ContentAsia Issue Seven 2018 by ContentAsia

ISSUE SEVEN 2018

C Formats 2018: Winners & Losers

NTENT Globe Telecom’s Joe Caliro on content & consumers

From EXEC Producers The Russo Brothers Direcotros of Avengers: Infitiny War Sony Pictures Television Survival is Extra Credit Deadly Class SONY

PLUS: The so-what of Asia’s big deals, Double Vision’s Min Lim, ABS-CBN’s Ruel Bayani, Asia’s best around the world & a whole lot more

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editor’snotecontents

‘Tis the season for predictions and these are a few of ours... u We’re preparing for rapid fire change as Fox leans into (better than subsumed by, right?) Disney’s magic kingdom. Our bet is a giant play for Asian IP as part of a world led by Star India boss Uday Shankar in his new incarnation as a Disney superhero. The other questions are more difficult to answer. What will the leadership team in the region look like? How many bodies will be left behind? How will Disney organise its multiple streaming/ OTT brands in the region? What will the merged channels bundle look like? Never mind all the theatrical and consumer products questions. u What will AT&T/WarnerMedia Asia look like? One scenario is that, initially at least, three parts of the biz will be run separately: networks (Turner+HBO); Warner Bros Consumer Products will lead all CP; and Warner TV will continue to control programme sales, including Cartoon Network originals. u Original production in Asia will soar in the quest for IP ownership, a unique product, and, ideally, assets companies can sweat. It’s already happening, as are the new alliances to fund content creation. Are there original stories to feed the beasts? Stupid question: of course. u Streaming consolidation. Hooq & iflix are the rumour of the week, but it could be any of the players crowding into this space.

what’s in this issue... what does all this mean? 10 Channels

Sony’s new structure gives L.A. HQ more direct control over Asia channels. Future proofing? Or dialling the clock back?

12 M&A

The scrambling for a 21% stake in Indian media behemoth Zee has begun.

14 Streaming

Indonesia’s Telkomsel & Philippines’ Globe have given streaming platform iflix a new lease on life. What happens next is up to iflix...

16 OTT trends

India’s 35 video apps will either find and monetise their niches or...

18 India Talent

A handful of talent agencies is bringing a wealth of method to India’s chaotic entertainment industry.

20 Forecasts

Deep, dark, serious challenges in parts of Asia are balanced by robust growth in others, Media Partners Asia (MPA) says.

u Linear channels will adjust to a different reality. There’s still fierce argument about what this reality looks like, but the pendulum seems to be swinging in favour of channels with clear content propositions and without massive

Subhash Chandra, Chairman, Essel Group

Mark Britt, Chief Executive, iflix

overhead. How will these be delivered? Every which way including Cignal TV, Cast, Hooq, Oona and others. Is streaming ARPU high enough to sustain linear services? Maybe not yet. But here’s what we know for sure: The clock ain’t going backwards to the old days. Happy New Year all! May the Gods of Good Fortune smile on you through 2019.

Sacred Games

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

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

What is ContentAsia?

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

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.

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contentasia issue seven, december 2018

New Amsterdam Break the rules. Heal the system. Welcome to the bar next door Abbyâ&#x20AC;&#x2122;s I feel bad Magnum P.I. NBCUniversal Together Today Tomorrow

contents...

As the lights to out on 2018, media execs with Asian businesses share their single biggest business hope for 2019.

#onehope

I want to see the pride of Thai excellence worldwide.”

Anne Jakrajutatip, CEO, JKN Global Media, Thailand

page 22

Joe Caliro, Globe Telecom

#Onehope 2019

Anne Jakrajutatip, JKN Global Media

what’s in this issue...[cont’d]

Kingdom come

Shop sharp

Drama, movies, animation and formats rule buyers’ shopping lists for 2019, according to ContentAsia’s latest poll. 72% of buyers listed drama as their top priority, followed by movies at 56%. Animation and formats

came in third, with 44%.

Netflix has 100+ new and returning originals on its slate for 2019. Content vice president, Rob Roy, talks about asking, listening, Asian creators and

Sunita Uchil, Zee

trying to remove creative pain

34 points.

Space race

Globe view

Zee’s international business/

Philippines’ telco giant, Globe

Kingdom

Informer decisions

syndication boss, Sunita Uchil,

Telecom, has 65 million custom-

has the full-blown co-pro bug.

ers and a sharp focus on adding

Sarker became an actress by

And while the strategy kicked off

multi-genre content to its playlist.

chance and a poster-person

with blue-chip factual, no genre

Partnerships and co-productions

for Asian women with attitude

is out of bounds as she explores

are a big part of an even bigger

by choice. As her latest TV se-

the space.

play for the hearts and minds of

ries makes its way around the

Min Lim, Double Vision Malaysia

Bridge the gaps

Double Vision’s head of production, Min Lim, talks about adapting 10-part thriller, The Bridge, for streaming platform Viu in Asia.

54 6

consumers, and not just in the Philippines, says vice president Joe Caliro.

There are only so many white men who can write [roles] for Asian women.”

British Asian actress Sunetra

world, she is also speaking up for greater diversity off-camera.

Sunetra Sarker

page 52

contentasia issue seven, december 2018

“ABC Has a new hit on its hands” - FORBES Nathan Fillion The Rookie Extended to full season 20 Episode Order Sold to Over 160 Territories Including SKY M Rai TNT NBCUniversal Sony eONE

contents...

what’s in this issue...[cont’d]

At a premium HBO Asia’s latest originals strat-

egy is driven by a different kind of Asian storytelling and a wider, deeper approach to production. SVP for original productions, Jessica Kam, speaks about creating an Asian content pipeline for the

premium movie service.

Production lines

Philippines’ broadcaster ABS-CBN

I try to choose genres that can travel, that Asians are good at. Horror and action are the two that are easy to win.”

is likely to spend US$220+ million on production this year, including shows such as long-running drama series Brothers and the local versions of talent/reality

Jessica Kam, HBO Asia

formats. Home-grown titles are

page 64

travelling widely across Asia, with increasing presence in

For us to invest in English-language drama, it really has to be the right project because Youku is still a local service. In order for us to recoup all that investment, and, content wise, for it to pass our censorship, we need to be very careful what we select.” Julia Song, Alibaba Digital Media & Entertainment Group

page 70

Travel guides

Drama queen

Youku’s international drama acquisitions head, Julia Song, talks about the new generation of Chinese dramas, shifting audience trends and tastes, her latest

other parts of the world. And, of course, on YouTube. Against this backdrop, Ruel Bayani, ABS-CBN’s business unit head of production and veteran ﬁlm/ TV director, writer and producer, talks about production trends and challenges,

acquisitions and the rising focus

inspiration and

on giving modern young women

inﬂuences.

stories they can relate to.

Little from Asia can compete with Japanese anime on the global entertainment stage.

ContentAsia asked data science company, Parrot Analytics, to look at the top 10 Asian shows

72 Oddbods

Dragon Ball Super

around the world this year.

Formats Outlook 2018

New tunes

Chart toppers

which rules December because

distributor this year, taking #1

of the Singapore Media Festival

spot in ContentAsia’s Formats

and the ATF programme market.

mats biz up on last year. Thailand

Outlook leaderboard. Fre-

Chicken rice. Mee siam. The

and Korea are the big winners,

mantle’s Ganesh Rajaram and

white tiger at the zoo. Media,

followed by India. Volume is way

Haryaty Rahman talk about the

um, maybe. ContentAsia looks

down in Vietnam, but the mar-

factors behind their lead.

ket remains the region’s biggest

Lots to love about Singapore,

at the key players in this tiny

Brothers

market and what they’re facing.

Fremantle was Asia’s top formats

2018 will likely end with Asia’s for-

buyer of formats by far.

contentasia issue seven, december 2018

The body you are wearing is mine….. RUN

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whatdoesallthismean

channels Sony’s new structure gives L.A. HQ more direct control over Asia channels. Future proofing? Or dialling the clock back? Like many others in Asia’s channels space, Sony Pictures Television enters 2019 in different shape. The November re-org – phase two of the mid-year restructure that combined networks, distribution and home entertainment into one business unit – centralises some functions in the U.S., leverages global scale for English-language programming and acquisitions, and refocuses a streamlined channels team on Asian content and original production as well as revenue-generating activities. Sony’s official line is that the goal of the new centralised services teams is “to deliver channels around the world that are consistent in their branding and operate efficiently by leveraging our global scale,” Ken Lo, Sony Pictures Television’s executive vice president, distribution and networks for Asia Pacific, said in an internal staff memo on 19 November. What does this all mean? On the face of it, an erosion of Asia’s autonomy over channels like AXN, which, with its line up of blockbuster Asian originals like Asia’s Got Talent and Hollywood rights, regularly tops entertainment charts on subscription packages. The extreme leap is a return to the early days of payTV in Asia, when decision-making was made remotely by people whose cultural insights were shaped by a visit to the Oriental aisle at their supermarket. For Asian channels like One and Gem, it shouldn’t mean much unless you want to delve into the nuts and bolts of tech ops. There’s also the dark forecast that this is, for Sony and others, the beginning of the end of international brands’ involvement in pay-TV as it was originally supposed to roll out across – what was that early attitude again? – more than half of the world’s population living in the Far East and gagging for foreign content. For sure there are the job losses. Sony has not confirmed the number of people in Asia impacted by the most recent changes. Initial speculation is that about 20 roles were involved, with possibly another 27 or 28 to come for a total of almost 50. Sony Pictures Television operates five regional channels out of Singapore – AXN, Animax, Sony Channel, One and Gem, which is a jointventure channel with Japan’s Nippon Television. From now, the Southeast Asia channels team, under Virginia Lim, Sony Pictures Television Networks Asia’s senior vice president and general

The media industry is experiencing changes in unprecedented scale and speed, and these moves, while difﬁcult, are necessary to compete in the fast-changing and increasingly complex global marketplace.” Ken Lo EVP, Distribution & Networks, Asia Paciﬁc, Sony Pictures Television Schultz, based at Sony’s Culver City HQ. The meaning we’re going for is that this is a company trying to make

manager, will take care of Asian content acquisitions, the develop-

sense of the here and the now. Sony, like others, has decided on a

ment of local original productions and sponsored customised produc-

structure that will take it forward. The decision, for better or worse (and

tions, as well as sales and marketing functions.

of course that remains to be seen), has to be better than pretending

The Asia-based programme planning and scheduling team comes

everything is just ﬁne thanks. As Lo said: “The media industry is expe-

under Anthony Danna, based in L.A., with Pamela Pang continuing to

riencing changes in unprecedented scale and speed, and these

head up the English-language team on the ground in Singapore for

moves, while difﬁcult, are necessary to compete in the fast-changing

Southeast Asia/Hong Kong/Taiwan. L.A. will also take global control of

and increasingly complex global marketplace”. And, dare we say it, a

branding/creative service and operations/technical services under TC

much better stocked Oriental aisle.

contentasia issue seven, december 2018

Five different lives. One unique family. Better Together

FIVE Different lives. One unique family.

MEDYAPIM A medyapim adaptation of This is Us for FOX Turkey FOX Network Group Content Distribution

A Medyapim adaptation of This Is Us for FOX Turkey

whatdoesallthismean

m&a The scrambling for a 21% stake – and maybe more – in Zee has begun. What happens now? Subhash Chandra’s Essel Group wants to offload up to half of its holding – and possibly more – in entertainment company Zee Entertainment Enterprises Ltd (ZEEL) “in view of the changing global media landscape” and “to accelerate efforts to stay ahead of fast changing trends”. Who has put an offer on the table? How will this be leveraged to flush out other potential bidders? And what does this mean for a market of 1.3 billion people with close to 50 million digital viewers and growing fast? Although there was no shortage of speculation at presstime (Reliance? Chinese platforms? Alibaba? Facebook/Apple/Netflix/Google? Comcast?), the answer to the first is known only to the Essel inner circle and their advisors. Picking apart the mid-November public announcement that 21% of Zee was on the block, it’s clear that anyone who puts their hand up will have to bring a strong presence in the global media and entertainment tech space. These are both attributes ZEEL says are missing from its current business. Which very likely means there’s some of that on the table already. The way the initial offer (and, no, there is no one who believes the 13 November public announcement would have been made without an offer on the table) is being leveraged is bound to emerge in a leaky Subhash Chandra

bucket market crawling with news outlets. And what does this mean? A billion dollar question... maybe US$10 billion or more, according to the Times of India, which in the days following the announcement said this

promises of 100,000 hours of on-demand content, including movies, and

could possibly be the biggest M&A deal in Indian media history.

more than 60 live television channels. India has about 35 OTT streaming

Zee’s global ambitions have never been a secret, and it has skipped

platforms, including the global players, home-grown services such as

no one’s attention that the stakes in India have never been higher. Like

Reliance’s JioTV, Eros Now, Voot and SonyLiv, and regional services such

Rupert Murdoch, the 68-year-old Subhash Chandra – billionaire media

as Viu and Hooq.

baron and the grandfather of Indian television entertainment – has

The outcome of the review announced on 13 Nov is expected to be

looked around and realised he needs to out-drama his most dramatic

complete by March/April 2019, giving us three or four months of hot- and

story line in a media career that goes back to the early 1990s and the

cold-running commentary and analysis of every Zee breath and blink.

very beginning of multichannel TV in Asia.

Meanwhile, there are a few things we know for sure because they

Zee’s move plays out against a high-stakes background awash with

are in front of us in black and white. In its note to the Bombay Stock

streaming/OTT players large and small, and ramping up already-frenet-

Exchange, ZEEL said the sale would pave the way for the company

ic content creation to a dizzying degree.

to “pursue disruptive technological development and transform the

Netﬂix is more than doubling down, with an ambitious Indian original

business into a tech-media company”. The Essel Group, which holds just

content slate for 2019 and plans to play with its pricing. Disney has more

under 42% of ZEEL, said the proposed sale of half the stake would “allow

armor in its India war chest than ever as the new owner of Star India/

ZEEL shareholders to capture the full value of India’s largest entertain-

Hotstar. Amazon has a keen eye on India, with a Rs129/US$1.81 a month

ment broadcaster with an ever-strengthening bouquet”.

offer that covers unlimited access to everything from premium video

The decision to ofﬂoad the ZEEL stake follows a family meeting over

originals such as Mirzapur to music, books, toys, baby products, dog

the Diwali holidays. Goldman Sachs Securities (India) and Lion Tree

supplies, whatever, every day of the week including Sundays.

out of the U.S. have been appointed to identify possible buyers and to

And ZEEL has Zee5, which went live in 190 countries in February this year with multi-genre content in 11 Indian languages and English, and

advise on the transaction. Between those few facts and the outcome, anything could happen.

contentasia issue seven, december 2018

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whatdoesallthismean

streaming Indonesia’s Telkomsel & Philippines’ Globe have given emerging markets streaming platform iflix a new lease on life. What happens next is up to iflix... Emerging markets streaming platform iflix has just done two telco deals in Southeast Asia that could make a life/death difference. “This is a massive milestone for us, an enormous step forward,” iflix chief executive Mark Britt said a few minutes after new alliances with Telkomsel in Indonesia and Globe Telecom in the Philippines were announced on 15 November. He would, of course, say that, after at least three years of putting a brave face on negotiations that never seemed to go anywhere. “These partnerships unlock a huge growth opportunity for iflix, giving us access to 230 million consumers previously out of reach. They represent years of hard work, long nights, exciting discussions and tough negotiations on both sides of the fence. For us, they are the new standard of commitment, where you will see us collaborating broadly and deeply across all areas of our business from content creation, feature and app

These partnerships unlock a huge growth opportunity for us.” Mark Britt, Chief Executive, iﬂix

innovation to data bundling,” Britt said. Other than some deserved headlines mashed into ongoing fund raising rounds, what do the new deals really mean – and why now? First, a bit of background. Telkomsel and Globe are both afﬁliated with

In Indonesia, Telkomsel says its customers use about 70% of their data quotas for video streaming. In the past year, video content trafﬁc on the

Singapore telco giant, Singtel, which has a 65% stake in Hooq along

network has increased by 250%. “This is just the beginning,” says Crispin

with increasingly silent JV partners, Sony Pictures Television and Warner

Tristram, Telkomsel’s head of digital lifestyle services.

Bros. Hooq is probably iﬂix’s ﬁercest rival in Southeast Asia, although

iﬂix’s multi-phase partnership with Telkomsel includes integrated carrier

there’s no shortage of competition. We’ve seen no proof that the Sing-

billing, with daily pricing of Rp1,300/US$0.09. The monthly iﬂixVIP plan

tel factor gave Hooq an advantage, but Britt certainly thinks iﬂix was

costs Rs39,000/US$2.67. iﬂix testing on Telkomsel in the two weeks before

disadvantaged in the Hooq vs iﬂix battle.

the ofﬁcial announcement added about 300,000 active users, bringing

That’s all over now. iflix’s new deal with Telkomsel breaches Hooq’s Indonesian stronghold, leveling the playing field and allowing iflix to go

iﬂix’s total across Indonesia’s four telcos at about four million. The Indonesia deal follows iﬂix’s blossoming relationship with Globe

head to head with Hooq for the ﬁrst time via the country’s dominant

Telecom. The Globe deal covers distribution/carrier billing, coproduction

operator. Guesstimates are that at least 70% of Hooq’s users in Indo-

with Globe Studios and content licensing of Globe Studios titles, including

nesia come from Telkomsel. iﬂix users have been spread across telcos,

music show Elements: The Series.

with the bulk coming from Indosat and XL and a small percentage from

The content piece is part of bigger picture Globe president/CEO Ernest

Telkomsel users subscribing to iﬂix independently. Ditto with Globe in the

Cu is drawing. Only weeks before, Cu called for more local Philippines’

Philippines, another ﬁerce battleground for the two streamers.

content on OTT streaming services. “The content we see today has to be

What caused Telkomsel and Globe to change their minds about iﬂix

made more appealing to a wider audience,” Cu said. “We are work-

now? For one, the price was likely to be right. iﬂix in the past is believed

ing very very hard to ﬁll the OTT world with Filipino content. Today we’re

to have undercut the market in a big way, offering deals some say

reaching the A-crowd, the post-paid crowd, the Netﬂix crowd, the Disney

were up to 90% lower than Hooq’s. Neither have disclosed deal terms,

crowd… there is not enough Filipino content on those platforms,” he said.

in Indonesia or anywhere else. In addition, political and corporate winds are clearly blowing in iﬂix’s

The big question now is how these 230 million potential new customers will engage with iﬂix, which has always offered some Indonesian

favour, and the forces that might have driven support for Hooq over iﬂix

titles, including Joko Anwar’s 2017 horror ﬁlm, Pengabdi Setan (Satan’s

are spent. Both Telkomsel and Globe are building big, beautiful and total

Slaves). New ﬂagship titles are Magic Hour 2 and Conversations with

experiences for their millions of telco subscribers. And both have – clearly

Ghosts. At least six original series out of Indonesia are in development,

– now said iﬂix needs to be a part of the plan. Any objections, from share-

and iﬂix is planning to release an exclusive movie a week – post-the-

holder Singtel or anyone else? No? Right, let’s get on with the business of

atrical titles and streaming originals – over the next 12 months. Is that

streaming then.

enough? No way to know. But for sure it’s a start.

contentasia issue seven, december 2018

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whatdoesallthismean

streaming India’s 35 video apps will either ﬁnd and monetise their niches or...

Leena Yadav’s Rajma Chawal is the story of a middle-aged man who uses social media to connect with his uncommunicative son. It is among Netflix’s newest slate of eight films and one original series out of India. This is in addition to the nine originals and three films from India that the platform is already streaming. With 70% of the Indian movie intellectual property from the last decade, rival streamer ErosNow is the go-to app for films. Of its 128 million registered users more than 13 million pay an average of US$5 a month (in India) and US$30 (overseas), making it one of the largest pay/subscription apps from India. There’s also Zee5, which commissioned more than 200 hours of original content each in 10 odd Indian languages earlier this year. “Zee as a (broadcast) network stands for mass India. Our game is languages,” says Tarun Katial, Zee5’s chief executive officer. As 35 apps battle it out in one of the world’s fastest-growing streaming market, everyone is looking for their own little corner to occupy. Star India’s Hotstar is about catch-up TV and sports, Viacom18’s Voot is about kids’ content, ErosNow about films and Netflix is known for its originals. YouTube, the mother of all OTTs, is about everything. “For this business to make sense it has to be TG (target group) focused,” says Vishal Maheshwari, country head of Viu India, which is part of the Hong Kong-based US$4.7-billion PCCW. “People are still produc-

Rajma Chawal

India is our biggest market for content, we commission more from here than from anywhere else.”

ing for generic audiences, so what you see online is plus or minus TV

Ted Sarandos, Chief Content Ofﬁcer, Netﬂix

here and there,” Maheshwari adds. Much has changed for Viu India in the two years since “we used to do a lot of aggregation, some originals and hope that the khichdi (a mix of rice and lentils) works”. Driven by research, which pointed toward 18 to 34 year olds and originals in Indian languages, Viu’s 2017 marriage

scale up, get the next big hit is huge. “India is our biggest market for content, we commission more from

comedy Pelli Gola, an original in Telugu, was a huge hit. Season three is

here than from anywhere else,” says Ted Sarandos, Netﬂix’s chief con-

now in the making. So was the Tamil Nila Nila Odi Vaa (Oh Moon Come

tent ofﬁcer.

Here), the love story of a vampire and a man. Viu now focuses on regional originals targeted at millennials. Many factors have hastened the search for specialisation. India’s US$10-billion TV industry reaches over 800 million people who watch TV for about three hours a day in a predominantly single-TV home market.

And therein lies challenge number one. Since professionally created content gets more than 75% of the trafﬁc on most apps, soaring demand has created, even in a robust content market like India, a shortage. This has pushed prices up by anywhere between 40%-60%. The second challenge is monetisation. The biggest video apps get

Now add 412 million people with a decent broadband connection, ris-

anywhere between US$3-US$7 per thousand viewers compared to sev-

ing device penetration and falling data prices.

eral hundred times that for TV advertising.

Data consumption doubled over two years from 2015 to 2017. Even

And while OTT subscription is showing decent uptick, it’s nothing com-

though the OTT market is just about US$390 million in revenues, many

pared to the size of the market. What does this mean? Very likely that

more millions have been pumped into Voot, AltBalaji, Viu, YuppTV or

several of those 35 apps will fall by the wayside as the search for sustain-

Zee5 by private equity players, broadcasters and telcos. The pressure to

able niches intensiﬁes. – Vanita Kohli-Khandekar

contentasia issue seven, december 2018

World on Fire ITV studios Global Entertianment Visit us at: Booth D19

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whatdoesallthismean

talent A handful of talent agencies is bringing a wealth of method to India’s chaotic entertainment industry. Smita Singh was doing a screenwriting course at the Film and Technical Institute of India (FTII) in Pune. The script written at the end of the course is a writer’s calling card, and Chaitanya Hegde, partner at India-based talent agency Tulsea, came calling. He liked Singh’s love story, Raat Akeli Hai (The night is alone), and signed her on in 2014. Two years later, Singh became one of the three writers, along with Vasant Nath and Varun Grover, on Sacred Games, Netflix’s first original commissioned out of India. The three are among the 110 writer/directors of a total roster of 200 that Tulsea, now India’s largest agency for writers, represents. Along with Matrix, Kwan, Bling, Spice and others, the agency brings muchneeded method to India’s entertainment/talent ecosystem with writers’ rooms, brand and endorsement deals and rate benchmarks. About time. At the production end, studios have taken charge and at the retail end multiplex chains. But at any industry gathering, talk inevitably turns towards talent – or the shortage of it. In the last 10 years alone, the Indian film industry has grown by over 60% and TV by

Sacred Games

300%. As a result, “the demand for (talent) has increased 200-300 times, so you need a larger system to build for that,” says Rana Daggubati, Kwan South’s managing partner. Tulsea, Kwan, Matrix et al are working towards that in an array of

Our star system is feudal.”

ways, including scouting and signing new talent, ﬁnding suitable proj-

Prabhat Choudhary, Founder, Spice

ects and even, depending on the agency, putting together funding. Kwan represents 150 actors, sports stars and celebrities such Ranbir Kapoor and Deepika Padukone. It calls itself a “marketplace for popu-

This remains the biggest challenge to professionalising this part of the

lar culture” and its agents take on mid-size celebrities who can be lever-

value chain. “Some of the producers get very upset when I say ‘Tulsea

aged beyond an area, niche or genre. For instance, when Kwan took

will talk to you’. They say it is not nice. If you have agents it sends the

on Pritam, the composer for super hits such as Dangal (2016) and Yeh

wrong message to the producers,” says Gazal Dhaliwal, writer on ﬁlms

Jawaani hai Deewani (2013), one of the founders, Anirban Das Blah,

such as Lipstick Under My Burkha (2016) and Qarib Qarib Single (2017).

was sceptical. Was he scalable? Vijay Subramaniam, co-founder and

Others have no such qualms. Sunil Lulla, Balaji Teleﬁlms’ group chief

the man who was making the call, insisted that earnings would rise –

executive, reckons “a management service makes sure of the dates,

and they did. By about 20 times.

arranges the appearance. They do whatever is required to make the

Pritam credits performance to Kwan’s 360-degree approach, gobbledegook to him back in 2014. Now he realises it means exploring and

product happen”. However perish the thought – for now – of Indian versions of U.S.-style

leveraging his creative prowess in various ways – like singing with Gospel

William Morris Endeavour-IMG or Creative Artists Agency. “William Morris

singers on an American tour. In 2015 Kwan set up Studio J.A.M.8 to nur-

or CAA is in a developed economy where all factors are stable – stu-

ture musical talent under Pirtam.

dio power and internal democracy is ingrained. We are still evolving.

Similar stories abound. Sudip Sharma was a struggling writer until NH10

Our star system is feudal,” says Spice founder, Prabhat Choudhary. The

(2015) and Udta Punjab (2016), the ﬁlms he is now known for. Sharma

agency handles branding for Shah Rukh Khan, Aamir Khan and Mahesh

says working without an agent was “like shooting in the dark”.

Babu, among others.

The blooming of talent agencies however is not something studios in

Like it or not though, talent agencies are here to stay. More than 15

India have necessarily welcomed. It took Tulsea eight years to convince

years back, Indian studio bosses would have laughed at the idea of

studios it could deliver. Even now, there is a “total unwillingness to say the

paying a talent agency to source a writer or director. Now they do. –

talent (on a show or ﬁlm) is from Tulsea,” says Tulsea partner, Datta Dave.

Vanita Kohli-Khandekar

contentasia issue seven, december 2018

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whatdoesallthismean

forecasts Deep, dark, serious challenges in parts of Asia are balanced by robust growth in others, MPA says. That big fear that has been looming over much of Asia’s pay-TV industry in the past few years? Well it’s here. Full blown, foul, fuelled by numbers

Key territories: Pay-TV channel & content providers (total revenue growth % CAGR)

that show deep, dark and serious challenges across Southeast Asia, Australia, New Zealand and Taiwan. India and South Asia have not only been spared, but have been singled out for major growth in Media Partners Asia’s (MPA) latest forecasts. Subscriber growth in Korea has moderated, but remains robust, and the Philippines’ subs outlook isn’t looking anywhere near as bad as anything its Southeast Asian neighbours face. China, India, Korea and Japan will power future growth. MPA forecasts a 3% CAGR in Asia Paciﬁc pay-TV revenue from 2018-23. By 2023, pay-TV revenue will total US$25 billion in China, US$16 billion in India, US$7.4 billion in Korea and US$7.1 billion in Japan, MPA’s Asia Paciﬁc Pay-TV Distribution report shows. The pay-TV base in the region will grow 2% CAGR from 645 million subscribers in 2018 to 696 million by 2023. “Pay-TV stakeholders are adjusting to new realities as the industry

Leading regional pay-TV broadcasters & content providers, Asia Paciﬁc

shifts to IP-based distribution. The growth of high-speed broadband and online video is driving fundamental changes in content consumption and investment across key markets. This, together with piracy, will continue to adversely impact pay-TV industry growth,” MPA says. MPA describes the current environment as a combo of slowdown and decline as key markets transition to online video and internet TV delivery. “Subscriber and ARPU growth is fundamentally challenged across much of Southeast Asia, Australia, New Zealand and Taiwan, and advertising is under pressure across most markets ex-India,” he says. “In the context of such challenge, most pay-TV operators are rationalising content budgets, investing mostly in their own channels, local and Asian channels and sports rights, while rationalising spends on third-party channels across Hollywood entertainment, kids, factual and lifestyle,” Couto adds. Content spend across a number of these genres has started to move online with the growth of OTT. At the same time, large scale IP-owners in entertainment and sports are likely to move direct-to-consumer with OTT offerings of their own. Global media M&A will have a signiﬁcant impact in Asia as key players grow scale through the consolidation of channels and IP under one roof, creating more synergies and bargaining power in the process,

“There will continue to be signiﬁcant rationalisation in Southeast Asia, Hong Kong and Taiwan,” Couto says. Net advertising revenues are expected to grow at 5% CAGR over 2018-23 to reach US$16 billion, driven largely by growth in India. India’s importance as a mainstay for pay channels will only be underscored by 2023 as it will contribute almost 50% to the Asia ex-China pay channel and CP revenue pie. Seven media groups – 21st Century Fox, Disney, Sony, WarnerMedia,

Couto says. Following Fox/Disney, WarnerMedia (Warner Bros, HBO,

CJ, Sun TV, Zee – have more than 40% share of revenues accruing to

Turner); and Discovery/Scripps, MPA ﬂags more consolidation, with A+E

channels and content providers from the Asia ex-China pay-TV industry

and Sony among the most likely candidates.

in 2018. The remainder is split between international groups (Discovery

Pay-channel subscription fees are expected to grow at 2% CAGR over

and Viacom for instance), strong local incumbents (India, Japan, Ko-

2018-23 to US$10.8 billion by 2023. India will remain a key growth driver

rea, Taiwan), successful new entrants (BeIn Sports) and pay-TV operator

while Australia, Japan and Korea will remain scalable for incumbents.

invested channels.

contentasia issue seven, december 2018

Australian Gangster A new breed of criminal

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I want to see the pride of Thai excellence worldwide.”

Consumers to value content creators, individual & companies, who create that piece of fantastic content that we so cherish.”

Anne Jakrajutatip, CEO, JKN Global Media, Thailand

Beatrice Lee, CEO, Blue Ant Media, Asia Pacific

Our goal for 2019 is to triple the number of formats adapted in Asia and to have at least three scripted formats in production. Considering the number of programmes in development I would say that’s more than achievable.” Sabrina Duguet, EVP Asia Pacific, all3media International

#Onehope Media execs with Asian single biggest business

To see more platforms getting behind eSports in a holistic manner.”

Continued support of fresh talent and original content production throughout Asia.”

CK Lee, VP Sports Business, Astro, Malaysia

Fotini Paraskakis, Global EVP, Entertainment, The Story Lab

Find the right content that can engage both on air and online.” Krissada Trishnananda , Content Acquisition Director, PPTV HD 36, Thailand

For the world to recognise the potential of Indian formats & embrace our concepts with the same love they have shown our scripted series.” 22 Chief Business Officer – Sunita Uchil, Global Syndication, Co-Productions & International Ad Sales, Zee Entertainment Enterprises Ltd

We hope to push the boundaries for engaging and entertaining content while steering positive social growth.” Joy Olby-Tan, Lead, NPP-Acquisition, Mediacorp, Singapore

With a few deals under negotiation, I look forward to see how our hit formats will roll out internationally.” Lester Hu, Head of Formats and

contentasia issue seven, december 2018 International Business,

Hunan TV, China

More reasonable pricing.”

Ask and we shall receive? With all the excitement on localisation, we hope to see the commissions for it.”

Vitto Lazatin Vice President, Content Acquisition, Cignal TV, Philippines

Sonia Fleck, CEO, Bomanbridge Media

2019

Big format that could make my heart pound and set my soul on fire.”

businesses share their hope for 2019…

Tatiya Sinhabaedya, Chief Commercial Officer, Heliconia H Group, Thailand

The search for inspirational and engaging content for the Thai audience will continue in 2019.”

2019 is the time for us to expand our subscription service to advertising and ecommerce service. That’s really a big challenge.”

Joe Suteestarpon, CEO/Founder, Mediaplex International (Doonee), Thailand

Winnie Ngai, Chief Marketing Officer, myTV Super, Hong Kong

Asia continues to create great original and international co-production content that can impact the global stage.”

More budgets.” Airin Zainul, Director, Media Prima, Malaysia

Julius Toh, Vice President, Content Sales Asia Pacific & Middle East, Fox Networks Group Content Distribution

Produce 1+ hit original IP that can be used on a variety of platforms.” Christine Baek, Team Leader, Business Development, Broadcasting Division, skylifeTV, Korea contentasia issue seven, december 2018

Expecting more personalised, relatable & sharable original content coming out of Asia to fill in the fast growing new media platform.” 23

Stella Soh, Senior Manager, Content, dimsum

Launching our food channel and bringing our quality programming to new territories.”

That our Asia footprint will be significantly expanded as we ramp up our TV distribution business across the region.”

Chris Knight, President and CEO, Gusto Worldwide Media

Vanessa Shapiro, President, Worldwide TV Distribution and Co-Production, Gaumont

Establish even more growth in the region, by bringing innovative content that engages the audiences on all platforms, tailored to the Asian market.” Saskia van Lier, SVP, Talpa Asia

Forge valuable content partnerships with like-minded producers and content creators in the region.” Patrice Choghi, SVP, International, GRB Studios

To continue expanding our unique content to new audiences across the world.”

Production of more high-quality Asian originals.”

Xavier Aristimuño, VP of Licensing, HBO Latin America

Shenthil Ranie, Vice President, Global, Inflight Rights

I hope to continue to work with local producers and channels partners across all platforms to build premium content opportunities that have universal resonance.” Solange Atwood, EVP, Blue Ant International

That our world-class production and storytelling continue to bring in new audiences and standout in an expanding digital landscape.” Nuno I, Director of Sales, Asia Pacific, Hasbro Studios

Get viewers addicted to quality British content.” Sophia Yuen, Head of Content and Distribution, ITV

That our audience will be the biggest appreciators of the content that we will be creating next year.” Juliana Low, Head of Content and

contentasia issue seven, december 2018 Programming, Vuclip Malaysia

New Filipino Dramas for 2019 Silent Shadow 40x45 Approx Color of my blood 40x45 approx Family Jewels 40x45 approx ATF 2018 J01 GMA Worldwide Inc Sharing the heart of the filipino with the world Direct line 632 333 7633 to 34 Website www.gmaworldwide.tv gwi@gmanetwork.com

That we close out this decade with less ignorance and fear, and greater understanding, empathy and compassion towards one another.”

To see even more of our shows in this exciting and evolving market.” Dominic Gardiner, CEO, Jetpack Distribution

Glen Hansen, VP/Head of Content Sales, Asia-Paciﬁc, A+E Networks

We hope the regional markets open up for Asean (Indonesian) based productions and theatrical releases.” Lavesh Samtani, COO, 13 Entertainment, Indonesia

Premium content shall be accessible via linear and SVOD to subscribers. Education and entertainment will be driving the market.” Alexandre Bac, Managing Director Asia-Paciﬁc, Thema

Technology is transforming how buyers and sellers engage – so more deals, less hassle.”

More formats, co-productions, and co-investments.” Hyeonza Hong, SVP Sales Asia, ITV Studios Global Entertainment

Victoria de Kerdrel, Senior Vice President, Asia Paciﬁc, TRX

2019 will see a focus on working with local producers and broadcasters to introduce our formats into the region.” Robert Bassett, Senior Sales Executive for Asia, Scandinavia and Africa, Twofour Rights

Looking forward to introducing new titles to the Asian market.” Julien Farçat, Sales Manager, CAKE

In principle, we hope to expand our footprint across Asia, but also to maintain our fruitful and highly valued existing partnerships.” Anke Manthey, Sales Project Manager, m4e AG

We hope that in 2019 Turkish drama will grow more powerful and strengthen its position in the market and land in many new markets.” Salmi Gambarova, Sales Executive CIS, Asia, Australia, Kanal D contentasia issue seven, december 2018

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buyerspoll

Shop sharp Drama, movies, animation and formats rule buyers’ shopping list for 2019, according to ContentAsia’s latest Buyer Poll. 72% of the buyers listed drama as their top priority, followed by movies at 56%. Animation and formats came in third, with 44% of attention from a sample of buyers from linear terrestrial channels, digital terrestrial services, production houses, distributors, pay-TV platforms and streaming/SVOD services. Kids, lifestyle and travel programming were not far behind; 40% of the buyers who responded have these genres of their lists. Online rights are – not surprisingly – part of most conversations, along with various on-demand rights. The snap poll was conducted across a range of channels and platforms across nine countries (Cambodia, Hong Kong, Indonesia, Korea, Malaysia, Philippines, Singapore, Taiwan, Thailand) between 7 November and 16 November this year.

Types of content buyers are acquiring for 2019: Drama

72%

Movies

56%

Animation

44%

Formats

44%

Kids

40%

Lifestyle

40%

Travel

40%

Documentary

36%

Game Shows

36%

Food

32%

Variety

28%

Reality

24%

Science & technology

20%

Sports

20%

Short-form programming

16%

Talk Show

16%

Telenovela

16%

Education

Natural History

News

Sci-fi

Music

Arts

Docu-drama

Religion

0% 0%

Genre

Drama Movies Animation Formats Kids Lifestyle Travel Documentary Game Shows Food Variety Reality Science & technology Sports Short-form programming Talk Show Telenovela Education Natural History News Sci-fi Music Arts Docu-drama Religion

72% 56% 44% 44% 40% 40% 40% 36% 36% 32% 28% 24% 20% 20% 16% 16% 16% 8% 8% 8% 8% 4% 0% 0% 0%

No. of buyers 18 14 11 11 10 10 10 9 9 8 7 6 5 5 4 4 4 2 2 2 2 1 0 0 0

Source: ContentAsia’s Buyer Poll 2019 (7-16 Nov 2018)

10%

20%

30%

40%

50%

60%

70%

contentasia issue seven, december 2018

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buyerspoll

Who’s buying what rights...

Has the OTT/streaming environment made a big difference in the way buyers are acquiring and/or programming?

Online

76%

VOD/SVOD/TVOD

20%

Not relevant

72%

Free TV

64%

Mobile

8% No

60%

IPTV

48%

Cable/Satellite

48%

Pay TV

48% 0%

20%

40%

60%

72% Yes

80%

19 (76%) of the 25 participants across nine countries in Asia say they

18 (72%) of the participants say OTT/streaming environment has impacted

will buy online rights for 2019. 18 of the 25 will also include video-on-

the way they are buying/programming content. How are they handling the

demand (VOD), subscription VOD and transactional VOD rights in their

change? Solutions range from closely monitoring market trends/habits and

2019 acquisitions.

acquiring online/VOD rights where possible to operating their own streaming/ online services. Two buyers operating in the free-TV and pay-TV environment say they have not been impacted so far by the streaming video environment.

What leading traditional players across Asia are asking for... Company

Rights broadcasters, channels and pay TV platforms are buying for 2019

Free TV

Free TV, mobile, online, VOD/SVOD/TVOD

Free TV

All rights

Free TV

Free TV, mobile, online, VOD/SVOD/TVOD

Free TV

Free TV, IPTV, mobile, online, VOD/SVOD/TVOD

Free TV

Free TV, online

Free TV

Pay TV channel

Pay TV, cable/satellite, IPTV, mobile, online, VOD/SVOD/TVOD

Pay TV channel

Pay TV, cable/satellite, IPTV, mobile, online, VOD/SVOD/TVOD

Pay TV channel

Pay TV, cable/satellite, mobile, online, VOD/SVOD/TVOD

Pay TV channel

Pay TV, cable/satellite, IPTV, mobile, online

Platform

All rights

Platform

Pay TV, cable/satellite, IPTV, online

Platform

All rights

Platform

Free TV, pay TV, cable/satellite, IPTV, mobile, online, VOD/SVOD/TVOD, all rights

56% of free-TV broadcasters will buy online rights All linear pay-TV channels will buy online and mobile rights 100% of traditional payTV platforms will buy online rights

Source: ContentAsia’s Buyer Poll 2019 (7-16 Nov 2018)

contentasia issue seven, december 2018

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buyerspoll

Are buyers acquiring more or less foreign/regional (ie. non-domestic) content for 2019 compared to 2018?

Are platforms/channels producing more or less of their own content in 2019 compared to 2018?

8.7% Less

18.2% More

27.3%

54.5% Same as 2018

34.8% Same as 2018

56.5% More

Less

22 of the 25 participants offer foreign programming, ranging from sports,

23 of the 25 acquisition executives work for channels/platforms that

drama, movies, to lifestyle and animation from regional and internation-

produce their own content. Asked whether they will be producing

al markets including Korea, Japan, Malaysia, the U.S. and U.K. Out of the

more or less content next year compared to this year, 13 of the 23 said

22, more than half (12 buyers) say their foreign acquisitions for next year

they would be making more, while two confirmed that original produc-

will remain the same as 2018. Six will buy less while four will increase their

tion would drop in 2019. Eight say there will be no change in 2019 com-

foreign acquisitions for 2019.

pared to 2018.

Are buyers in Asia spending more or less on original content in 2019 compared to 2018?

How much original production among premium services in Asia is short-form?

26.1% Less

17.4% Same as 2018

56.5% More

44% Yes

52% Not at the moment

A resounding yes for more original content. Of the 23 execs who respond-

Activity here is split almost down the middle. 12 of the 23 buyers who re-

ed to this question,15 said they would spend more on original program-

sponded to this question said none of their original production is short form.

ming next year compared to this year while six said they would spend less.

11 said they were including short-form in their original plans.

Four said there was no change and two declined to answer.

NOTES: The information was gathered from acquisition executives from 25 companies operating across a wide range of genres in nine countries (Cambodia, Hong Kong, Indonesia, Korea, Malaysia, Philippines, Singapore, Taiwan, Thailand) and as well as regional programmers and operators across video broadcast and streaming platforms in Asia. Nine free-TV broadcasters participated, along with five streaming/online/on-demand services, four pay-TV channels, four pay-TV platforms and one production house that also acquired third-party rights. The survey was conducted between 7 November and 16 November 2018.

contentasia issue seven, december 2018

Giving you the best of philippine entertainment Asintado The sister she never knew is her own worst enemy. Genre: Action Drama TRT: 100 episodes x 45 mins When the choice is between your wife and the love of your life â&#x20AC;&#x201C; is there really a right choice? Starring Jericho rosales Asian drama king Genre: Romance Drama TRT: 40 episodes (approx) x 45 mins The Blood Sisters The truth has three faces Genre: family drama TRT: 70 episods x 45 minutes ABS CBN Website: http://internationalsales.abs-cbn.com Email: internationalsales@abs-cbn.com Tel: 632 411 1670 Visit our booth J-18

programmingnetﬂix

Kingdom come Netﬂix has 100+ new and returning originals on its slate for 2019. Content vice president, Rob Roy, talks about asking, listening, Asian creators and trying to remove creative pain points.

Netﬂix said ‘yes’ to returning Korean epic zombie drama Kingdom before

iterate and innovate... if you look at the quality of the talent that’s out

the season one premiere on 25 January 2019. No, it wasn’t a tough deci-

there, the quiet conversations that are happening, those are all super-

sion to go with a second season before conﬁrming audience response

encouraging insights.”

to the ﬁrst, says Rob Roy, Netﬂix’s vice president for content acquisition. That kind of risk is, he adds, “in our DNA. If we believe in something, we will

How much of the programming agenda for Asia is driven by the stories

commit to it and go... we want to try to get the second season out as fast

you’re hearing from writers such as Korea’s Kim Eun-hee (Kingdom) and

as we can, and we recognise that we have to make that commitment

how much is driven by data that sends you out there looking for speciﬁc

sooner rather than later”.

kinds of stories? “One of the questions we always ask people is ‘what’s

With almost 120 new and returning Asia originals on its slate for 2019, is

the story you want to tell’. It’s an easy way to get into a conversation with

this where Roy thought he would be at this point in Netﬂix’s Asia roll out?

the creator and ﬁgure out whether we are the right home for the story,

There was no speciﬁc originals target to start with, he says. “We knew

whether it makes sense, and how do we help that. We spend a lot of time

there was going to be a very rich offering, great storytelling and capabili-

asking that question and a lot of stories come that way... we’re really

ties within the region,” he says.

putting the creative and the quality of the storyteller’s vision ﬁrst and fore-

Originals in Asia since Netﬂix’s global launch in January 2016 were less

most. We don’t have to worry about advertisers or anything other than

about a number than “a question of ﬁguring out ways to work with peo-

making a really compelling piece of programming so that our members

ple,” he adds. “We didn’t have a speciﬁc target in mind, but we have

love it, that they watch a lot of content here and talk about it with their

good momentum. I also feel like we’re just getting started.”

friends. At the end of day, we’re trying to ﬁgure out what those stories are, and how we can provide value in telling those stories differently.”

Did Netﬂix arrive in Asia with a genre wishlist? Do you have one now? “The genres we thought were going to be impactful or meaningful have

How do you use your data to shape what gets made? “I would say data

happened... but there are things that surprised us too. That’s the beauty

is mostly a feedback mechanism. What data tells us is... mostly where the

of our model and our approach, as we’ve gone, as we learned, we re-

audience is and how big that audience currently is, and making sure the

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programmingnetflix

right piece of content gets in front of the right person in an accessible way. We use data to think about how big the audience could be, to measure the cost of the production relative to the size of the audience. But when it comes to a commissioning decision, the creative is the most important thing. Is it a compelling story? Is it a world you want to live in? Do you want to know the characters? Is it a story that you want to hear? That’s really the driver.” The Netflix way of doing things has had a significant impact on the production process in Asia. Has shaping, or re-shaping, that process been difficult for you? “Every day we’re getting smarter. As we ramp up our productions around the world, we learn of lot of things and what that allows us to do is to share those learnings and incorporate the learnings from other markets too. As we get smarter, as we learn to identify local market experts who really know the production landscape and we learn about the pain points in each industry, we can figure out how we can help alleviate those from a creative perspective. We face challenges in every market. No market is perfect... What we are able to do is share our learnings across the world... We’ve got people who are very talented and know how to make really compelling programming. So it cuts both ways. It’s hugely beneficial to us to learn and take those best practices as well.”

We’re really putting the creative and the quality of the storyteller’s vision first and foremost. We don’t have to worry about advertisers or anything other than making a really compelling piece of programming so that our members love it, that they watch a lot of content here and talk about it with their friends. At the end of day, we’re trying to figure out what those stories are, and how we can provide value in telling those stories differently.” Rob Roy, Vice President, Content, Netflix

What do you think Netflix’s biggest impact on the production industry in Asia has been? “I think us being a prolific

about that story is it’s a love letter to Singapore in some sense but

buyer of content is good for creators, it’s good for con-

also it’s really a story about a filmmaker trying to get her movie

sumers, it’s good for the industry in terms of employment,

made. and that that resonates with people all over the place.”

it creates more demand for great talent. And if we can share some of these learnings, and bring resources that

What are you happiest about? “I’m really proud of what

aren’t there today, then that’s also helpful. We also ben-

we’ve accomplished so far and I think we’re just getting

efit just from the existence and the relationships that we

started. You know, when you look at the shows that we’re

have. Learning from people is hugely helpful.”

announcing and the calibre of the talent that we’re working with. And the sizes of the audiences that we’re able to ag-

What was your biggest surprise? “Content will surprise you... You can’t predict everything. Certain pieces of content are much bigger than we thought... A show like To All the Boys I Loved before was a huge hit for us all

gregate that I’m proud of that and I’m proud of the fact that we’re exposing people to content from all over the world in ways that I think they haven’t had a chance to experience before.”

over the world. Chinese drama series, A Love So Beautiful, plays really well in vari-

What would you like to change. “I wish

ous parts of Asia. The End of the F***ing

we were going faster... I’d love to have

World is another one.”

even more compelling programming and build this slate even faster.”

Singapore’s Shirkers was mentioned at least three times during the what’s

What do you need to be able to do

next showcase in November. Was that

that? “Just time. It’s having those

show a surprise? “I would say less of

conversations with people finding

a surprise than more just a great op-

out what those stories are and set-

portunity. We’re a unique platform,

ting them up to get made.”

we can give that film the broadest distribution possible and it can find an audience. I think what’s cool

contentasia issue seven, december 2018

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distributionchannels

Space race Sunita Uchil

Zee’s international business/syndication boss, Sunita Uchil, has the full-blown co-pro bug. And while the strategy kicked off with blue-chip factual, no genre is out of bounds as she explores the space. Zee’s international syndication/business boss, Sunita Uchil, has had her

Zee’s expansion into formats, including creating Dance India Dance. The

head in a new space and her heart set on big blue-chip global co-pro-

driver behind all of this? “We have a vision of doing more,” she says.

ductions for more than a year, even before she heard about (or perhaps

For India, Uchil talks about a “different level of awareness”, about

as a result of) Talesmith’s Life of Earth 4K/UHD special tracing 4.5 billion year

content that caters to a whole new generation of consumers. “As dis-

history. The co-pro with Smithsonian Networks International – which Uchil to

posable income rises in India, there will be a need for better content,

this day describes as “my baby” – was announced in October 2017.

people are more discerning, and more fragmented,” she says. This may

Today, with Life of Earth: From Space done and ready, Uchil has the

still be a one-TV household market, but smart phones have changed

full-blown co-pro bug, planning at least one, and maybe two, similar

the game across all socio-economic groups. “The smartphone is India’s

projects a year, charting a new course for Zee Entertainment Enterprises

second screen... TV will continue, but we will see a huge change in

Ltd’s (ZEEL) and expanding perception of the company as a heavy-

content coming out of India”.

weight drama producer.

Uchil says broadcasters in India “have a natural advantage” in

Thinking of Zee as a drama/general entertainment powerhouse is not,

creating engaging content experiences for streaming audiences.

she hastens to add, “a wrong perception”. But she wants more. “There’s

For one, local players have two decades or more of original content

a paucity of this kind of content”, especially among mass market players,

along with an understanding of the native segments, like Marathi,

she says of her maiden blue-chip factual foray.

Tamil, Kanada.... Zee has content in at least 12 languages. “That’s a

As part of her current global content surge and her remit as chief busi-

huge beneﬁt,” she says.

ness ofﬁcer, international ad sales, global syndication and production,

The rise of streaming platforms, including ZEEL’s Zee5, has given pro-

Uchil is also prioritising remakes. A 52-episode African version of Zee’s Pa-

grammers a much wider content canvas not possible on traditional lin-

vitra Rishta, a co-production with Nigerian agency Mace and Ghana’s

ear family services accustomed, for instance, to long-running serials.

Multimedia Group, was announced in November. This second African

“We can say, this doesn’t ﬁt on Zee TV, but we can put it on Zee5,” she

series follows Khwaabon Ke Darmiyaan (2016), a co-pro between Zee in

says, adding: “That’s the opportunity, to create a 10-part series or a

Dubai and India with RTI from the Ivory Coast. The drama remakes follow

completely different kind of programme that is not typically Zee.”

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Globealisation Hello K-Idol (main pic) Joe Caliro

Philippines’ telco giant, Globe Telecom, has 65m customers and a sharp focus on building a broad-ranging creative ecosystem. Senior advisor Joe Caliro talks about the music, movies, style, fashion and production partnerships feeding into the bigger picture. A month ago, on 3 November, Globe Studios, a division of Philippines’ telco giant Globe Telecom, and Viu, the OTT/streaming service of Hong Kong telco giant PCCW, premiered a Korean music talent/reality show with an additional window on cable music channel Myx, owned and operated by traditional free-TV/pay-TV broadcaster ABS-CBN. The idea behind Hello K-Idol – a ﬁrst-of-its kind coproduction – was “to bring K-pop closer to Filipinos”. Eleven days Photograph by Daniel Tan

later, Globe dropped 10 songs by 10 Filipino artists simultaneously on Spotify in the Elements Music Camp 2018 playlist, with a streaming window for a behind-the-scenes making-of Elements show and a slate of related content on emerging markets’ platform iflix. And there’s more – movies, style, fashion, theatre, plus relationships with Disney, Turner, Netflix, Hooq and others... all part of a wide-ranging creative ecosystem Globe is building to nurture and support creative talent and engage its universe of 65-million (and growing) consumers. Globe’s Manila-based senior advisor, Joe Caliro, says the telco’s content priorities are to “find stories or platforms that reach beyond the Philippines”. “We start with a purpose to select projects that support the arts and Filipino creators, whether that’s in music, fashion, theatre or film. We then give mentor-

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We start with a purpose to select projects that support the arts and Filipino creators, whether that’s in music, fashion, theatre or film. We then give mentoring, marketing and finance support to make the end product world-class. If done right it leads to great content.” Joe Caliro, Globe Telecom

Will your productions ever be 100% Globe? “I don’t know that will ever be 100% because there is value in partnerships.” You still see value in partnerships, even though these may not give you full ownership of the IP, which is important to you? “When you partner and you’re the minority partner you don’t own the IP. You own equity. And you will earn from that property. But you do not own the IP and hence anything you want to do or anything you want to spin off is very restrictive.” How is Globe Studios structured? “The Studios is divided into two. There’s the branded part of Studios and then there’s the long-form division. Even within the branded space, we’re starting to work with partners that are outside of Globe. So we’re working with Volkswagen. We’re working with Revlon and with Lee jeans. Understanding how to talk to millennials in the digital space is what Globe has done really well.” How much do you make in-house and how much do you involve the local indie production industry? “It depends on the type of project. When you look at, for instance, [music property] Elements, we will hire crews to come in and produce it, but ultimately, we’re producing it. We are directing it. We have a cast of in-house people who are script writers, who do the storyboards.”

ing, marketing and finance support to make the end product worldclass. If done right it leads to great content,” he says.

How do you see Globe Studios’ role in the Asian content ecosystem?

Globe’s content strategy, Caliro adds, is all about partnerships. “The

“We would love to see Globe Studios as the go-to partner for movies

purpose-driven nature of our role is that it should be a win-win for both

or short-form content that resonates not only with Asia but the rest of

partners. We hope over time to work with every one of our content part-

the world. I was once asked at a conference in the Philippines, ‘how

ners. The win-win is they all need localised content and we can provide

do you get your movies on Netflix?’ My answer was this: ‘Very simple.

this quality content and at the same time market it for them to our 65

Stop making Filipino movies for Filipinos and start making Filipino stories

million customers,” he says.

for the world. This is what Globe Studios is looking for when we take on

Caliro also spoke about some of Globe’s recent projects and de-

a project and the quality of the final project must be at that standard.”

scribed a vision in which the sum of the content parts is designed to equal way more than the whole...

How would you characterise Globe Studios’ relationship with producers or programmers? “The reason we’re different is because as Globe

Globe and Viu partnered for the first time on seven-episode Korean

Studios, we want to produce high-quality stories that are not necessarily

reality/talent show, Hello K-Idol. Are you happy with the response? ”It’s

for mass appeal. We will finance and produce. Unlike the other studios,

a great show... and we learned what not to do next time. [Globe Tele-

we promote the final product. It’s to our benefit to promote it to our 65

com president and chief executive, Ernest Cu] likes to say that as we

million customers. So we’re like a marketing arm for our own products”.

go about doing this stuff, we’re learning. We don’t profess to know everything. And that’s why we partner. And little by little, we end up doing

Are you building your own platform? “We decided not to go this route...

things where it’s more 80% us and 20% our partner. It’s starting to flip in

We will partner with companies that already have platforms.”

films. In the beginning, it was 80/20. We were 20, because we were trying to get our feet wet, to learn the business.”

Globe’s partnerships span a wide range of activities, all of which feed into each other... “I guess you have to put your money where your

Does this first Viu co-production take you in a new direction or is this

mouth is. We’ve introduced several different opportunities, including

a continuation of your current partnership? “It’s a continuation. What

fashion. We have an initiative called StyleFest, where we mentor up-

we’re trying to do is hopefully partner with every one of our major part-

and-coming designers and we partner them with well-known Filipino

ners. So Viu was a collaboration on trying to find a format that was

designers. And we partner them with online businesses like Zalora and

Korean in nature but based in Philippines. That was something that we

also with our own 0917 brand. We not only mentor them on the design

co-produced. We developed the script and the format with Viu.”

but the business of fashion.”

contentasia issue seven, december 2018

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The only person who makes money is the person who owns the IP. Otherwise you’re just a production house. So a lot of the things that we’re doing now, we own the IP.”

It seems as though you spend a lot of time thinking about why artists

Joe Caliro

with Spotify, which has reach worldwide for music. We have partner-

from the Philippines have not made more of an impact on the global stage – and then trying to do something about it... “Why has a naturalborn Filipino artist never broken internationally in the music industry? If you look at all the talent we have in the Philippines, you have to ask that question; why, when you go on cruise ships or you go in Hong Kong to a Hard Rock, it’s all Filipinos playing in the band. And so the hypothesis we had is that they’re just not given the right support to break internationally.” And Globe can give them that support? “Yes. For instance, we partner ships with YouTube, which has reach worldwide. So if you could create music (and content) that’s relevant to people, not just in the Philippines but worldwide, maybe you could break an artist.” You believe you can contribute to the creation of an international star from the Philippines... “Perhaps part of the reason Filipino music hasn’t broke out of the Philippines is because the music producers have a Filipino ear... So we brought in five international producers to work with 10 artists. We got the best five Filipino local producers and we brought in five of the top international producers to create 10 songs, people who have produced artists like Bruno Mars, Justin Bieber, Nicky Minaj, Usher, Eminem. The songs were all recorded in English because English

Where does Globe Live fit? “Globe Live is the live events part of Globe...

travels. The Elements Music Camp 2018 playlist dropped on Spotify on

What we’re trying to do is create an ecosystem where you can create

14 November. It was the first time ever that 10 songs by 10 local artists

events that spawn content. And in some cases, the first type of con-

had been released simultaneously. We wanted to give every song,

tent is branded content. It’s about getting other brands involved in that

every artist an equal chance at being discovered.”

event and giving them a platform. And then the actual event spawns content, which can be a series, a movie, a documentary. That’s where

You leveraged Globe’s involvement in the Elements Music Camp into

Globe Studios steps in. We have several examples, including StyleFest.

a movie called Last Song Syndrome – or LSS. How did that happen? “In

Our music project – Elements Music Camp – is another example of try-

Elements, we have 10 artists. Among those is a band called Ben&Ben.

ing to give Filipinos a platform outside of the Philippines.”

Ben&Ben were [Elements Music] Campers and are the hottest band in the Philippine right now. We are producing a film that will release in

You own the Elements IP... “We do, which means we can leverage new

the first quarter of 2019. Guess who’s the star of that film? Ben&Ben.

royalty streams from the music content, performance rights from the

It’s a love story about these two love-torn couples. What they have

songs and the artist publishing rights of the song and the artist. Oh yeah,

in common is that they love Ben&Ben. They follow Ben&Ben and they

and we have content. We can now sweat the assets. We have mer-

keep running into each other.”

chandise rights to Elements. We can create Elements lines. So really, it’s trying to master what Disney has known forever.”

What’s your biggest learning? “The only person that makes money is the person who owns the IP. Otherwise you’re just a production house.

You describe Globe as an “un-label” in the music space.... “As a telco

You can’t leverage the asset if you don’t own the IP. So a lot of the

we get behind marketing. One would argue that we’re like a record

things that we’re doing now, we own the IP.”

label and we’re acting like an un-label. We produce music videos for each of the artists. We fund the whole thing. And we produced Anat-

What’s your best outcome? “I have so many... Ultimately I would love

omy of the Song, which people will be able to see on YouTube... We

to have something by Globe Studios on every one of our partners’

made a behind the scenes video and Live at the Iconic, which is a live

platforms. I think that that’s a modest first step. If you ask Ernest [Cu,

performance in a studio of the song. In all, we have six shows of about

Globe Telecom president and chief executive], he wants to win an

20 minutes each. Everything will air on iflix, so people around the world

Academy Award. If you ask me I just want to make money. Not neces-

can watch, not just in the Philippines.”

sarily in that order.”

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Informer decisions British Asian actress Sunetra Sarker became an actress by chance and a poster-person for Asian women with attitude by choice. As her latest TV series makes its way around the world, she is also speaking up for greater diversity off-camera.

Sunetra Sarker became an actress because U.K. daytime drama Brook-

as British as possible,” she says. “I was very much a British-before-Asian kind

side needed a brown face and a casting agent happened to drive past

of youngster.”

the bus stop where the teenage Sarker was waiting. “That basically meant

Luckily, perhaps, because decent roles for Asian women were rare. “I

they couldn’t ﬁnd any Asian actresses... I had no thought of acting be-

wasn’t trying to be Indian in anything I was doing. I was really keen to not

coming my career. I was just happy to tell my school friends that I’m going

play the race card because there were no roles,” she adds. So she ended

to be on TV,” she says.

up auditioning for parts as Clare, Zoe, Angie or Jane. Her argument went

Fast forward to today, and Sarker is one of the actors ﬂying the ﬂag for

something like this: “I might not look like a Clare, but I sound like a Clare

big-attitude Asian women who aren’t stereotypical South Asian shop-

and I can act like a Clare so why can’t she look like me?”. Some went for

keepers’ wives with six lines and hidden personality. Actually, she didn’t

it. Some didn’t. But she always “managed to ﬁnd a successful route to not

mean to do that either, she says as her latest drama – six-part contempo-

having to shine a spotlight on being Asian”.

rary thriller, Informer – premieres.

It was only when she turned “about 30”, that she started “feeling quite

Sarker, born and brought up in Liverpool to middle-class Indian Hindu

proud of being Indian for the ﬁrst time... it creeps up on you. I was getting

parents from Calcutta, plays Pakistani Muslim Sadia Shar, the mother of a

married and having children. I enjoyed my friendships with my parents. I

reluctant informer in contemporary London. The character is witty, inde-

realised I had my own identity now and that is where I started I suppose,

pendent, runs her own beauty salon, doesn’t sleep with the man everyone

adapting myself to being open to trying Asian roles.”

thinks is her husband, and has a few secrets. “There were so many clashes of stereotypes that I liked,” she says.

What she won’t do is take a role for the sake of gender or race diversity. “I’m happy to play a terrorist if the story is about a terrorist and it’s a good

In a way though, her earlier roles clashed more loudly with her heritage.

story. I don’t want to just be a person in a show because you’ve ticked

Born in 1973 the year after her parents emigrated to the U.K., Sarker “was

a box and said there is now a brown person in the show. I’m sure a lot of

very much thrown into the world of a ﬁrst-generation Asian girl, born and

people will agree with me on that,” she adds.

brought up in England with this heritage that I really didn’t want to know much about. I was living in the present wanting to be as English as possible,

Why did she take the Informer role? “Because there was so much intrigue in the ﬁrst script. I couldn’t work out what was going to happen”.

contentasia issue seven, december 2018

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Nabhaan Rizwan as Raza in Informer

There are only so many white men who can write [roles] for Asian women.”

them after their parents had passed away. As it turns out in our story, Sadia is not Raza’s biological mother. She sacrificed her life when he was four or five years old to take care of him, his brother and his dad. I think that’s one of the reasons the bond is so strong for Raza to deceive the family. He’s trying to save Sadia because she has gone out of her way to look after them. He has a bigger debt to pay to her. That’s the reason I liked the script”. Sarker’s relationship with her on-screen son plays out against myriad char-

Sunetra Sarkar

acters managing double lives, coping with lies and deception. Informer is not the first time Sarker has stepped into the Pakistani Muslim

Sarker says she was gripped by page two – and the character she was

mother role. In Channel 4’s Ackley Bridge, she plays Kaneez Paracha, who

auditioning for had not even appeared yet. “I wanted to know the story

finds out, among other things, that her daughter is gay and that her hus-

regardless of the part,” she says. When she did “meet” Sadia, she found

band has a second family. “She’s the dinner lady at the school, rubbing

a woman with sass – “that’s the word I use the most” – that Asian women

shoulders with racists, and she’s just got bags of character. Again, she’s

don’t usually get a chance to show on television. “Having worked in TV

a woman who you don’t see on screen a lot. These are the sort of Asian

for so long, I can spot a new character that hasn’t been shown on screen

women I want to play,” she says.

before,” she adds.

Has her world become more race/colour blind in the last 30 years? “The

Informer is written by newcomers Rory Haines and Sohrab Noshirvani and

environment has changed a lot, but no.” Sarker speaks up for greater multi-

produced by Neal Street Productions (Call The Midwife, Penny Dreadful)

culturalism behind the camera, including cultivating writers and creative

for BBC One. Amazon Prime Video has U.S. rights. Asia distribution by all-

talent from a greater range of backgrounds.

3media International is pending. The series stars Nabhaan Rizwan as Raza,

“We need a lot more multi-culturalism behind the scenes before it can

a second-generation Pakistani man from East London coerced by coun-

come on-screen... there are only so many white men who can write for

ter-terrorism officer Gabe (Paddy Considine) to become an informer. Bel

Asian women,” she says. “We need to open the doors earlier to the new

Powley plays Gabe’s young and ambitious partner, Holly.

generation coming through, to let them feel they can be writers, to let

Sarker says Noshirvani, a New Yorker born in Iran, brought to the story an understanding of the complexities of extended Asian families; “We call a

them believe they can be an Asian writer, an Asian director, an Asian producer, an Asian cameraman.”

lot of people uncle and auntie. We call a lot of people our grandparents

Sarker occasionally writes, has her own production company, and has di-

who aren’t really our grandparents... within that he managed to capture a

rected a few episodes of BBC medical drama, Casualty, in which she played

mom who wasn’t really the mom.”

Dr Zoe Hanna for eight years. “It was really fun, again as a woman in televi-

“A lot of family in my life have similar scenarios, aunties who looked after

sion and not spotting as many female directors as you would like to see.”

contentasia issue seven, december 2018

HBO Latin America Originals Celebrating 15 years Pushing the boundaries of storytelling

distributionchannels

Bridge the gaps Three versions and multiple seasons of Scandi noir crime drama, The Bridge, have been made around the world. The fourth – and the ﬁrst in Asia – is a Double Vision production in Malaysia for streaming platform Viu. The Malaysian studio’s head of production, Min Lim, talks about adapting the 10-part thriller, turning up the dial on premium originals and navigating political and cultural sensitivies between Singapore/Malaysia. The Malaysia/Singapore version of crime thriller, The Bridge, premiered

bring to light ﬁve issues that are causing rot on both sides of the border.

across Asia at the end of November, bringing to a close more than two

The series, directed by Lee Thean-jeen and Jason Chong, stars Malay-

years of development and opening new routes to production/co-pro-

sia’s Bront Palarae as Malaysian detective Megat Jamil and Singapore’s

duction/funding and distribution.

Rebecca Lim as Serena Teo.

The 10-part hour-long Viu Original series, based on the Scandinavian noir

Double Vision’s Kuala Lumpur-based head of production, Min Lim, who

drama from the Endemol Shine Group scripted format catalogue, pre-

pushed the project uphill for two years or more, is anything but battle-

miered simultaneously on PCCW Media’s Asian streaming platform Viu, on

weary, and it sounds like she would, if she could, do it all over again.

traditional regional pay-TV channel HBO Asia across 17 markets (excluding Malaysia) with windows on HBO Go and on HBO On Demand, and on

How did you deal with the potentially explosive political and cultural dif-

Malaysia’s free-TV channel Media Prima ntv7.

ferences between Singapore and Malaysia? “We actually had a lot of fun

The Asian version pretty much sticks to the international plot, opening

with it. Obviously you know we have this friendly rivalry with Singapore...

with a body found exactly halfway between Singapore and Malaysia on

not only did we contrast the two countries but we also had the two leads

the bridge that links the two countries. The body is split in half, made up of

who are different races – one Malay [Bront Palarae] and one Chinese

two different women, setting off a hunt for a killer that involves teams from

[Rebecca Lim]. So you also have not just the difference in national cul-

both countries. Throughout the investigation, the killer reveals that he will

ture, but also the differences in races. We wanted Megat and Serena

contentasia issue seven, december 2018

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We didn’t take out all the sex. ” Min Lim, Head of Production, Double Vision/Vision New Media

The Bridge

be very typical of the countries that

And then Viu stepped up... “I remember talking to

they came from and embody the

Kingsley [Warner, Viu Malaysia’s general manager]

different characteristics... So basically, she’s the anal one from Singapore and he’s the laid back one from Malaysia.” For example... “She is high IQ/low EQ, efficient, by the book. He has a different way. He’s very charming.

about it and he was like ‘this is actually a great story’... And he really made this happen. So this is all very much due to him as much as it is for us.” There are some significant changes to the original script, including taking out all the sex to comply with Malaysia/Singapore content

People like him and you see that in the first scene when he arrives in

codes. What did you replace it with? “We didn’t take out all the sex. I think

Singapore. He does what a lot of Malaysians do. He brings them food

now we imply sex... We knew from day one that this was going to go on

and immediately the Singaporeans are like ‘wow, you know, I take back

free-to-air TV as well as on OTT, where you have a little bit more leeway.

every bad thing I’ve said about Malaysia ICD’. So he has a very person-

But the facts are that the series will air on free to air and that this genre

able manner and that’s what makes the contrast so interesting. It is not

has never really been done before in Malaysia. Not just that it’s crime, but

just the differences in culture but also the differences in character. When

in how the characters are shown.”

these two meet, they actually start off on a bad foot. They don’t like each other, they just rub each other up the wrong way. But over the course of

For example... “In the original or even the U.S. or the U.K. versions, the Ser-

the series they form this bond. And that’s really the arc of their story.”

ena character goes to a bar, picks up a bartender, takes him home and has sex with him. Immediately afterwards, she goes back to work and

You spent about two years developing the Singapore/Malaysia version...

he’s very confused. We felt that just wouldn’t work in an Asian setting... as

“We started talking about it two years ago and we kept saying ‘yes it’s

liberal as we would like to think we are, the audience would have judged

a great story. We should do this’. We have a bridge [between Singapore

her for it. And so we’ve changed that slightly and still kept a bit of it but

and Malaysia]. It makes a lot of sense. There’s a lot of relevance and we

kind of gave her a bit of legitimacy with a work relationship... we kept

can make a really really good local adaptation. But it needs to be done

elements but found a way to do it that worked in a local setting.”

at a certain budget. It’s a story that has a lot of characters, a lot of plot lines, a lot of scenes. The budget is high for a reason, but we just couldn’t find a broadcaster who would do it.”

contentasia issue seven, december 2018

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The Bridge

We didn’t avoid cultural stereotypes. The journey is quite complex and varied and the story is very dark. There’s a lot happening and different things to follow... we thought that giving audiences characters that they could identify with and go on this journey with was a lot better.”

The international versions have a diverse cast in terms of looks and physi-

Min Lim, Head of Production, Double Vision/Vision New Media

So the stereotypes are deliberate? “Yes. Because the journey is quite

cal abilities not often seen in Asian drama... “We wanted a variety of looks. When you look at Asian drama, the look and the styling tend to be the same. Or the girls are very pretty, dressed very well, especially idol drama, Korean and Taiwanese... we were very conscious of getting people who looked like real people... Malaysia and Singapore have diverse populations – Chinese, Malay, Indian, Eurasian... we’ve managed to get the whole gamut. So that’s kind of what we were concerned about in terms of diversity.” What lines did you draw between cultural stereotypes that were relevant and cliches? “We didn’t avoid the cultural stereotypes... because that’s what the audience identifies with. We could have gone down a route where we maybe flipped them or did different things. But now that they are culturally stereotyped, it’s almost easier for the audience to identify and go along on this journey.”

complex and varied and the story is very dark... There’s a lot happening that makes it incredibly different from a lot of local drama. It’s not just a family story, there are different things you have to follow. So, we thought that giving audiences a character or characters that they could identify with and go on this journey with was a lot better.” Is there a season two? “Not yet”.

contentasia issue seven, december 2018

Survival is her only option Surrounded 2 hour feature visit our website: www.marvista.net contact: sales@marvista.net Marvista

productionoriginals

Picture by Shawn Ha

At a premium

HBO Asia is almost two years into an originals strategy driven by a different kind of Asian storytelling and a wider, deeper approach to production. With original titles such as horror anthology Folklore and eight-part action series Grisse already on air and various co-productions – including backing for Viu original The Bridge by Malaysia’s Double Vision and Astro Shaw’s The Garden of Evening Mists – on their way around the world, HBO Asia’s senior vice president for original productions, Jessica Kam, speaks about creating an Asian content pipeline for the premium movie service. 60

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Grisse

You’ve had a year of non-stop development, including Folklore and

fective way of getting into six markets at the same time, which is part of my

Grisse, both of which you chose very quickly after you joined HBO Asia

strategy. I am trying very hard to expand our production bases and our pro-

in early 2017. What was it about those two that made you take the leap?

duction footprints to more countries and work with more local talent, local

“I try to choose genres that can travel [and] genres that we Asians are

directors, to bring out the best and the most authentic stories from Asia. So

good at. Horror and action are the two that are easy to win. Horror is very

this format was one of the best ways for me to do it in a short time.”

easy to do well for Asians because the entry barrier is not too high, and the cost is not usually that high, but we have a chance of doing it well if

You chose to work with feature film directors, like Joko Anwar and Eric

not even better than Westerners. And we can put the HBO spin on it as

Khoo, on Folklore. Why? “Because they are an assurance of quality. The six

well... not like what a local terrestrial channel would do. Otherwise why

episodes in Folklore are all films, they’re not in a traditional series format.”

would they be on HBO? So for Folklore, we gathered six directors from six different regions, who are all top of their class in their countries. We gave

Your second commission is Grisse, which premiered in Asia on 4 Novem-

them a theme, and they came up with their own stories.”

ber and is available on HBO in the U.S. and Europe. What was it about this series that attracted you? “Grisse is something quite different. It’s epic

Folklore lived up to your expectations even before its HBO Asia premiere

action set in 19th-century Indonesia under Dutch rule. The story is about

in early October... “Folklore has been validated by film festivals, which

a group that leads a rebellion against brutal Dutch oppressors. It’s action

are traditionally incredibly picky about quality and about production

packed, gritty and violent – all the good things that HBO likes. It also has

value”. Folklore premiered on HBO Asia in early October. All six episodes

a Western feel to it, which makes it unique... it’s an Asian point of view

screened at film festivals around the world, including the Toronto Interna-

to a story that we have most often seen from the European conqueror’s

tional Film Festival (TIFF), Fantasic Fest in the U.S., Sitges International Fan-

point of view... In Indonesia, the story has been told in Bahasa Indonesia

tastic Film Festival (Spain), Scream Fest (Singapore), Five Flavours Asian

in film and television, but we took the chance of doing it in English so that

Film Festival (Poland), Asian World Film Fest (U.S.), Geneva International

it can travel.”

Film Festival 2018 (Switzerland), Trieste Science+Fiction Festival (Italty), Philadelphia Asian Film Festival and the San Diego Asian Film Festival.

After horror and epic action, you have a documentary based on an

Folklore was TIFF’s first Asian TV series to be selected officially since the

original HBO Asia production – coming-of-age drama, The Teenage Psy-

start of its Primetime programme in 2015.

chic – made with PTS in Taiwan. How did the documentary happen? “The Teenage Psychic (2017) was our first Mandarin-language series and it did

There were other advantages to the Folklore choice and execution...

really well. It’s a small-budget Chinese show, but high quality, about a

“Another nice thing about the show is that it was a quick and cost-ef-

teenage girl who is psychic. Season one did very well, so season two was

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productionoriginals

Folklore: A Mother’s Love

a no-brainer. Season two will air in 2019, so there was a gap of about two years between one and two. We wanted to take our time and do it well, but that meant a time lag between the seasons. So we decided to do a documentary called The World Behind the Teenage Psychic, which explores the temple culture in Taiwan and asks questions like ‘can psychics be trained?’” The hour-long The World Behind the Teenage Psychic features Taiwanese actress and singer, Nana Lee (The Teenage Psychic, Youth Power, One Million Star), who offers a personal account of how traditions of life and death survive in Taiwan today along with followers, devotees and academics. “For us it’s about having something to fill the gap between the two seasons so viewers don’t forget about it. Another thing is to appeal to a wider audience. The documentary is not just for teenage fans, but also for curious minds, believers or non-believers. So it ticks a few boxes for us”. What are you hoping for with your involvement in feature film, The Garden of Evening Mists, with Astro Shaw? “Series are more our thing, but Astro Shaw is a strong, long-term partner. The story is based on Tan Twan Eng’s The World Behind the Teenage Psychic

best-selling book. It’s a romance set during World War II between a Chinese Malaysian and a Japanese – a forbidden love that spans 30 or 40 years. It has a core Malaysian DNA, but it’s a story that can resonate with everybody. Those are the kinds of things that we look for, authentic stories that can also resonate across all the countries that we cover”. The Garden

I try to choose genres that can travel, that Asians are good at. Horror and action are the two that are easy to win.”

of Evening Mists stars Malaysian actress Lee Sinje and Taiwanese actressdirector-producer, Sylvia Chang, who both play Teoh Yun Ling. Japan’s Hiroshi Abe stars as Nakamura Aritomo, the gardener with whom Yun Ling is romantically involved. The cast also includes David Oakes (The White Queen, Victoria), Julian Sands (The Girl with the Dragon Tattoo) and John Hannah (Four Weddings and A Funeral, The Mummy Trilogy). Your range of investments and funding partnerships seems very broad,

Jessica Kam, Senior Vice President, Original Productions, HBO Asia

from HBO-led productions such as Grisse to films with Astro Shaw to series like The Bridge, which was led by Viu. So you’re obviously not limiting your involvement in Asian production in any way... “That’s right. We have our own shows and there are some where we work with different partners. We try to work with more partners locally. That’s the only way we can do more. And do more in high quality.”

contentasia issue seven, december 2018

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Production lines

Philippines’ broadcaster ABS-CBN is likely to spend upwards of US$220 million on production this year, including shows such as long-running drama series Brothers and the local versions of talent/ reality formats. Home-grown titles are travelling widely across Asia, with increasing presence in Africa, Latin America and Europe. Last year, international syndication revenue was up 38%. On YouTube, ABS-CBN’s entertainment channel has 11.5 million followers. Against this backdrop, Ruel Bayani, ABS-CBN’s business unit head of production and veteran ﬁlm/TV director, writer and producer, talks about production trends and challenges, inspiration and inﬂuences. ABS-CBN is making a major shift in opening up production from a 100%

year. Some are long running, some short term. Brothers, which is our most

in-house model to once that incorporates third-party alliances and co-

successful show, is in its third year. It creates around 40-45% ratings in the

production. What does this mean for you? “It’s only recently that we have

Philippines and it is a major driver of our income.”

allowed independent line producers to be making content for us. Previously, we’ve been doing it all ourselves and it has been very difﬁcult espe-

What drives your production choices? “First and foremost what our audi-

cially in the ever changing landscape of entertainment. We believe that

ences will relate to. Mostly the Filipino story is the story of resilience. And

opening up to other creatives and producers and creating a more diverse

this has been the recurring theme, people struggling with their identity,

portfolio of content is the better way to move forward.”

with cultural identity, desire for independence, love and sacriﬁce for family. In the end, every story is a story of hope and it afﬁrms the very

What does your in-house production ecosystem look like? “We have hun-

nature, the very virtues and values of the Filipinos. And that is why most

dreds of creative producers working on more than 20 soap operas for the

of our content resonates.”

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What’s the genre breakdown between in-house and outside commis-

encourage us to stay proud and defiant, that we should only promote the

sions? “Most of the premium [prime-time] content – drama, news, variety

best of our culture, the best of our country, the best of Asia. We should not

and comedy – is kept in-house. We commission out mostly smaller films. On

try to change it so much, to appear too Westernised.”

TV, we’re just starting to allow a few reality/lifestyle programmes.” As an Asian filmmaker, are you personally encouraged by the success of ABS-CBN opening up production to outsiders is one significant trend. What

Crazy Rich Asians? “Now more than ever.”

other content trends are you seeing in the Philippines? “The taste and preference of the Philippine audience has also shifted. We consume a lot of

Are you seeing a greater acceptance outside of the Philippines for content

OTT content. We consume a lot of Korean content because we love Ko-

in Tagalog, ie. non-English-language programming? “Streaming platforms

rean dramas. We’ve also launched our own OTT platform and have pro-

like Netflix want local dialects. We should promote, both for mainstream

duced a lot of content for our millennial audience. I think the trend will be

and digital, movies that truly reflect our culture.”

towards a younger, more dynamic, more agile market and we’ll be seeing more horror and suspense and action. For the most part, ABS-CBN content

ABS-CBN has had amazing success with international formats such as Your

has always been about drama, the core drama that the Filipinos love. But

Face Sounds Familiar, The Voice Teens, Little Big Shots and you’re bringing

now that we’re reaching out to the younger demographic we’ll have to

back Big Brother. What do you see as the outlook for international formats

be addressing those needs as well.”

and are you balancing these with your own originals? “Historically Filipinos have responded well... Big Brother is now in its 13th year in the Philippines

You’ve worked with ABS-CBN for 27 years and before that GMA. In that

and it has produced a significant number of movie stars for the network

time, you’ve been involved in more love triangles than anyone we know.

though housemates turning into big time celebrities. We have enjoyed The

Do you think the love triangle will remain a staple in the Philippines?

Voice, it’s one of our biggest raters. The Voice Kids was particularly success-

“When I was younger, [love triangles] somehow disappeared, they didn’t

ful... But we’re moving towards creating our own titles. Tastes have been

figure prominently. And then back in 2013, my movie No Other Woman,

refined... now Filipinos are also reacting well to original Filipino concepts.”

about this mistress who is really a good person, became the trendsetter and was the first Filipino drama/movie to earn

ABS-CBN has more than 13 million subscribers on YouTube, so clearly

Ps300 million/US$5.7 million. Since then, that whole tri-

the platform is enormously successful for you. What digital-first or

angle about modern relationships has come back into

digital-only content are you making? “We’ve done a lot of work

fashion.”

producing digital content. In the beginning it was a struggle because everyone was so used to the drama format. Younger au-

You’ve broken new ground in North America. How has that changed the way you approach filmmaking? “My last movie, Kasal (The Wedding), was the first Filipino film

diences are beginning to like same way that they enjoy they are starting to like the

our shorter content, and the clips from our TV shows shorter form as well.”

to enter the top 20 box office films in North America/CanYou say you wouldn’t mind

ada. It’s of course not Kung Fu Panda, but it’s such a

seeing three or four big net-

big deal for us in the Philippines... we are now more

works in the Philippines in-

encouraged to continue to produce content for the global market. We have proven that

stead of the current two?

Filipino films can be enjoyed by movie-goers

Why? “Because it will provide more employment

from all over the world.”

to our people and it will challenge us to be better. It

You foresee the end of “poverty porn” in Asian

will create greater competition

films... “...As proven by the success of Kasal, a

creatively. The biggest problem

genre movie. It wasn’t art house. Or poverty porn,

is to be complacent, to believe

which is the usual for films that go around the world.”

that your content is already the Will Crazy Rich Asians really make a difference to Asian filmmaking? “To me it’s a significant film, a cultural marker.

best. It might be the best in the Philippines, but it’s not the best in the world.”

We will remember 2018 for it. Two Filipinos appear in the movie: Diego Santos, the Filipino comedian, and Kris Aquino, who plays a princess... I believe it should only

Brothers

contentasia issue seven, december 2018

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Picture by Shawn Ha

Drama queen

Mainland Chinese entertainment platform Youku has the world in its sights. Julia Song, Alibaba Digital Media & Entertainment Group/Youku’s head of scripted international drama acquisitions & BD, talks about the new generation of Chinese dramas and shifting audience trends and tastes. Detective series Day and Night was your ﬁrst drama for Netﬂix and was

Zukan (Tokyo Girls Picture Book), which you made into Women in Beijing

made with a global audience in mind. What impact has this world-

and Women in Shanghai... “We aired these two in the ﬁrst half of this year

wide access had on Youku? “Day and Night was popular in China and

and they were the most talked-about shows in China at that time. We

through Netﬂix it reached beyond Chinese-speaking audiences. A lot

made two versions because the girls from Beijing are very different from

of the new shows we’re doing this year are being created from the start

the girls in Shanghai. We used different production companies, different

with international standards and outlook. Netﬂix has picked up another

characters and cast, different storytelling... but we kept the structure of

of our shows, 30-episode Hong Kong cop thriller, OCTB, which has also

the Japanese version for both. Chinese dramas are very long, at least 45

done very well”.

episodes of 70-90 minutes for historical series. Because these were for online and a younger demographic, we kept to 20 episodes of 30 minutes

What’s Youku’s programme strategy? “We balance three categories of

each. Both were very fast-paced, and while we acquired the Japanese

drama – at least one new prime-time acquisition a month, usually from

IP, our versions were different. So it was very innovative for us.”

satellite channels; high-value online superdrama, with the ﬁrst window on Youku; and online drama, small to medium budget productions that we

Is this a move away from costume or martial arts drama? “Women in Bei-

develop in-house or with third party production companies.”

jing/Shanghai created this trend for drama that resonates with viewers’ everyday lives in modern cities. So that area is very crowded now. What

What’s your originals output? “About 30 drama series a year are what we

we’ve added lately are subgenres of popular costume dramas, also for

call Youku originals. Of those, 10 are 100% in-house original productions

young audiences. The storytelling is more anime, fantasy, magical. Our

and 20 are with third-party producers. In total we have between 100 and

new supernatural fantasy dramas are Guardian and Bloody Romance.”

120 productions from China a year.” Are you looking for co-production partners in Asia or elsewhere? “Yes What genres do you prefer? “All kinds, because we aim to create some-

deﬁnitely. We’re starting to by working with scripted formats and re-

thing for every user on our platform. But generally speaking, our target

makes. We’re likely to do Asian co-productions ﬁrst because it’s just eas-

demographic is 18 to 25 female and even younger these days actual-

ier. We share similar cultures, similar language. And for us to ﬁnancially

ly. So we create young content for them. A lot of our shows have very

invest into an English-language drama, it really has to be the right project

strong female characters.”

because Youku is still just a local service. In order for us to recoup all that investment and content wise for it to pass our censorship we need to be

This brings us to the scripted format you acquired from Japan, Tokyo Joshi 70

very careful what we select”.

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dataprogramming

Travel guides Little from Asia can compete with anime on the global entertainment stage, where fandom drives commitment and decades-old franchises based on print stories still top the list of Asian titles most in demand. ContentAsia asked data science company Parrot Analytics to look at the top 10 Asian shows around the world this year. Nine of the 10 spots go to anime. The sole non-anime title was Korea’s 2013 series, Good Doctor, which received a bump from remakes in the U.S. and Japan. Rank

Title

Average Demand Expressions ® per capita

Dragon Ball Super (ドラゴンボール超スーパー)

1.93

Good Doctor Korea (굿닥터)

1.36

My Hero Academia (僕のヒーローアカデミア)

1.33

Attack On Titan (進撃の巨人)

1.26

Naruto (ナルト)

1.23

One Piece (ワンピース)

1.20

Naruto: Shippuden (Naruto-ナルト-疾風伝)

1.18

Dragon Ball Z (ドラゴンボールZ)

1.07

Tokyo Ghoul (東京喰種)

0.93

The Seven Deadly Sins (七つの大罪)

0.83

1 January-10 November 2018 Markets: Global Demand Expressions®: The global TV measurement standard developed by Parrot Analytics, which represents the total audience demand being expressed for a title, within a country, on any platform, per 100 capita. Designed to compare the demand for titles between countries. [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.]

1. Dragon Ball Super Toei Animation’s Dragon Ball Super, which ran in Japan from 2015 until earlier this year, was the giant of manga giants in 2018, outranking its nearest competitor – Attack on Titan – with 1.93 demand expressions per capita. Part of a cult franchise that goes back to the 1980s, the series opens with peace on earth threatened by powerful evil forces. Goku rises to the rescue once again. The super-powered Dragon Ball franchise shows no sign of slowing down; The 7 November trailer for the Dragon Ball Super: Broly feature ﬁlm had more than 4.2 million views in its ﬁrst four days on YouTube.

2. Good Doctor Korea Five years after it premiered on KBS in Korea, single-season medical drama Good Doctor is riding high on two high-profile regional/international remakes – the first in the U.S. in 2017 and the second for Japan’s Fuji TV in 2018 – along with a window on Netflix. The original Korean series starred Joo Won as the autistic doctor whose medical skills outweigh his ability to relate to fellow hospital staffers or patients. The 20-episode original comDragon Ball Super

contentasia issue seven, december 2018

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dataprogramming

manded top ratings spot in Korea for most of its run. The U.S. series (Sony Pictures Television/ABC Studios) stars Freddie Highmore; season two premiered in September 2018. The Japanese version, starring Kento Yamazaki, ran from July to Sept this year on Fuji TV (10pm, Thursdays).

3. My Hero Academia Three TV seasons and a movie drove My Hero Academia – the story of a schoolboy learning how to be a superhero – into global consciousness over the past two and a half years. In Asia, My Hero Academia has found a particularly happy home in Malaysia,

5. Naruto Naruto, the coming-of-age story of an adolescent Ninja with big dreams, was first published in 1997, with a television adaptation by Studio Pierrot for TV Tokyo in 2002, and a total of 11 films. The television series ran for 220 episodes – most based on the manga but with some originals for television – until 2007. The original production has been remastered in HD.

6. One Piece The world’s best selling manga, One Piece debuted in mid-1997, introducing Monkey D. Luffy and his quest

topping the country’s list of top 10 titles at the end of

to find the “one piece” that will make him the next

September this year, beating Game of Thrones and The

pirate king. The Toei Animation series premiered on Fuji

Walking Dead.

TV in Japan in 1999 and has clearly never gone away,

4. Attack on Titan After humanity is all but destroyed by Titans, survivors live within three giant walls. Their relative peace is shattered when a 200foot T itan breaches

expanding into everything from feature films and video games to theme parks. Myriad channels around the world, including Animax in Southeast Asia, have included One Piece in their schedules over the years.

7. Naruto: Shippuden A sequel to the original epic ninja adventure

the outer wall. Fear

series Naruto, Naruto: Shippuden is set two

and chaos ensue

and a half years later. The series ran on TV To-

as the marauding

kyo in Japan from Feb 2007 to March 2017.

Titans start devour-

8. Dragon Ball Z

ing human life once again. The

The sequel to Toei Animation’s original

series’ hero is Eren

Dragon Ball property picks up Goku’s

Ye a g e r, w h o

story in early adulthood, where, along

takes on a Titan

with his two sons and various allies, he

form after be-

continues to fight villains and crea-

ing eaten. The

tures. Versioning for English-speaking

original manga

North American markets was

title appeared

plagued by criticism over integrity

in print in 2009,

to the original story lines and im-

migrated to

agery. Dragon Ball Z premiered

video games,

on Fuji TV in Japan in April 1989

and made its

and ran for seven years.

way to televi-

9. Tokyo Ghoul

sion in 2013. Theatrical ver-

A relative newcomer to the

sions followed

anime scene, Tokyo Ghoul

in 2014/5. Season

debuted as a manga series

three aired on NHK in

in 2011, followed by a fan-

Japan this year. Warner

tasy anime TV series in 2014

Bros is producing a feature

and a live-action feature

film adaptation of Attack on

film last year. Tokyo Ghoul

Titan, directed by Andy Muschietti.

is set in a city haunted by flesh-eating creatures who look human. The lead char-

Good Doctor Korea 74

contentasia issue seven, december 2018

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dataprogramming

Global demand: My Hero Academia (16 August 2018 to 13 November 2018)

Demand Expressions per capita

United States

11.2

Philippines

7.38

Japan

6.12

Canada

5.67

Brazil

5.35

France

5.05

acter is Ken Kaneki, a college

Chile

4.93

student caught between two

Puerto Rico

4.86

worlds. After an almost-deadly date

Mexico

4.83

with a ghoul, Kaneki wakes as half-

Australia

4.82

United Kingdom

4.1

Singapore

4.07

Hong Kong

4.02

Italy

3.93

ghoul society. Netflix has

Taiwan

3.65

picked up three seasons.

Malaysia

3.63

South Korea

3.61

Argentina

3.6

Hungary

3.5

Thailand

3.42

Peru

3.38

New Zealand

3.23

by part two in February 2017. The feature ďŹ lm, The Seven Deadly Sins the

Germany

2.93

Movie: Prisoners of the Sky premiered in August this year.

Spain

2.92

Russia

2.87

Source: Parrot Analytics

human/half-ghoul who needs to consume human flesh to survive. The series follows his efforts to deal with his new life, including fitting into

10. The Seven Deadly Sins

One Piece

Fantasy manga series, The Seven Deadly Sins, is a newer addition to the pedigree includes global exposure from the

landscape. Its six-year beginning on NetďŹ&#x201A;ix. All 24

episodes were made available simultaneously in November 2015, followed

Source: Parrot Analytics

contentasia issue seven, december 2018

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New tunes

Lots to love about Singapore, which rules December because of the Singapore Media Festival and the ATF programme market. Chicken rice. Mee siam. Char kway teow. The white tiger at the zoo. Spago. Media, um, maybe. Depends on the day and who has the mic. Singapore remains a regional media hub. But the energy that charac-

pilot and test new concepts and formats. What else is happening as the

terised the early days of multichannel television? Not so much if you’re

year turns?

not Netﬂix. Or Amazon. As 2018 turns to 2019, a battered video industry hunts around for lifelines that range from direct-to-consumer subscription

Free TV

services and YouTube to ramping up original production and winding

Singapore’s sole terrestrial broadcaster remains Mediacorp, which is

down old structures peopled by, well, people. Too many of them, clearly.

backed by the Singapore government and has a mixed public service/

“Digital” and “social” continue to be interpreted every which way, for

commercial remit. Mediacorp operates seven TV channels (Channel 5,

good and for bad, and a common panic is over the relative absence of

8, U, Channel NewsAsia, Suria, Vasantham, okto), 11 radio stations and

skills (or a new combo of skills) that will recreate kickass media businesses.

multiple digital platforms, including video streaming platform Toggle.

Other than shutting off analogue TV at the end of December 2018, what’s Singapore’s plan?

Unlike the Philippines, Indonesia, Malaysia and Korea, where broadcasters routinely release ratings, Mediacorp closely guards viewership

Two-year-old government agency, the combo telecoms/media In-

data from the country’s government-supported SG-TAM by Gfk. The best

focomms Media Development Authority (IMDA), is peddling furiously to

we have been able to get recently is for English-language Channel 5’s

be all things digital, including an admirable effort to upskill, reskill and

MasterChef Singapore, which was watched by close to 900,000 people

future-proof the domestic workforce. In 2017, for instance, 50,000 seniors

over the eight episodes, making the series the highest-rated English-lan-

took part in the Silver Infocomm Initiative, and the government’s TechSkills

guage variety/entertainment title on Channel 5 in two years since Oc-

Accelerator received another S$145 million/US$105.6 million for another

tober 2016, when the SG-TAM ratings launched. The ﬁnale was watched

20,000 training places by 2020; the aim is to teach emerging digital skills,

by 277,000 people. The reality show also had 387,000 video views (and

like data analytics, artiﬁcial intelligence and cybersecurity.

100,000 unique viewers) on Mediacorp’s streaming platform Toggle. No

The vision is to create a “dynamic Digital Economy and a cohesive Digi-

word yet on a second season.

tal Society, driven by an exceptional infocomm and media ecosystem”.

Anecdotal evidence indicates that digi-life and the universe has not

Somewhere in there, during 2017 (the most updated ﬁgure available),

been massively kind to many in the traditional broadcast space, and

was funding for 5,477 hours of public service broadcasting programmes,

Mediacorp, monopoly or not, cannot – surely – be exempt from the

and a S$3-million/US$2.2 million three-year content development fund to

country’s enthusiastic use of VPNs to access overseas services, plethora

contentasia issue seven, december 2018

CE EN ER NF CO S•

ING

Singapore media festival 28 Nov - 9 Dec 2018 #SGMediaFest #SGMediaFest #SGDigital #SGDigital Market awards labs screenings MARKET •conferences AWARDS • LABS •

SINGAPORE MEDIA FESTIVAL

Eerie Hosted by Infocomm Media Development Authority In support of SG:D Empowering possibilities Held in SG Singapore Passion Made Possible Participating Events Asia TV Forum & Market Screen Singapore Singapore International Film Festival Asian Academy Creative Awards SMF Ignite

IN SUPPORT OF

HELD IN

countryprofilesingapore

Top 10 programmes in Singapore: July to September 2018 Channel 5

Channel U

Channel 8

Rank

Programme

Genre

Rank

Programme

Genre

Rank

Programme

Genre

National Day Parade 2018

Variety/ Special event

National Day Parade 2018

Variety/ Special event

Food Empire 2

Information/ Food

Crimewatch 2018

Information/ crime

Fifty & Fabulous

Drama

Greener Pastures

Information/ Travel

MasterChef Singapore

Variety/Cooking competition format

SPOP Sing! Prelude

Variety/Singing competition format

Taste From Home

Information/ Food

Tanglin

Drama

Say Cheese

Drama

Odd-upation

Information/ Social

Talking Point 2018

Information

29th February

Drama

Top 10 Singapore

Information/ Talk show

On The Red Dot 2018 – Chef Mission

Information/ Social

Gifted

Drama

National Day Parade 2018

Variety/ Special event

Body and Soul 6

Information/ Health

Tuesday Report – Where We Connect 5

Information

#CampusHunter

Information

Special Delivery

Information/ Travel

Tuesday Report – #myconnectionsg 2

Information

Workman Diaries

Information

Our Makan Places: Lost And Found 6

Information/ Food

I Love You Mum Challenge – A Gift For Mum Sr 2

Variety/ Reality/ Renovation

Dream Walkers

Drama

On The Red Dot 2018 – BUS-tling

Information/ Social

Home Dining

Variety/ Reality/Food

VIC

Drama

of easily available android boxes, and easy-ish access to pirate stream-

Supporting the initiative, Lee says “our national identity is something we

ing sites. The English-language Channel 5 perhaps has the hardest time

must never take for granted, so I’m always mindful of imbuing my work

in an environment flooded with legal, illegal and grey-area English-lan-

with a sense of Singaporean-ness”.

guage alternatives. Chinese Channel 8 fares better. New local music

Mediacorp says the initiative “champions the cultural cornerstones

competition series, Spop Sing!, scored more than 1.7 million viewers over

that make us uniquely Singaporean” and will tap ideas from across the

its 10-episode run from August this year, plus 816,000 views on Media-

creative ecosystem. A Tuesday 10pm home on English-language Chan-

corp’s streaming platform Toggle, according to Mediacorp.

nel 5 has been created to house the new strand, which kicks off on 27

Other than standing with its hand out for the government’s S$250 million/US$182 million a year in public service broadcast funding and lobbying for more – what’s a broadcaster like Mediacorp to do? Enter national entertainment treasures, Dick Lee and Michael Chiang.

November with the free-TV premiere of 2015 movie 7 Letters. Kirsten Tan’s Pop Aye (2017) will air on 18 December, and Ilo Ilo (2013) on 26 February 2019. 28 movies have already been identified for the slot in a partnership with the Singapore Film Commission (SFC).

In a new initiative designed to boost English-language Channel 5, Me-

The official line is that Lights Camera Singapore celebrates “content

diacorp is tugging at the country’s domestic heartstrings and “sense of

created for, by and with local talent, and cements Mediacorp’s com-

Singaporean-ness” in a new plan that could – if done right – stem viewer

mitment to spotlighting shared experiences – our people, places and

leakage and shore up defences against better-resourced regional and

parlance – via Singaporean storytelling”.

global entertainment services.

Mediacorp is onto something here. Whatever else Singapore lacks,

Both Lee and Chiang will resurrect their best-known creative works for

national sentiment isn’t in short supply; the National Day Parade on 9

English-language Channel 5 and for Toggle. The first two original produc-

August was the most-watched programme across both Channel 8 and

tions under the “Lights. Camera. Singapore” initiative announced in late

Channel 5 for the three months from July to September 2018, according

November are a 13-part TV drama based on Lee’s iconic 1991 musical,

to rankings released by the IMDA. Mediacorp says 1.85 million people

Fried Rice Paradise, and a rework of Chiang’s stage play, Mixed Signals.

watched the live broadcast.

Fried Rice Paradise is scheduled to air/stream from 2 July 2019. The TV drama is the story of a woman struggling to keep her father’s coffee shop

Pay-TV

afloat. The 13-part dramedy, Mixed Signals, about dating in the digital

There’s only one way to describe this sector: a great big sigh (and not of

age, will premiere on 1 October 2019. Chiang promises “humorous hijinks

relief). Regional analysts Media Partners Asia (MPA) forecasts a pay-TV

will be heightened for television”.

industry revenue decline of 6% in Singapore from 2018 to 2023, making

contentasia issue seven, december 2018

Channel NewsAsia

Vasantham

Suria

Rank

Programme

Genre

Rank

Programme

Genre

Rank

Programme

Genre

On The Red Dot 2018 – Top Guns

Information

Anugerah Planet Muzik 2018

Variety

Dhaesiya Dhina Anivaguppu 2018

Variety/Special event

On The Red Dot 2018 – Full House

Information

Mekah Di Hati

Drama 2

Information/ Crime

Against The Elements

Kutra Kannkaanippu 2018 (Crimewatch 2018)

Information

Music Junction

On The Red Dot 2018 – Generation Gap

Variety/Singing competition

Information

Kalaba Kadhala

Drama

Singapore After Dark

Information

Maethaavi

Information/Quiz show/youth

Race Against Time: The Thai Cave Rescue

Information

The New Silk Road 4

Information

On The Red Dot 2018 – Chef Mission

On The Red Dot 2018 – BUS-tling

Information

Kanpai! Suntory

Information

Perbarisan Hari Kebangsaan 2018

Variety/Special event

Tekan Minyak

Drama

Janji Arissa

Drama

Rayakustika 2018

Variety Information/ Crime

Oli968

Variety

Jejak Jenayah 2018 (Crimewatch 2018)

Super Samayal 4

Information/ Cooking show

Cantik Detektif 4

Information/ Beauty

Snehithane

Drama

Kek Untuk Kapten

Drama

My Dear Kudumbam Returns

Drama

Sheng Siong LIVE! 2018

Variety

Guru Paarvai 4

Drama

Information

Source of viewership ranking: SG-TAM published by the Infocomm Media Development Authority (IMDA). Viewership figures are based on first telecast only (i.e. repeated series/ episodes are excluded), across three key genres – (1) Information (2) Variety (3) Drama. Titles were ranked based on “Average Daily Ratings according to each channel’s target demography. “Average Daily Ratings” have not been made available. Data period: July-September 2018, among people 4+

the country the worst performer in Southeast Asia for the next four years.

Streaming/OTT

MPA’s numbers are not a huge surprise really. Between them, the

Much more encouraging is Singapore’s online/streaming environment,

two major pay-TV players – Singtel and StarHub – shed 53,000 tradition-

which MPA forecasts will grow 15% CAGR from 2018 to 2023. There’s no

al pay-TV subscribers in the first nine months of this year. The 11-year-

shortage of companies with their hands up for a piece of this. For now,

old Singtel TV ended Sept 2018 with 383,000 residential subscribers – a

growth is being driven by Netflix and Viu, but others will rise as the indus-

drop of 18,000 from the beginning of the year. StarHub ended Sep-

try – including players like Singtel and HBO and even Hong Kong’s TVB

tember this year with 423,000 subscribers, down 35,000 from 458,000

– shifts online.

at the end of 2017. It’s a long way down from 2015. StarHub’s high was in March 2015,

“That 15% growth could be much much higher,” says MPA executive director Vivek Couto.

when TV subscribers hit 545,000. Singtel never quite managed to over-

Singapore has the full range of global/regional streaming services

take StarHub, coming closest in December 2015 with 424,000. And it

and then some, including Netflix, Amazon Prime Video, HBO Go, Viu,

doesn’t look like Singtel ever will, or at least not in the traditional box-

Apple’s iTunes (music/movies only, no TV), India’s ALTBalaji (launched

based way being left in the dust by a focus on mobile/streaming.

in April 2017), South Asian global platform Spuul (launched in April 2012)

Both platforms have – for better or worse, but in a clear effort to make

and Yupp TV (launched in May 2015), Taiwan’s Catchplay On Demand,

sense of a new normal – made significant changes to their linear pack-

Malaysia’s dimsum and Fox+, some of which bill through domestic pro-

ages. As it added fresh new brands such as CuriosityStream, Hits Movies

viders and all of which offer direct-to-consumer interfaces. Most are not

and Gusto TV to its linear line up, StarHub dropped the entire Discovery/

customised for Singapore.

Scripps bundle this year, and changed its relationships with programme

The big excitement is freemium newcomer TVB Anywhere SG, by Chi-

rights holders such as Hong Kong’s TVB. Singtel, which added some Dis-

nese programming giant Television Broadcasts Ltd (TVB). TVB Anywhere

covery channels, also disappeared Toonami/Toonami On Demand, Mez-

SG rolled out in October 2018. The direct-to-consumer mobile streaming

zo Live, Trace Sports Stars, Showcase, !nsert, Bioskop Indonesia, along with

plan seems to be (although no one is saying it like this) part of a reworked

three Fox services, Channel [V] Taiwan, Eurosport, Eleven Sports 1 & 2, ASN,

(and we believe not as lucrative as in the past) licensing deal with StarHub.

Discovery Eve and Discovery Kids.

Made-in-Singapore services include two from dominant telco Singtel –

Whether this year’s efforts are working – or not – will become clear

aggregator app Cast and full-fledged AVOD/SVOD streaming platform

when the platforms report their full year 2018 financials. We’re not hold-

Hooq, a joint venture with Sony Pictures Television and Warner Bros. Sing-

ing our breath.

tel’s mobile video portfolio also includes legacy service, Singtel TV Go,

contentasia issue seven, december 2018

countryprofilesingapore

Streaming in Singapore Cast (Singtel)

Price from US$3.60

Catchplay On Demand

US$9.40

Fox+

from US$9.40

In high-experimentation mode, testing Singapore consumers’ taste for mobile-based services (with TV-cast capabilities), bundling and pricing. Channel packs cost about US$11. US$9.40 a month through Singtel and with a traditional pay-TV subscription.

then Media Development Authority (MDA). The list included less-thanstellar admin of the S$40 million/US$29 million Microfunding Scheme to grow the interactive and digital media sector and lapses in administering the Scheme for Co-Investment in Exportable Content. The report said grants had been given to ineligible companies, pointed out conflicts of interest in evaluating funding applications, noted a “lack of rigour and vigilance” in funding approval, and cited the MDA for “laxity” in giving advances to mentors. The co-investment scheme fell down in

HBO Go

US$14.50

Standalone through StarHub for now.

not collecting estimated revenue of just under S$10 million/US$7.3 million

Hooq

from US$6.50

Offers sachet pricing in some markets

a production company that had sold a film; and not conducting post-

Netflix

from US$8

Is considering experimenting with pricing in Asian markets like India, but no mention made of Singapore.

Spuul

US$4.99

StarHub Go

from US$7.20

Toggle Prime

US$7.16

from 46 completed projects; failing to recover S$460,000/US$335,000 from project reviews to ensure the films had met job creation and local spend criteria. As of March 2009, MDA had given out a total of S$45.57 million/ US$33.2 million for 157 projects, the report said. 10 years on, how has Singapore’s production industry fared? On the face of it, fine enough, although the common feeling is that the

Standalone options. Offers different packs, some require linear channel subscription, some don’t. Word is there’s an RFP out for new tech to drive a revamped streaming strategy Fremium. Premium packs include Club TV (Manchester United TV, Chelsea TV) for US$7.52 a month.

TVB Anywhere

US$4.36

Offers a free tier as well. Available standalone and through telcos

Viu

from US$3.55

Lowest price is with a contract through Singtel’s Cast. Also available direct-to-consumer. Focus on Korean and Asian content. Offered standalone or via telco partners. Unlimited downloads for premium subs.

Source: ContentAsia, platforms

commercial model is broken, there’s not enough money to go around, and producers are scrambling in a horrible cycle of low budgets and not enough ownership of the IP they create. Nevertheless, most of them seem to keep their doors open, with the exception perhaps of Make Productions, which closed for other reasons. Our list of production houses to watch in 2019 includes: Beach House Pictures, which specialises in factual programming, did a good job on MasterChef Singapore for Motion Content Group/Mediacorp, and now has its eye on scripted. The new scripted projects, announced in October this year, are a modern TV reboot of Singaporean super spy Cleopatra Wong, star of three cult 1970s/1980 films, and the adaptation of teen horror property, Mr Midnight, by Jim Aitchison (aka James Lee). Also expanding into new areas is activeTV Asia, this time in the direction of the Asian Academy Creative Awards, held for the first time in Singapore in December 2018. activeTV’s production credits include two seasons of automotive reality entertainment series, Celebrity Car Wars, for A+E Networks’ History and Caltex, infotainment series The Food Detectives on Mediacorp Channel 5, and stand-up comedy specials with Asian comedians Harith

a companion app to the set-top box TV package and offered only to Singtel TV subscribers, and the mobile-only StarHub Go, which can be bought independently from the set-top-box TV subscription.

Iskander, Kevin Jay and Fakkah Fuzz for Netflix. Content distribution and production company Bomanbridge Media is pushing forward with its support for original Asian production, most recently

Singtel launched Cast in July 2016, aggregating on-demand and linear

backing a series that follows adventurer Ash Dykes on his record-breaking

channels as well as regional streaming services such as Hooq and PCCW

bid to travel 4,000 miles on foot along the length of China’s Yangtze river.

Media’s Viu. Singtel had 114,000 OTT subscribers (combined Singtel TV Go and Cast) at the end of September 2018. Singapore’s dominant press group, SPH, runs a free video portal, SPH Razor, made up largely of low-cast videos and bits of streaming.

Short-form, social-media video, branded content/marketing, digital/ online video are a big deal for a burgeoning number of specialist shops, including Eye Creative, which set up in Hong Kong in 2015 and in Singapore the following year, and BDA Creative, which has migrated in recent

Despite programmers’ best efforts, Singapore – annoyingly – also has

years under Paula Mason from a branding/promo producer into a long-

a healthy and visible trade in Android boxes along with a vibrant VPN

and short-form production house. The Eye Creative Group’s most recent

market that opens up access to everything everywhere.

entertainment projects include digital content for Asia’s Next Top Model season six. Coconuts TV is also on the short video case, highlighting Asia’s

Production

weird and wondrous factual stories and distributing them online. Refinery

Singapore isn’t short of a production house or three, underpinned in days

Media is holding steady as the production house of choice for Asia’s Next Top

gone by a marvellously generous (if incomprehensible to some) govern-

Model most recent two seasons, which were backed by Subaru.

ment subsidy structure that doled out many millions to entities like Austra-

Scripted/premium outfits driving activity out of Singapore include IFA Me-

lia’s RGM Group. That regime was ushered out ignominiously in 2010 in a

dia. Production credits include Bardo, a Netflix Original series from Taiwan.

blaze of undelivered projects, unrecovered loans and scathing public

IFA Media was also behind HBO Asia’s first Mandarin original series, The

comments from Singapore’s Auditor-General.

Teenage Psychic, a co-production with Taiwan’s Public Television Service

This year marks the 10th anniversary of that 2008/9 low point when, in

(PTS). HBO Asia kept Infinite Studios in the headlines in 2018 with eight-part

a shocking report, the Auditor-General listed embarrassing lapses by the

period drama Grisse, created by Infinite Studios’ boss Mike Wiluan. At the

contentasia issue seven, december 2018

Zander Ng, winner of MasterChef Singapore season one (above) and One Animation’s Oddbods (left)

top of the pyramid is mm2 Entertainment, part

mean the country’s strengths can’t be leveraged as a magnet for censorship-friendly kids

of the Singapore listed mm2 Asia group that also

animation creators from around the region, with

owns Singapore’s iconic Cathay Cineplex chain.

production outsourced to less-costly neighbouring

Headquartered in Singapore with a presence in

centres. Part of the opportunity is rising demand for

Malaysia, Hong Kong, Taiwan and China, mm2 Enter-

animated/kids content from streaming players looking

tainment produces ﬁlms and TV/online content, including

ahead to the time when Disney and WarnerMedia turn off

the Mandarin-language version of singing talent show The Voice for Singapore and Malaysia. mm2 has co-produced and/or distributed

their supply. Netﬂix is the most signiﬁcant force in this space right now, with

more than 100 ﬁlms across Asia since 2008.

new global features such as Over the Moon from China’s Pearl Studio and

TV production stalwarts include indies such as The Moving Visuals Co, which makes shows such as the seven-part Business As Usual (“Can money buy everything? Quirky and usual trades around the world... from leftover

Guillermo Del Toro’s stop motion musical Pinocchio. Will this have any kind of knock-on positive impact eventually for Singapore? No harm hoping.

food, friends and animal poo”) for Mediacorp’s Channel U and Toggle. Oak3 Films is another domestic favourite.

Telcos

And then there’s animation, a nascent sector led by One Animation, a

Big excitement coming in 2019, with the launch of Singapore’s fourth

CG-animation studio best known for its Emmy-nominated dialogue-free

telco. Yes, it has been pointed out that there are only six million people

comedy series Oddbods. Oddbods has 2.9 million YouTube subscribers

in the whole country... TPG Telecom joins M1 (204,000 ﬁxed ﬁbre custom-

(Nov 2018) and video views in the hundreds of millions. Last year’s Baby

ers and 1.95 million mobile subscribers), Singtel (624,000 ﬁxed broadband

Bubbles is in Trouble, for instance, has almost 60 million views. The most

subs, of which 616,000 are ﬁbre broadband and 4.13 million mobile subs),

recent video, Trespassing, had 577,000 views in its ﬁrst 10 days online.

and StarHub (473,000 residential broadband and 2.2 million mobile subs)

Broadcast partners include Disney Channel, Cartoon Network and Nick-

and Australia’s TPG Telecom, which won a telco licence in December

elodeon as well as streaming platform Netﬂix and Amazon Prime Video.

2016 with a bid of S$105 million/US$73 million. The original plan was to

Going forward, predictions are that Singapore could potentially be a

launch 4G mobile trials by the end of this year. No word on that so far

hub for animation development, marketing and distribution. Animation

other than that there’s a four- to six-month delay. The rest of the telco

production? Maybe not, mostly because of the cost. But that doesn’t

industry, apparently, heaved a sigh. For now, that’s a sigh of relief.

contentasia issue seven, december 2018

distributionchannels

Chart toppers Philippines Got Talent

Fremantle was Asia’s top formats distributor this year, closing October with 60 formats either on air in 2018 or commissioned for 2019, and maybe a couple more before the year is out. Just under 70% of the titles are pure licensing deals, with local shops and/or broadcasters taking the production lead. Fremantle’s Ganesh Rajaram and Haryaty Rahman talk about the great leap forward. Fremantle’s Asia formats business has overtaken ﬁerce rival Endemol Shine in the region, surging into ﬁrst place for the

19th/20th season of Family Feud Indonesia, season one of Kids Got Talent in China and Distraction Bengali in India.

ﬁrst time during the ﬁrst half of this year, and maintain-

Fremantle’s Asia GM/sales EVP, Ganesh Rajaram, is very clear

ing the position for the 10 months to end October (see

about the reasons for the great leap forward: Fremantle’s re-

page 102 for ContentAsia Formats Outlook full Leader-

structure about two years ago that shuttered regional produc-

board). Fremantle moves into the end of 2018 with 60

tion activities, a refocus on pure licensing and an attitude is

formats either on air or commissioned for next year,

that no market is too small to warrant a smile and a visit.

and with rumours of one more big licensing deal be-

“These markets are pretty sophisticated in terms of econ-

fore the lights go out on 2018. Just under 70% of the

omies of scale. They have production companies that have

titles – 41 out of 60 – are from pure licensing markets,

been producing for broadcasters and platforms for years,

including Thailand, Vietnam, Mongolia, Cambodia

they have leverage, they can easily produce the shows them-

and Myanmar. The other 19 are from Indonesia, India

selves,” Rajaram says.

and China, where Fremantle maintains pro-

And they have, even in developing markets once consid-

duction units reporting to Australia.

ered not lucrative enough. On a trip to Myanmar for

The titles that propelled the U.K.

the Myanmar Idol ﬁnale, hotel staff recognised

indie to top spot in Asia include everything

from

ﬁrst

seasons

Rajaram from the live studio audience the night before. “Myanmar came to a standstill to

such as Boxing Glove Vietnam

watch Idol,” he says. In Cambodia, Prime

to long-running returns, such

Minister Hun Sen supported Hang Meas’

as The Price is Right, also in

Cambodian Idol on social media and the

Vietnam. Formats from production centres include the

84 Haryaty Rahman, SVP, Asia Distributio, Fremantle

crowd went wild. “All we needed to do was license to

contentasia issue seven, december 2018

Hole in the Wall Vietnam

the right partners,” says Haryaty Rahman, Asia distribution SVP. Rajaram

pore and Fremantle teams around the world.

adds: “Three or four years down the road, we are seeing multiple success-

So far, format demand has been for non-scripted, with a smattering of

ful seasons. And that’s really redefined the format business for Asia. We

requests for scripted, Rahman says. The appetite for classics like Family

were successfully before, but we weren’t prolific.”

Feud is constant, and there’s an increase in demand for medium-sized

Rahman sold the first format into Mongolia, then a remote market with big ambitions but little experience. With Got Talent, Mongol TV took advantage of every format spec. Season three upped the ante, leap-

easy-to-produce non-prime-time formats, like The Noise. Not every part of Asia’s map is equally lit up. Rajaram is realistic about opportunities in places like Korea, where Ko-

frogging Asia and taking its cue from the more costly Britain’s Got

rea’s Got Talent was once one of Fremantle’s biggest

Talent. “They’re coming back year after year... They’re willing to in-

shows. That ended with K-pop/drama, and for now

vest in what goes on screen,” Rahman says, adding that strong re-

there are low to no expectations of a revival.

lationships in the finished tape business also support format sales.

Streaming platforms, on the other hand, are cause

The second reason behind Fremantle’s performance is – un-

for optimism, particularly with Viu acquiring scripted

surprisingly – the strength of the IP. “It helps that we have Got

rights for Endemol Shine’s The Bridge, and aligning

Talent, Idol, X Factor and even smaller shows like Family Feud and The Price is Right,” both Rajaram and Rahman say. “These

with Media Prima and HBO Asia. Will streamers have a long-term impact?

are tried and tested, trusted brands”. And they’re working. Hang

“I hope so,” Rajaram says. “We would love to see more

Meas in Cambodia is building a bigger studio, installing new tech.

collaboration, where streaming platforms work with

“Their ambition is remarkable,” Rajaram says. So is their growing confidence, which benefits the entire industry. The third reason behind Fremantle’s win-

free-to-air stations and pan-regionals. It’s ideal, but you have to be less precious about where it’s shown first... The whole

ning run is its use of tech innovation and

notion of collaboration, how

social media. “It’s no accident that The Sa-

you fund programmes, all

cred Riana became the number one clip

of that needs to change.”

of all time on Facebook,” Rajaram says,

It will, he says, adding: “The

highlighting Fremantle’s early engage-

market will dictate that.”

ment with YouTube and drawing a digital line that stretches between Singa-

85 Ganesh Rajaram, General Manager, EVP Sales, Asia, Fremantle

formats2018

Telling you whatâ&#x20AC;&#x2122;s going on with content in Asia and what it all means. On the ground in Asia. All day. Every day.

C 86

NTENT

www.contentasia.tv

contentasia

contentasia issue seven, december 2018

The Face Thailand All Stars

Formats Outlook 2018 2018 looks like it will end with Asia’s formats biz up on last year. Thailand and Korea are the big winners for format rights holders, followed by India. Volume is way down in Vietnam compared to last year, but the market remains the region’s biggest buyer of formats by far. Asia’s formats business heads into the ﬁnal months of the year looking

Jan-Sept 2017

Jan-Oct 2018

Regional

-2

Cambodia

-7

China

-8

Hong Kong

tertainment, and Korea, which has acquired a slate of drama formats

India

such as Love Affairs in the Afternoon (Fuji TV, Japan) and Doctor Foster

Indonesia

(BBC Studios). Thai versions of regional and international formats include

Japan

Shark Tank Thailand (Sony Pictures Television) and Noisy Neighbours (TV

Korea

better than it did this time last year. With additional announcements expected during the ATF market in Singapore in December, the year could close above 300 titles/series either on air or commissioned for 2019. 2018 gains are led by Thailand, which is rocking game shows and en-

Asahi, Japan).

Malaysia

Mongolia

-1

Myanmar

Philippines

-7

land. Japan is shifting the scripted needle. Nippon TV continues to cap-

Singapore

ture Turkish drama attention and, in October, Fuji TV said it had sold re-

Sri Lanka

make rights to almost 40 of its drama series to Chinese media companies.

Taiwan

-1

Of the 17 markets tracked in ContentAsia’s Formats Outlook, 10 were up

Thailand

+13

by end October and seven were down. Vietnam dipped the most, followed

Vietnam

-13

292

300

The biggest trends are the rise of scripted/drama formats acquisitions and the rising conﬁdence of local creators who see a chance to spread their IP around the world. These include Hunan TV’s The Rocking Bridge and Zense Entertainment’s Singer Auction and The Producer out of Thai-

by China (no surprise, given ongoing regulation that disadvantages foreign rights holders) and the Philippines, which is, nevertheless, still involved in big budget productions such as Big Brother and Little Big Shots. contentasia issue seven, december 2018

Source: ContentAsia Formats Outlook Jan-Oct 2018

formats2018

Formats by genre, Jan-Oct 2018

Formats by country, Jan-Oct 2018

Genre Oct 2018

Variety - Health/beauty 1% Sports 1.3%

Comedy improv 1.3% Dance contest 1.3%

Regional 1% Cambodia 5.3%

Talent Show 6.7%

Vietnam 18.3%

Drama 16.7%

China 10%

Hong Kong 0.7%

Singing contest 16.3% Entertainment 4.7%

India 10.7%

Factual 1.3% Feature Film 0.3%

Thailand 19.3% Indonesia 7.3% Reality 19.7%

Japan 3.3%

Game Show 28.3%

Sri Lanka 0.7% Singapore 1.3%

Health talk show 1%

Thailand 2017 Thailand 2017

Philippines 4.7% Myanmar Mongolia 4.3% 5% Myanmar 4.3%

Thailand 2018 Thailand 2018

Drama Docu-drama 2.2% 2.2%

Comedy improv 1.7%

Sports 1.7%

Korea 5.3% Malaysia 2.7%

Dance contest 3.4% Drama 1.7%

Talent Show 5.2%

Talent show 6.7% Entertainment 11.1%

Entertainment 8.6%

Singing contest 13.8% Reality - Modelling 3.4%

Singing contest 26.7%

Reality - Makeover 1.7% Reality - Food 8.6%

Game show 33.3%

Reality - Fashion/Design 1.7%

Reality - Modelling 4.4%

Game Show 32.8%

Reality Dating/Marriage 8.6%

Reality - Food 4.4% Reality - Dating/Marriage Health talk show 6.7% 2.2%

Reality - Character led 3.4%

Vietnam 2017 Vietnam 2017 Weight-loss/dance contest 2.9%

Talent show 8.8%

Comedy improv 2.9%

Reality - Biz 1.7%

Health talk show 1.7%

Vietnam 2018 Vietnam 2018 Dance contest 1.5%

Drama 5.9%

Sports 1.8%

Entertainment 4.4% Factual 1.5%

Variety - Health/beauty 1.8% Talent Show 3.6%

Comedy improv 3.6%

Dance contest 1.8%

Drama 5.5%

Entertainment 1.8% Factual 1.8%

Feature Film 1.8%

Reality - Social Experiment 1.8% Reality - Modelling 1.8%

Singing contest 19.1%

Reality - Food 5.5%

Reality - Social experiment 1.5% Reality - Modelling 2.9% Reality - Food 2.9% Reality - Biz 2.9%

Game show 42.6%

Reality Dating/Marriage 7.3%

Game Show 40.0%

Reality - Character led 1.8% Reality - Biz 3.6%

contentasia issue seven, december 2018

Source: ContentAsia Formats Outlook Jan-Oct 2018

Singing contest 14.5%

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contentasia issue seven, december 2018

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contentasia issue seven, december 2018

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contentasia issue seven, december 2018

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Lifetime KBS

Reality – Food Drama

Mistress Korea Mother Korea

BBC Studios Nippon TV

Korea Korea

OCN tvN

Drama Drama

Rich Man, Poor Woman Korea Suits Korea

Fuji TV

Korea

Dramax

Drama

Con-artists resort to any and all means to steal from unscrupulous industry bosses A family of four or more must start dinner together at 7pm sharp for 30 consecutive days to win a big cash prize A mystery-drama series that leads the protagonist down a dark path A compelling drama that explores the hidden desires of 'ordinary' modern housewives A detective investigates his girlfriend’s suicide, which turns out to be a murder Retro investigation drama A brilliant but emotionally impulsive detective is tormented by the dark side of humanity Young cooks challenge famous chefs A romcom about a divorced couple who fall in love all over again A story about 4 women in their 30s An unpredictable story of motherand-daughter bonding A modern day Cinderella story

NBCUniversal

Korea

KBS TV2

Drama

Legal drama

The Doctors Malaysia

CBS Studios Int’l

Malaysia

Astro

Talk show

Get It Beauty Malaysia

CJ ENM

Malaysia

TBC

Heartbeat Malaysia

Fox Networks Group

Malaysia

RTM

Variety – Health/beauty Drama

Health & wellness specialists offer advice Beauty talk and tutorials

I Can See Your Voice Malaysia S2 (Chinese) I Can See Your Voice Malaysia S2 (Malay) My Coffee Prince Malaysia Sanay Wala Na Wakas Malaysia Syurga Yang Ke 2 Malaysia

CJ ENM

Malaysia

8TV

Singing contest

CJ ENM

Malaysia

NTV7

MBC

Malaysia

Astro

Drama

ABS-CBN

Malaysia

Astro Prima

Drama

Emtek

Malaysia

Astro

Drama

TV Asahi

Mongolia

TV9

Sports

all3media

Mongolia

Game show

Mongolia

EDU TV ( Mongolia) Produced By Hulegu Pictures Mongol TV

Mongolia

Mongol TV

Entertainment

Mongolia Mongolia

TV2 Mongol TV

Game show Factual

FremantleMedia/Syco Mongolia CBS Studios Int’l Mongolia

Mongol TV EduTV

Sony Pictures Television Mongolia Nippon TV Mongolia

Mongol TV VOL+, Mongol TV, VOD service ORI

Talent Reality – Modelling Reality – Biz Game show

Beat The Champions Mongolia Cash At Your Door Mongolia

Come Dine With Me ITV Studios Global Mongolia S2 Entertainment Dress To Impress Mongolia ITV Studios Global Entertainment Family Feud Mongolia FremantleMedia Int’l Gogglebox Mongolia S5 all3media Mongolia's Got Talent S3 Mongolia's Next Top Model S2 Shark Tank Mongolia S2 Silent Library Mongolia

Entertainment

Synopsis A veteran detective communicates with a criminal profiler through time and space A college dropout gets a job in a law firm without attending law school Bosses go undercover in their own businesses

A rich man meets the young girl who received his dead fiancé’s heart Pros and celebs guess who has real vocal talent based on a few clues

Romcom about a girl who pretends to be a boy at an all-male cafe Poor girl, rich heir, stranded on an island. Can their love survive? Sabrina’s family is thrown into turmoil when she wakes from a coma Celebrities challenge world-class athletes at their own sports A family quiz where the host goes door to door and the show happens right in the living room Strangers get together to compete for cash prizes as best hosts Three competitors try to win the heart of a fashion conscious singleton Contestants guess answers to a quiz Highlights of the week’s TV intercut with footage of people watching at home Talent show open to anyone & everyone Beatiful women compete for stardom Would-be entrepreneurs compete Contestants have to keep quiet no matter what 95

formats2018

Titles Star Academy Mongolia S1 Still Standing Mongolia The Voice Mongolia S1 The Voice Mongolia S2 Your Face Sounds Familiar Mongolia S3

Rights holder Endemol Shine Group NBCUniversal/Armoza Talpa Talpa Endemol Shine Group

Country Mongolia Mongolia Mongolia Mongolia Mongolia

Broadcaster/channel EduTV TV9 Mongol TV Mongol TV EduTV

Genre Talent Game show Singing contest Singing contest Singing contest

Synopsis Young artists’ quest for stardom 10 opponents vie for $1m prize Hunt for unsigned singing talent

Family Feud Myanmar S5 Family Feud Myanmar S6 Family Feud Myanmar S7 It Girls Myanmar

FremantleMedia FremantleMedia FremantleMedia Dori Media Group

Myanmar Myanmar Myanmar Myanmar

MRTV4/Channel 7 MRTV4/Channel 7 MRTV4/Channel 7 TBC

Game show

Contestants have to guess the top answers to a quiz based on surveys “It Girls” join forces to build a fashion site

MasterChef Myanmar S1 The Money Drop Myanmar S1 The Money Drop Myanmar S2 The Money Drop Myanmar S3 Myanmar Idol S3

Endemol Shine Group Endemol Shine Group

Myanmar Myanmar

MRTV 4 & Pyone Play Channel 7

Reality Character led Reality – Food Game show

Endemol Shine Group

Myanmar

Channel 7

Endemol Shine Group

Myanmar

Channel 7

FremantleMedia

Myanmar

Singing contest

Hunt for unsigned solo recording artist

Myanmar's Got Talent S5 The Voice Myanmar S1 The Voice Myanmar S2 X Factor Myanmar S3

FremantleMedia/Syco Talpa Talpa FremantleMedia/Syco

Myanmar Myanmar Myanmar Myanmar

Myanmar National TV and Channel 9 MRTV-4, CH 7 MRTV4 MRTV4 MRTV-4/Channel 7

Talent Singing contest Singing contest Singing contest

Open-to-all contest for top talent Hunt for unsigned singing talent

Big Brother Philippines S8

Endemol Shine Group

Philippines

Boom! Philippines

Keshet International

I Can Do That! Philippines S2 I Can See Your Voice Philippines S3 I Can See Your Voice Philippines S4 La Banda Philippines S2 Lip Sync Battle Philippines S3 Little Big Shots Philippines S2 Minute To Win It Philippines S4

Celebrity contestants imitate musical icons

Hunt for a top amateur chef A pair of contestants are given their cash prize at the start of the show. All they have to do it keep hold of it

Search for a singing sensation

Reality – Social Experiment

Philippines

ABS-CBN Ch2, Jeepney TV, 30 provincial stations & TFC GMA7

Armoza Formats

Philippines

Lifestyle Network

Game show

CJ ENM

Philippines

ABS-CBN

Singing contest

CJ ENM

Philippines

ABS-CBN

FremantleMedia Viacom International Media Networks Warner Bros Int’l Television Production Endemol Shine Group

Philippines Philippines

ABS-CBN Channel 2 GMA Network

Talent Talent

Philippines

ABS-CBN Channel 2

Entertainment

Philippines

Game show

Philippines Got Talent S6 Philippines Got Talent S7 The Voice Kids Philippines S4 World of Dance Philippines Your Face Sounds Familiar Kids Philippines S2

FremantleMedia FremantleMedia Talpa NBCUniversal

Philippines Philippines Philippines Philippines

ABS-CBN Ch2, Jeepney TV, 30 provincial stations & TFC ABS-CBN Channel 2 ABS-CBN Channel 2 ABS-CBN Channel 2 ABS-CBN

Endemol Shine Group

Philippines

ABS-CBN Ch2, Yey, Jeepney TV, 30 provincial stations & TFC

Singing contest

Asia's Got Talent S3 Asia's Next Top Model S6 The Bridge

FremantleMedia/Syco Regional CBS Studios Int’l Regional Endemol Shine Group Regional

AXN FOX Life HBO Asia, Viu, NTV7 Malaysia

Talent Talent show open to everyone Reality – Models Would-be models compete Drama Crime thriller exploring the tensions between neighbouring countries

Get It Beauty Singapore

CJ ENM

Singapore

Beauty talk and tutorials

Hit It Singapore MasterChef Singapore S1 Stupid Man, Smart Phone Singapore

all3media Endemol Shine Group BBC Studios

Singapore Singapore Singapore

Mediacorp Suria Mediacorp Ch5 Mediacorp Ch5

Variety – Health/beauty Game show Reality – Food Factual

Sri Lanka's Got Talent S1 Who Wants to be a Millionaire Sri Lanka

FremantleMedia/Syco Sri Lanka Sony Pictures Television Sri Lanka

Maharaja TV MTV Sports

Talent Game show

Talent show open to everyone Contestants answer multiple-choice questions to win up to $1 million cash.

Game show

Talent Talent Singing contest Dance contest

A group of strangers live together in a house with cameras and microphones recording their every move BOOM! fuses drama, thrill and intensity into one explosive trivia challenge Celebrities are challenged to perform breath-taking live acts Pros and celebs guess who has real vocal talent based on a few clues

Hunt for a superstar 5-piece boyband Celebrities go head to head lipsyncing Family programming featuring extraordinary engaging kids Complete a challenge in 60 seconds

Talent show open to everyone Talent show open to everyone Kids version of The Voice A range of dance acts compete for the grand prize 8 celebs from previous series come together to mentor talented kids

Sports-inspired game show Hunt for the top amateur chef A comedian attempts outdoor adventures using only his smartphone to survive

contentasia issue seven, december 2018

Titles 31 Legged Race Thailand S13 5 Gold Rings Thailand Armchair Detectives Thailand S1 Catch Me Out Thailand

Rights holder TV Asahi

Country Thailand

Broadcaster/channel Genre Channel 9 MCOT Sports

Talpa Endemol Shine Group

Thailand Thailand

Channel 7 Workpoint TV

Game show Game show

all3media

Thailand

TBC

Entertainment

Crazy Market Thailand S1

CJ ENM

Thailand

TRUE4U

Game show

Dance Dance Dance Thailand Divided Thailand

Talpa

Thailand

LINE TV

Dance contest

Talpa

Thailand

Channel 3

CBS Studios Int’l

Thailand

PPTV

General knowledge game show Talk show Reality – Fashion/design Talk show

Endemol Shine Group

Thailand

Channel 3

Reality

Endemol Shine Group

Thailand

Kantana

Reality

FremantleMedia Int’l FremantleMedia Int’l CJ ENM

Thailand Thailand Thailand

Channel One Channel One CH7

Game show Game show Game show

CJ ENM

Thailand

TRUE4U

Reality

NBCUniversal

Thailand

Channel 3

Game show

NBCUniversal

Thailand

Channel 3

Talpa

Thailand

PPTV

CJ ENM

Thailand

Workpoint TV

CJ ENM

Thailand

Workpoint TV

CJ ENM

Thailand

Workpoint TV

MasterChef Junior Thailand S2 MasterChef Thailand S2 The Money Drop Thailand S3 My Mom Cooks Better Than Yours Thailand S1 My Wife Rules Thailand Noisy Neighbours Thailand

Endemol Shine Group

Thailand

BBTV Channel 7

Endemol Shine Group Endemol Shine Group

Thailand Thailand

BBTV CH 7 BBTV Ch 7

FremantleMedia

Thailand

Workpoint TV

Global Agency TV Asahi

Thailand Thailand

Channel 7 TBC

Oh My Ghost Thailand

CJ ENM

Thailand

TRUE4U

Perfect On Paper Thailand S1 Price Is Right Thailand S4 Price Is Right Thailand S5 Pull Over Thailand

Endemol Shine Group

Thailand

Workpoint TV

FremantleMedia FremantleMedia Armoza Formats/ Createit Studio NBCUniversal Int’l

Thailand Thailand Thailand

True4U Channel True4U Channel Channel 3

Thailand

PPTV

KBS

Thailand

Channel 7

The Dr. Oz's Show Thailand Sony Pictures Television Thailand Drag Race Thailand Passion Distribution Thailand

True TV LINE TV

Entertainment Tonight Thailand S1 The Face All Stars Thailand S1 The Face Men Thailand S2 Family Feud Thailand S3 Family Feud Thailand S4 Golden Tambourine Thailand S1 Grandpas Over Flowers Thailand S1 Hollywood Game Night Thailand S3 Hollywood Game Night Thailand S4 Human Knowledge Thailand I Can See Your Voice Thailand S2 I Can See Your Voice Thailand S3 Let Me In Thailand S4

Real Housewives of Bangkok The Return of Superman Thailand Shark Tank Thailand S1 Show Me The Money Thailand S1 Show Me Your Son Thailand S1 Silent Library Thailand

Synopsis 30 elementary school kids run with their legs tied together. The fastest team wins Players answer questions over 5 levels Armchair detectives solve a whodunnit Regular people have to convince the audience they are professional entertainer Contestants identify food using 5 senses Celebs reenact famous dance acts using augmented reality tech 3 strangers work together to build up a collective amount of cash. At the end they split the pot into 3 unequal parts Long running health series Drag queens compete An inside look at TV, film and music, with celebrity interviews Supermodels lead a team of aspiring young models Supermodels choose new faces to create teams of potential models Contestants guess survey answers Celeb teams compete with gusto Four famous elderly actors travel overseas Two contestants take part in a casual game night with celebrities and win cash prizes

Entertainment

Studio entertainment show about estimating human behavior Singing contest A studio-based music entertainment show where a professional singer and panel of celebrity entertainers guess who has real vocal talent and who doesn’t Reality – An extreme life makeover show with Makeover contestants who face discrimination because of their appearance Reality – Food An inspirational programme with children aged 9 to 12 years old Reality – Food Hunt for the nation’s best amateur cook Game Show Contestants have to hold onto piles of cash Reality – Food Kids cook and parents instruct from the sidelines Reality – Food Wives give instructions. Husbands cook Entertainment Neighbours guess what noises the other family is making Drama A timid girl is possessed by a lustful ghost Reality – Dating Science is deployed in a dating experiment Game Show Contestants guess prices Game Show Contestants guess prices Game Show Lucky car owners get the chance to win cars Drama Personal and professional lives of rich women living in Bangkok Reality Workaholic dads stay home to look after their kids Reality – Biz Contestants pitch investors Talent A rap battle reality contest show judged by industry professionals

Sony Pictures Television Thailand CJ ENM Thailand

Not announced TRUE4U

Endemol Shine Group

Thailand

Workpoint TV

Reality - Dating

Nippon TV

Thailand

LINE TV

Game show, studio based

Mothers and sons compete to win the heart of one bachelorette Contestants have to remain silent no matter what 97

formats2018

Titles Singer Takes It All Thailand S3 Still Standing Thailand S5 Still Standing Thailand S6 Take Guy Out Thailand S3

Rights holder Endemol Shine Group

Country Thailand

Broadcaster/channel Genre BBTV CH 7 Singing contest

NBCUniversal/Armoza NBCUniversal/Armoza FremantleMedia

Thailand Thailand Thailand

Channel 7 Channel 7 LINE TV

Game show Game show Reality – Dating A man and his quest for the perfect date

Take Me Out Thailand S13

FremantleMedia

Thailand

Channel 3

Thailand's Got Talent S7 Thank God You're Here! Thailand S1 The Best of All Thailand S1

FremantleMedia/Syco Thailand FremantleMedia Thailand

Workpoint TV One HD

Dori Media Group/ Abot Hamaeiri Dori Media Group/ Abot Hamaeiri Talpa

Thailand

TV3

Thailand

TV3

Reality – Dating A single man dates 1 of 30 single women Talent Talent show open to everyone Comedy Celebrities have to ad-lib their way improv through unknown situations Game show Will a crowd answer a question correctly more often than an individual? Game show

Thailand

Channel 7

Talent

Talpa Talpa Talpa NBCUniversal Endemol Shine Group NBCUniversal FremantleMedia/Syco CJ ENM

Thailand Thailand Thailand Thailand Thailand Thailand Thailand Thailand

Thai TV3 PPTV HD 36 Thai TV3 TBC One 31 HD GMM One HD Workpoint TV TRUE4U

Your Face Sounds Familiar Kids Thailand S1

Endemol Shine Group

Thailand

BBTV Channel 7

5 Gold Rings Vietnam The Arbitrator Movie Vietnam The Bachelor Vietnam

Talpa Armoza Formats

Vietnam Vietnam

VTV3 TBC

Warner Bros Int’l TV Production Endemol Shine Group

Vietnam

HTV7

Vietnam

Vinh Long TV, THVL 1

Endemol Shine Group

Vietnam

HTV

Red Arrow Studios Int’l FremantleMedia Sony Pictures Television Endemol Shine Group

Vietnam Vietnam Vietnam Vietnam

TBC VTV VTV6 & VTV3 VTV3

Endemol Shine Group CJ ENM KBS/Descendants of the Sun SPC Talpa

Vietnam Vietnam Vietnam

VTV VTV3 Danet (OTT first)

Vietnam

TN&K

Endemol Shine Group CJ ENM 20th Century Fox Television FremantleMedia/Fuji TV NBCUniversal

Vietnam Vietnam Vietnam Vietnam

TBC TBC Danet, ZING TV, FPT PLAY HTV7

Vietnam

VTV 3

It Takes 2 Vietnam S2

Talpa

Vietnam

VTV3

It Takes 2 Vietnam S3

Talpa

Vietnam

VTV3

Love at First Song Vietnam

CJ ENM

Vietnam

VTV3

Lovers or Liars Vietnam Man O Man Vietnam S1 Man O Man Vietnam S2

Keshet International FremantleMedia FremantleMedia

Vietnam Vietnam Vietnam

HTV7 TBC TBC

The Best of All Thailand S2 The Next Boy/Girl Band Thailand The Voice Kids Thailand S6 The Voice Senior Thailand The Voice Thailand S7 Top Chef Thailand S2 The Wall Thailand S1 World of Dance Thailand X Factor Thailand S2 You Are My Fantasy

The Band Rules Vietnam S2 The Big Music Quiz Vietnam S1 Body & Brain Vietnam Boxing Glove Vietnam S1 Brainiest Vietnam Celebrity MasterChef Vietnam S1 The Choice Vietnam S1 Crazy Market Vietnam Descendants of the Sun Vietnam Divided Vietnam

The Face Vietnam S3 Get It Beauty Vietnam Glee Vietnam Hole In The Wall Vietnam S2 Hollywood Game Night Vietnam

Synopsis A live singing contest with real time viewer participation 10 opponents vie for $1-million prize

Two top record labels will take each other on to create the next boy/girl band Singing contest Kids version of The Voice Singing contest Seniors get the chance to shine Singing contest A hunt for unsigned singing talent Reality - Food Chefs compete Game show Game show with huge cash prizes Dance contest Performers compete for a grand prize Singing contest Hunt for the next singing sensation Reality - Dating/ 50 nominees compete for their Marriage; Music chance to win a date with a celebrith Singing contest Personalities are transformed into legendary singers Game show Feature Film

Tech and skill align in a pic-based quiz A social worker discovers he is the lost son of the underworld’s most powerful man Reality - Dating A man seeks the woman of his dreams Talent The search for a lead singer for a professional big band Game show Celebs compete in a test of musical knowledge Game show Two strangers go after a cash prize Sports Knockout comedy format Game/quiz show Hunt for the brainiest contestant Reality – Food Hunt for the best amateur celebrity cook Reality Eligible celebrities look for true love Game Show Contestants identify food using 5 senses Drama Romantic tale of love and comradeship among young soldiers and doctors Game Show 3 strangers work together to build a collective amount of cash. At the end they have to split the winnings into three unequal parts Reality Young models compete Variety – Beauty Beauty specialists talk make up Drama Musical comedy about a group of ambitious and talented young adults Game Show Players contort themselves tthrough cutouts on a styrofoam wall Game Show Two contestants take part in a casual game night with celebs and cash prizes Singing Celebrities, who are famous for anycontest thing except singing, are coached by professional singers to form the Singing ultimate duo contest Reality – Dating; A hybrid music dating show that Music matches people looking for their soulmates through musical taste Game Show Can you recognise true love when? Game show A male beauty show with humour, entertainment and audience enGame show gagement

contentasia issue seven, december 2018

Where Global Content Meets China A unique event that brings together international and Chinese companies to develop new content business.

Interested in our events?

mip-china.com

Driving the content economy

5-7 June 2019 Hangzhou - China

formats2018

Manbirth Vietnam

Keshet International

Vietnam

VTV

Master Class Vietnam

Keshet International

Vietnam

HTV 3, Vietnam

Masters of Dance Vietnam Meet The Parents Vietnam

Keshet International

Vietnam

HTV3

ITV Studios Global Entertainment

Vietnam

HTV

Million Dollar Minute Vietnam S3 Million Dollar Minute Vietnam S4 My Love From The Star Vietnam My Mum Cooks Better Than Yours Vietnam S4 The Next Boy/Girl Band Vietnam Noisy Neighbours Vietnam S4 Odd One In Vietnam S5

Endemol Shine Group/ Vietnam Seven Network Endemol Shine Group Vietnam

VTV3

SBS

Vietnam

Danet (OTT first)

FremantleMedia

Vietnam

VTV3

Talpa

Vietnam

VTV3

TV Asahi

Vietnam

HTV7

Endemol Shine Group

Vietnam

HTV7, DRT, HN1

Price Is Right Vietnam S13

FremantleMedia

Vietnam

VTV3

Raid the Cage Vietnam S2 Sony Pictures Television Vietnam

HTV7

Selfie Challenge Vietnam

Dori Media Group

Vietnam

SCTV

Sexy Beasts Vietnam

all3media

Vietnam

TBC

Shark Tank Vietnam S1 Shark Tank Vietnam S2

Sony Pictures Television Vietnam Sony Pictures Television Vietnam

VTV1, VTV3 & InfoTV VTV1, VTV3 & InfoTV

Singer Takes It All Vietnam S1

Endemol Shine Group

Vietnam

VTV3

Singing Battle Vietnam

KBS

Vietnam

Vinh Long TV

Still Standing Vietnam S2

NBCUniversal

Vietnam

Thank God You're Here! Vietnam S3 Thank God You're Here! Vietnam S4 Top Chef Vietnam S2 Turn Back Vietnam S3

FremantleMedia/ Working Dog FremantleMedia/ Working Dog NBCUniversal TV Asahi

Vietnam

VTV3

Vietnam

VTV3

Vietnam Vietnam

HTV7 HTV7

Reality – Food Entertainment

Vietnam Vietnam Vietnam

VTV3 VTV3 HTV3-DreamsTV

Singing contest Singing contest Factual

Sony Pictures Television Vietnam

VTV3

Game show

Red Arrow Studios Int’l Vietnam Red Arrow Studios Int’l Vietnam Endemol Shine Group Vietnam

VTV VTV VTV3

Game show

The Voice Kids Vietnam S6 Talpa The Voice Vietnam S5 Talpa The Wishing Tree Vietnam Talpa

Who Wants to be a Millionaire Vietnam S9 You Deserve It Vietnam S5 You Deserve It Vietnam S6 Your Face Sounds Familiar Vietnam S6

VTV6 & VTV9

Reality – Social Experiment Talent

Dads discover what to expect when expecting Kids talent show with classic songs, only positive reviews and no eliminations Dance contest Every move they make could be their last Reality – Dating One singleton looking for love tries to find a ideal partner by quizzing their potential suitor’s mum and dad Game show Three contestants go head-to-head over four rounds in a general knowledge battle. Each night, $10,000 of safe money is up for grabs Drama An alien stranded on earth falls in love with a human Reality – Food A culinary game show that combines cooking, contest & family dynamics Talent Two top record labels will take each other on to create the next boy/girl band Entertainment Neighbours guess what noises the other family is making Game show Family guessing game with two celebrity teams trying to spot the person with the unique skill or secret in a series of outlandish line-ups Game show Contestants compete to win cash and prizes by guessing the pricing of merchandise Game show Knowledge and agility are the key to winning a cavernous cage full of prizes Game show Two groups of three friends compete for selfie prowess Reality - Dating Hollywood style prosthetics are used to transform people before they go on a first date, taking real looks out of the equation Reality - Biz Aspiring entrepreneur-contestants make business presentations to a panel of "shark" investors, who then choose whether or not to invest Singing contest Live singing contest with viewers taking control via a real-time app featuring hundreds of auditions on phones and tablets Singing contest Duet survival show with celebs and musical producers Game show Prime-time game show offering contestants $1 million by out-guessing 10 opponents in fast-paced trivia battles Comedy Celebrities’ improvisational skills are improv tested in unknown situations

Singing contest

Chefs compete in culinary challenges Guests with their backs turned play true or false to guess if there is a real performance going on behind them or not Kids version of The Voice Hunt for unsigned singing talent. Feel-good format where children hang their wishes for someone else in a wishing tree and see them fulfilled Contestants answer multiple-choice questions to win up to $1 million cash. Feel good game show with prizes for deserving individuals or families Eight celebrities from previous Your Face Sounds Familiar series come together to mentor talented kids

Source: Distributors/rights holders, broadcasters, ContentAsia Notes: Data updated as of 16 November 2018. Titles were on air or premiered in 2018, or were commissioned for broadcast in 2018/9 in Asia. Does not include: re-runs, format options, titles/formats created solely for a specific sponsor/s, titles/formats which have been around from Q1 2017 without any updates, 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

100

contentasia issue seven, december 2018

formatswho’swho

ContentAsia’s Formats Leaderboard Fremantle 1. Asia’s Got Talent S3 2. Boxing Glove Vietnam S1 3. Cambodian Idol S3 4. Cambodian Idol S4 5. Cambodia’s Got Talent S2 6. Cambodia’s Got Talent S3 7. Cambodia’s Got Talent S4 8. Distraction Bengali India 9. Don’t Stop Me Now China S8 10. The Eureka Moment China S3 11. Family Feud Indonesia S19 12. Family Feud Indonesia S20 13. Family Feud Mongolia 14. Family Feud Myanmar S5 15. Family Feud Myanmar S6 16. Family Feud Myanmar S7 17. Family Feud Thailand S3 18. Family Feud Thailand S4 19. Hear Me Love Me India 20. Hear Me, Love Me, See Me China S1 21. Heaven Or Hell Cambodia S1 22. Hole In The Wall Vietnam S2 23. Hot Streak Indonesia S1 24. Idol Extra Indonesia S3 25. Indian Idol S10 26. India’s Got Talent S8 27. Indonesian Idol Junior S3 28. Indonesian Idol S9 29. It Girls China 30. Kid’s Got Talent China S1 31. Killer Karaoke S1 32. La Banda Philippines S2 33. Let’s Make A Deal S1 34. Man O Man Vietnam S1 35. Man O Man Vietnam S2 36. Match Game Indonesia S1 37. Mongolia’s Got Talent S3 38. My Mom Cooks Better Than Yours Thailand S1 39. My Mum Cooks Better Than Yours Vietnam S4 40. Myanmar Idol S3 41. Myanmar’s Got Talent S5 42. Philippines Got Talent S6 43. Philippines Got Talent S7 44. Price Is Right Cambodia S1 45. Price Is Right Indonesia 46. Price Is Right Thailand S4 47. Price Is Right Thailand S5 48. Price Is Right Vietnam S13 49. Sri Lanka’s Got Talent S1 50. Take Guy Out Thailand S3 51. Take Me Out Thailand S13 52. Thailand’s Got Talent S7 53. Thank God You’re Here! Cambodia S1 54. Thank God You’re Here! Thailand S1 55. Thank God You’re Here! Vietnam S3 56. Thank God You’re Here! Vietnam S4 57. X Factor Cambodia S1 58. X Factor Cambodia S2 59. X Factor Myanmar S3 60. X Factor Thailand S2 Endemol Shine 1. 1 vs 100 Korea S16 2. 1 vs 100 Korea S17 3. 1 vs 100 Korea S18 4. Armchair Detectives Thailand S1 5. The Band Rules Vietnam S2

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. 48. 49. 50. 51. 52. 53.

Big Brother Hindi 12 Big Brother Kannada S5 Big Brother Kannada S6 Big Brother Malayalam S1 Big Brother Marathi S1 Big Brother Philippines S8 Big Brother Tamil India S2 Big Brother Telugu India S2 The Big Music Quiz Vietnam S1 The Bridge Malaysia/Singapore Celebrity MasterChef Vietnam S1 The Choice Vietnam S1 Don’t Lose The Money Cambodia S1 The Face All Stars Thailand S1 The Face Men Thailand S2 The Face Vietnam S3 Family Food Fight China Fear Factor India S10 Humans China S1 Hunted China ICON China MasterChef Cambodia S1 MasterChef Cambodia S2 MasterChef Indonesia S5 MasterChef Junior Thailand S2 MasterChef Myanmar S1 MasterChef Singapore S1 MasterChef Thailand S2 Million Dollar Minute Vietnam S3 Million Dollar Minute Vietnam S4 Minute To Win It Kannada S4 Minute To Win It Philippines S4 The Money Drop Myanmar S1 The Money Drop Myanmar S2 The Money Drop Myanmar S3 The Money Drop Thailand S3 Odd One In Vietnam S5 Perfect On Paper Thailand S1 Puzzle Masters China S1 Show Me Your Son Thailand S1 Singer Takes It All Thailand S3 Singer Takes It All Vietnam S1 Star Academy Mongolia S1 The Wall Thailand S1 Your Face Sounds Familiar Kids Philippines S2 Your Face Sounds Familiar Kids Thailand S1 Your Face Sounds Familiar Mongolia S3 Your Face Sounds Familiar Vietnam S6

Talpa 1. 5 Gold Rings Thailand 2. 5 Gold Rings Vietnam 3. Dance Dance Dance Thailand 4. Dating in the Dark India 5. Divided Kannada India 6. Divided Tamil India 7. Divided Thailand 8. Divided Vietnam 9. Human Knowledge Thailand 10. It Takes 2 Vietnam S2 11. It Takes 2 Vietnam S3 12. The Next Boy/Girl Band Indonesia S2 13. The Next Boy/Girl Band Thailand 14. The Next Boy/Girl Band Vietnam 15. The Voice Cambodia S3 16. The Voice India S2 17. The Voice India S3 18. The Voice Indonesia S3 19. The Voice Kids Cambodia S2

20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32.

The Voice Kids India S2 The Voice Kids Indonesia S3 The Voice Kids Philippines S4 The Voice Kids Thailand S6 The Voice Kids Vietnam S6 The Voice Mongolia The Voice Mongolia S2 The Voice Myanmar The Voice Myanmar S2 The Voice Senior Thailand The Voice Thailand S7 The Voice Vietnam S5 The Wishing Tree Vietnam

CJ ENM (24 titles) Crazy Market Thailand S1; Crazy Market Vietnam; Get It Beauty Malaysia; Get It Beauty Singapore; Get It Beauty Vietnam; Gobbler Race Hong Kong S2; Golden Tambourine Thailand S1; Grandpas Over Flowers Thailand S1; I Can See Your Voice Indonesia S3; I Can See Your Voice Malaysia S2 (Chinese); I Can See Your Voice Malaysia S2 (Malay); I Can See Your Voice Philippines S3 & S4; I Can See Your Voice Thailand S2/S3/S4; Love at First Song Vietnam; Memory Japan; Oh My Ghost India; Oh My Ghost Thailand; Shadow Singer Indonesia; Show Me The Money Thailand S1; Signal Japan; You Are My Fantasy Thailand NBCUniversal (16 titles) Hollywood Game Night Thailand S3 & S4; Hollywood Game Night Vietnam; Real Housewives of Bangkok; Saturday Night Live China; Still Standing Mongolia/Thailand S5 & S6; Still Standing Vietnam S2; Suits Japan/Korea; Top Chef Indonesia S2/Thailand S2/ Vietnam S2; World of Dance Philippines/Thailand Sony Pictures Television (14 titles) Brainiest Vietnam S3; Chosen China; The Dr. Oz Show Indonesia; Dr. Oz Show Thailand; Power of 10 S3; Raid the Cage Vietnam S2; Shark Tank Mongolia S2; Shark Tank Thailand S1; Shark Tank Vietnam S1; Shark Tank Vietnam S2; Who Wants to be a Millionaire Hong Kong; Who Wants to be a Millionaire India S10; Who Wants to be a Millionaire Sri Lanka; Who Wants to be a Millionaire Vietnam S9 10 titles: Fuji TV The Confidence Man China; The Confidence Man Korea; First Class China; Ghostwriter China; Hirugao – Love Affairs in the Afternoon Korea; Hundred Million Stars from the Sky Korea; Matrimonial Chaos China; Matrimonial Chaos Korea; Rich Man, Poor Woman Korea; Second to Last Love China 9 titles: BBC Studios Criminal Justice India; Doctor Foster Korea; Life on Mars China; Life on Mars Korea; Luther Korea; Mistresses Korea; The Office India; Orphan Black Japan; Stupid Man, Smart Phone Singapore 8 titles: All3media Cash At Your Door

Mongolia; Catch Me Out Thailand; Gogglebox Mongolia S5; The Great Art Robbery China; Hit It Singapore; Liar India; Sexy Beasts Vietnam; Undercover Boss Japan S3; CBS Studios International Asia’s Next Top Model S6; The Doctors Malaysia; Entertainment Tonight Thailand S1; The Good Wife Japan S1; Hollywood Squares India S1; India’s Next Top Model S1 (English) & S4 (Hindi); Mongolia’s Next Top Model S2; Keshet Boom! Philippines; Lovers or Liars Vietnam; Manbirth Vietnam; Master Class Vietnam; Masters of Dance Vietnam; Rising Star India S2; Rising Star Indonesia S3; Who’s on Top? Indonesia; TV Asahi 31 Legged Race China; 31 Legged Race Thailand S13; Beat The Champions Mongolia; Falling in Love like a Romantic TV Drama China; Noisy Neighbours Thailand; Noisy Neighbours Vietnam S4; The Dinner Table Korea; Turn Back Vietnam S3 6 titles: Armoza The Arbitrator Movie Vietnam; Honey Badgers India; Hostages India; I Can Do That! Philippines S2; La Famiglia India; Pull Over Thailand; Nippon TV Mother Korea; Pharaoh! China S4; Pharaoh! China S5; Silent Library Mongolia; Silent Library Thailand; Your Home Is My Business China; Warner Bros The Bachelor Japan S2; The Bachelor Vietnam; Cold Case Japan S2; Gossip Girl China S1; Little Big Shots Indonesia S1; Little Big Shots Philippines S2 5 titles: Dori Media The Best Of All Thailand S1; The Best Of All Thailand S2; In Treatment China S1; It Girls Myanmar; Selfie Challenege Vietnam; KBS Descendants of the Sun Vietnam; The Good Doctor Japan; The Return of Superman Thailand; Singing Battle Indonesia/Vietnam 4 titles: ITV Studios Come Dine With Me Mongolia S2; Dress To Impress Mongolia; Jekyll & Hyde China; Meet The Parents Vietnam; Red Arrow Body & Brain Vietnam; My Man Can Cambodia; You Deserve It Vietnam S5; You Deserve It Vietnam S6 2 titles: Mediacorp The Awakening China - New edition; The Little Nyonya China - New edition 1 title: 20th Century Fox Glee Vietnam; A+E Networks Man vs Child Korea; ABS-CBN Sanay Wala Na Wakas Malaysia; Emtek Syurga Yang Ke 2 Malaysia; Fox Networks Group Heartbeat Malaysia; Global Agency My Wife Rules Thailand; Lineup Industries Radio Gaga Japan; MBC My Coffee Prince Malaysia; NHK Document 72 Hours China; Passion Distribution Drag Race Thailand; SBS My Love From The Star Vietnam; Viacom Lip Sync Battle Philippines S3

Source: Distributors/rights holders, broadcasters, ContentAsia Notes: data updated as of 16 November 2018. Titles were on air or premiered in 2018, or were commissioned for broadcast in 2018/9 in Asia. Does not include: re-runs, format options, titles/formats which have been around from Q1 2017 without any updates, and shows created by broadcasters/ production houses/sponsors for one channel but have not been sold as a format to anyone else. All distributors and formats rights holders were given equal opportunity to participate. For information/feedback, please contact aqilah@contentasia.tv

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contentasia issue seven, december 2018

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