ContentAsia September 2017

ISSUE FOUR 2017

C

NTENT

Original production Who’s winning Asia’s formats race

Kids Streaming platforms talk small

When there’s no way out, they go in The brave New series premieres Tuesday September 26, 9pm (8pm thai, jkt) new episode every Tuesday For more information on channel distribution, please contact Yasmin Zahid (yasmin.zahid@hboasia.com) at (65) 6288 6303 Cinemax Cinemaxasia.com HBO GO HBO OD

PLUS iflix’s new move, Discovery & Scripps, Asia’s fave genres & titles, and a whole lot more

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contents...

what’s inside...

6

Ed’s Note

September for us is all about keeping calm and streaming on. Mostly because that’s the theme of this year’s ContentAsia Summit (7-8 September). And for a few other reasons... #keepcalmandstreamon

8

Focus. Blur.

Emerging markets’ streaming platform iflix has begun to blur the distinction between VOD and traditional pay-TV with a fresh focus on channels and curated destinations.

10

12

Streaming kids

Formats Outlook

Young audiences, with their

Asia’s total formats count is up

well-documented multi-screen

on first half 2016, with more than

skills, are a strong part of Asia’s

280 titles on air or commissioned

streaming mix. ContentAsia’s new

by end June 2017. Plus who’s

Kids Online study asked stream-

winning the formats race in the

ing/online platforms about their

region.

children’s slates.

20

There has never been a loss of form. It is simply a question of figuring out how to get the consumer interested across platforms.”

Karan Bajaj Discovery India page

Real effort Discovery is attempting a radical transformation of its India business. Are they working with too little and is

20

it too late?

22

24

26

Pay TV needs a fresh & sexy story

Human drama blends with hi-

Chinese viewers clearly didn’t

– starting with not calling it pay

tech in new CBS series, Wisdom

get the memo that all things

TV. Turner APAC head Ricky Ow

of the Crowd, about a man’s

Korean are being frowned

talks about mobile video, the

search for his daughter’s killer.

upon by the powers that be in

The Wonder Years

Wise words

Data

IP grail, feature films, killing old

Beijing... Parrot Analytics’ look

thinking and ditching outdated

at the top 10 shows in China

descriptions.

and Malaysia

3

contentasia issue four, september 2017 How Do I Look? Asia season 3

LIFE, MAGNIFIED. Brave storytelling is in our DNA.

Life, magnified Brave storytelling is in our DNA. Michael Jacson: Searching for neverland Forged in fire

Doomsday: 10 ways the world will end Britney ever after Live PD

MICHAEL JACKSON: SEARCHING FOR NEVERLAND

© 2017 A&E TELEVISION NETWORKS, LLC. ALL RIGHTS RESERVED. 1296

A+E Networks

FORGED IN FIRE

DOOMSDAY: 10 WAYS THE WORLD WILL END

BRITNEY EVER AFTER

LIVE PD

editor’snote

Keep Calm and Stream On 2017 is very likely to go down in Asian television history as the year the

nals, feature films and re-negotiated partnerships that smooth the way

pay-TV channel brands we have known and loved in the past finally

for traditional carriage of, for instance, WarnerTV on Malaysia’s Astro.

started stepping into the open with their bets on the way forward. Do

Disney’s media unit is close to unveiling a digital initiative it hopes will

they have a choice? Of course. But if they want their businesses to sur-

redefine its business in Asia; no details yet. Meanwhile, it’s doing sexy li-

vive, maybe not so much.

censing deals for old-ish content with iflix and playing nice with telcos.

Do the plans being rolled out go far enough? Is this too little too late?

A+E Networks also has a new focus and a changing structure it hopes will

There’s still a lot of fear and sitting on the fence. Some of the steps being

drive relevance in a post-pay-TV channel world. Indie operator Rewind

taken are considered too small to make a big difference. There are argu-

Networks – an early adopter of the skinny bundle concept – is more con-

ments galore about how reworked businesses should be structured. There’s

vinced than ever that simple, clearly stated entertainment propositions,

a hunt for talent and skills previously unknown in the television world. For

will win the day.

sure no one wants to destroy what value there is left in their existing businesses without an idea of what they’re going to replace it with.

In moving ahead, channel operators are united by a few things: a common experience of squeezed carriage fees across the region (for

Discovery has new digital products in development, but no one outside of Discovery has seen them yet. While we wait, the big distraction is what happens after the Discovery acquisition of Scripps closes.

reasons good and bad), no direct billing (or any other) relationship with

Meanwhile, NBCUniversal moves forward in Asia

consumers in Asia, infrastructure and economic issues beyond their con-

without its flagship Universal Channel and niche

trol, and the will to survive.

network Syfy – two high-profile disappearances

The differences lie in their choice of routes into an uncertain future.

this year. The shift involves focusing on clearly de-

FOX Networks Group (FNG) came out swinging with streaming plat-

fined channels E! Entertainment and Diva and

form FOX+. The app is kind-of-standalone in that consumers can buy the

on branded on-demand destinations within

service through existing platforms, such as Singtel, without having a sub-

third-party platforms. So far, there’s no sign that

scription to an existing pay-TV bundle. But there’s still a one-year con-

direct-to-consumer reality streaming service,

tract and the relationship is still with Singtel. Alongside FOX+ and the new

Hayu, is coming anywhere near Asia.

National Geographic app, FNG is pushing an aggressive and expensive original content programme, primarily in Greater China.

HBO Asia has had its own streaming app, HBO Go, since 2013, choosing too to stick with partners they have long known and loved, and backing a much-lauded local originals agenda.

Perhaps the biggest question with the quickest answer right now is about RTL CBS channels under new owner Canada’s Blue Ant Media. Answers soon...

And so we come to the theme of the Con-

Like FNG and HBO Asia, Turner is showing a whole lot of love for exist-

tentAsia Summit – Keep Calm and Stream

ing carriage partners. Although it probably could, so far, Turner has gone

On. Yes, it’s easier said than done, given

nowhere near FNG’s full-on subscription streaming play. Instead, Turner

the clouds of pain, uncertainty and lower

head Ricky Ow is positioning his channels to be part of the new age of

margins looming over Asia’s content indus-

skinny bundles and boosting his programme licensing business in various

try. But from where we are sitting, it’s definitely

ways. In addition, he has chosen a mix of investments in digital-first origi-

the best choice.

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

What is ContentAsia?

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

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

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

6

contentasia issue four, september 2017

C O N C E A L Conceal Deceive Betray Control LIAR

@allmedia_int all3mediainternational.com

D E C E I V E Two Brothers Pictures

All3media International

B

E

T

R

A

Y

C O N T R O L

@all3media_int all3mediainternational.com

distributionchannels

Focus. Blur. Focus.

Emerging markets’ streaming platform iflix has begun to blur the distinction between VOD and traditional pay-TV with a focus on channels and curated destinations. And then there are the Originals...

Emerging markets’ streaming platform iflix has taken the next step into

mand unveiled in August don’t exist in the linear world and, so far, are not

its reimagined entertainment experience, unveiling its interpretation of

programmed for a first-run kind of audience.

a channel environment alongside a broad licensing deal with Disney for

What they offer is a wide range of genres, mostly subtitled in multiple

library and some shorter-window content on-demand as well as original

languages, in a format that is consumer friendly, easy to navigate and

digital-first productions.

promotes discovery, and at a lower price point than pirate discs.

This comes on top of a new US$133-million funding round, putting a

The 21 genre-specific destinations include Drama, Comedy, Action,

whole lot of energy behind iflix’s push into local production. The iflix Origi-

Korean, Bollywood, Chinese and Documentary. Pretty much a replica of

nals initiative kicked off in July this year with the seven-episode stand-up

the original simple pay-TV packs with very clear propositions.

comedy show, Oi! Jaga Mulut.

Perhaps more interesting right now, iflix’s channels highlight the ongo-

What does iflix’s latest move mean? The originals strategy is easy to

ing migration of powerful entertainment brands, which built their fortunes

understand: IP control. Plus it’s great for the local production industry,

in a former world, into new spaces with digital-native partners where

which means whatever creative support iflix asks for, it should get.

they will live (or die) by the number of viewing minutes each title attracts.

The packaging/presentation reorg means, to us at least, that the

That’s the new, scary, part that could rock their worlds.

concept of curated channels is alive and well and expanding its influ-

For iflix co-founder and group CEO, Mark Britt, the evolution “begins to

ence with tech-driven relevance that blends easy-to-understand desti-

blur the distinction between traditional video on demand and traditional

nations with on-demand consumer convenience.

pay television”. Clearly, he plans to be on the right side of the blur.

The iflix channels such as the Marvel Channel and ABC Studios On De-

8

There’s more at www.contentasia.tv

contentasia issue four, september 2017

Astro go beyond Welcome to Asia’s most haunted destination BOO HD There’s no horror quite life Asian horror, where the creepiest, slimiest, oiliest and scariest crawl out of your imagination to come to horrific life on screen. It fear and terror rock your world, then BOO is your heavenly hell. Non-stop shiver, with new titles premiering every week, in scarily clear HD. Introducing our first ever BOO original horror series, 3 A.M. Bangkok Ghost Stories and Doors, a Philippines Horror Anthology, bringing you the chills soon.

We dare you. Live the fear.

3am Bangkok Ghost Stories Doors For more information, please contact: Teng Lee Yein lee-yein_leng@astro.com.my Ho Hock Doong hock-doong_ho@astro.com.my www.astro.com.my/boo

streamingkids

Streaming kids Young audiences, with their well-documented multi-screen skills, are a strong part of Asia’s streaming mix. ContentAsia’s new Kids Online study asked streaming/online platforms about their children’s slates. Here’s what they said...

More than 70% of streaming/on-demand platforms in Asia offer a

The study comes against a backdrop of experimentation – and more

healthy percentage of kids programming, according to ContentAsia’s

than a little success – across multiple platforms for kids creators in Asia.

new Kids Online report.

These include everything from a new kids channel on emerging mar-

Almost 67% said they had both commissioned some content targetting children for their platforms and intended to commission more in the

kets streaming platform iflix to a new YouTube channel, nxTOONS, from Taiwanese animation house Next Animation Studio.

next 12 months.

Animation is by far the most popular genre. Others, including live action, factual and music, trail at less than 20%.

NOTES: The information was gathered from 14 online platforms that offer kids programming in Asia, including the on-demand/channels stream-

Exclusive rights to kids shows aren’t showing up as a priority for online/

ing services of traditional pay-TV platforms, country-specific platforms

streaming services in Asia. Just over 53% of platforms said they didn’t

and regional operators. Respondents included one kids-only platform

require exclusivity on their kids titles. Less than 10% said all their content

(Hopster). The others were all general entertainment platforms stream-

was exclusive.

ing a wide variety of content. Respondents were from China, Japan, In-

Asked what they would most like to see next, 47% of platforms put

dia, Thailand, Malaysia, Philippines, Hong Kong and regional platforms

their hands up for more Asian production targetting kids. That topped

covering multiple markets. The survey was conducted between 28 July

the desire for lower licensing fees, which came second with 33%.

and 15 August 2017.

How many of your total video titles at any one time target children up to 14 years?

Do you make/commission any of your own kids content for your platform?

ApproxApprox how many how of many yourof total your video totaltitles video attitles any at one any time one target time children target children up to 14 upyears to 14old? years old?

20-40%

20-40%

50-90%

50-90%

100%

100%

Yes

We plan to Weadd plan kids to content add kidsin content thefuture in thefuture

No

Planning Planning to decrease/cut to decrease/cut kids content kids content

Yes

10

No

20-40% of video titles

73.2%

Answers

Responses

50-90%

6.7%

Yes

66.7%

100%

6.7%

No

33.3%

Plan to add kids content in the future

6.7%

Planning to decrease/cut kids content

6.7%

contentasia issue four, september 2017

Are you planning to make/commission any of your own content for kids in the next 12 months?

What kids genres are most popular on your platform?

Animation

Yes

Live action

No

Edu

Answers

Responses

Animation

78.6%

Yes

66.7%

Live action

14.3%

No

33.3%

Learning/Education

7.1%

Music/Factual/Documentary

Do you buy exclusive rights to kids contents?

0%

What would you most like to see happen next?

33.3%

No

13.3% Some

6.7% Yes

46.7%

No

53.3%

More Asian production targeting kids

46.7%

Yes, all of it is exclusive

6.7%

Lowering licensing fees

33.3%

Some of it is exclusive

40%

Telcos adding kids apps to their

13.3%

mobile video bundles Looking for education programme for kids

contentasia issue four, september 2017

6.7%

11

formatswho’swho

Formats Outlook 1H 2017

Top left: Absolute Wild With Bear Grylls Top right: The Voice Singapore & Malaysia Left: The Mask Singer Thailand Far Left: Undercover Boss Japan Season 2 Above: Dating: What’s It Like To Be In Love? China Below left: The Voice Kids Philippines season 4 Below right: The People’s Choice India

Vietnam, Thailand and China continue to top Asia’s formats market by volume, with 52% of the total number of formats on air in first half 2017 or commissioned for broadcast in 2017/2018. The total formats count is up on 2016, with more than 280 titles on air or commissioned by end June 2017.

Vietnam, Thailand and China led Asia’s formats market in the first half of

nel 3 since July. Thailand

this year. The three markets account for a combined share of 52% (148

also ranked second in

titles) of the total 285 shows on air, in production or commissioned for

1H 2016, with 36 titles, six

broadcast in 2017/2018, according to ContentAsia’s Formats Outlook for

down from this year’s count (1H

first half 2017. The three markets also topped the list in the first six months

2016: 14% share of 258 titles).

of 2016, although their share has dropped from 51%.

ContentAsia’s Formats Outlook this year puts Vietnam on top by vol-

China remains in the third spot this year with 39 titles (14% of the total),

ume of the 17 countries being tracked. Vietnam has 67 titles (24% of 285

only five less than last year, according

titles), 15 titles up from 52 in 1H 2016 (1H 2016: 20% of 258 titles). This year’s

to data provided by rights holders and dis-

new titles include season one and two of Shark Tank, the local version of

tributors. This is despite serious disruption to

international franchise Dragons’ Den from Japan; and She Was Pretty

the business by regulations that mandate

Vietnam, a local remake of the Korean drama series.

IP ownership rests with the Chinese party

Thailand was second by volume for the first half of the year, with 42 titles

and a ban on all things Korean. We’re ex-

(15% of 285 titles), including reality modelling The Face Men Thailand, the

pecting co-development, a new genera-

male version of The Face. The show has aired on free-TV station Chan-

tion of partnerships, and other creative

12 How Do I Look? Asia season 3

Who has the most...

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

H12016 H12017 -/+ 52 67 +15 36 42 +6 44 39 -5 22 26 +4 22 23 +1 20 20 0 19 19 0 7 16 +9 7 9 +2 15 6 -9 4 5 +1 3 4 +1 2 5 +3 3 2 -1 0 1 +1 1 1 0 1 0 -1 258 285 +27

Taiwan 0.4% Sri Lanka 0.4% Singapore 0.7% Regional 2%

Vietnam 24%

Thailand 15%

Philippines 7%

Cambodia 8%

Myanmar 3%

Mongolia 6%

Malaysia 1.8% Korea 2% Japan 1.4%

China 14%

Indonesia 7%

India 9%

From left: Tuscan Passion (Dendam Aurora); Gogglebox Mongolia; The Arbitrator Vietnam

deal-making to continue while the current set of regulations are in place. Japan plays a significant role in drama ad-

solute Wild With Bear Grylls. The survival adventure show premiered in June this year on Discovery Channel.

aptations in mainland China. Current activity is driven by Fuji

Endemol Shine (55 titles, 19% share) and FremantleMedia (55 titles, 19%) 30 titles from their closest rivals Talpa (with 24 titles, 8% share) and Keshet

and First Class China.

International (with 20 titles, 7% share).

olia

mar

13

ysia

Mong

Myan

and

contentasia issue four, september 2017

Taiwa

Taiwan was included in this year’s Formats Outlook with one title – Ab-

am

with the first half of 2016.

Thail

Philippines (20 titles, 7% share) and Indonesia (19 title, 7%) are all level

Source: Distributors/rights holders, broadcasters, ContentAsia Notes: 1H 2017 data updated as of 22 August 2017. Titles were on air or premiered in 2017, or were commissioned for broadcast in 2017/8 in Asia. Does not include: format options, titles/formats created solely for a sponsor/s, and shows created by broadcasters for their own channels that have not been sold as formats to anyone else. All distributors and formats rights holders were given equal opportunity to participate.

For information/feedback, please contact aqilah@contentasia.tv

Vietn

titles) from 22 titles in 2016.

tan Pakis pines Philip n al Regio pore Singa nka Sri La n

Cambodia was up by one title this year, ending June in fifth place (23

Korea

tied for first place for the first six months on 2017, separated by more than

Mala

TV formats, including Operation Love China, A Restaurant With Many Problems China, Dating: What’s it like to be in Love? China

formats1H 2017

indonesia Title

Baggage Indonesia

Dr. Oz Indonesia S3

Genre

Synopsis

A dating show to discover what people Reality Dating/ are really willing to put up with in the Marriage hope of finding true love

Entertainment Long-running health series

Broadcaster/ #eps Length channel

26

Monday

Search for a solo pop superstar

Indonesian Idol Junior

Reality Talent

Talent search for the next generation of pop superstars

MNC TV

Iron Chef Indonesia

Reality Cooking

Seasoned Iron Chefs are challenged by contestants from across culinary fields

RCTI

30

Selected members of the audience (“traders”) make deals with the host

ANTV

81

Global TV

20

Reality

The Next Boy/ Girl Band Indonesia

Reality Talent

The Singing Bee Indonesia

Game Show Music

Top Chef Indonesia S2 Who’s on Top? Indonesia

Reality Cooking Game Show Variety

14

Interior design competition with 4 teams of 12 contestants Talent competition, two record labels take each other on to create the next boy/girl band Offbeat karaoke-style competition where contestants don’t have to sing it well but they have to sing it right Chefs compete against each other in culinary challenges A show where money isn’t the only thing that goes up and down

4.30pm

MNC TV

Reality Talent

The Apartment Indonesia S1

11 April 2015

0

Indonesian Idol

Family programming featuring extraordinary engaging kids Challenges successfully completed in 60 seconds push contestants a step up Minute To Win It Game Show the ladder. 10 successful challenges in Indonesia S1 a row equals a life-changing amount of money Amateurs are given a once-in-a-lifetime Opening Act Reality Music chance to open for a music superstar’s Indonesia concert Contestants compete to win cash Price Is Right Game Show and prizes by guessing the pricing of Indonesia merchandise Talent format in which viewers control Rising Star Reality Music the show’s narrative via an integrated Indonesia S2 app Take Me Out Reality Dating/ A single man dates one of 30 single Indonesia Marriage women Thank God Celebrities’ improvisational skills are You’re Here Comedy tested in unknown situations Indonesia

Friday 8am; Weekend 3pm

Trans 7

Reality Music

Entertainment

Premiere

Friday Saturday Sunday

Studio-based music entertainment show where a professional singer and panel of celebrity entertainers guess who has real vocal talent and who doesn’t

Game Show

Slot

NET TV

I Can See Your Voice Indonesia S2

Let’s Make A Deal Indonesia (Super Deal) Little Big Shots Indonesia S1

TX Day

RCTI 2 Oct 2016 60 mins

Weekends

5pm

4 March 2017

Weekends 60 mins

12 Aug 2017

MNC TV

Net TV

RCTI

65

Sunday

RCTI

24

ANTV

156

Weekends

NET TV

26

Weekends

6.30pm

10 Dec 2016

MNCTV

12

Sunday

4pm-5pm

3 Sep 2017

Thursday

7pm

4 May 2017

Biweekly

Primetime

150 mins

Global TV

RCTI

4pm

Primetime

30

SCTV RCTI

20

120 mins

contentasia issue four, september 2017

Finale

Production house

Trans TV

Asia rights distributor

NET TV, Indonesia

Sony Pictures Television

Sony Pictures Television

Trans TV

CJ E&M

CJ E&M

19 Entertainment/ FrementleMedia, U.K. 19 Entertainment/ FrementleMedia, U.K.

MNC TV RCTI

RCTI

Global TV

Endemol Shine Group

Broadcast month

Year

April

2015

January

2017

RCTI (MNC Group)

Late 2017 October

2016

RCTI

March

2017

ANTV

Ongoing since 6 Aug

2016

Warner Bros Int’l TV Production

Global TV

August

2017

Endemol Shine Group

MNC TV

Ongoing since 10 Dec

2016

Q2

2017

Fuji TV, Japan

Other info Deal done in 2015, but the show still hasn’t been scheduled

MNC TV (MNC Group)

FremantleMedia/ FremantleMedia, FremantleMedia ANTV Hatos Hall Production

MNC TV

Commissioned by

NBCUniversal International

RCTI 26 Feb 2017

Asia rights holder

NBCUniversal FremantleMedia Indonesia

FremantleMedia

RCTI

Keshet International

RCTI

FremantleMedia FremantleMedia Asia/ANTV

FremantleMedia

ANTV

Ongoing since Aug

2016

5 March 2017

FremantleMedia FremantleMedia Indonesia

FremantleMedia/ Working Dog

Net TV

December

2016

19 Nov 2017

Imagine Group/ FremantleMedia Indonesia

IM Global TV

Imagine Group

Branded Sponsors & MNC

September

2017

Global TV

Talpa

Talpa

Global TV

May

2017

Magnify Media

RCTI

NBCUniversal International

SCTV Q4

2017

RCTI

RCTI

contentasia issue four, september 2017

Keshet International

15

formats1H 2017

cambodia Title

Genre

Boom! Cambodia

Game Show Quiz

Synopsis

Action movie meets video game in a trivia challenge

To find the most outstanding unsigned solo recording artist To find the most outstanding unsigned Cambodian Idol S4 Reality Talent solo recording artist The talent show with no age limit, Cambodia’s Got Reality Talent no talent restrictions and no cultural Talent S2 boundaries The talent show with no age limit, Cambodia’s Got Reality Talent no talent restrictions and no cultural Talent S3 boundaries The talent show with no age limit, Cambodia’s Got Reality Talent no talent restrictions and no cultural Talent S4 boundaries A modeling competition whose winners Cambodia’s Next Reality receive a contract with a major modeling Top Model S2 Modelling agency and a cover shoot and fashion photo spread in a fashion magazine Don’t Lose Your Two teams go head-to-head to win a lifeGame Show changing amount of money Money Cambodia S1 Action-packed quiz & game show where Heaven Or Hell Game Show contestants face a choice: to be clever in Cambodia S1 Quiz Heaven or risk everything in a journey to Hell and back Celebrity teams join forces with the I Love My Country Entertainment audience to compete in multiple Cambodia questions centered on Thailand MasterChef Reality A competitive cooking reality show Cambodia S1 Cooking MasterChef Reality A competitive cooking reality show Cambodia S2 Cooking Every challenge successfully completed Minute To Win It in 60 seconds pushes contestants one Cambodia S3 Game Show step higher up the ladder. 10 successful (1 Neati Daembi challenges in a row equals a lifeChhneah) changing amount of money 4 women gamble on the abilities of their My Man Can Game Show partners, each putting her man’s courage Cambodia and skills to the test Cambodian Idol S3

Reality Talent

Price Is Right Cambodia

Game Show

Rising Star Cambodia

Reality Music

Singer Takes It All Cambodia

Reality Music

Thank God You’re Here! Cambodia The Noise Cambodia S2 The Voice Cambodia S3 The Voice Kids Cambodia

16

Comedy Game Show Reality Music Reality Music

Contestants compete for cash and prizes by guessing the pricing of merchandise

Broadcaster/ #eps Length channel Bayon TV

TX Day

Slot

Premiere

52

5 Mar 2016

52

23 June 2017

Hang Meas HDTV Hang Meas HDTV Hang Meas HDTV Hang Meas HDTV Hang Meas HDTV

CTN Hang Meas HDTV Hang Meas TV Hang Meas TV

Once a week

26

CTN CTN

CTN

MyTV

Sunday

8pm9pm

24 Jan 2016

52

Hang Meas TV

Talent format in which viewers control the show’s narrative via an integrated app Viewers at home take control of a singing game show, becoming both judge and jury via a real-time interactive app Celebrities’ improvisational skills are tested in unknown situations The Noise challenges teams of friends to perform tasks without making a sound Singing competition to find currently unsigned singing talent Kids version of singing competition, The Voice

Hang Meas HDTV Hang Meas HDTV

TownTV

26

120 mins

Hang Meas TV MyTV

X Factor Cambodia S1

Reality Music

Performers compete to become the nation’s next singing sensation

Hang Meas TV

X Factor Cambodia S2

Reality Music

Performers compete to become the nation’s next singing sensation

Hang Meas TV

16 16

contentasia issue four, september 2017

Finale

Production house

Asia rights distributor

Bayon Radio & TV

FremantleMedia/Syco

Hang Meas

FremantleMedia/Syco

Hang Meas

FremantleMedia International

FremantleMedia/Syco

Hang Meas

FremantleMedia International

FremantleMedia/Syco

Hang Meas

FremantleMedia International

FremantleMedia/Syco

Hang Meas

CBS Studios International

CBS Studios International

Endemol Shine Group

Endemol Shine Group

Hang Meas HDTV

FremantleMedia International

FremantleMedia

Hang Meas

Hang Meas CTN CTN

15 Jan 2017

CTN

Commissioned by

Keshet International FremantleMedia International FremantleMedia International

15 June 2018

Asia rights holder

Broadcast month

Year

Ongoing since 5 Mar

2016

Other info

2017

2017

June

2017

2018

Talpa Endemol Shine Group Endemol Shine Group Endemol Shine Group

To be produced in Q4 2017 S1 to be produced in Q4 2017

Endemol Shine Group Endemol Shine Group

Endemol Shine Group

January

Red Arrow International FremantleMedia International TownTV

FremantleMedia

2017

Hang Meas

Keshet International Endemol Shine Group FremantleMedia International FremantleMedia International

2016

2018 Q4

2017

Endemol Shine Group

Hang Meas HDTV

FremantleMedia

Hang Meas

2018

FremantleMedia/ Fuji TV, Japan

TSI Films

2017

Hang Meas

Talpa

Hang Meas

Talpa

April-July

FremantleMedia

FremantleMedia International

FremantleMedia/ Syco

Hang Meas

FremantleMedia

FremantleMedia International

FremantleMedia/ Syco

Hang Meas

2017 2017

Source: Distributors, rights holders, broadcasters

contentasia issue four, september 2017

17

formatswho’swho

Who’s who on Asia’s formats charts for 1H 2017* Endemol Shine 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

21.

22.

23.

24.

25.

26.

27.

28.

29.

30.

31.

32.

33.

34.

35.

36.

37.

38.

39.

40.

41.

42.

43.

44.

45.

46.

47.

1 vs 100 Korea S15/S16 The Band Rules Vietnam Big Brother Hindi India S10/S11 Big Brother Kannada India S4/S5 Big Brother Philippines S7 Big Brother Tamil India Big Brother Telugu India The Brain China S4 The Choice Thailand S3 Deal Or No Deal Malayalam India S2 Deal Or No Deal Vietnam S12 Don’t Lose Your Money Cambodia The Face Men Thailand The Face Thailand S3 The Face Vietnam S2 Fear Factor India S9 Golden Goal Vietnam S1 Got To Dance Mongolia Humans China S1 ICON China The Kids Are All Right Malayalam India MasterChef Cambodia S1/S2 MasterChef Thailand Million Dollars Minute Vietnam S2/S3 Minute To Win It Cambodia S2 Minute To Win It Indonesia S1 Minute To Win It Kannada India S3 Minute To Win It Malayalam India Minute To Win It Philippines S3 The Money Drop Mongolia S5/S6 The Money Drop Myanmar S1 The Money Drop Vietnam S2 Odd One In Vietnam S4 Out of Control! Vietnam S2 Quiz Poker China Singer Takes It All Cambodia S1 Singer Takes It All China Singer Takes It All Mongolia Singer Takes It All Thailand S1 So You Think You Can Dance Vietnam S5 Star Academy Mongolia Step Right Up Thailand S8 The Wall Thailand Your Face Sounds Familiar Kids Philippines S1 Your Face Sounds Familiar Kids Vietnam S3/S4 Your Face Sounds Familiar Mongolia S2/S3 Your Face Sounds Familiar Vietnam S5

FremantleMedia 1.

2.

3.

4.

5.

6.

7.

8.

9.

Asia’s Got Talent S2/S3 Cambodian Idol S3/S4 Cambodia’s Got Talent S2-S4 Don’t Stop Me Now China The Eureka Moment China S2 Family Feud Myanmar S5 Family Feud Philippines Family Feud Thailand S2/S3 Hear Me, Love Me, See Me Thailand

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.

Heaven Or Hell Cambodia S1 Heaven Or Hell Vietnam Hole In The Wall Junior Vietnam Hole In The Wall Vietnam S1/S2 Idol Kids Vietnam S2 Indian Idol S9 Indonesian Idol Indonesian Idol Junior It Girls China La Banda Philippines S2 La Banda Thailand S2 Let’s Make A Deal Indonesia Match Game Vietnam S1 Mongolia’s Got Talent S3 My Mom Cooks Better Than Yours Vietnam S3 Myanmar Idol S2 Myanmar’s Got Talent S4/S5 The Noise Cambodia S2 Perfect Score China Philippines Got Talent S6 Price Is Right Cambodia Price Is Right Indonesia Price Is Right Thailand S3/S4 Price Is Right Vietnam S11 Small Talk Thailand Take Me Out Indonesia Take Me Out Thailand S11 Thailand’s Got Talent S7 Thank God You’re Here Cambodia Thank God You’re Here Indonesia Thank God You’re Here Vietnam S3 To Tell The Truth Thailand X Factor Cambodia S1/S2 X Factor Myanmar S2/S3 X Factor Thailand S1/S2

Talpa 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

20.

21.

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

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

18.

19.

Loaded China Manbirth Philippines Manbirth Vietnam Master Class China S3 Master Class Vietnam MICE China Prisoners of War India S1/S2 Prisoners of War Korea Rising Star Cambodia Rising Star India S2 Rising Star Indonesia S2 Trade Up China Traffic Light China Who’s on Top? Indonesia

NBCUniversal 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

17.

Baggage Indonesia Dance Your Ass Off Vietnam S2/S3 Hidden Singer Vietnam S2/S3 Hollywood Game Night Thailand S2 How Do I Look? Asia S3 Opening Act Indonesia Real Housewives Of Bangkok Saturday Night Live China Saturday Night Live Korea S9 Still Standing China S7 Still Standing India Still Standing Thailand S4 Still Standing Vietnam S2 Suits Korea Top Chef Indonesia S2 Top Chef Thailand Top Chef Vietnam S2

Sony Pictures Television 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

Brainiest Vietnam S1 Chosen China Dancing Nation China S5 Dr Oz Indonesia S3 Dr Oz Thailand S1 Raid The Cage Vietnam S1/S2 Shark Tank Mongolia S1/S2 Shark Tank Vietnam S1/S2 Who Wants To Be A Millionaire Malayalam India S4 Who Wants To Be A Millionaire Marathi India S3 Who Wants To Be A Millionaire Sri Lanka S7 Who Wants To Be A Millionaire Telugu India S4 Who Wants To Be A Millionaire Vietnam S12/S13

Warner Bros 1.

2.

3.

4.

5.

6.

7.

8.

2 Broke Girls China The Bachelor Japan S1/S2 Gossip Girl China S1-S3 Little Big Shots Indonesia S1 Little Big Shots Philippines S1/S2 Little Big Shots Thailand S1-S3 Supernanny China S4 The Young Ones Singapore

Keshet

CBS Studios International

1.

2.

3.

4.

5.

1.

2.

3.

4.

5.

The A Word China Boom! Cambodia Boom! Philippines Boom! Thailand Boom! Vietnam

Asia’s Next Top Model S5 Cambodia’s Next Top Model S2 The Doctors Malaysia Hollywood Squares Thailand India’s Next Top Model S2

6.

7.

8.

Mongolia’s Next Top Model S1/S2 Philippines’ Next Top Model S2 Vietnam’s Next Top Model S8

Armoza 1.

2.

3.

4.

5.

6.

The Arbitrator Vietnam Celebrity Battle Vietnam I Can Do That! Philippines S1/S2 I Can Do That! Vietnam S1/S2 Pull Over Thailand The People’s Choice India

Fuji TV 1.

2.

3.

4.

5.

6.

7.

8.

A Restaurant with Many Problems China Dating: What’s It Like To Be In Love? China First Class China G WARS Vietnam Iron Chef Indonesia Operation Love China Second to Last Love China SUPER BOYS China

All3Media 1.

2.

3.

4.

5.

6.

7.

Are You Normal China S3 Are You Normal Vietnam S2 Cash Cab Philippines S2 Cash Cab Thailand S4 Gogglebox Mongolia S3 Sexy Beasts China S2 Undercover Boss Japan S2

Red Arrow 1.

2.

3.

4.

Mister Perfect Vietnam S1/S2 My Man Can Cambodia My Man Can Vietnam You Deserve It Vietnam S4/S5

CJ E&M 1.

2.

3.

4.

I Can See Your Voice Indonesia I Can See Your Voice Malaysia I Can See Your Voice Thailand S1/S2 We Kid Thailand

Dori Media 1.

2.

3.

4.

The Best of All Thailand It Girls Myanmar Selfie Challenge Vietnam Win The Crowd India

ITV Studios Global Entertainment 1.

2.

3.

4.

Big Star’s Little Star Vietnam Born To Shine Vietnam Come Dine With Me Mongolia Dancing on Ice China

MBC 1.

2.

3.

4.

The Mask Singer Thailand My Little Television Thailand Princess Hours Thailand She Was Pretty Vietnam

With 3 each: Banijay, BBC Worldwide, Nippon TV, Viacom. 2 each: Comarex, Discovery. 1 each: Disney ABC, Electus, Globo, Hat Trick, Imagine Group, KBS, Magnify Media, SBS

Notes: *H1 2017’s (from 1 January to 30 June) data updated as of 22 August 2017. Formats listed were on air or premiered in Asia in 2017, or were commissioned for broadcast in 2017/8 on channels in Asia. This list does not include: format options, formats created solely for a sponsor/s and given for free to broadcasters, and shows created in-house that have not been sold as formats to anyone else. Information was provided by rights holders and distributors. All formats rights holders were given equal opportunity to participate.

18

contentasia issue four, september 2017

The Source for Asia’s Media & Telecoms Industries Nine definitive annual reports with analysis, date and projections across 19 markets Commercial & technical due diligence for M&A across multi-sector transactions Strategies for partnerships, market entry, new products and future growth Industry’s independent source for competitive intelligence, insights and benchmarking Asia’s most influential and agenda shaping industry summits – APOS and APOStech Media partners asia – the authority in Asia connecting content, platforms, technology and investors Research – Consulting – APOS - APOStech www.media-partners-asia.com

distributionchannels

Queens of Comedy, TLC

Roll the dice As its ratings fall, Discovery India is attempting a transformation.

Vanita Kohli Khandekar looks at its chances.

Discovery Communications India is betting big on scale. Sports channel

senior vice president and general

DSPORT launched earlier this year. Jeet, a factual general entertainment

manager for South Asia.

channel (GEC), and another rural, free-to-air channel should be out early

“On the core side there has never

2018. There are digital products, and dozens of locally made shows, includ-

been a loss of form. It is simply a question

ing Queens of Comedy (TLC) and India’s Best Jobs (Discovery Channel),

of figuring out how to get the consumer inter-

have been commissioned.

ested across platforms,” Bajaj says.

Is it too little, too late? Discovery’s 12-channel India network has lost about 22% viewership over the last three years, according to Broadcast

Karan Bajaj

This means more local content for Discovery’s core audience, the top 5-10 million of India’s 240 million homes.

Audience Research Council (BARC) data. Key employees have left. There

Bajaj points out that factual viewership on digital is about 10-15% of the

is a possibility, say analysts, that the Indian arm of the U.S.-based US$6.5-bil-

total against 2% on TV. As TAM’s urban-skewed sample shifted to BARC,

lion factual giant will either stagnate or fall from the current US$65-million.

which has a 67:33 urban to rural split, all English-language and niche gen-

Discovery India enjoyed 50% operating margins for years.

res – Discovery included – have seen a fall over the last three years.

Analysts ask why Discovery is attempting a transformation and taking its eye off the ball now, when the core business is under threat.

On the other hand, GECs of all languages combined get more than 55% of all TV viewing and a bulk of the approx US$9 billion Indian TV in-

Arthur Bastings, president and managing director, Discovery Networks

dustry’s ad and pay revenues. It is a larger market to target. However, it

Asia Pacific, doesn’t agree. One of the biggest challenges TV faces is the

pits Discovery against Star India and Zee, each of them with (India) group

“erosion of pay TV across the world because of the shift from linear (plain

toplines in excess of US$1.5 billion against Discovery’s US$65 million.

broadcasting) to non-linear (digital),” he says.

Is what Discovery trying to do realistic?

As viewers move to streaming platforms at one-fourth the price, every

Jeet is not exactly a GEC in that sense, argues Bajaj. “It is a GEC in a

brand in the business has been hit. Regional analysts Media Partners Asia

Discovery-ish way. These are stories that feed off fact, that blur the lines

(MPA) reckons that Discovery’s Asia revenues have fallen by about 16%,

between fact and fiction,” he says. For instance, Jeet’s first show is a 65-

from US$320 million in 2013 to about US$270 million in 2016.

part scripted, dramatised version of yoga exponent Baba Ramdev’s life.

“If I take India out of the equation (because pay is not big there), pay

The idea is to expand reach into small-town India and get appointment

TV is challenged. BUT video is not; video is buoyant. So for us the ques-

viewing. It is about “scale with purpose. We want to be a sizeable media

tion is how to be a multiplatform player instead of a single platform (TV)

company in India instead of keeping on playing at the outskirts as we’ve

one. It is a question of how to reshape the organisation to deliver that,”

done until now. We have to attract a significantly bigger denominator of

Bastings says.

consumers yet maintain the dignity and essence of Discovery,” he says.

He was hired in 2015 to do just that. In 2016, he brought in Karan Bajaj as 20

The dice has just been rolled.

contentasia issue four, september 2017

Japan content Showcase 2017 Tokyo is Moving to Next Stage New Venue: Sunshine City, Ikebukuro, Tokyo

New Venue : Sunshine City, Ikebukuro, Tokyo Oct 23 Oct 24 Oct 25 Oct 26 TIFFCOM Music / Film/ TV / Animation Now Calling for Entry for Buyers!

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Now Calling for Entry for Buyers !

Details available at : http://www.jcs.tokyo / en / entry / buyer / Contact : inquiry@tiffcom.jp

distributionchannels

Wonder Boy, mm2 Entertainment

The Wonder Years Pay TV needs a fresh & sexy story – starting with not calling it pay TV. As part of a series tracking entertainment brands as they chase their tales, ContentAsia talked to Turner APAC head Ricky Ow about mobile video, the IP grail, feature films, killing old thinking and ditching outdated descriptions.

Turner has commissioned its first mobile-first video series in Asia, taking

much faster and everyone wants it right now. “We need to have differ-

the regional organisation another step into a future built on reworked

ent approaches,” he adds.

relevance and engagement across all platforms. Now into his fourth year

Originals for each of the regions – including India, where Turner oper-

at the regional media business, Turner’s Asia Pacific president, Ricky Ow,

ates Pogo, and Japan – are customised, continuing the shift from re-

says investment in originals has increased significantly compared to three

gional to sub-regional. “We’ve always customised for different regions,

years ago. He won’t give numbers, but he will say that there is an outsize

but this is the first time we have been so co-ordinated,” Ow says.

determination to own quality IP. “We want new IP and we want our IP to become stronger,” Ow insists.

This golden age of original production is not without challenges. The biggest are sustaining growth and attracting new audiences. “We need

The mobile-first shorts (production details under wraps) are part of an

to come up with good ideas and investment, to be innovative. And sec-

original production initiative that has two key drivers. The first is Turner’s

ondly we need to keep working to get new audiences so that we can

kids services and the second is a commitment to IP ownership. In the next

expand and keep the momentum,” he continues.

18 months, “there will be a significant increase in content that we are delivering to our channels and platforms,” Ow says.

Channels remain a core part of the business, driving the bulk of revenue and profit. “We believe linear channels will continue. Turner chan-

This includes entertainment content for WarnerTV supported by, among

nels are strong and well-curated and have a role, but we also believe

others, a five-feature production deal with Singapore-based mm2 Asia.

they need updating to be more relevant to the consumer.” Today’s killer

The first project is theatrical biopoc Wonder Boy. Ow says the entertain-

difference is the shift to skinny bundles. “We are positioning to be in the

ment originals will “help Warner TV to become more relevant... and will

skinny bundle,” Ow says.

help us to grow in terms of reaching out to new and bigger audiences”.

Originals allow Turner to own all rights and “allow us to look beyond”

There’s also the investment in Vietnamese online platform POPS Worldwide, which gives Turner direct-to-consumer access and insights.

to, for instance, distribution across every platform and, beyond that, to

“The old thinking is that you want to keep everything in one place. The

manage each piece of content as a franchise. “Besides the revenue

new thinking is ‘how do you make your content exciting and relevant

from syndication, it’s important to look beyond. We need to look at each

by building a 360 proposition around it’.” In 2016, Turner recorded 1.7

piece of content as IP. And then decide how we manage that franchise

billion touch points in Asia Pacific across TV, online, apps, Facebook and

in an overall environment where people can watch so many things in so

YouTube. “We no longer measure ourselves by ratings,” he says, adding:

many places. We have to be relevant across all platforms,” Ow says.

”Today we measure ourselves by touchpoints”.

And stay true to an expanded slate that runs from kids, which involves multi-element franchise management, to Korean, where the cycle is 22

Ow no longer describes Turner as a pay-TV business. “We are about consumers and content and getting those joined together.”

contentasia issue four, september 2017

Marina Bay Sands, Singapore 28 Nov 2017 ATF Leader’s summit 29 Nov – 1 Dec 2017 Market, Conference, Networking events Asia’s leading entertainment content Market, your gateway to rising asia Online Database & Recommendation Tools Top-level conference sessions Networking Events Join Us Now www.asiatvforum.com @asiatvforum +65 8726 3196 meenyi.phua@reedexpo.com.sg

distributionchannels

Playing to the crowd Jeremy Piven and Richard T Jones in Wisdom of the Crowd

Human drama blends with hi-tech in new CBS series about a man’s search for his daughter’s killer.

Kavita Daswani talks to the cast and crew of Wisdom of the Crowd.

India’s Zee, driving an aggressive domestic entertainment agenda,

Adding conflict to the plot, Monica Potter plays Alex, Tanner’s ex-

put its hand up first for new CBS series, Wisdom of the Crowd, clearly

wife, who doesn’t agree with his single-minded focus on finding their

betting that the tech-heavy treatment will go down in a nation high

child’s killer.

on all things IT.

“This show deals with the impact that this has on his family and his

Wisdom merges crime solving with crowdsourcing in a way that

ex-wife, the potentially devastating divisive impact it has,” Humphrey

showcases “an inherent desire for community (and) altruism”, said ex-

said, adding: “This is a man who upends his entire life and career and

ecutive producer Ted Humphrey (The Good Wife) during the Television

throws it all away in a quest to solve this.”

Critics Association (TCA) event in Los Angeles in August. The series is produced in conjunction with Israel’s Keshet Media Group.

Piven said it was that sort of flawed determination that compelled him to sign on.

The Wisdom pilot opens with Silicon Valley tech billionaire Jeffrey

“I read this script and I was immediately drawn into the world and

Tanner (played by Jeremy Piven) relinquishing his company to focus

the characters and the premise and the idea that this guy is heartbro-

on finding his daughter’s real murderer, believing that the wrong per-

ken and trying to fill that void,” he said.

son is serving time for the crime.

“It’s such a fertile, beautiful premise because it can go anywhere.

His last act before walking away: unveiling Sophe, a platform de-

He simply wants to solve his daughter’s crime, and then there’s all

signed to receive input from the world at large to help him solve his

that conflict within that. And to play a guy that has those layers and

daughter’s death.

is a human being… and will ultimately do the wrong thing for the right

Humphrey, a former lawyer, said the idea is closer to reality than most people realise.

“Crowdsourcing is something we all use every day,” he says. “Yelp is crowdsourcing. Waze is crowdsourcing. The New York Times, when they tell you what the top email stories of the day are, is crowdsourcing. And police in law enforcement are beginning to use crowdsourcing,” he adds.

reasons is a really brilliant premise,” Piven adds.

By the end of the opening episode, Sophe has been used for more than just finding Tanner’s daughter’s killer, although that continues to remain the driver. Humphrey said this will continue through the debut season.

“These things have a way of changing and morphing, depending on how much story there is to tell and how fun it is to tell it,” he added.

“It will go on as long as it’s interesting. And I do think that the vehicle

In launching Sophe, Tanner works with Detective Cavanaugh

of the show can exist without it at some point. But I also think that,

(played by Richard T Jones), who is initially against the idea, fearing it

coming in, it’s a very compelling and emotional story. And the emo-

could lead to vigilantism (It does).

tion and heart of it are what we are really driving at.”

24

contentasia issue four, september 2017

AAS Asian Animation Summit Promoting co-producing and Co-financing November 29 to December 1, 2017 Brisbane, Autralia Back in Brisbane, Baby!

AAS 2017 will once again be held down under in Brisbane, Australia this year. Make plans to join us there, and discover Asia-Pacific’s best new animation for kids first. www.asiananimationsummit.com joel pinto jpinto @brunico.com

Back in Brisbane, baby!

AAS 2017 will once again be held down under in Brisbane, Australia this year. Make plans to join us there, and discover Asia-Pacific’s best new animation for kids first.

w w w.asiananimations ummit .com Joel Pinto • jpinto@brunico.com • +1-416-408-2300 x650

who’swatching

Who demands what...

China: Top 10 Overall TV Shows

Malaysia: Top 10 Overall TV Shows

Rank

Rank

Title

Average Demand

Title

Average Demand Expressions™

Expressions™ 1

Game of Thrones

396,762,712

1

Game of Thrones

8,535,118

2

Goblin (孤單又燦爛的神－鬼怪)

195,507,039

2

Goblin

3,771,406

3

Fight For My Way (三流之路)

112,675,204

3

Running Man

2,686,106

4

Seven Day Queen (七日的王妃)

94,681,676

4

Naruto: Shippuden

2,170,451

5

Knowing Bros (認識的哥哥)

83,290,731

5

The Walking Dead

2,167,881

6

Power

76,908,143

6

Suits

2,112,969

7

Suspicious Partner (奇怪的搭檔)

71,510,608

7

Seven Day Queen

1,663,405

8

Running Man

70,442,200

8

The Big Bang Theory

1,581,888

9

The Big Bang Theory

59,468,142

9

Meletop

1,525,565

10

The Walking Dead

59,342,331

10

Blue Exorcist

1,493,192

Malaysia: Top 10 Digital Originals

China: Top 10 Digital Originals Rank

Title

Platform

Average Demand

Rank

Title

Platform

Average Demand Expressions™

Expressions™ 1

Castlevania

Netflix

45,418,769

1

Stranger Things

Netflix

1,269,983

2

Ozark

Netflix

37,103,293

2

13 Reasons Why

Netflix

742,877

3

13 Reasons Why

Netflix

30,810,474

3

Castlevania

Netflix

648,092

4

House of Cards

Netflix

29,938,411

4

The Grand Tour

Amazon Video

574,351

5

GLOW

Netflix

27,773,412

5

Narcos

Netflix

490,390

6

The Last Kingdom

Netflix

20,867,349

6

House of Cards

Netflix

427,477

7

Friends From College

Netflix

19,176,764

7

Marvel’s Iron Fist

Netflix

367,316

8

Narcos

Netflix

19,000,509

8

Ozark

Netflix

354,760

9

Marvel’s Iron Fist

Netflix

18,985,385

9

Marvel’s Luke Cage

Netflix

290,336

10

Stranger Things

Netflix

15,185,087

10

Orange Is The New Black Netflix

289,552

Date range: 27 July to 2 August 2017 Market: China Demand Expressions™: Total audience demand being expressed for a title, within a country. [Audience demand reflects the desire, engagement and consumption of content, weighted by importance; so a stream/download is a higher expression of demand than a ‘like’/comment.]

Note: Local/regional content in this country is still being onboarded by Parrot Analytics

Date range: 10 - 16 August 2017 Market: Malaysia Demand Expressions™: A global metric standard developed by Parrot Analytics which represents the total audience demand being expressed for a title, within a market.

Audience demand reflects the desire, engagement and viewership, weighted by importance; so a stream/download is a higher expression of demand than a ‘like’/comment.

Note: Local/regional content in this country is still being onboarded by Parrot Analytics

CHINA Chinese viewers clearly didn’t get the memo that all things Ko-

MALAYSIA Six of the shows on Malaysia’s top 10 list are Asian – a mix

rean are being frowned upon by the powers that be in Beijing. 60% of the

of Korean and Japanese titles with one local show, Astro’s entertain-

top 10 shows in demand online during the week of 27 July to 2 August

ment series, MeleTOP, making it onto a list topped by Game of Thrones.

were Korean – five of them dramas. The sixth was long-time favourite, va-

MeleTOP was the only Malaysian show on the list. Three of the six titles

riety show Running Man. But way ahead by far – as in more than double

were Korean, with a combined total demand expressions count of just

the demand expressions of its closest rival – was the new season of HBO’s

over eight million. That’s less than Game of Thrones for the week of

Game of Thrones. Online activity around two other U.S. dramas – Power

10-16 August. The other two U.S. dramas on the top 10 overall list were

and The Walking Dead – put them on the top 10 list, albeit with a fraction

The Walking Dead and Suits, both of which hovered around the two

of Game of Thrones’ demand expressions. China’s digital originals list was

million demand expressions mark. Malaysia’s taste for manga contin-

topped by Netflix’s adult animation, Castlevania. Netflix is not available

ues: One of the titles that made the top 10 was long-running manga

as a stand-alone streaming service in China, and licenses content to iQiyi

series Naruto: Shippuden and the other was supernatural action series

in a broad-ranging deal announced in April this year.

Blue Exorcist.

26

contentasia issue four, september 2017

Be included!

C

NTENT

Asia’s definitive media content and services directory

The Big List 2018 Directory ContentAsia’s next directory of the region’s top players will be published in January 2018.

The directory lists content, channels, platforms and people in 17 markets, including streaming/OTT/ online players, free-TV broadcasters, telcos, pay-TV platforms, production houses, key satellite operators, technology companies, regulators/associations and others.

The Big List 2018 will be distributed across all platforms – print, mailed, digital distribution and online at www.contentasia.tv

Publication date: January 2018

For more information, please contact...

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

www.contentasia.tv

@contentasia

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

/contentasia

contentasia.tv

/company/contentasia

Trendsetting dramas from the phillines My first ever Filipino-korean drama Korean Jagiya 45x45 (approx.)

The return of the hit adventure series Bow of justice 2 45x45 (approx.)

The phenomenal, highest –rating drama of 2017 A woman scorned 123x45 (approx.)

Available in HD GMA inspiring drama, inspiring lives Direct Line 632 333 7572 to 74 www.gmaworldwide.tv