Issue Two 2019

ISSUE TWO 2019

C

NTENT

Turner’s Haunted Heart: Indonesia streaming: $$$ bet on Mandarin drama who’s who, what, why Investigating in style

Plus: Korean drama queen Bomi Moon, NHK World Japan turns 10 & a whole lot more

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contents...

what’s in this issue...

Annus Horribilis

Good news for pay-TV operators in Asia was slim in 2018, and things don’t look like they’re getting better anytime soon. Outside of India that is, Media Partners Asia (MPA) said on the eve of this year’s Asia Pacific Video Operators Summit (APOS), which opens in Bali on 23 April.

6

Heart stuff

The Haunted Heart, Turner Asia Pacific

Turner Asia Pacific heads into summer with a major bet on original Mandarin drama coproduction, a punt on a multilayered story about love, life & death straddling the real and the supernatural, and all rights across most of Asia and the U.S. for new Taiwan series, The Haunted Heart.

8

The Founder: Visionary Shogun, Ieyasu, NHK WORLD-JAPAN

Celebrating 10

Japan’s international broadcaster, NHK WORLDJAPAN, is celebrating 10 years since its relaunch as a 24-hour English channel. Department head, Keiichi Imamura, talks about a decade at the forefront of the country’s international information initiatives.

Sky high

12

Gurinder Chadha, Beecham House

HB Entertainment, has a soft spot for blockbuster romances like My Love from the Star and an eye for ratings drivers like Sky Castle.

ContentAsia speaks to her about trends, challenges and what’s

Stream of consciousness

The battle for a share of Indonesia’s video streaming market is in full swing, with 10 home-grown services jostling for space with regional rivals pushing a local content agenda and global giants that are starting to do the same.

28

contentasia issue two, april 2019

next.

Formats in India

India closed 2018 with 36 formats on air or commissioned. Reality was tops, followed by game shows. The even better news is that high-end scripted/drama acquisitions increased to eight by the end of the year, with no sign that the appetite is on the wane.

36

House rules

Lavish new drama, Beecham House, is set against India’s dying Mughal Empire, rising colonial ambitions and India’s maharajas jostling for position. But for all its historical, cultural and political context, the six-part series is – above all else – prime-time TV entertainment, says creator/ writer Gurinder Chadha.

Korean production powerhouse

16 16

Keiichi Imamura, Head of NHK World Department

page 13

Bomi Moon, the founder of

Bomi Moon, HB Entertainment

It is very important to have a perspective that is different to that of Western broadcasters.”

Formats in Indonesia

Game shows & singing competition formats rule in Indonesia.

Our latest Formats Outlook lists 12 game shows on air or commissioned in 2018, followed by 11 singing competition formats – a total of 23 of the 26 formats on air

40

or commissioned in 2018.

24

Planet of the apps

iQiyi, QQLive and Youku top China’s list of video apps, with about 1.6 billion combined monthly unique viewers. But video trails instant messaging, where Tencent’s MM and WeChat reign.

42 3

editor’snote

Co- forth & multiply The Asian conversation at this year’s Mip TV programming market in

Cannes during the Super-Vocal showcase. “We want to lead, not to

Cannes earlier in April was dominated by China, Korea and Japan,

follow,” he said, adding that original content was a crucial part of the

mostly pitching homegrown formats to global buyers, but also talking

broadcaster’s commitment. “We need to come out of China and forge

about co-development, co-production and co-operation, and putting

more international co-operations,” he added.

their best dating faces on to attract partners.

Essentially, rights holders and creators in Asia are obsessed with hitting

Hunan TV was among at least 19 formats creators/rights holders that participated in showcases from China, Japan and Korea during the TV

the big time in the U.S. And western companies – and especially newbies

market, presenting a wide range of genres, from the lunatic (Endless

– still love the sound of Asia and its 2.something billion people, mostly until

Pranks from Japan’s Fuji TV) and the cognitively challenged (Korean

they get stuck in and realise how complicated their lives have just be-

public broadcaster KBS’ Oops! We forgot Your Order, set in a restaurant

come. Meanwhile, governments/official bodies continue to pile in with a

staffed by people with dementia) to drama format, Sky

lot of talking in circles and a little commercial success.

Castle (presented by Korean cable broadcaster/

The big questions: How two-way is this street? And what, seriously, is the reality in and about Asia beyond bright and shiny country showcases pitching everything from gyrating silliness and crazy contests to

producer, JTBC), about parents who will do almost anything to get their children into top schools.

In the current mix too is a dose of cultural cor-

high-end scripted drama by way of worthy social reality and singing

rectness in The New Arrival of the Palace Muse-

competitions?

um from Beijing Satellite TV, a format that prom-

The answer: It all depends really. None of it is simple, and all of it re-

ises to bring “cultural relics back to life” and be

quires someone getting hands dirty. But who will do that? And for how

the “key to opening the door of time”. Oh,

much money? And therein lies a lot of the problem.

and let’s not forget the hard-nosed e-com-

That said, the international outreach from Asia to the world is working –

merce angle in online sales of replica relics

somewhat. Korea’s The King of Masked Singer’s success in the U.S. gives

that are part of each episode. Apparently,

the property from free-TV broadcaster MBC special status among Asian

the Changxin Royal Pajama set earned

formats and keeps hopes alive that if there’s one breakout hit, there will

more than RMB10 million/US$1.5 million in

be another. Japan’s scripted drama, Mother, has steadily gained ground

online sales. Any takers for that format so

on the back of Turkish success; the latest deal for a French adaptation of

far? We’ll let you know.

the Nippon TV drama follows a Korean version widely aired across Asia. A

Meanwhile, we asked production veter-

local version of Tokyo Broadcasting System’s Takeshi’s Castle premiered

ans what they thought the secret sauce

early this year in Saudi Arabia as part of a deal with the General Sports

to new cross-border co-production/

Authority (GSA). China’s Hunan TV has its eyes turned heavenwards and

development challenges might be. The

hoping fervently for good news after U.S. shop, Vainglorious Productions

simple and unanimous answer is that

(Southern Charm), optioned its pop-opera singing format Super-Vocal.

there isn’t one, even if you have all the

Hunan TV president, Cheng Ding, was very clear, when he spoke in

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

tea in China.

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

What is ContentAsia?

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

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4

contentasia issue two, april 2019

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Annus horribilis Good news for pay-TV operators in Asia was slim in 2018, and things don’t look like they’re getting better anytime soon. Outside of India that is, Media Partners Asia said on the eve of this year’s Asia Pacific Video Operators Summit (APOS).

2018 was a terrible year for pay-TV operators in

and by 8% to US$0.5 billion if Star India and Sony

language general entertainment channels

Asia Pacific, and consolidation is expected to

India are excluded. Across the 13 groups cov-

had a share of 17% in 2018, which was a “mate-

continue, according to analysts Media Partners

ered, India accounted for 62% of pay channel

rial” decline from 19% in 2017, MPA said. News

Asia’s (MPA) research released on the eve of

revenues in 2018. This was led by Star India (now

took 3% and music (2%). Three genre catego-

this year’s Asia Pacific Video Operators Summit

owned by Disney) and Sony India. Excluding

ries increased their share: Sports, with a share

(APOS) in Bali on 23 April.

revenues from Star and Sony India, Southeast

of 15% (up from 14% in 2017); English-language

Except for India, which “stands alone as the

Asia leads, contributing 32% of revenue in 2018,

movies, which increased from 11% in 2017 to

last major buffer against secular weakness in

driven by Disney (including Fox), WarnerMedia

12% in 2018; and Asian entertainment, which

pay-TV in Asia,” MPA says. Even then, regulators

and beIN. India would then contribute 18%, led

rose to 9% from 8% in 2017.

are threatening growth in the near term with

by Disney, Discovery and WarnerMedia, fol-

“Consumer demand for traditional pay-TV

new rules that threaten pay-TV subscription and

lowed by Japan with 16%, led by Disney, Discov-

has been impacted forever by high-speed

advertising growth.

ery, WarnerMedia and Viacom. Hong Kong/Tai-

broadband, which is driving rapid increases in

Outside of India, pay-TV channel operators in

wan & Australia/NZ contribute 10% each in this

online video consumption as well as piracy,”

Asia Pacific looked at “severe deterioration” in

scenario. The biggest channel networks in Asia

said MPA executive director, Vivek Couto.

earnings and profits across the region for 2018,

(ex India, including Australia and Japan) in terms

“These trends have intensified downward pres-

MPA says in its latest update to its Pay-TV Net-

of revenue in 2018 were Fox Networks Group, Dis-

sure across Asia’s pay-TV ecosystem, especially

works Channel Database.

ney, Discovery, Turner, beIN and HBO.

in Southeast Asia, led by Singapore and Malay-

Aggregate revenues across 13 major pay-TV

Factual and lifestyle pay-TV channels had the

sia, alongside secular shifts in Australia and New

networks grew by 1% in 2018 to reach US$4.9

biggest share of revenue by genre in 2018 (ex-

Zealand. This will accelerate consolidation as

billion, compared to 5% growth in 2017. Com-

cluding large local networks in India) with 21% in

well as major shifts in how channels and content

bined ebitda fell by 5% in 2018 to US$0.9 billion;

2018, followed by kids, also with 21%. English-

are marketed and sold.”

APAC Market Breakdown For Regional Pay-TV Broadcasters (2018) Revenue for companies in MPA’s Pay-TV Networks Channel Database

Includes Star India and Sony India

•Includes Disney & Fox Middle East revenue and pan-regional advertising for key measured companies

6

Excludes Star India and Sony India

Source: Media Partners Asia (MPA)

contentasia issue two, april 2019

CBS Studios International Showtime Ray ROnovan Billions CBS NCIS FBI

The CW In the Dark jane the Virgin CBS All Access Star trek: Discovery The twilight Zone Content For every platform For every audience www.cbsi.com cbsintltweet

productiondrama

Heart stuff Li-ju Xie and actor Bryan Chang on the set of The Haunted Heart

Turner Asia Pacific heads into summer with a major bet on original Mandarin drama co-production, a punt on a multi-layered story about love, life & death straddling the real and the supernatural, and all rights across most of Asia and the U.S. for new Taiwan show, The Haunted Heart.

Turner Asia’s most significant drama series co-production, The

haunted by a whining ancient spirit as well as the headstrong

Haunted Heart, wrapped its five-month shoot in early April

ghost of her boss, who never believed in ghosts until he be-

and opened a new era of original production activities

came one.

for the WarnerMedia-owned Asian network.

At its heart, says director and co-writer Li-ju Xie (The

Budget details have not been disclosed, but with

Player, Channel X), the series is a story about the

that amount of CGI, a five-month shoot, and some

meaning of life and death.

top talent, the prize-winning script could not have

The Haunted Heart emerged from multiple con-

been cheap to bring to screen. Maybe three times

versations with a friend who worked in a video

the average Taiwan drama? So, basically, a lot.

game company and was inspired by an autobiog-

What’s the story that drew in Turner Asia-Pacific

raphy of a psychic, Xie says. “We had this idea for a

general entertainment vice president, Marianne Lee

story that combines reincarnation and video games”,

(and everyone else who had to sign off on the first of its

beginning with a girl who sees spirits and works in a vid-

kind co-pro for the Southeast Asia team)?

Answer: A hybrid action-fantasy-romance set between reality

eo game company, and a what-if question: “What if reinMarianne Lee

and video games, straddling the now and the ever-after, with young good-looking stars... and ghosts.

The 30-episode series, shot over five months in Taiwan and scheduled for a mid-2019 release, stars Nini Ou-yang as Xiaoling Wei, a young video-

carnation is true and life is just like a video game?”.

“When you launch a video game, you always have to debug

to make the programme run smoothly,” she adds. The spirits in Xiaoling’s life are akin to the bugs, and the parallel efforts to debug both in life and at work, in reality and in virtual reality, runs through the story.

games tester who, because of her incredible brain power, has the abil-

Turner’s Lee says the script stood way above regular Taiwanese idol

ity to communicate with ghosts. But she’s lonely, sees a therapist every

drama. “It has an unusual amount of depth to it and relatable themes

week, and generally ignores her visions. Until one day, in a moment of

that will clearly appeal to a wide audience demo. The storyline, which

weakness, she helps a Qing Dynasty apparition, setting off a chain of

mixes life, death and the supernatural, as well as reality and virtual real-

events that leads to the death of her real-world boss, played by Bryan

ity, is something that is going to put it above most rom-coms,” she says.

Chang. Just when she thought life couldn’t get any worse, she is now

Plus, even with its depth, “it’s still going to be easy to watch, with all the

8

contentasia issue two, april 2019

Wounded Love Double Trouble Tawins memo-can Price of Passion Ruthless City Kandal D International

productiondrama

qualities of a good rom-com – a good-looking cast and a rags-to-riches tale – but also with real heart,” she adds.

The decision was made easier with the cast and crew already attached, including Xie, and Bryan Chang, who starred in 2018 box-office hit, More Than Blue. The Haunted Heart is produced by Xie’s production house, Phenomena, with Jiun-An Chen as producer. The co-production deal gives Turner all syndication/distribution rights across most of Asia and the U.S. Although the current version of The Haunted Heart is new, the original 13-episode version has been around for more than seven years, ever since it won first prize in a competition run by Taiwan’s Ministry of Culture.

Not everyone can see a therapist when they are depressed, but everyone can watch a film or TV. That’s what I was thinking when I went into movie/TV production.”

Li-ju Xie, Director/Co-writer, The Haunted Heart

It wasn’t made at the time because of the high cost of CGI involved in creating the ghosts and the video games. Back then, Xie was working for

changing story lines in response to sample audience behaviour, there’s

Taiwanese powerhouse, Sanlih Entertainment, on shows such as The Player,

a deep downside for quality stories that, by their nature, are crafted from

In a Good Way, which was nominated for numerous Golden Bell Awards,

beginning to end before filming starts.

and detective thriller Channel X, which has been sold across the region, in-

“What’s interesting to me about the story is the journey from the begin-

cluding Japan. She left Sanlih in 2015, setting up her own shop, Phenomena,

ning to end,” Xie says. Although it’s difficult, “if you don’t plan ahead it’s

and working with Eastern Broadcasting Company’s ETTV platform.

always very sloppy and I don’t like it”.

The 2018/2019 version of The Haunted Heart, Phenomena’s first project,

Five people were involved in writing the final version of The Haunted

involved reworking the script and story line to make it eligible for govern-

Heart, including Yun-Chi Hsu (My So-Called Love) and a writer from Main-

ment production funding, which then enabled her to go to market to

land China who moved to Taipei for six months to work on the project.

raise the balance of the production budget.

The original 13x60-minute episodes were reworked into 20 episodes of 90

Xie writes, directs and produces with equal passion. Which does she prefer? “Maybe writing. And directing. And producing. I don’t know. I

minutes for the Taiwanese market and 30 episodes of 60 minutes for Turner

think being a director is good for me because other-

to take to the world. Characters were expanded, story lines added, Bryan

wise I stay at home for too long. Being a director I

Chang’s character was given a brother, the trip to Japan

can go to different places in Taiwan to film. I can

became a more solid part of the story, and some of

see the beauty of Taiwan.”

the supernatural elements adjusted to, for instance,

One of the biggest challenges facing Taiwan’s

boost commercial potential in mainland China,

production industry is the talent drain to Main-

which has restrictions on ghostly stories.

land China, where production is thriving, bud-

But the key life-and-death questions and themes are unchanged, laced with love, laughter, romance and entertainment, a commercial eye and a feel-good element. Xie says the

gets have soared, and the lure of higher pay cheques is irresistible for many. Netflix and Amazon haven’t made the difference to the local produc-

biggest challenge in bringing The Haunted

tion industry In Taiwan as

Heart to life was delivering a profound mes-

they have in other mar-

sage simply and in an entertaining way.

kets, such as Korea – yet.

Having studied filmmaking in London

Audience fragmenta-

after her philosophy/psychology studies,

tion and the shift online

Xie thinks film is every-person’s therapy.

has created another

“I studied psychology but I didn’t want

headache for story-

to be a counsellor. Not everyone can

tellers.

go and see a therapist when they are

backdrop, Xie asks:

depressed, but everyone can watch a film

“Where is the crowd?

or TV. That’s what I was thinking when I went

They’re so spread out.

into movie/TV production.”

It’s hard to make them

Crafting stories with proper arcs and character development, with set ups and payoffs, con-

Against

this

pay attention to you”.

She’s

clearly

hoping

flict and change is also important for her, she

that video games, a

says, resisting pressure (and current trends)

few ghosts and a little

to adjust storylines and revise the plot after

love will do the trick.

the show goes to air. If there is any upside to Nini Ou-Yang

10

Bryan Chang

contentasia issue two, april 2019

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distributionchannels sponsoredprofile

Japanese animator, Hayao Miyazaki

Celebrating 10 Japan’s international broadcaster, NHK WORLD-JAPAN, is celebrating 10 years since its relaunch as a 24-hour English channel.

Department head, Keiichi Imamura, talks about a decade at the forefront of the country’s international information initiatives.

It’s about a month after NHK WORLD-JAPAN’s 10th anniversary and the Grand Sumo March tournament is airing live from Osaka, with commentary in English by Murray Johnson and John Gunning. A few clicks away

The Founder: Visionary Shogun, Ieyasu

on the broadcaster’s newly revamped online platform, there’s coverage of memorial services for victims of the 11 March 2011 earthquake,

statute at the Todai-ji Temple in Nara, to a day in the life of a modern Sumo

which killed more than 15,000 people. Meanwhile, the culture/lifestyle/

stable with Indian fashionista Ritika Zakaria, who lives and works in Japan.

entertainment streams show everything from pint-sized furniture for pets by artisans in Okawa to Japanese pop group Band-Maid.

Elsewhere on NHK WORLD-JAPAN’s English-language linear channel

Underpinning all this are a few core principles that Keiichi Imamura, Head of NHK WORLD Department, says are non-negotiable, both in looking back over the first decade and planning for the next.

and expanding online/streaming platforms are the quest for the ultimate

“We need to continue to provide accurate and impartial information,

wasabi, a look at Samurai films, the evolution of Kawaii culture with Japa-

not only for Asian audiences, but for audiences all over the world,” he

nese-speaking Norwegian comedian, Mr Yabatan, and an exclusive four-

says, adding: “We need to provide various perspectives in order to en-

part documentary about legendary Japanese animator Hayao Miyazaki.

hance mutual understanding among countries, between Japan and

Amid the wealth of content, ranging from clips to full-episode dramas,

other countries”.

there are also in-depth features, such as the focus on India, which tracks

Imamura, who took the job about 18 months ago, talks about pro-

India’s links to Japan in multiple ways, from the 8th-Century Buddhist monk

moting freedom and democracy, and about NHK WORLD-JAPAN striving

Bodhisena, who performed the eye-painting ceremony on the giant bronze

“to be a broadcaster that provides information that helps people think

12

contentasia issue two, april 2019

It is very important to have a perspective that is different to that of Western broadcasters.”

Keiichi Imamura, Head of NHK WORLD Department

From top, clockwise: CYCLE AROUND JAPAN, GLOBAL AGENDA, Journeys in Japan

At a fundamental level, the mission is evergreen,

about the world and helps widen their horizons.”

This is achieved with a mix of news, current affairs and

well able to absorb local and global changes that

documentaries, including NHK WORLD-JAPAN’s original

have occurred since the first 24-hour English-language signal went up in February 2009, Imamura says.

programming targetting global audiences.

For instance, Japan is preparing for an influx of visitors

In November last year, for example, the channel broadcast The Pianist from Syria in its NHK WORLD PRIME slot. The programme

Keiichi Imamura

for the Tokyo 2020 Olympic Games; about 40 million visitors are

is the story of Syrian refugee, Aeham Ahmad, who last year performed in

expected during the Olympics. Tourist numbers are way up, as are the

Hiroshima where he played on a piano that survived the atomic bomb in

numbers of foreigners working in Japan. This means NHK WORLD-JAPAN’s

1945; “They both shared the experience of making music despite endur-

original mission needs to stretch to offer accurate and precise informa-

ing the suffering of war”, according to the programme notes. To capture

tion – ranging from basic language skills to emergency information – to

the whole story, the NHK WORLD-JAPAN crew followed Ahmad around his

tourists as well as foreign workers in Japan.

adopted home in Germany for almost a year.

Appealing to visitors in Japan is part of NHK WORLD-JAPAN’s extended

Adding an Asian perspective to the global news agenda is a key mo-

tagline: “Widening Horizons”. It speaks to Asia’s position at the centre of

tivator for the team. “We think it is very important to have a perspective

economic growth, as well as to NHK WORLD-JAPAN’s broader horizons,

that is different to that of Western broadcasters,” Imamura says.

to Africa, the Middle East and Latin America.

“We want to make use of that perspective to present opinions or ideas

There’s something of a domestic agenda too. Back at home, at broad-

on global challenges such as rising inequality or the spread of national-

cast HQ in Tokyo, NHK WORLD-JAPAN works closely with NHK’s domestic

ism from all different angles,” he adds.

teams, translating relevant programmes back and forth. Among these is

Building up and maintaining trust is a big issue and has been since day

CYCLE AROUND JAPAN, which was translated from the original English

one. “We aim to be the most trusted choice,” the network’s mission state-

for NHK WORLD-JAPAN to Japanese and broadcast in regional services

ment declares. This is one of three commitments NHK WORLD-JAPAN has

across Japan.

set in stone. The other two are to broaden perspectives and reveal the

NHK WORLD-JAPAN’s “biggest and greatest turning point” over the

real Japan and Asia, with all its cultural diversity, traditions and innovations.

past 10 years remains the reporting of the devastating earthquake and

contentasia issue two, april 2019

13

distributionchannels sponsoredprofile

We want to think about how to create new programmes by considering which content is easier to see on what device and how the content is viewed.”

Since 2016, Sumo wrestling – another NHK WORLD-JAPAN highlight over the past decade – has been a programming tentpole, raised higher in 2018 when the decision was made to start live broadcast on Sundays. Today, Imamura says, viewers log in from everywhere, including the U.S., the U.K., France, India and Japan too. “That is a very significant breakthrough for our service,” Imamura says.

Although the service launched with digital/streaming/online capability, tech advances continue to add, for NHK WORLD-JAPAN along with

Keiichi Imamura, Head of NHK WORLD Department

everyone else, unprecedented levels of transparency.

Imamura says that while digital distribution “extended our reach

tsunami in 2011, Imamura says. NHK was the only broadcaster to transmit

around the world significantly”, a second effect is “that we are able to

aerial footage filmed from helicopters of the tsunami sweeping in, and

grasp immediately how many people are viewing our content via the

has stuck with the story ever since, from the rebuilding efforts to the plan

internet and which country they are in”. The data is used for creating

for decommissioning the Fukushima nuclear plant.

new programmes and/or for marketing. “It’s a great driving force for us to

The second turning point was enhanced news coverage and news report-

enhance our quality of our content,” Imamura says.

ing. In 2015, NHK WORLD-JAPAN fundamentally reworked its programming

In Asia particularly, online viewing is shifting to smartphones. For

and launched two new flagship shows – NEWSROOM TOKYO, which runs at

some titles, particularly those designed for younger viewers and so-

8pm Mondays to Fridays, and debate show GLOBAL AGENDA, which focuses

cial platforms, viewing is 70% on smartphones. “We are creating more

on major political, social and economic issues such as the trade war between

short clips of about a minute long with these smartphone viewers in

the U.S. and China, global warming and Europe’s migrant crisis.

mind,” Imamura says. Big screen viewers are, of course, still a key

The third milestone in the last decade is online/streaming expansion, including a sweeping site revamp in January this year and the launch of the Chinese web streaming service, plus, with the increased ability to reach audiences everywhere, an explosion of language options.

The new online service includes on-demand video upgrades and navigation improvements, plus an interactive map of Japan that allows

part of the mix, with an ongoing focus on long-form programming for traditional display.

The decision on format and length depends on the story. “We want to think about how to create new programmes by considering which content is easier to see on what device and how the content is viewed. So it depends on the content,” Imamura says.

viewers to choose content by region. Coming soon is a wider selection

No conversation about Japan is complete these days without mention

of Japanese-language educational videos designed to enhance com-

of the Tokyo 2020 Olympics. The opportunity to ride the world’s attention

munication between visitors and locals as well as at work. Imamura talks

on activities on its home turf is not lost on NHK WORLD-JAPAN. “This is also

about rising foreign employment in Japan, and the need not only for lan-

a very important occasion for us to show how Tokyo and other cities in Ja-

guage skills, but for insights into local customs and habits.

pan will change for 2020 and after,” Imamura says. He’s not only talking

The online platform has about 1,000 programmes available on de-

about the impact of new venues and infrastructure, but also about new

mand for free, along with audio services in 18 languages. Seven of these

systems with wide-ranging implications, like 5G, which rolls out in 2020 in

– including Bahasa Indonesia and Vietnamese – are supplemented with

cities across Japan.

social networking platforms such as Facebook and Twitter. In May this

If the possibilities are endless, the focus is summed up quite simply. “We

year, NHK WORLD-JAPAN plans to add Turkish to its online languages,

are going to show how Japan and Japanese society may be changed.

bringing the total number of languages to 19.

For 2020, in 2020 and after 2020,” Imamura says.

14

contentasia issue two, april 2019

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Sky high HB Entertainment founder and chief executive, Bomi Moon, has a soft spot for blockbuster romances that put My Love from the Star on must-watch lists around the world along with an eye for the kinds of stories that drove Sky Castle to the highest ratings ever for a cable show in South Korea. She’s also optimistic about a production environment that is more open, even if it’s tougher than ever for producers to turn a profit. ContentAsia speaks to her about trends, challenges and what’s next, and looks at all the dramas she has produced since she set up shop in Seoul in October 2006.

16

contentasia issue two, april 2019

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Sky Castle for JTBC

What trend/event (in Korea or elsewhere) is having the biggest impact on your drama production business at the moment? “Drama production is all about planning. What is happening now does not have much effect on this process. However, realistic stories always affect the production of a show.”

Which of your 26 TV series was the most difficult to produce? “I think Cinderella and Four Knights [about a group of young people sharing a house]. First of all, it was written by a newbie writer, and I also felt that it was not easy to visualise a text-based original work. Personally, it took a great deal of care.”

What was it about Sky Castle that appealed to you most? “We all go through an entrance examination once in our lifetime. Even if the time changes and whether in the position of a child or parent. I especially liked the point that the entrance examination is not a finish point but merely a running process when viewed as a marathon.”

You’ve been producing TV drama since 2006. What’s the biggest change you have seen over the past decade or so? “A lot of things have changed.

The biggest change is that domestic dramas are now seen overseas simultaneously. In the past, they would be seen at least six months after they were broadcast in Korea.”

Which of the 26 dramas HB has produced since 2006 is your favourite?

And why? “It is hard to pick just one work. However, I am a lover of romantic comedy, I liked the character combination and story settings of My Love from the Star.”

What do you think is the biggest challenge for Korean producers in 2019?

“Labour laws regarding overtime work. Korean dramas usually were broadcast on the same day of shooting. But now we can’t keep doing that because we are absolutely running out of time. In other words, the production period has increased but the production budgets are the same. It is true that many production companies cannot make a profit.

It’s a challenge to overcome this transition and to settle into more advanced systems.”

On one hand, Korea has more drama slots than ever, and on the other, ratings are spread so thin that it’s tough for mini-series to go above 10%.

Do you think this situation of “abundance” is good or bad for producers in Korea? “I’m on the positive side. Thanks to the new environment, now we can produce content of various genres to various platforms, which means that we don’t have to be tied to the audience ratings of certain organisations anymore.”

How does Netflix coming in and spending (a rumoured) US$4m per episode on the Asadal Chronicles change the game for everyone else? Will other broadcasters/producers have to increase production budgets in order to compete? “That’s for a specific writer or actor, (first graded package) so it is hard to raise the overall production budget. We should make shows not just for the Korean market but also for the global market; it is hard to expect an increase in production budgets [for just] the domestic market.”

18

What are you working on at the moment? “Now Big Issue [a paparazzi story that reveals some uncomfortable truths] is airing on SBS and Partners for Justice 2 [about a forensic doctor and a prosecutor] for MBC is shooting. We are also working on the scenario of a new work which will be broadcast on KBS at the end of September this year.”

What’s next for HB Entertainment? “The goal is to be the best production company by developing many good original shows. Of course we won’t be able to take care of all the producing, so we want to collaborate with various platforms around the world by doing a lot of good projects.”

contentasia issue two, april 2019

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dramakorea

Title

What it's about...

Big Issue

A paparazzi story that reveals the uncomfortable truth

Sky Castle

Broadcaster Episodes

Year

Peak Rating

SBS

18

2019

on air

The desperate desire of wealthy housewives struggling to make their husbands kings and their children princes and princesses

JTBC

20

2018/9

23.78%

Lovely Horribly

Two people are bound by an unusual fate: one’s happiness always results in the other’s misfortune. When they team up to write a drama, the screenplay’s events mysteriously begin occurring in real life

KBS2

16

2018

6.20%

Partners for Justice (Gumbeobnamnyeo)

An eccentric forensic doctor is paired with a bright and warm rookie prosecutor with a photographic memory and wealthy parents

MBC

16

2018

9.60%

Cinderella and Four Knights

A group of passionate young people in their 20s share a house

tvN

16

2016

3.903%

The K2

A soldier framed for murder seeks revenge until he falls in love and is forced to make a difficult choice

tvN

16

2016

6.64%

High Society

A rich young woman hiding her identify in a quest for true love meets a middle manager trying to lose his impoverished roots

SBS

16

2015

10.10%

The Gang Doctor (Yong-pal)

A talented surgeon adopts a fake identity in order to treat criminals so that he can earn money to pay his sister’s medical bills

SBS

18

2015

21.50%

Lucid Dream

Dreaming of a princess fighting with assassins a thousand years ago, an owner of video game company seeks to find the lady of his dream

SBS

2

2015

5.80%

You Are All Surrounded

Action/comedy/romance about a detective who learns about his past while searching for his mother's killer

SBS

20

2014

14.20%

Punch

The head of an anti-corruption investigation team re-examines his life and choices after being diagosed with a terminal illness

SBS

19

2014/5

14.80%

Run, Jang Mi

Daily drama about the daughter of a wealthy family who finds love through her job in a rice cake shop after her family's fortune disappears

SBS

123

2014/5

13.20%

My Love from the Star

An alien is stranded on Earth during the Joseon Dynasty and, 400 years later, still waiting for his ride home, falls in love with an famous actress

SBS

21

2013/4

28.10%

Ghost

Police procedural about a cyber crime investigations unit

SBS

20

2012

15.30%

One Sweet Word

An extra-marital affair disrupts the lives of two couples

SBS

20

2013

11.30%

Seoyoung, My Daughter

A long-running family drama abourt twins and their relationships and careers after their mother dies

KBS2

50

2012/3

47.60%

49 Days

A fantasy drama about a woman who has to gather three teardrops shed from pure love within the next 49 days if she wants another chance at life

SBS

20

2011

17.10%

Definitely Neighbours

A divorced couple whose son died in a tragic accident find themselves living next door to each other

SBS

65

2010

24.40%

Glass Castle

An ambitious news reporter puts her career on hold after she marries into a wealthy and influential family

SBS

51

2008/9

31.60%

Billie Jean, Look at Me

A romantic comedy about an unemployed singer

MBC

26

2006/7

2.10%

Blue Fish

A concert violinist is torn between her past and present loves

SBS

16

2007

9.20%

Flowers for my Life

Romcom about a woman who schemes hard to marry a rich man with a short life span and a man she thinks is rich, but...

KBS

16

2007

7.30%

Marrying a Millionaire

A woman meets her first love on the set of a dating reality show

SBS

16

2015/6

12.30%

Air City

A drama about four people in the airline industry

MBC

16

2007

12.60%

Suddenly

Two women switch fates

SBS

20

2006

18.10%

Invisible Man

A homicide detective learns that he has Alzheimer’s disease and devotes the rest of his life to his wife and two children

KBS2

20

2006

18.30%

Source: ContentAsia, HB Entertainment

20

contentasia issue two, april 2019

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House rules Pallavi Sharda as Chandrika in Beecham House

Lavish new drama, Beecham House, is set in pre-Raj India against the dying Mughal Empire, colonial ambitions of the British and the French, and India’s maharajas jostling for position. But for all its historical, cultural and political angles, the six-part series is – above all else – prime time TV entertainment, says creator/writer Gurinder Chadha.

1795. A power vacuum is looming in India. The Mughal Em-

cham House – she went back to the beginning, pre-Raj. This,

pire is coming to an end. The British are standing by. The

she says, “felt like a really good time” in which to set a

French are hovering. So, too, are the Indian Mahara-

story about a handsome former soldier – the enigmat-

jas. “People were standing by to take India. It was

ic John Beecham (played by Tom Bateman) – who

a free for all at that stage. No one quite knew

has purchased a magnificent mansion, Beecham

what was going to happen,” says British-Indian

House, in Delhi to begin a new life with his family.

filmmaker Gurinder Chadha. Set against that

Lesley Nicol (Downton Abbey) plays his mother,

uncertain backdrop is her new series – the lavish

Henrietta. The cast also includes Marc Warren,

six-part epic family saga, Beecham House, which

who plays Beecham’s friend Samuel Parker, and

she created and wrote with Paul Mayeda Berges

Leo Suter, who appears as Beecham’s brother.

(Viceroy’s House), Shahrukh Husain (In Custody) and

Another attraction of the pre-Raj period was that

Victor Levin (Mad Men).

“not many people know about it,” Chadha says,

Beecham House is Chadha’s closing bracket on a period in Indian history that she opened in 2017 with Viceroy’s

speaking ahead of the worldwide premiere at Mip TV in Gurinder Chadha

House, which was set in 1947 at the end of the Raj. Viceroy’s

Cannes earlier this month. The series premieres on ITV in the U.K. is spring 2019, and in the U.S. on PBS’ Masterpiece Theatre.

House starred Hugh Bonneville as the last viceroy of India, Lord Louis

The series is distributed by Fremantle. Asian broadcasters had not been

Mountbatten, who was charged with overseeing the dissolution of the Brit-

disclosed at press time.

ish Raj and the establishment of independent India, including the partition of India and Pakistan.

“During Viceroy’s House I was fascinated with telling the story of Britain and India through my eyes,” she says. And so, for her next project – Bee-

24

“Everyone knows that Britain colonised India, but not many people know exactly how that happened and who the other players were at the time,” she adds.

Was it the complexity of the period or the lack of knowledge among

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countryprofiles

Tom Bateman as John Beecham

today’s audiences that attracted her? “Both actually. It was a good story and worth telling. In prime time.”

Chadha is 100% clear about the series’ aim: to fill a prime-time 9pm Sunday night slot on ITV in the U.K., the same slot as Downton Abbey. This has given rise to the description of Beecham House as “Delhi Downton”.

She doesn’t mind at all.

“Look, it’s a series for ITV. It’s prime time Sunday night, which was the Downton spot. It’s a commercial show, so people will call it all kinds of things. But that’s fine... If I wanted to do a historic piece, I would have done

Beecham House is very distinctive in that the vision is definitely from the British-Asian perspective.

In that sense, it expands my vision of who I am.”

it for the History Channel. You have to cut your cloth according to what

Gurinder Chadha, Creator/Writer

you are making and who you are making it for. And I made it for a primetime audience on commercial television at 9pm on a Sunday night.”

It follows then that, first and foremost, Chadha would like viewers

all,” she says. “The East India Company did have terrible practices and I

to be entertained by Beecham House, which was produced by her

share that [in the series]. John Beecham has left the company because

own production house, Bend It TV. Apart from it being “a very good

of those practices. I’m not looking to make the East India Company look

looking show”, she wants viewers to feel as if they have “learned a

good. Quite the opposite. It’s through the character of John Beecham

bit about history that they didn’t know, and that they are also being

that we learn about that, that he’s conflicted about India and the prac-

told about a history that they know a bit about but from a totally fresh

tices at the time,” she says.

perspective”.

Beecham House is part of a long and award-winning body of work

“Obviously, colonialism is a very tough area,” she adds. “The way I’m

that includes Bhaji on the Beach (1993), Bend it Like Beckham (2002) and

doing it is that I’m asking the audience to come up with their own moral

Bride and Prejudice (2004). In 2006, she was awarded an O.B.E. for her

judgment on what’s happened. They have to make the decisions. They

services to the British film industry.

have to decide what is morally acceptable or not. And that’s what sud-

Born in Nairobi when Kenya was a British colony, Chadha says Bee-

denly makes it a very contemporary show because it’s about a scenario

cham House is “very distinctive in that the vision is definitely from the

where the British and the French are themselves... trying to make inroads,

British-Asian perspective. In that sense, it expands my vision of who I

and a better life for themselves there. And then you turn the tables a bit

am. I am part of an Indian Diaspora looking with an inside/outside feel

on what is happening around us today,” Chadha says.

to the world... When you are both British and Indian, you are able to

There is absolutely no effort to portray history through a more sympathetic lens (as some early reports about the series claimed). “No, not at

26

tell both the stories, hopefully with a bit of complexity and not just two dimensional.”

contentasia issue two, april 2019

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who’swhostreaming...

Something in Between, iflix

Stream of consciousness The battle for a share of Indonesia’s video streaming market is in full swing, with 10 home-grown services jostling for space with regional rivals pushing a local content agenda and global giants that are starting to do the same.

Indonesia had at least 21 streaming services in April this year, five more

band entertainment service, XL Home. ErosNow is offered for IDR 26,000/

than we counted in June last year. 10 of these are home-grown services:

US$1.80 a month and IDR 260,000/US$18 a year.

Dens.TV, FirstMediaX, Genflix, Go-Play, MAXstream, MNC Now, M2V, Super Soccer TV, UseeTV Go and Vidio.com.

The five additions in our latest OTT count for Indonesia are: Zee Enter-

Netflix is increasingly active in Indonesia, starting from Rp109,000/ US$7.54 a month for one SD screen and going up to Rp169,000/US$11.70 a month for four HD/UHD concurrent screens.

tainment Enterprises Limited‘s global streaming service Zee5 Global; South

New as it is, the space is not without casualties, including Tribe, laun-

Asian platform Eros Now; MNC group‘s MNC Now; mobile TV service for in-

ched in Indonesia in April last year as part of a regional play by Malay-

car use in Jakarta/surrounding areas M2V; and the streaming service, Vidio.

sia‘s pay-TV powerhouse Astro. Astro pulled the plug in January this year,

com from free-TV broadcast/production powerhouse, PT Surya Citra Media.

saying the business has been difficult to operate. There was an empathe-

Outside of India and China, Indonesia, with its population of 261 million people and 345 million mobile subscribers, is Asia’s biggest streaming

tic sigh all round.

battleground, with a race for telco partnerships and a mission by plat-

Indonesia: the numbers

forms in play to offer pricing options – including daily “sachet” pricing –

Population ....................................................................................... 261 million

appropriate for local consumers who have proved, over the two or more

Households ..................................................................................... 66.9 million

decades that pay-TV operators tried, to be stubbornly resistant to paying

Avg. household size .................................................................................... 3.9

for video entertainment.

TV households ................................................................................ 66.8 million

Local audiences have access to myriad regional/global streaming on-

Pay TV subscribers .......................................................................... 5.75 million

line services, many of which are not customised for Indonesia, but an

Pay TV penetration .....................................................................................11%

increasing number that are, including regional streaming services such

Private Broadcasting Institutions .................................................................. 557

as Viu, iflix and Hooq. Also in play are platforms that are not necessari-

Internet users ................................................................................... 143 million

ly programmed/localised for Indonesia but have local billing arrange-

Internet users penetration in urban areas ......................................... 72.41%

ments with telcos. These include Taiwan’s CatchPlay On Demand, which

Internet users penetration in rural-urban areas .................................. 49.4%

launched in Indonesia in June 2016, and is offered as part of the subscrip-

Internet users penetration in rural areas ............................................ 48.25%

tion packages of IndiHome, First Media and Telkomsel. U.S.-listed South

Mobile phone subscribers .......................................................... 344.8 million

Asian service, Eros Now, tied up with Indonesian operator, XL Axiata, in

Source: Companies, Statistics Indonesia, Association of Internet Service Providers (APJII, internet), Minister of Communications and Information Technology (TV), ContentAsia’s The Big List 2019 (mobile phone subscribers)

mid-December 2018 to offer on-demand programming on home broad-

28

contentasia issue two, april 2019

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who’swhostreaming...

Who’s who...

Indonesia has the full range of streaming/online apps, including Amazon Prime Video (free sevenday trial, then US$2.99 a month for the first six months, then US$5.99 a month); and Netflix (see page 32) which has been ramping up its local acquisitions and ventured into local originals in October 2018 with Timo Tjahjanto’s The Night Comes for Us. Apple has been offering movies and songs through iTunes, but not TV shows, and hasn’t yet said whether its new AppleTV+ service will be available in Indonesia.

There’s no shortage of Indian/South Asian content accessible directly to Indonesian consumers, including online platforms such as AltBalaji (US$1.40 for three months); Eros Now (US$1.80 a month); YuppTV (from US$9.99 a month), Spuul (from Rp29,000/US$2 monthly for the Premium Lite subscription), as well as, in the case of Eros Now, with local telco/broadband providers (see listing on this page).

Regional streamers, including CuriosityStream distributed out of Singapore by Monty Ghai’s brandwith, and iWonder from former iflix programming head James Bridges, are standing on the border looking at options. Bridges says iWonder is available in Indonesia through iflix (see page 32) and is considering a direct-to-consumer play.

Who’s in charge Daphne Yang, CEO

Content boss Shao Chen, associate director, digital content Content partners include NBCUniversal International TV Distribution, Warner Bros, Paramount, Disney, HBO Asia, independent studios

Dens.TV About Streaming linear/VOD/ catch-up platform available on multiple devices Owned by Digdaya Duta Digital, a part of CBN Group Indonesia Launched May 2015 No. of users/subs 20,000 IPTV + 30,000 OTT What’s on 50+ live TV channels and 1,000 hours of VOD content, including independent local short-films, kids, GE, lifestyle, movies and sports How much Offered as part of fibre broadband packages starting from Rp299,000/US$21 a month (50 Mbps) to Rp799,000/US$56 a month (200 Mbps) Content boss Ario B. Widyatmiko, chief content officer

Catchplay on Demand About Streaming VOD service offering blockbusters/movies Owned by Catchplay, headquartered in Taiwan Launched June 2016 (IndiHome), July 2016 (standalone), April 2017 (Telkomsel), April 2018 (First Media) What’s on Regional, international, Hollywood movies and documentaries. Added drama in March 2019 with HBO Asia’s original Taiwan series, The World Between Us How much From Rp16,000/US$1.10 for single title rentals to Rp60,000/ US$4.20 a month No. of subs Undisclosed

30

Eros Now About Global streaming service offering Indian and South Asian entertainment content delivered across internet-enabled devices, including mobile, web and TV Distribution Eros Now entered the Indonesian market through a TV content partnership with Xiaomi’s smart TV brand Mi TV in Sep 2018, followed by a deal with telco provider XL Axiata in Dec 2018 Owned by Mumbai-based, U.S. listed Eros International Media No. of subs 142 million registered users and 15.9 million paying subscrib-

ers worldwide (April 2019) What’s on 12,000 movie titles, TV shows and music videos, including originals such as 10-part biographical series Modi: Journey of a Common Man, directed by Umesh Shukla (April 2019) Pricing Rp26,000/US$1.80 a month or Rp260,000/ US$18 a year Who’s in charge Rishika Lulla Singh, CEO, Eros Digital (pictured left) Content boss Ridhima Lulla, chief content officer

FirstMediaX About A geo-blocked TV anywhere extension of cable/DTH TV service HomeCable Owned by First Media Launched Feb 2014 as First Media Go and relaunched in June 2016 What’s on 100+ live streaming channels and a seven-day catchup service plus more than 500 hours of on-demand movies, Asian drama series and local content, mainly for First Media & BiGTV subscribers How much Free for First Media and BiGTV subscribers Content boss Rieta Fuad, head of content; Ferliana Suminto, corporate and content director

Genflix About OTT platform targeting Indonesian youth and football fans Owned by Festival Citra Lestari, a subsidiary of Mega Media Indonesia Group Launched September 2013 No. of users Undisclosed What’s on Live linear TV channels and VOD content, including kids and local/international movies/series How much Rp49,000/US$3.40 a month for up to three devices with unlimited access Who’s in charge Greeny Dewayanti, director

Content partners Sony Pictures Television Networks Asia, Asahi Production, among others Tech partners Irdeto, Elemental, WideVine, Conversant, Bitmovin

Go-Play About Video platform driven by content creation unit, Go-Studios (Ed’s Note: Having generated loads of excitement in the local production industry with its content creation ambitions, Go-Jek went quiet in Q2 2018, just before the whole content piece seemed to go pear-shaped and the content team disappeared. Now Go-Jek is keeping a tight lid on its video ambitions, which is probably wise given their first efforts. But we are hearing that the new team is up and running and it looks like the resurrection is beginning... Go-Jek has not yet responded to our questions about its plans) Owned by Go-Jek, Indonesia’s multi-platform technology group, which provides access to services ranging from bike rides to payments and meal deliveries.

Hooq About SVOD/TVOD/AVOD platform Owned by Singtel (Hooq launched as a JV with Sony Pictures and Warner Bros, which have both grown increasingly silent on their involvement. Singtel seems to have stepped into the gap) Launched in Indonesia April 2016 Distribution Grab, First Media, Bolt, Telkomsel, Ovo and Telkom IndiHome. Carrier billing deals with Telkomsel, XL Axiata, Hutchison 3, Indosat, SmartFren No. of users/subs Not disclosed What’s on 10,000+ hours of VOD content; live streaming of FTA channels; TVN, TVN Movies, Zee Bioskop, Discovery Channel, etc.

Pricing From Rp18,700/US$1.40 a week Content boss Jennifer Batty, chief content officer Original productions include six-part crime thriller Brata

contentasia issue two, april 2019

Now we are more than you imagined

Powering People’s Passion Discovery

who’swhostreaming...

(2018), which is Hooq+Telkomsel’s first original collaboration; comedy Cek Toko Sebelah (2018); and Marlina the Murder in Four Acts (2017).

Marlina The Murderer in Four Acts, about a widow who is raped and fights back, was Hooq’s first major investment in long-form original.

iflix

Dancing in the Rain, iflix

About Streaming platform with download/watch offline function, accessible on multi devices.

Unveiled its third edition, iflix 3.0, in April 2018, which introduced a free, ad-supported layer to its SVOD service, along with linear local free-to-air and pay-TV channels plus live events and news Launched in Indonesia June 2016 Owned by Catcha Group and Evolution Media Capital No. of users/subs Undisclosed What’s on iflix has gone big on Indonesian content, acquiring a dozen or more short-window theatrical releases from Screenplay Films, including Promise, Jailangkung 1 and 2, One Fine Day, Surat Cinta Untuk Starla: The Movie, The Perfect Husband, ILY from 38,000ft., Headshot, Magic Hour and the London Love Story trilogy. Magic Hour was spun off into two original series, and its success is paving the way for similar film-to-series development.

Original productions Whatever else has been going on inside iflix as the streamer expands, contracts and is/isn’t/IDK trying to list in Australia, the original production team under global director of original programming, Mark Francis, is rocking with, among other originals, a young adult supernatural horror series Conversation with Ghosts (working title) with Screenplay Films. The six-part horror drama – the first serialised horror for both iflix and Screenplay – tells a story of a girl who just wants to fit in at 32

her new campus, but discovers she has supernatural abilities and a connection to the Occult, which threatens to alter her destiny forever. iflix has also partnered with Screenplay Films to produce 16 of 26 made-for-OTT movies based on stories from storytelling platform Wattpad. There’s also an eight-part drama in the works based on Indonesian writer Gina S Noer’s teen romance, Posesif, directed by Edwin and produced by Palari Films.

Pricing iflixVIP costs Rp39,000/ US$2.70 a month Who’s in charge Cam Walker, executive director of iflix Indonesia Content boss Mark Francis, global director of original programming Content partners Indonesian content from Kharisma Starvision, Screenplay Films, Wattpad, Palari Films and others Distribution partners Telkom’s IndiHome, Indosat Ooredoo, Telkomsel, XL Axiata Tech partners Amazon Web Services (AWS), Vimond, Akamai, Intertrust Technologies, Bitmovin and CSG International

MAXstream

form Viddsee. Premiered in Feb this year, the content is curated

by Viddsee’s Indonesian team, and includes Loving A Tombstone (Mencintai Nisan), directed by Dmaz Brodjonegoro; Made In Bali, directed by Michael Phoroly; and Errorist of Seasons, directed by Rein Maychaelson. The ViddseeMAXstream collaboration also included a four-episode romantic comedy, Unscripted Man, directed by Indonesia’s Rein Maychaelson. Unscripted Man is about an office employee who inherits a sacred script from his father. The script predicts the course of his life, including the exit of his girlfriend.

In January this year, MAXstream also premiered its first co-pro with Malaysia’s Astro, Nawangsih. The 10-part horror drama Nawangsih is a story of a girl with an unusual connection to the spirit that lives inside an old lamp unearthed when the family moves into the house they inherited. Created by Indonesia’s Melly Goeslow, the series is directed by Hedy Suryawan.

Other MAXstream originals include crime thriller Brata (Sep 2018), Critical Eleven (May 2017) and Pulang Pulang Ganteng (May 2017).

Pricing From Rp9,900/US$0.70 a month for the 1.5GB VideoMAX Nickelodeon Play pack to Rp100,000/US$7 a month for the 2GB VideoMAX beIN plan Who’s in charge Crispin Tristram, head of digital lifestyle, Telkomsel

MNC Now Unscripted Man

Owned by Telkomsel Launched June 2018 No. of users 10 million (Feb 2019) What’s on Live FTA (Net TV, tvOne, Kompas TV, Metro TV, JakTV, Antv), international channels (Cartoon Network, Warner TV, Oh!K, Discovery Channel, Discovery Asia, Eurosport, Animal Planet, TLC, Zoo Moo, Blue Ant Entertainment, beIN Sports 1/2/3, Nick Jr), Hooq, Viu, Nickelodeon Play Originals/co-pro Offering includes 28 short films/series co-pro with Singapore-based short-film plat-

Batman Forever, HITS Movies

About OTT extension of MNC’s payTV services MNC Play & MNC Vision Launched Feb 2018 Owned by PT Media Nusantara Citra (MNC), operated by subsidiary PT OTT MNC Indonesia What’s on More than 115 TV channels and about 4,000 hours of on-demand content including

originals from MNC Studios and MNC Pictures plus international content from Europe/U.S. as well as Asian content from Thailand, South Korea, Hong Kong, China, Malaysia and Japan How much Free for MNC Vision and MNC Play subscribers Content boss Iris Wee, chief content & commercial officer, MNC V ision Networks/CEO, MNC Now

M2V About Mobile TV service for in-car use in Jakarta/surrounding areas Owned by PT Mentari Multimedia Launched in Indonesia 2009 What’s on More than 120 local/ international channels, including MTV Asia and CNN Pricing From Rp99,000/US$6.80 a month. Monthly add-on packages cost from Rp11,000/US$0.75 for the Fashion pack to Rp221,000/US$15 for the Gold pack

Netflix

The Night Comes for Us

About Global SVOD platform Launched in Indonesia in Jan 2016.

Added a fully localised Bahasa Indonesia interface in Oct 2018 Pricing Rp109,000/US$7.70 (SD, 1 screen), Rp139,000/US$9.80 a month (HD, 2 concurrent screens), Rp169,000/US$11.90 a month (HD/ UHD, 4 concurrent screens). Onemonth free trial for new members.

What’s on Although visible original production activity isn’t anywhere near as high in Indonesia as in, for instance, India, Netflix does have the country on its content radar, including first original movie, The Night Comes for Us. Acquired Indonesian titles include Headshot, Laskar Pelangi, Merantau, Ada Apa Dengan Cinta 2, Galih dan

contentasia issue two, april 2019

Thema A Canal+ group company Meet us at APOS Bali, April 23-25 2019 Alexandre Bac: alexandre@thematv.com www.thematv.com

MEET US AT APOS BALI, APRIL 23-25 2019 Alexandre Bac : alexandre@thematv.com

www.thematv.com

who’swhostreaming...

Ratna and Filosofi Kopi, The Devil Take You and Rizal Mantovani’s horror show Kuntilanak. Bahasa Indonesia subtitles are available on select content. Netflix does not censor content for Indonesia, and continues to maintain that consumers are empowered to make viewing choices based on the features provided, including show info, ratings, age verification and parental controls Distribution Available direct and via XL Axiata, Bolt, Hutchison 3 Indonesia and Smartfren No. of subs Indonesia figures undisclosed Content boss Robert Roy, vice president of content for Asia Content partners AMC Networks, BBC, Discovery Communications, Disney, Dreamworks, GMM Grammy, JTBC, Lionsgate, NBCUniversal, Red Chillies Entertainment, Paramount Pictures, Sony Pictures Entertainment, Warner Bros, among others Tech partners Amazon Web Services (AWS), Apple, Google, LG, Samsung, Sony and Microsoft, among others

Oona About Ad-based mobile TV service Launch December 2017 Distribution Launching the Oona TV app on Telkom Indonesia’s settop box IndiBox in May 2019 What’s on More than 200 local/ international channels, including Outdoor, a bouquet of brands from Omni Channels Asia and its partnership with U.S.-based channels provider TV4 Entertainment, all3media’s lifestyle channel Inside Outside, and a bundle of channels reformatted from YouTube Pricing Free No. of registered users 1.3 million.

Targeting eight million users by end 2019 Who’s in charge Christophe Hochart, CEO and founder 34

Content boss Dominique Ullman, head of content partnerships Other partne rs involved Says 700 merchants participated in a advertising/incentive scheme including GroupM in Indonesia (Sep 2018) Tech partners SpotX, FreeWheel, Xaxis, GroupM

How much Freemium. Premium costs from Rp10,000/US$0.70 a day to Rp50,000/US$3.50 a month for the Vidio Premier + beIN pack Who’s in charge Sutanto Hartono, CEO; Hermawan Sutanto, deputy CEO

Viu

Super Soccer TV About Sport OTT/streaming platform, geo-blocked for Indonesia Launched Nov 2016 No. of users Upwards of 275,000 What’s on Live coverage of soccer matches (Garuda Select, Chinese Super League, Bundesliga and UEFA Youth League plus VOD content covering behind the scenes of Garuda Select Pricing Rp50,000/US$3.45 a month Who’s in charge Mirwan Suwarso, business development director

UseeTV Go About An OTT/streaming extension of IPTV service UseeTV Launched June 2011 Owned by Telkom Indonesia (IndiHome) What’s on Live streaming of select channels/events, video/karaoke on-demand content for subscribers of UseeTV/IndiHome for free

Vidio.com About OTT service targeting youth/ social media users Launched Oct 2014 by PT Vidio Dot Com, added premium tier in Nov 2018 offering sports, movies and local/foreign content Owned by PT Surya Citra Media (SCMA), which belongs to local media firm Emtek. SCMA also owns and operates free-TV channels SCTV, Indosiar and O Channel What’s on UGC, 21 FTA channels, sports, news, local sinetron and Korean, Thai, Japanese and Chinese drama series. Premiered its first original series, Girls in the City, in Mar 2019. Produced by local production house SinemArt, the romantic series focuses on social peer pressure.

No Sleep, No Fomo

Launched in Indonesia May 2016 No. of subs Indonesia subs not disclosed What’s on Asian content, including local programmes from Starvision and Multivision Pictures along with Korean, Japanese, Chinese, Thai and Indian titles. Select Korean drama and variety from five major producers (KBS, SBS, MBC, CJ E&M, JTBC) are released in Indonesia at the same time as in Korea with subtitles in English as soon as eight hours after original telecast and in Bahasa Indonesia after 24 hours Original productions Viu premiered its first Indonesia original production in Aug 2017 – 13-part romcom, Switch, about two best friends whose lives turn upside down when one fateful night their souls switch.

This was followed by The Publicist, a 13-part romantic drama directed

by Monty Tiwa and aired in Nov 2017. In May 2018, as part of its second anniversary celebration in Indonesia, Viu premiered its third Indonesia original series, Sunshine.

Viu was also involved in film, releasing its first Indonesia original film, Kenapa Harus Bule? (directed by Nia Dinata) in Mar 2018.

How much Freemium. Premium tier is Rp30,000/US$2.10 a month Content partners Starvision, Multivision Pictures (Indonesia); KBS, SBS, MBC, CJ E&M, JTBC (Korea); Fuji TV (Japan); GMM (Thailand) Distribution partners Telkomsel, Three (Hutch Indonesia), XL Axiata, Smartfren, Tokopedia, Jd.id and Samsung Indonesia

Zee5 Global

Sec 377

About Streaming service targeting mainly the Indian and South Asian diaspora Launched globally (excluding U.S.) in Oct 2018 in 190+ countries.

Launched first in India in Feb 2018, consolidating Zee’s former AVOD OZee and SVOD dittoTV Owned by Zee Entertainment Enterprises Limited (ZEEL) What’s on 100,000 hours of video on-demand content across multiple genres in English, Hindi, Bengali, Malayalam, Tamil, Telugu, Kannada, Marathi, Oriya, Bhojpuri, Gujarati and Punjabi, as well as 60+ live TV channels, including Zee’s branded TV channels Pricing Rp65,000/US$4.60 a month Original productions ContentAsia counted about 55 originals titles (2019-released and library titles) on Zee5 (4 Apr 2019), including Arjun Rampal’s thriller The Final Call, 78-minute LGBTQ drama Sec 377 and Saqib Saleem’s crime/thriller Rangbaaz. Zee5 plans to launch 72 new originals in six languages in 2019/20 Localisation Plans to launch its content in international languages (voice dubbing), including Bahasa Indonesia, Thai, and Malay Distribution Says various distribution deals with local telcos/partners is in the pipeline Who’s in charge Amit Goenka, CEO, Zee International and Z5 Global

Content boss Archana Anand, chief business officer, Zee5 Global

contentasia issue two, april 2019

Stingray Unlease The power of music 440m users 101m app downloads 200 music programmers 156 countries Karaoke Audio Channels Concerts and Shows Music Videos

Unleash the power of music.

Let’s talk music

440 M USERS • 101 M APP DOWNLOADS 200 MUSIC PROGRAMMERS • 156 COUNTRIES

Karaoke | Audio Channels | Concerts and Shows | Music Videos

LET’S TALK MUSIC Alexandre Bac alexandre@thematv.com | Rebecca Yeo ryeo@stingray.com

thematv.com

formats2018

Formats in India Criminal Justice India

India closed 2018 with 36 formats on air or commissioned. Reality was the biggest winner, topping the list with 11 titles. Game shows came in second with 10 titles. The even better news is that high-end scripted/drama format acquisitions increased to eight by the end of the year, with no sign that the appetite is on the wane.

Top 10 formats market in Asia: 2018

India’s formats market was also at its most vibrant in three years in 2018, with 36 titles, including drama formats Criminal Justice India (BBC Studios), False Flag India (Keshet International) and Liar India (all3media International). In 2017, India logged 26 titles until end Sept (nine reality, nine game show, four singing contest, two drama, one entertainment, one dance contest). In 2016, ContentAsia’s Formats Outlook counted 32 titles for India until the end of November (nine reality, eight drama, eight game show, four singing contest, two entertainment, one talent).

Among India’s biggest content trends is the rise of scripted/drama formats acquisitions, driven by furious competition in the streaming space and the need to get original shows on air as fast as possible.

The booming environment has opened eyes to possibilities beyond traditional suppliers from the U.S. and Europe. Korea’s CJ ENM has broken in with 16-episode 2016 romantic comedy Oh My Ghost, the story of a timid girl whose life changes when she is possessed by a lustful virgin ghost.

The format has been picked up by Applause Entertainment and goes into production this year. Oh My Ghost is part of a giant slate on which Applause is said to have spent close to Rs130 crore/US$19 million since the end of 2017. Applause’s CEO Sameer Nair has talked about 40 to 50 titles in various stages of development – including 15 completing soon – for a wide range of local, regional and international streaming platforms. And that’s just one of India’s stars rising to meet the entertainment challenge...

36

Country

No. of formats

Thailand

70

Vietnam

60

India

36

China

31

Indonesia

28

Korea

18

Cambodia

16

Mongolia

16

Philippines

14

Japan

13

Source: Companies, rights holders, ContentAsia Formats Outlook January-December 2018

contentasia issue two, april 2019

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formats2018

International/regional formats on air/commissioned for India in 2018 Title

Owned/sold by

Broadcaster

Genre

What it’s about Popular VJs will take over the social media pages of few selected common people and give it a dramatic twist Strangers live together with cameras/microphones recording every move

Anti Social Network India

Red Arrow Studios International

MTV India

Big Brother Hindi S12

Endemol Shine Group

Colors

Big Brother Kannada S5

Endemol Shine Group

Colors Kannada

Big Brother Kannada S6

Endemol Shine Group

Colors Kannada

Big Brother Malayalam S1

Endemol Shine Group

Asianet

Big Brother Marathi S1

Endemol Shine Group

Colors Marathi

Big Brother Tamil India S2

Endemol Shine Group

Star Vijay

Big Brother Telugu India S2

Endemol Shine Group

Star Maa

Criminal Justice India

BBC Studios

Dating in the Dark India

Talpa

Distraction Bengali India

Fremantle

Divided Kannada India

Talpa

Divided Tamil India

Talpa

False Flag India

Keshet International

Fear Factor India S10

Endemol Shine Group

Hear Me Love Me India

Fremantle

Hollywood Squares India S1

CBS Studios Int’l

Honey Badgers India

Armoza Formats

Hostages India

Armoza Formats

India’s Got Talent S8

Fremantle/Syco

Applause A young man is accused of a murder he doesn’t Drama Entertainment (digital) remember committing MTV India Reality – Dating Singletons date each other in a pitch dark room Celebrity contestants try not to be distracted as Star Jalsa Game show they answer questions Three strangers work together to build up a collecVijay Game show tive amount of cash. Winnings are split into three unequal parts Vijay Game show Five individuals wake up one morning and discover TBC Drama that they are suspected in a high-profile kidnapping Participants put aside their biggest fears for the Colors Game show chance to win a cash prize Tech takes virtual dating to the next level as a single Amazon Prime Video Reality – Dating woman dates three guys in a day – without leaving her room Star India Game show Contestants play tic-tac-toe to win cash and prizes Four small-town friends change their identities to TBC Drama get jobs at a financial firm A surgeon is forced to choose between her oath to TBC Drama save lives and her family Colors TV Talent Talent show open to all

India's Next Top Model S1 (English)

CBS Studios Int’l

Colors

Reality – Modelling

12 girls battle for the top model spot

India’s Next Top Model S4 (Hindi)

CBS Studios Int’l

MTV India

Reality – Modelling

12 girls battle for the top model spot

Indian Idol S10

19 Entertainment/ Fremantle, U.K.

La Famiglia India

Armoza Formats

Sony Entertainment Singing contest Television Applause Drama Entertainment (digital)

Liar India

all3media International Viacom18/Voot

Drama

Minute To Win It Kannada India S4

Endemol Shine Group

Game show

The Office India Oh My Ghost India Power of 10 S3 Rising Star India S2 Rising Star India S3 The Voice India S2 The Voice India S3 The Voice Kids India S2 Who Wants to be a Millionaire India S10 (Bangla) Who Wants to be a Millionaire India S10 (Hindi)

Colors Kannada

Game show Reality – Social experiment Reality – Social experiment Reality – Social experiment Reality – Social experiment Reality – Social experiment Reality – Social experiment Reality – Social experiment

Strangers live together with cameras/microphones recording their every move. The India version of the format is Asia’s longest running local adaptation and the most prolific in terms of language versions.

The search for a solo pop superstar Embarrassing, bizarre and insane moments that are a part of family life Two people’s initial attraction leads to farreaching consequences Complete a challenge in 60 seconds Jagdeep Chaddha and his hapless attempts to inspire a reluctant workforce A timid girl’s life changes when she is possessed by a lustful virgin ghost Big-cash game of high-low Viewers control the show via an app Viewers control the show via an app A hunt for unsigned talent A hunt for unsigned talent Kids version of The Voice

Applause Entertainment (digital) Applause CJ ENM Entertainment (digital) Sony Pictures Television Sony channel Keshet International Colors Keshet International Colors Talpa &TV Talpa Star Channel Talpa &TV

Game show Singing contest Singing contest Singing contest Singing contest Singing contest

Sony Pictures Television TBC

Game show

Contestants answer multiple-choice questions to win up to $1 million cash

Sony Pictures Television Sony Channel

Game show

Contestants answer multiple-choice questions to win up to $1 million cash

BBC Studios

Drama Drama

Source: Companies, rights holders, ContentAsia Formats Outlook January-December 2018

38

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formatsindonesia

Formats in Indonesia 23 of the 26 formats on air or commissioned in Indonesia in 2018 were game shows and singing competition formats. Game shows led with 12 of the 23. The other 11 were singing contests, according to ContentAsia’s latest Formats Outlook.

Title

Owned/sold by

Broadcaster

Genre

What it’s about

The Dr. Oz Show Indonesia

Sony Pictures Television

Trans TV

Talk show

Family Feud Indonesia S19

Fremantle

GTV

Game show

Family Feud Indonesia S20

Fremantle

GTV

Game show

Family Feud Indonesia S21

Fremantle

GTV

Game show

Hot Streak Indonesia S1

Fremantle

GTV

Game show

A word-based gameshow

I Can See Your Voice Indonesia S3

CJ ENM Korea

MNC TV

Singing contest

A professional singer and celebrity entertainers guess who has real vocal talent

I Can See Your Voice Indonesia S4

CJ ENM Korea

MNC TV

Singing contest

A professional singer and celebrity entertainers guess who has real vocal talent

Idol Extra Indonesia Idol S9

19 Entertainment/ Fremantle, U.K.

RCTI

Singing contest

Picks up where Idol leaves off, with interviews and behind-the-scenes insights

Indonesian Idol Junior S3

Fremantle, U.K./19 Entertainment

RCTI

Singing contest

Hunt for the most outstanding unsigned solo recording artist for kids

Indonesian Idol S9

19 Entertainment/ Fremantle, U.K.

RCTI

Singing contest

Hunt for the most outstanding unsigned solo recording artist (or “idol”)

Killer Karaoke Indonesia S1

Fremantle Indonesia

ANTV

Game show

Contestants have to complete challenges while singing to win money

Killer Karaoke Indonesia S2

Fremantle Indonesia

ANTV

Game show

Contestants have to complete challenges while singing to win money

Let's Make A Deal S1

Fremantle, U.K.

GTV

Game show

Let's Make A Deal S2

Fremantle, U.K.

GTV

Game show

Let's Make A Deal S3

Fremantle, U.K.

GTV

Game show

Little Big Shots Indonesia S1

Warner Bros Int’l TV Production

GTV

Entertainment

Family programming featuring extraordinary engaging kids

MasterChef Indonesia S5

Endemol Shine Group

RCTI

Reality – Food

Competitive cooking reality show

Match Game Indonesia S1

Fremantle

GTV

Game show

Contestants attempt to match the answers of six celebrities

Price Is Right Indonesia

Fremantle

RCTI

Game show

Contestants guess prices to win prizes

Rising Star Indonesia S3

Keshet International

RCTI

Singing contest

Viewers control the show via an app

Shadow Singer Indonesia

CJ ENM

GTV

Singing contest

Gives closet singers a chance to shine by ‘borrowing’ the appearance and the fame of a celebrity clone singer

Singing Battle Indonesia

KBS

GTV

Singing contest

Non-singer celebs team up with music producers

The Next Boy/Girl Band Indonesia S2

Talpa

GTV

Talent

Two top record labels compete to create the next boy/girl band

The Voice Indonesia S3

Talpa

GTV

Singing contest

The Voice Indonesia S4

Talpa

GTV

Singing contest

The Voice Kids Indonesia S3

Talpa

GTV

Singing contest

Kids’ version of The Voice

Top Chef Indonesia S2

NBCUniversal International

SCTV

Reality – Food

Chefs compete against each other in culinary challenges

Who's on Top? Indonesia

Keshet International

RCTI

Game show

A show where money isn’t the only thing that goes up and down

Long-running health series

Contestants have to guess the top answers to a quiz based on surveys

Member of the studio audience are selected at random to participate in the trading of items

Hunt for unsigned singing talent

Source: Distributors/rights owners. ContentAsia Formats Outlook January-December 2018.

40

contentasia issue two, april 2019

BCM 2019 Busan Contents market May 8-10 Bexco, Busan, Korea Online Registration available at www.ibcm.tv Contact Ms. Jungwon Lee International Marketing Director

Online Registration available at www.ibcm.tv

datachina

Planet of the apps iQiyi, QQLive and Youku top China’s list of video apps, with about 1.6 billion combined monthly unique viewers. But video trails instant messaging, where Tencent’s MM and WeChat reign. iQiyi continued to drive online video apps us-

February 2019

age in China in February 2019, with almost 600 million monthly unique visitors (UVs), new data released by iResearch Consulting Group shows.

The latest Top 500 Apps in China by UVs re-

Online video apps’ rankings among top 500 apps in China:

January 2019 Monthly UVs (000)

Online video apps’ rankings among top 500 apps in China:

Monthly UVs (000)

port says iQiyi had 597 million UVs during Feb-

4

iQiyi

597,280

5

iQiyi

578,353

ruary this year – a 3.3% increase from the 578

8

QQLive

546,121

8

QQLive

543,602

12

Youku

404,644

12

Youku

391,152

41

HunanTV

157,450

41

HunanTV

151,872

98

Funshion Video

51,966

100

Funshion Video

51,687

105

Sohu Video

48,885

111

Sohu Video

47,287

128

PPTV

38,066

121

PPTV

41,680

131

Letv

36,668

125

Letv

39,617

238

BTV

15,058

222

BTV

16,389

million UVs recorded in January.

This gives iQiyi the highest number of monthly UVs of eight other online video apps on the list of 500 in both months.

In February, iQiyi ranked 4th of all 500 apps included in the report.

First and second spots were held by Tencent’s instant messaging apps: Tencent MM/ Wechat (with 1.09 billion UVs) and QQLive (with 702 million UVs).

Source: iResearch Consulting Group’s ‘Top 500 Apps in China by UVs’ in February 2019 and January 2019 reports. iResearch calculates the unique visitors of mobile apps based on the caliber of unique devices (UD) where the apps are started and used.

Video app QQLive, also owned by the Hong Kong-listed Tencent, had more than 546 million UVs in February (overall 8th place) and 543 mil-

Revenue of China’s online video industry...

lion UVs in January (overall 8th place as well). iQiyi and QQLive are the only online video

0.9

$120.0

apps to make the top 10 list on iResearch’s

83.1%

charts in February.

0.8

Competitor app Youku, a streaming service owned by the Alibaba Group since 2015, had

$100.0

¥96.27

404 million UVs in February, giving it 12th place

0.7

overall and maintaining the spot achieved in 62.2%

January with 391 million UVs. The six other online video apps listed among

58.7%

$80.0

the 500 in February were HunanTV (41st, 157 mil-

0.6 ¥72.59

lion UVs), Funshine Video (98th, 52 million UVs), 47.8%

Sohu Video (105th, 49 million UVs), PPTV (128th, 38 million UVs), Letv (131st, 36 million UVs) and

0.5

¥64.1

$60.0

BTV (238th, 15 million UVs).

0.4

In a separate report on China’s online video 32.6%

industry, iResearch posted a 32.6% year-onyear growth to RMB96.27 billion/US$14.35 billion

¥40.4

$40.0

0.3

in revenue in 2018 versus 2017’s RMB72.59 billion/US$10.83 billion.

¥24.9

iResearch says growth drivers included quality upgrades.

0.2 13.2%

$20.0 ¥13.6

“Online video platforms are actively improv-

0.1

¥9.2

ing their speech power in content. Many of them take top copyright content and highquality self-made content as core of future development strategy,” the report says.

42

$-

2012

2013

2014

2015 Billion

YoY growth

2016

2017

2018

0

Source: iResearch Consulting Group

contentasia issue two, april 2019

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