, their viewing experience of the three hours

we pick who international audiences could relate to. And of course, al-

and 28 minutes was really a breeze. They had fun watching it because

most all Asian countries have a lot of Filipino overseas foreign workers. So

now they have options as to where we could bring the film.

they get the idea of someone coming home from overseas work.

As much as I really want the film to be seen in its entirety in one go,

In the same way, in the second one, in Folklore, we thought of what’s

things just aren’t just on our side in this time of pandemic and the next

really distinct for the Philippines, in terms of its folklore. And we picked

question there is: ‘do you just want people to see your film?’ Even if you

black magic – in some countries, it’s called voodoo – because we’re

divide it into several episodes, just so it can get more eyeballs, right? So

very superstitious and there’s a lot of that even in modern society, even

that’s what we ended up with. And so far we’re happy.

in the cities, there are a lot of stories about sickness that is not really ex-

“I think this is a major thing not just for me, or for our company. It’s a major thing for Philippines as a whole, for the filmmakers of the Philippines,

plained through science immediately, it’s just explained through supernatural effects. So that’s where we started.

because not only did we make it in Venice, we were able to sell the film

We also tackle the story of justice. The main protagonist is a police

and turn it into something that could make money and could be put into

woman and her family is conflicted because the son has a sickness and

commercial use.

with that sickness, she is now torn between being a policewoman, usu-

“So that’s a win-win. Most of the time when you do films, they either go

ally reliant on evidence and proof, and dealing with the sickness of the

into the art house or only to mainstream platforms. And this one, win-win.

son, which science could not explain because it’s coming from some-

We get the best of both worlds.”

thing supernatural. So it’s an interesting story. Of course, there are scary parts, but really it’s a character story of the policewoman.”

And talking about the best of, you won a ContentAsia Award last year for your contribution to HBO’s Food Lore and you’re involved in the second

Is this authentic Filipino heart and soul something that you focus on in all

season of Folklore. Can you tell us about what you’re thinking?

your moviemaking?

“For Food Lore, we were representing the Philippines food legacy in a

“Yes. I think early on, I wanted to root my films in something very Filipino, but

way. The first thought that came to mind, before we even came up with

having a really universal story. I think right now the boundaries in films, not

the story, is what unique Philippines food idea or insight do I want to share

just films, even TV, even online, even online content, the boundaries have

with the international community.

been blurred. You make stories not just for your country of origin, but you

“That’s where the idea of the fiesta came in, because fiestas are really

make stories for everyone to see and for everyone to understand.

Spanish-born and not a lot of countries in Southeast Asia have fiestas.

“I think if you keep the balance really well, you can come up with

They have celebrations, of course, but not the kind of Spanish influence

something very, very true to your country of origin, but it’s something

that we have here. And also, where our food is mainly used as survival.

that somebody from Norway could easily identify with, or somewhere in

Everyone starts with survival and we develop our palates from there. So

Latin America could identify with. And I’ve always tried to make stories

the idea of an overseas worker started with what kind of character could

based on that.”

16

contentasia october 2021

Sponsored by Fuji TV

JET propelled

Fuji Television Network has launched a content e-commerce platform to smooth Japanese rights holders path to international expansion. The Japan Entertainment TV programmes market (JET) changes the sales game, Fuji TV says.

Japanese broadcasters have opened new windows on their

use JET to send out our contents to the world simultaneously on a daily

international business, leveraging digital tech to simplify processes,

basis, and to spread Japanese content to more and more people

expand their footprint and drive new sales conversations.

around the world,” Azuma says.

Leading the programme sales initiative is Japan Entertainment TV

The new system replaces the entrenched manual/analogue process,

programmes market (JET), a new e-commerce platform launched by

and Fuji is promising that registered buyers from anywhere in the world

Japanese commercial broadcaster Fuji Television Network, Inc. (Fuji TV)

“can easily purchase programmes as if they were previewing and

in May this year as part of its digital transformation initiative.

buying products on other e-commerce sites”, along with keyword

Currently offering only Fuji TV content, the platform hopes to bring other Japanese rights holders, including TV stations, animation companies and production company in the near future.

The e-commerce initiative is all part of a reworked approach to the end-to-end sales process, following global streaming trends that open content pathways into previously uncharted territory.

“We wanted to create a new sales system that would allow buyers

search, programme viewing, and issuing invoices. The platform is available in English, simplified Chinese and Japanese.

JET currently hosts more than 100 drama titles and about 70 nonscripted formats titles and is adding classic titles as well as new shows.

The line up includes the latest Fuji TV drama series, such as Asagao – Forensic Doctor and Daughter of Lupin,” as well as Kyoj , The

from all over the world to freely access and purchase our programmes,

Confidence Man JP, Tokyo Love Story, Long Vacation and The Great

just as people can easily check and purchase products on Amazon,”

White Tower, which has been remade overseas.

says Yasuyuki Azuma, Fuji Television Network, Inc’s Head of International Business Division, Overseas Business.

“With the promotion of DX in our overseas business, we would like

Fuji TV plans to operate JET as a comprehensive business platform for visual content.

The 62-year-old company says it hopes “to further boost the

to connect more and more with these new customers and aim for a

domestic content industry and help Japanese rights holders to go

bigger business together with the TV stations and streaming platforms

global as one”.

we have been doing business with in the world. We would also like to

https://jet-pm.com 17

datasingapore

Singapore: Disney+ rules Drama is by far Singapore’s favourite genre, according to data science platform Parrot Analytics’ “Global Television Demand Report for Q2 2021”. By title, there’s also a clear winner: Disney+. WandaVision, The Falcon and the Winter Soldier and The Mandalorian were Singapore’s top shows in Q2 2021, followed by three from Amazon Prime Video – The Boys, Invincible and The Expanse. Together with Loki, the latest data gives Disney+ four of the top 10 digital original series in Singapore for April, May and June this year. Netflix’s three spots were 7th (Lucifer), 9th (Black Mirror) and 10th (Stranger Things). On the top 20 list, demand expands to include Apple TV+’s For All Mankind, and HBO Max’s The Handmaid’s Tale, which streams on local WarnerMedia platform, HBO Go and placed 15th.

Digital original series genre demand share in Q2 2021

100

Superhero series

Reality 3.4%

67

Sci-fi drama

Variety Horror <1% 2.2%

46

Crime drama

Action/ Adventure 23.9%

Drama 41.2%

Animation 8.2% Children 4.3%

10 most in-demand subgenres for digital originals in Q2 2021

35

Comedy drama

31

Thriller Sci-fi action

28

Sitcom

27 25

Animated comedy

Comedy 13%

Docu 3.5%

22

Action fantasy

19

Fantasy drama

Total demand indexed to top subgenre (100)

The share of demand for action/adventure originals was the second

Animated superhero series, Invincible, was more in-demand in Singa-

highest of all the markets in this report. With a 23.9% share, Singapore

pore than in any other of the 100+ countries covered in this report. It

was one of four markets in the world that had a greater than 20% de-

combines Singaporeans’ love of superhero series & animation into one

mand share for action/adventure.

show and had 11.3x the average series demand.

Demand share by platform for drama digital originals in Q2 2021 Other

Singaporeans gave a larger share of demand for drama originals from HBO Max than any other of the 100+ countries covered in Parrot Analytics’ Q2 report. HBO Max originals accounted for 4.5% of demand for all drama originals in Singapore this quarter.

Original dramas from Hulu made up 6.2% of demand for all digital originals in Singapore during the quarter. Hulu’s drama demand share was smaller only in Peru for the quarter.

55.7% of demand for drama originals in Singapore was for a Netflix series. This is higher than the low point of 50% that Netflix’s demand

Paramount+ 3.2% HBO Max 4.5% Hulu 6.2% Apple TV+ 8.1%

Netflix 55.7%

Amazon Prime Video 11.3%

share hit in Singapore in March.

Note: The insights presented are based on the entire available Parrot Analytics global TV demand dataset, which is comprised of 3.5 trillion data points across 100+ languages in 100+ countries. Demand: The total TV audience demand being expressed for a title across all platforms in a market, compared to the average TV show.

Soure: Parrot Analytics. Charts by ContentAsia

18

contentasia october 2021

Brought to you by FILMART

Sinister Beings, TVBI Company Limited

FILMART countdown Five months to go until Asia’s annual FILMART content expo, and organisers are ready to showcase the best Hong Kong has to offer, and say they are expecting demand from streamers to continue to drive business on the market floor.

Once a year, Hong Kong plays host to a programming celebration, un-

seen

der the FILMART banner, which draws the content industry from around

sumption

the world to the home of iconic Chinese series ranging from Chow Yun

with

Fat’s 1980 class The Bund and Journey to the West with Dicky Cheung as

board rise in demand

monkey king Shuen Ng-hung to last year’s top-rating dramas, Forensic, Air-

for rights. At the same

port Strikers and Death by Zero.

time,

Always at the centre of the activities, along with increasingly confident mainland Chinese producers and an ever expanding roster of players

nomic

in-home an

soar

conalong

across-the-

unstable

eco-

realities

have

depressed budgets.

from Korea, Japan and Southeast Asia, the Special Administrative Re-

This is consistent with

gion’s broadcast crown jewel – Television Broadcasts Ltd (TVB) – lays on

FILMART Online’s report

its characteristic feast of drama, variety and documentary programming

for the 2021 four-day

during the four-day event.

virtual event held in

For all that has changed as a result of the pandemic, support for

March. FILMART Online,

FILMART remains strong, says TVB, a long-term exhibitor that successfully

organised by the Hong

migrated its participation to FILMART Online.

Kong Trade Develop-

At the top of the agenda are drama, variety and the quest for co-

ment Council (HKTDC),

production partnerships. “As usual, TVB will focus on promoting drama

reported an increase

and variety production and seek opportunities for co-production deals

in the number of buy-

with all overseas investors and new media platforms,” says Sherman

ers from OTT/streaming

Lee, controller, international business for TVB’s international division,

platforms, including As-

TVBI Company Limited (TVBI).

tro from Malaysia, Dis-

With operations in more than 200 countries and regions, TVBI’s focus

ney, India’s MX Player

nevertheless continues to be expanding its business domain, which cov-

and South Korea’s Wat-

ers streaming service, TVB Anywhere; linear TV channels and programme

cha along with regional and global streamers such as mainland Chinese

licensing; mainland China business; pay-TV operations; and international

global streamer iQiyi, Netflix, Viu and Taiwan’s Catchplay+.

advertising and promotion.

FILMART Online 2021 closed with about 8,000 participants from 81 coun-

TVBI, which also participates as a buyer at FILMART, will be shopping for

tries and regions. Close to 2,600 business matching meetings were held, pro-

western movies, documentaries, drama from mainland China and Thai-

viding a platform for release and promotion of 2,100+ film and television

land, and game show formats for its global/local streaming services, MyTV

productions to potential buyers from around the world. 677 exhibitors from

Super and TVB Anywhere. Essentially, “any content with high production

46 countries and regions participated.

value and suitable for a family audience,” Lee says.

In common with the rest of the industry, TVBI has in the past 18 months

• The 26th FILMART will be held on 14 to 17 March 2022.

19

datajapan

Japan: a new reality YouTube Premium’s Japanese reality show, Fishers and the Lost Treasure, pushed aside every other digital original in Japan during Q2 2021. This despite reality as a genre attracting a small fraction of the demand for drama and animation. The next made-in-Japan original on the top 20 list of shows most in demand for the quarter was Netflix’s The Naked Director, which generated half the demand of Fishers, according to data science company Parrot Analytics’ “Global Television Demand Report for Q2 2021”. The other two shows on the top three for April, May and June were Disney+’s The Falcon and the Winter Soldier and WandaVision.

Digital original series genre demand share in Q2 2021

Action/ Adventure 17.3%

100

Japanese animation

Reality 4.6% Variety Horror 2.3% 2.2%

10 most in-demand subgenres for digital originals in Q2 2021

49

Superhero series

Drama 31.6%

43

Sci-fi drama

31

Comedy drama

29

Action fantasy

Docu 3.4%

Animation 24.5% Children 2.0%

Comedy 12.2%

Crime drama

22

Animated comedy

22

Sitcom

20

Thriller

19

Sci-fi action

15

Total demand indexed to top subgenre (100)

Japan is exceptional in that its share of demand for animated original con-

Anime is by far the most in-demand digital original subgenre with more

tent is significantly higher than other markets. Its 24.5% share of demand

than twice the demand of the next most in-demand subgenre – superhero

for this genre is 4x more as large as the global share of demand (6%). The

series. While the popularity of anime helps explain the success of animation

children (2%) and drama (31.6%) genres make up a smaller demand share

more generally in Japan, the fact that animated comedy also ranks more

for digital originals in Japan than any other market in this report.

highly here than in any other market in this report indicates that Japanese audiences love animation beyond just the anime subgenre.

Demand share by platform for drama digital originals in Q2 2021 Amazon Prime Video’s dramas have had notable success in Japan.

The platform’s original dramas accounted for 15.5% of demand for all digital original dramas in Q2 2021. This is the largest share the platform achieved in this category in this report.

The share of demand for original dramas from Hulu (9.0%) in Japan is the global share of demand for this platform’s dramas - 5.7%. It is

Other HBO Max 2.3% Paramount+ 2.4% Apple TV+ 6.8% Hulu 9.0%

Netflix 54.6%

worth mentioning that Japan is the only non-U.S. market with a Hulu branded platform.

Just over the course of this quarter, HBO Max’s share of demand for

Amazon Prime Video 15.5%

original dramas has been cut in half, ending the quarter with a 1.4% demand share.

Note: The insights presented are based on the entire available Parrot Analytics global TV demand dataset, which is comprised of 3.5 trillion data points across 100+ languages in 100+ countries. Demand: The total TV audience demand being expressed for a title across all platforms in a market, compared to the average TV show.

Source: Parrot Analytics. Charts by ContentAsia

20

contentasia october 2021

Original STEM shows and maths games now on the Da Vinci channel and the Da Vinci Kids app

davincikids.tv hello@davincikids.tv

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NTENT

@ATF

+ digital + online + market dailies + video + social media

BookingsNowOpen

Putting your brand & products in front of more buyers & decision makers in 22 Asia-Pacific markets. ContentAsia reaches 11,500+ executives in Asia across all platforms with a clear editorial focus on Asia, market developments, trends, influences & information that makes a difference.

Contact Leah Gordon at leah@contentasia.tv (Americas, Europe, U.K.) Masliana Masron at mas@contentasia.tv (Asia, Australia, Middle East) CJ Yong at cj@contentasia.tv (Taiwan/China) For editorial info, contact Malena Amzah at malena@contentasia.tv

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contentasia.tv Contact rsvp@ mation for more infor fairs.com ntasiasummit.v

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Advertising/Sponsorship Leah Gordon E: leah@contentasia.tv T: +1 323-654-0456 M: +1 310-926-6761

www.contentasia.tv

contentasia

Brought to you by Macademia

interviewkids

Da Vinci Kids: focus on original production Da Vinci Kids has expanded its playground with a focus on content that supports creativity and social-emotional learning. This is all part of a comprehensive strategy focused on helping parents raise exceptional humans, says Macademia co-founder and COO, Estelle Lloyd.

Global EdTech company Macademia’s children’s brand, Da Vinci Kids, heads into the final months of 2021 with an upsized kids slate, led by its largest investment in original production, and an expanded focus on content that supports creativity and social-emotional learning.

Macademia’s co-founder and chief operating officer, Estelle Lloyd, says the company believes “this is important after what has been going on in the world for kids and families over the past couple of years”.

The originals content strategy is led by video series, Marvelous Makes Lab and Electricity with Smorph, co-developed with FAM, a social innovation studio creating play-led experiences,

We believe that a focus on content that supports creativity and social-emotional learning is important after what has been going on in the world for kids and families over the past couple of years.”

Estelle Lloyd, Co-founder/COO, Macademia

along with new maths games.

The enlarged focus on content that supports creativity and socialemotional learning builds upon Da Vinci Kids’ existing concentration on supporting STEM and critical thinking.

The core objective is a well-rounded contemporary learning service.

“It’s what we believe our service is all about,” Lloyd says.

remains helping parents to raise exceptional humans, and she highlights the importance of co-play and co-learning.

“Our content really is for the whole family. We hope kids don’t just learn on their own, but also do it with their parents. There are plenty of DIY shows, discovery and learning for the whole family,” she says.

“We have always been focused on acquiring and producing high-

“By fostering the twin qualities of curiosity and creativity, we can

quality educational programming that complements the school

help kids develop the problem-solving skills needed to tackle whatever

curriculum, while engaging kids and families to learn, ask questions and

challenges may lie ahead in the digital age,” Lloyd adds.

be hands-on,” she adds.

Along with its on-demand app, a central element of Da Vinci Kids’

The editorial rubric that guides Macademia’s acquisitions and

offering is the linear channel, where the focus is on premium education.

productions revolves around four key learning areas – STEM (Science,

The channel continues to grow its regional footprint year-on-year and

Tech, Engineering & Math), Critical Thinking, Creativity and SocialEmotional Learning, Lloyd says.

is now available in over 13 million households across Asia.

After launching with GSAT in the Philippines earlier this year, a Da Vinci-

Included in the upcoming original-content slate are seasonal specials

branded video-on-demand section rolled out on Korean e-commerce

around key IP, such as hands-on creative brand Marvelous Makes,

platform Coupang in summer, along with a daily Da Vinci Kids’

which Lloyd says “is a favourite for parents and kids who love making

programming block on MyTV Gold, a brand new kids channel operated

things together”.

by Hong Kong’s MyTV SUPER.

Building out its games offering,

Meanwhile, Da Vinci Kids’ sister

Da Vinci Kids will be launching its

service, preschool streaming app

library of maths games evaluated

Azoomee, launched globally on

for effectiveness and proven

Huawei MatePad T Kids’ tablets

to educate by Yale University’s

earlier this year.

Play2Prevent Lab.

Combined, Macadamia’s kids

In addition, the company has begun

producing

games

brands deliver learning in multiple

on

formats and promise a positive,

financial literacy. “This is a crucial

safe and ad-free environment

topic for parents as it helps kids

for children across the region. As

build important skills, but the

Lloyd says: “Our content helps

content for financial literacy is

kids build life skills, whilst having fun

hard to find. Our goal is to fill this

through unique hands-on activities,

gap,” Lloyd says.

interesting

She adds that the core mission

contentasia october 2021

facts,

interactive

challenges and great stories.”

23

productioninterview

Home & Away Japan’s appetite for global partnerships has picked up pace with a string of new international alliances for both scripted and unscripted development. Meanwhile, the domestic market remains relatively closed to international adaptations.

Japan’s appetite for global alliances – a long-running refrain that has

due to the pandemic,” says Fuji TV’s team leader and head of formats,

picked up recently with a string of new high-profile co-developments

Ryuji Komiya.

– far outweighs its ability to stomach domestic adaptation of foreign formats for Japanese audiences at home.

In the first six months of this year, the country had three shows

TBS’ Mayu Sunaga, director of international content development, agrees. “Our format business in Asia has been slow due to the influence of Covid-19 last year. However, we

commissioned or on air – one from the U.K. (ITV Studios’ 35 Up), and

have seen some very strong signs of recovery

two from Korea (reality/dating show Just Married and The Masked

since the beginning of 2021... and the finalising

Singer Japan, both based on IP from free-TV broadcaster Munhwa

of a few deals for our scripted formats with

Broadcasting Corporation/MBC), according to ContentAsia’s

our partners in South Korea and China. In

Formats Outlook for the first half of 2021.

addition to that, several contracts that were

Just Married Japan premiered on 9 July exclusively on

made in the past, have started up and

homegrown streaming platform AbemaTV, featuring young

proceeded into local production,” Sunaga

celebrity singles experiencing virtual married life.

says.

The Masked Singer Japan is an Amazon Prime Video exclusive that premiered in September. The third title is factual format 35 Up, which followed a group of children from when they were seven years old, aired on NHK in February.

The country’s broadcasters and distributors have been a whole lot more successful at creating a foothold in international co-development and format licensing. And, post Covid-19, expectations are high.

Moe Kanzaki, Nippon TV’s format sales, Ryuji Komiya, Team Leader and Head of Format, Fuji TV

international business development, says the leading commercial network has used the Covid-19 to focus on new products. “For us, this

transitional period has been a time to focus on developing new formats that have potential in the international market,” Kanzaki says.

In the first half of this year, Fuji TV had four formats sold or on air outside

“There is a huge trend for Asian non-scripted formats worldwide...

of Japan – drama Matrimonial Chaos in China; medical drama The

everyone in the world is ready to move on, as we had to hold in 2020

Voices and sports romance series, Pride, which has gone to CJ ENM

24

contentasia october 2021

Life’s Punchline, NipponTV

Mipcom 2021, which runs from 11-14

in Korea; and reality cooking show Iron Chef season 10 on

October.

BBTV’s terrestrial broadcast service, Channel 7, in Thailand.

Japanese

During the same period, Nippon TV had one (game

creators

are

also

show Pharaoh! China season eight); Tokyo Broadcasting

going full tilt at creating shows for

System (TBS) had an adaptation of Korean feature thriller,

international platforms.

New unscripted properties making

Stolen Identity, sold to an undisclosed buyer; and TV Asahi

their way overseas include Nippon

had two – romance drama Ossan’s Love on ViuTV in Hong

TV’s Money or Junk, an unscripted

Kong and game show Turn Back Vietnam season five on HTV7.

business survival game show format that

In the run-up to Mipcom 2021, commercial broadcaster Fuji

challenges contestants to make money

Television Network and Dentsu’s production/distribution studio, The Story Lab, put the finishing touches on the first international entertainment format from their seven-month-old co-development partnership.

The new show, The Spin, is part of a growing slate of co-developments with international partners as Japanese broadcasters – including Nippon TV, Fuji TV, TBS and TV Asahi – execute on their upsized global ambitions.

Hiroshi Abe, Deep Crime Unit

from nothing.

Money or Junk aired on Nippon TV in July this year; Nippon TV has already flagged a return

to its Japanese platform later this year.

In another co-development partnership inked this year, Japanese commercial free-TV broadcaster TV Asahi and European production

The game show is The Story Lab’s second co-development out of Japan

house Red Arrow Studios International kicked off with game show Crazy

after game show-meets-talent contest Nine Windows, developed in

Elevator. Crazy Elevator (working title) involves players trying to reach

partnership with the country’s top commercial broadcaster, Nippon TV.

the top of a tower to claim the treasure. Each floor presents a different

The Spin – led by Fuji TV’s head of format/producer, global business, Ryuji Komiya – features a huge spinning machine and five players competing over five rounds to build their prize pot.

challenge they must successfully complete and make it back inside the elevator before the doors close.

On the scripted development front, Nippon TV has dramedy series,

Aired in Japan on 23 March this year, the game show was adapted

Life’s Punchline, about three young comedians. Life’s Punchline was

for the international market with U.K.-based Rumpus Media, which

broadcast weekly on Nippon TV in a Saturday night slot from April to

retains U.K. production rights.

June 2021 with almost 14 million total views to date on VOD.

The Spin is among a slate of new Japanese formats headed for

Tokyo Broadcasting System Television (TBS), meanwhile, is co-

25

productioninterview

The Spin Japan

Others*, 4.0%

India 18.4%

Hong Kong, 1.6%

developing 10-episode crime procedural, Deep Crime Unit, with Israel’s Keshet International and Canada’s Facet4 Media.

Japan, 2.4%

The original crime drama, starring Japanese actor Hiroshi Abe,

Cambodia, 3.2%

centers around a fictional organisation, the Deep Crime Unit, which specialises in underwater investigations. years ago, is scheduled to premiere in January 2022 in TBS’ prime Sunday night 9pm slot.

It is the first of a slate of shows that TBS, Keshet International and

Vietnam 17.6%

Indonesia 4.8%

The 10-episode series, which the partners started discussing two

Malaysia 4.8%

Facet4 are planning for global distribution and adaptation.

Japan’s top commercial broadcaster, Nippon TV also has crime

Mongolia 6.4%

drama high on its priority list. Scripted formats for later this year/2022 include the co-production of a crime drama series, based on Nippon TV’s Double Booking (2020), with Envision Entertainment in London.

Korea 6.4%

The two companies said earlier this year that their alliance aimed to develop East-Meets-West scripted projects for the global market.

1H 2017

1H 2018

Thailand 12.0% China 8.0%

1H 2019

Philippines 11.2%

1H 2020

1H 2021

Rank by vol.

# Titles/ seasons

Rank by vol.

# Titles/ seasons

Rank by vol.

# Titles/ seasons

Rank by vol.

# Titles/ seasons

Rank by vol.

# Titles/ seasons

13th

4

11th

8

11th

7

11th

7

11th

3

Note: Research covers 19 countries/markets, including Myanmar, Nepal, Singapore, Sri Lanka, Bangladesh, Regional and Taiwan that were combined as *others in the chart.

Hong Kong was counted as a separate market in 1H2021. Source: Distributors/rights holders, titles/seasons either on air or commissioned by broadcasters or platforms.

ContentAsia Formats Outlook 1H2017, 1H2018, 1H2019, 1H2020, 1H 2021, updated 8 Oct 2021

26

contentasia october 2021

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datajapan

Share split

New research puts Amazon Prime Video way ahead in Japan, but the rivalry is fierce. Disney+’s new Star general entertainment slate will increase competition even further, says Media Partners Asia.

Share of premium video streaming minutes (Jan-Aug 2021) Total minutes streamed: 85 Bil.

Note: Premium video includes AVOD, SVOD and freemium platforms, and excludes YouTube and TikTok Source: AMPD Research, Jan-Aug 2021, Media Partners Asia (MPA)

Premium video streaming in Japan reached 85 billion minutes – 13% of

Freemium platform AbemaTV, owned by CyberAgent and TV Asahi,

total time spent on video on mobile devices – from January to August

had 11% share of premium video streaming. Consumption is driven by

this year, according to Media Partners Asia’s (MPA) first quarterly report

sports, including Major League Baseball, original dramas, local content

measuring Japan’s streaming economy.

and live events.

The report, Japan Online Video Consumer Insights & Analytics, shows

Netflix drives 10% of premium video streaming with six million paying

that eight platforms had an aggregate 87% share of premium video

subscribers. Licensed anime is a key consumption driver. About 25% of

streaming minutes. The eight are led by Amazon Prime Video followed by

Netflix consumption in the market is driven by Korean dramas, a key

local platforms – TV consortium TVer and AbemaTV.

competitive differentiator for Netflix, while U.S. content drives 15%. Netflix

SVOD subscribers topped 44 million in August 2021, led by Prime Video (33%), Netflix (14%) and Hulu Japan (6%).

Overall, Prime Video leads with 26% share of premium video streaming minutes and more than 15 million monthly active users. Local titles, particularly licensed anime, drive nearly 70% of Prime Video consumption.

U.S. movies and series account for 20%.

“Key factors behind Amazon’s lead in Japan include a large library of long-tail content, a bundled e-commerce service, satisfactory platform

originals (U.S., Japanese and anime) drive 10% of platform viewership.

Hulu Japan, owned by commercial broadcaster Nippon TV, is approaching three million paying subs, with growth driven by Nippon TV drama/co-productions and movies.

Commenting on the findings, MPA executive director, Vivek Couto said competition would increase even further with Disney+’s October 2021 expansion.

Disney+ rolled out in Japan in mid-2020 and will add Star general

functionality, distribution partnerships with NTT Docomo and KDDI and

entertainment content on 27 October this year. The Star service includes

competitive pricing,” the report says.

movies and TV programmes produced by Disney Television Studios (ABC

TVer, which captured 16% of all premium video streaming for the first

Signature/20th Television), FX Productions, 20th Century Studios and

eight months of this year, leverages local free-to-air dramas, variety, news

Searchlight Pictures, among others. Disney has also added Japanese

and sports.

titles to the Star tab.

28

contentasia october 2021

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Regeneration: From Bullets to Brotherhood NHK exclusive: In one of Cape Town’s most dangerous townships, one man making a difference is Andie Steele-Smith, an Australian-born investment banker and pastor who braves the dangers of the slums on a mission to rehabilitate the young gangsters. When the coronavirus hit the slums, Steele-Smith brought warring gangs into an unprecedented truce to deliver food to people under lockdown. And he found ways to bring change to young men who had turned to crime and become trapped in gang life because of poverty. SteeleSmith gives a self-filmed, first-person account of the gang world and his efforts to bring regeneration.

Length: 1x49mins NHK 2-2-1 Jinnan, Shibuya-ku, Tokyo, Japan 150-8001 T: +81 3 5455 6053 F: +81 3 3466 2811

SurrealEstate A team of real estate specialists investigate and correct the unconventional problems that make certain properties difficult to sell. They refer to these properties as “metaphysically engaged.” Most of us would call them haunted houses. Length: 10 x 60 mins Leonine Studios Taunusstr. 21, 80807 Munich, Germany T: +49 89 999 5130

Money or Junk This is a brand new business survival game show where contestants compete by self-monetizing in remote locations using available resources, to sell on e-commerce apps. All it takes is a smartphone in one hand to make money anytime, anywhere. Contestants compete and see who has the greatest earning capacity! An outdoors enthusiast, e-commerce app lover, chainsaw art fellow, IT guru, adventure photographer, and anyone with business, survival or craft skillsets to maximize the value of resources worth zero can join this unprecedented battle! Located in abandoned factory sites or remote villages, they create value in what seems like junk, before selling them on e-commerce apps. Even a small woodchip can be an attractive product for someone!! Whoever comes out with the biggest cash earned within the time limit is the winner. Length: 60-105 minutes episode Nippon TV 1-6-1 Higashishimbashi Minatoku Tokyo 1057444, Japan. T: +81 3 6215 3036 F: +81 3 6215 3037

contentasia october 2021

Sai Lub Lipgloss (Lipgloss Spy) Baralee, a beauty blogger, accidentally meets Teerapat, an ex-police officer who turns private detective. When his friend Padej was murdered, he swears to bring the murderer to justice. He is convinced that Prakarn, who runs an illegal operation with a hotel business as a cover, orders the hit. He recruited Baralee to work undercover with him. Baralee’s expertise is choosing the right lipstick color, and she has never worked undercover but managed to save him in some dire predicaments. Warakorn, his police partner, is also investigating the murder, and he works undercover as a salesperson in Fon’s perfume Shop that he suspects is the culprit.

While Danupob, a handsome and stylish crime reporter, is also after the case. He is after Nampueng, a bright and young administer of Justice Lover’s webpage whom he thinks is Prakarn’s Sugar baby. The three parallel investigations are about to get very messy, intertwined, and dangerous. Length: 14 x 85’ (TBC) BEC World (Public) Co., Ltd 3199 Maleenont Tower, Floor 2, 3, 4, 8, 9, 10, 30 - 34, Rama 4 Road, Klongton, Klongtoey, Bangkok 10110, Thailand T: +66 022 7395

The Queen of Flow 2

Operacion Marea Negra A Spanish boxing champion and his two friends embark on a homemade submarine to cross the Atlantic loaded with thousands of kilos of cocaine which turns into a fight for survival against the ocean, the drug barons and the state security forces. Length: 4 x 6 minutes entertaimentOne 134 Peter Street Suite 700 Toronto, ON M5V 2H2, Canada

In this new season, the duo who won over world audiences is back: Carolina Ramírez (as Yeimy Montoya) and Carlos Torres (as Charly Flow). Now, Yeimy faces new dangers that threaten her and her family, with the arrival of an enemy who knows her well and is after her, while Juancho, her partner, sees her producer lose ground to a mighty competitor. Her world is on shaky ground, while Charly Flow does everything he can to recover his freedom.

Length: 89 x 60 mins Caracol Television 150 Alhambra circle. Suite # 1250.

Miami, FL, 33134 U.S. T: +1 305 9602018

Celebrity Matchmakers Celebrities used to seeing their love lives splashed across the media, are challenged to put their knowledge on dating to good use!

In this competitive, comedic, dating format, we take three celebrity pairings and pit them against each other to find one single girl her perfect match. Once vetted by the celebrity duos, the selected suitors check into a luxury hotel to hit the dating scene with our leading lady. The celebrities compete and comment on the emotional and awkward complexities of relationships. In their determination to find her true love, who will turn out to be the ultimate matchmakers? Length: 8 x 60 mins Fremantle Fremantlemedia Asia Pte Ltd, 3 Fusionopolis Way, #06-21, Symbiosis, Singapore 138633, Singapore T: +65 6307 7226

Wang Shu and Arno Brandlhuber - Innovation and Conservation Wang Shu is China’s first-ever winner of the renowned Pritzker Prize for Architecture. Arno Brandlhuber has been stirring up the European architectural scene with his innovative approaches. In many of his structures, such as the Xiangshan Campus in Hangzhou, Wang Shu designs attractive and comfortable homes for the rural population as a way of stemming mass migration to cities. Arno Brandlhuber sees potential where others only see ruins. The architect transforms structures into attractive spaces for living and working through ingenious and imaginative design.

Wang Shu and Arno Brandlhuber – two extraordinary architects fighting passionately for sustainability principles in architecture.

Length: 1 x 60 mins DW Kurt-SchumacherStrasse 3, 53113 Bonn, Germany T: +49 228 429 2716 ; T: (Asia) +60 3 2093 0866

$$$ Mansion - Can you keep the cash?

Welcome to the $$$ (Money) Mansion! Four teams of two enter a mansion and face a variety of missions to win a cash prize of 10 million yen. However, the prize decreases by 10,000 yen every second, and the team ranked last in each mission is eliminated.

The last remaining team has a chance to challenge the final mission. The missions are cooperative games of skill such as flying a drone, walking on a balance beam, archery and stacking game. Length: 2x60 mins and 1x120mins Fuji Television Network, Inc. 2 Chome-4-8 Daiba, Minato City, Tokyo 137-8088, Japan

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countryprofiles

Charmed, Hits, Rewind Networks

Gift horse Christmas came early this year for at least five indie linear channels operators, who are merrily stepping into the void left by the exit of Disney’s Fox Networks Groups’ channels at midnight on 30 September. But if some of the new deals are about replacing dead channels, the new pickups also signal confidence in the enduring ability of linear to service large swathes of audiences in Asia.

For all the nostalgia of saying goodbye to a long-running bouquet of Fox

ence in its home market as well as its established relationships with sports

channels at the end of September, Disney’s decision to pretty much shut-

agencies and rights owners.

ter its linear business from 30 September meant Christmas came early for most indie regional channels operators in Southeast Asia.

From 1 October, known local brands led by Rewind Networks, TechStorm and Rock Entertainment, along with new entrants such as Eclat Media’s

Eclat Media went live this month with eight carriage agreements for its two linear channels – SpoTV and SpoTV2 – in Malaysia (Astro, Telkom Malaysia), Singapore (Singtel, StarHub), Philippines (Skycable), Thailand (TrueVisions), Macau (Macau Cable TV) and Mongolia (Univision).

SpoTV and Moonbug Entertainment, revelled in the kind of capacity that

The linear channels kicked off with the MotoGP and WorldSBK motors-

hasn’t ever opened up all at once, at least not since the first legitimate

port championships, Wimbledon and U.S. Open tennis Grand Slams, and

pay-TV platforms launched in the region more than two decades ago.

the latest K-wave sports, including the Korean Baseball League (KBO), Ko-

In September, Avi Himatsinghani’s eight-year-old Rewind Networks an-

rean Basketball League (KBL), and the Korean V-League volleyball.

nounced at least seven new carriage agreements (IndiHome and Transvi-

The company said it would focus on local sports content for individu-

sion in Indonesia, Macau Cable, Singtel Singapore, Unifi TV Malaysia, Hong

al markets, much the same way as it has in Korea,where it operates six

Kong Cable, Medianet Maldives), for its two channels, Hits and Hits Movies.

channels, including three basic sports services and a sports streamer.

Debbie Lee’s TechStorm/Tech TV added GST DTH Philippines and Unifi

Eclat Media Group chief executive, Mitch Hong, said during the Con-

Malaysia); and Ward Platt’s Rock Entertainment Holdings, which distrib-

tentAsia Summit that the company’s other services – including fan-based

utes five channels, increased its footprint with existing clients and brought

and other digital content – would follow the linear channels into Southeast

new markets on board in deals that kick in from now to January 2022 with,

Asia, likely from 2022.

among others, Singapore (Singtel TV), Myanmar (Skynet, meTV), Thailand, Taiwan (Kbro, CNS) and Indonesia (Vidio).

Platforms too are using the opportunity to rework their bundles. In Malaysia, for instance, Astro doubled down on linear services at the same time

Encouraged by the exit of Fox Sports and taking advantage of what it

as upsizing its profile as a streaming apps aggregator. Astro’s vote of con-

now sees as the sports rights gap in Asia, Korea’s Eclat Media landed in

fidence in linear channels involves eight English-language entertainment

Southeast Asia for the first time this month, leveraging 17 years of experi-

services, three new sports channels, and two new on-demand destinations.

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contentasia october 2021

C

NTENT

August 2022

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