SPANISH AND KOREAN MOST POPULAR NON-ENGLISH CONTENT IN NETFLIX
Viewing by original content language, Netflix, 2H23-1H24
8,71%
KOR EAN SHOWS NOW ACCOUNT FOR 8.71% OF ALL NON-ENGLISH LANGUAGE CONTENT CONSUMPTION ON NETFLIX, ACCORDING TO RECENT DATA FROM OMDIA.
Source: Omdia
8.19
BILLION VIEWING HOURS FOR KOREAN CONTENT WERE WATCHED ON NETFLIX.
7.11% OF CONSUMPTION ON NETFLIX WAS FOR SPANISHLANGUAGE CONTENT.
Omdia’s analysis found titles from Spain were the most popular Spanishlanguage content on Netflix, accounting for 49% of the platform’s Spanishlanguage offerings. Following Spain was Colombia (19%) and Mexico (18%).
ITV Studios has acquired a majority stake in Eagle Eye Drama, UK drama production company which was launched in 2018 by Walter Iuzzolino, Jo McGrath and Jason Thorp, the team also behind international drama streaming service, Walter Presents on Channel 4. As part of the deal, ITV Studios has also acquired a majority stake in the Belgiumbased production services company Happy Duck, led by producer and director Dries Vos, which services Eagle Eye’s global slate. International distribution of the new Eagle Eye series will be handled by ITV Studios. •
A+E Global Media Group will partner with Arré Studio to bring its format “Alone” to India for the first time. It was announced by Namit Sharma, CEO Arré Studio and Amreet Chahal, Content Sales Director for A+E Media Group, Asia-Pacific. “Alone” first premiered on A+E’s The History Channel US in 2015, and has now run for eleven smash hit seasons with a twelfth season in production. The show has several adaptations, like “Alone Denmark” and “Alone Australia.” •
A mazon will shut down Freevee, its free ad-supported streaming television (FAST) service. Its content has already been migrated over to Prime Video, and new episodes of Freevee shows will be available to people who don’t pay for Prime. The update will be deployed in the territories where Freevee is currently available: the U.S., UK, Germany, and Austria. The content labeled Freevee will be designated for nonPrime customers as “Watch for Free” on detail pages. No layoffs related to the move are expected. •
Thema signed a new deal with VIU from PCCW Group to globally distribute Viu Original content. VIU is a leading pan-regional OTT video streaming service available in 16 markets across Asia, the Middle East, and South Africa. With over 62 million monthly active users and 13 million paid subscribers, VIU offers TV series, movies, and lifestyle programs from top content providers in local and regional languages. VIU releases premium original content under the brand “Viu Original,” with productions from Thailand, Indonesia, Malaysia, the Philippines, and Chinese content from Hong Kong. •
Deniz Şaşmaz Oflaz has been named Warner Bros Discovery’s Vice President of Local Original Productions, Local Channels and Streaming Operations Lead for Turkey. Oflaz was previously CEO of streamer BluTV, which WBD acquired at the end of last year. She will remain in charge of the service, while taking on channel management for TLC and DMAX, plus development and production of local Turkish content. Grigory Lavrov, VP of Marketing, Local Brands & Franchise Management, Central & Eastern Europe (CEE) and the Middle East, North Africa and Turkey (MENAT), will continue to lead the trade marketing teams across CEE and MENA. •
Banijay Asia, part of Banijay Entertainment, and Disney+ Hotstar announced the Indian adaptation of NBCUniversal’s detective series “Monk.” The Indian adaptation of the series is already in production and will stream exclusively on Disney+ Hotstar and Hulu. This marks the first Asian adaptation of the format and the second worldwide, following the Turkish version. “Monk” originally aired on USA Network in the United States and is licensed globally by NBCUniversal Formats, which is part of Universal International Studios, a division of Universal Studio Group. •
BBC Studios and Shanghai Media Group have signed a three-year agreement to screen the landmark series “Kingdom,” “Blue Planet III” and “Hidden Planet” on SMG’s Dragon TV, with both parties also pledging to continue exploring brand development opportunities in China. This agreement follows the deal for BBC Studios new landmark natural history series “Asia,” which will launch on SMG’s Dragon TV on November 5. Jonny Keeling, Head of BBC Studios Natural History Unit, said: “These are three stunning series that demonstrate the quality and breadth of original natural history filmmaking at BBC Studios.” •
ACHIEVING SUBSCRIBER SCALE REMAINS IMPORTANT IN THE LONG RUN, BUT MANY STREAMING PLAYERS IN ASIA HAVE PIVOTED THEIR FOCUS TO FINDING THE RIGHT BALANCE BETWEEN EXPANDING CUSTOMER BASES AND GENERATING HIGHER AVERAGE REVENUE PER USER.
S&P Global Market Intelligence Kagan projected that combined subscriptions for paid OTT services in Indonesia, Malaysia, the Philippines, Singapore, Thailand and Vietnam could eclipse the 50 million mark, potentially translating to a market value of about $1.90 billion at the end of 2024. Revenue growth and cost optimization are among the key themes shaping growth strategies for many of the top streaming operators in Southeast Asia this year.
Partnerships with local thirdparty operators and content producers will also continue to play a critical role in driving growth for OTT players in the emerging AsiaPacific region. Compared to more mature OTT markets in other parts of the world, Southeast Asia still exhibits huge potential to sustain robust streaming growth, given the low household penetration of subscription video-on-demand services in most emerging markets. Since last year, however, some streaming services in the region have started to rein in efforts of pursuing paying audiences at any cost amid mounting pressure to maintain healthy profit margins.
In that context, Netflix’s Q2 2024 report stated that it now has 50.3 million subscribers in the Asia Pacific region, making it the company’s third largest subscriber base globally, according to Ampere Analysis data. Since launched in APAC in 2016, Netflix has achieved consistent growth within the region, in contrast to North America and Western Europe, where growth has been slower with occasional subscriber decline.
Furthermore, Pay TV is experiencing a decline in the Asia-Pacific region, but operators
NETFLIX'S SUBSCRIPTIONS BY REGION (2019-2029)
Central & Eastern Europe North America
Latin America Middle East & Africa
and transitioning traditional TV platforms to the internet. Bundling OTT with pay TV packs has become a popular trend. For example, Malaysia's direct-to-home operator, Astro Malaysia Holdings Bhd., includes Disney+ Hotstar and HBO GO in its direct-to-home packs. Finally, according to Media Partners Asia stats, content investment in seven key APAC markets (India, Korea, Indonesia,
FORECAST OF APAC PAY TV SUBSCRIPTIONS BY 2028
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are also evolving their services. The penetration of pay TV is decreasing as viewership shifts online, with a projected drop to 60.6% in 2028 from 66.6% in 2023, with a five-year compound annual growth rate of negative 1.9%, according to S&P Global Market Intelligence Kagan data.
Pay TV providers are adapting their products to stem the subscription loss. This evolution includes bundling existing pay TV packs with online streaming content
Philippines, Singapore, Thailand, and Vietnam) reached US$15.5 billion in 2023, marking a 4% yearon-year increase. India led the charge with a 12% growth, driven primarily by sports content, while Indonesia followed with a solid 5% increase. Korea, the Philippines, and Thailand managed modest gains, whereas Malaysia and Vietnam experienced contractions due to challenging advertising markets.
By Diego Alfagemez
he global appetite for Turkish dramas continues to grow, propelled by companies such as Inter Medya, which has extended the reach and influence of Turkish content worldwide. Can Okan, Founder and CEO, and Pelin Koray, Senior Sales, Acquisition, and Strategy Manager, shared with Señal News their insights on how Turkish productions are captivating international audiences and breaking into new territories, including Asia.
Okan highlighted Inter Medya's current projects, including "Love and Pride" and "Valley of Hearts." "'Love and Pride' has finished shooting and is in the final post-production stages, set to be completed by the end of the month," Okan shared. Meanwhile, "Valley of Hearts," produced by Tims&B Productions, promises to be a global hit. "We have very strong hopes that it will be sold widely across international markets," he said.
Meanwhile, Pelin Koray celebrated a historic milestone for Inter Medya: the licensing of "Love Undercover" ("Ruhunu Duymaz") for a remake in Korea. "This marks the first time a Turkish format has been acquired for a remake in Korea. It's a significant moment for Turkish content in the international market," she explained.
Okan emphasized the significance of staying true to the core themes of Turkish dramas while exploring new formats. "Family issues, love triangles, and classical Monte Cristo-type stories are the salt and pepper of Turkish content," he said. Koray highlighted the challenges of adapting Turkish content for Asian markets, where shorter series formats are preferred. "Turkish dramas are often considered too long for East Asian viewing preferences," she noted. With "Love Undercover," which has 28 internationallength episodes, Koray sees an opportunity to bridge this gap. "It requires less script revision and
offers an excellent starting point for adaptation," she explained.
Okan shared insights into the
growing demand for mini-series produced for OTT platforms. "Mini-series are faster paced, much bolder, and even sexier. On subscription-based platforms, you can explore themes like violence or nudity more freely," he said.
Koray added that the rise of digital platforms in Southeast Asia has significantly altered viewing habits. "Most TV broadcasters are moving away from traditional television and focusing on licensing digital rights," she explained. Inter Medya has adapted its business model, offering flexible licensing agreements catering to digital-first audiences.
Looking ahead, Okan and Koray are optimistic about the future of Turkish content. Okan sees the ongoing production of high-quality dramas as a cornerstone of Inter Medya's global strategy. "We love our work and are committed to making Turkish dramas a global phenomenon," he said.
Koray emphasized the significance of licensing Turkish movies to new regions. "We recently licensed a mini-series to Thailand's Monomax platform, the first-ever content license from Turkey to Thailand," she said. "Breaking into these markets allows us to pave the way for future deals." Expanding Turkish storytelling into Asia is a professional and personal passion for her. "I'm constantly amazed at how far Turkish content travels to places like China, Taiwan, and Thailand. These regions are starting to embrace Turkish storytelling, and it's an honor to witness that firsthand," she concluded.
By Fernando Calviño and Federico Martinez
CosmoBlue Media is charting an ambitious course toward the future of global entertainment, blending innovation with a commitment to meaningful storytelling. At the helm of this dynamic shift is Berk Uziyel, Co-Founder and Partner in CosmoBlue Media, whose forward-looking vision is driving the company's expansion into diverse and emerging sectors. From educational programming for children to cutting-edge artificial intelligence and digital distribution, Uziyel talked with Señal News about how CosmoBlue Media is redefining what it means to create and share content in an increasingly interconnected world.
Uziyel emphasized that the company is taking a forwardlooking approach. Central to their new mission is acquiring and developing diverse assets in children's educational entertainment. "We've initially announced that we purchased TinZyne Limited and all the assets of TinZyne, which includes the Macademia, Azoomee, and Da Vinci brands," he said, describing the strategy to appeal to young audiences through channels like Da Vinci for educational content, Azoomee for preschool
BERK UZIYEL , COFOUNDER AND PARTNER IN COSMOBLUE MEDIA, DESCRIBED THE COMPANY'S FOCUS AND HOW IT IS ADAPTING TO THE EVOLVING ENTERTAINMENT INDUSTRY.
programming, and the CosmoBlue Kids Network for animated features. These brands represent an investment in nurturing creativity and learning for children.
CosmoBlue Media also embraces the digital revolution, focusing strongly on AVOD platforms like YouTube. Uziyel revealed plans to establish a dedicated department to enhance digital monetization strategies. "We're now establishing a new department, which is going to acquire a few assets to further develop on the AVOD segment, such as YouTube, all of the prominent players," he explained. This expansion into digital distribution aligns with the company's broader goal of leveraging technology to reach global audiences efficiently.
Another exciting area for CosmoBlue Media is sports. The company is launching Cosmosports and recently announced a strategic
collaboration with Fanatiz, a Latin American sports platform. "We'll be doing quite a bit of stuff with them," Uziyel shared, highlighting their goal to become a player in sports media. Furthermore, CosmoBlue Media is embracing artificial intelligence by investing in Largo AI and acquiring Sofi TV, a brand specializing in short films. These ventures highlight the company's innovative spirit and desire to explore emerging technologies in content creation.
The company's reach is also becoming increasingly global. While the founders' previous ventures focused on Central and Eastern Europe, CosmoBlue Media now expands into North America, Canada, and Latin America. "We're now getting engaged into a few businesses within that territory, too," Uziyel stated, revealing their intent to establish a broader footprint. With ventures spanning children's programming, digital platforms, sports, and AI, Uziyel stated: "This is just the beginning," capturing the essence of a company poised to impact the future of global entertainment significantly.
By Fernando Calviño and Federico Martinez
"We're now establishing a new department, which is going to acquire a few assets to further develop on the AVOD segment, such as YouTube"
Electric Entertainment is a well-established production and distribution company with multiple strategies to maintain a strong position in the global industry. It recently launched the second season of its original SYFY TV series "The Ark," filmed in Serbia. "It's even better than the first season. It's bigger and wilder," Dean Devlin, CEO of Electric Entertainment, told Señal News. He also mentioned the upcoming "Leverage: Redemption" season, which was filmed in New Orleans and set to premiere next year. "Even if you've seen every episode of 'Leverage,' this season feels fresh and brand new. It's exciting that we can still create unique episodes this far along," he added.
Electric Entertainment has also announced a new version of "The Librarians," titled "The Librarians: The Next Chapter. " This spinoff with a new cast was shot in Serbia. Devlin acknowledged the challenge, noting that it received a standing ovation when they previewed the series at ElectricCon. "The fans were thrilled, which made me happy because I feel obligated to top what we've done before, and I think we have," he said. Devlin credits his talented team for his success in producing around the world. "The
team at Electric Entertainment is not only talented but also kind, empathetic, and great to work with. You need these qualities at this level of intensity," he said.
Electric Entertainment announced two original scripted shows for ElectricNOW Originals this year, its AVOD and FAST streaming platform. One new title is "Sloane and The Cosmic Schlep," an eight-episode, halfhour animated sci-fi comedy executive produced by Dean Devlin, Marc Roskin, and Rachel OlschanWilson for Electric Entertainment, alongside Derek Frederickson for Twisted Media and Scott Elias, with production by Anna Elias. The second project is "The Poly Couple," a half-hour comedy series that began as a successful social media series, boasting over one million followers and 500 million views. Created by Dana Hobson and Daniel Wolf, the show is inspired by their experiences as a polyamorous couple. "It's not suggestive at all; it's really about the challenges of being in a polyamorous relationship," Devlin explained.
In today's market, the industry has recognized the need to make less expensive content that appears to have as much scale and
ambition as the show's viewers are accustomed to, something Devlin has always been aware of. "The biggest challenge is producing content that looks as high-quality as before with less money," he explained, emphasizing his commitment to viewers. "They don't know the budget; they just want something they enjoy. Our challenge is to keep our shows premium on a smaller budget, and that's where creativity comes in. Fortunately, many skilled directors know every trick to make a show look big on a budget. I think we've become the best at it," he stated. Devlin created ElectricNOW as a way to connect directly with audiences. Over the years, they have brought together fans of "The Librarians," "Leverage," and "The Outpost," introducing them to each other and new shows. "When 'The Ark' premiered, we used that channel to reach all of them, resulting in 6.5 million viewers for the first season. It's been a way to thank our fans, communicate with them, and build a community. The fact that it's profitable is a bonus," Devlin explained.
Last year, Electric Entertainment launched ElectricNOW en Español, a Spanish-language FAST channel in the United States. "Many platforms were suddenly open to that idea. Rather than just being a language option, we developed a channel that has our shows in Spanish and other Spanish-language content, allowing us to reach a broader audience," he concluded.
By Romina Rodriguez
MIP London will launch its first edition between February 23 and 27, 2025. This event is set to gather professionals from over 250 companies across 50 countries, transforming London into a vibrant hub for networking, business deals, and content showcasing. In a press conference, Lucy Smith, Director of Mipcom Cannes and MIP London, gave more details about the upcoming renewed MIP market.
The market will take place simultaneously in two venues, the Savoy Hotel and IET London, located at Savoy Place in London. There will be meetings and highprofile branding opportunities at the hotel, while IET London houses theatres like the Kelvin Theatre, which are designed for immersive presentations and versatile lounges for networking.
"This is a market with a new innovative format based on meeting spaces, screenings, and conferences," explained Smith. The event broadens its audience by relocating MIPDOC and MIPFORMATS to London for the first time, marking the biggest week in unscripted content. Participants can engage in pitch sessions, summits, and spotlight showcases focused on trends, co-production opportunities, and innovative business models. "We're going to make it as useful as we can to those companies who want to talk more and meet other people
LUCY SMITH, DIRECTOR OF MIPCOM CANNES AND MIP LONDON, PREVIEWED THE NEW MARKET, WHICH WILL REPLACE MIPTV AND WILL TAKE PLACE FROM FEBRUARY 23 TO 27 IN LONDON.
around those areas," she added.
The market will occur simultaneously with the 2025 edition of the London TV Screenings, which will run from February 24 to 28. Smith understands buyers' concerns about why they should attend MIP London if the Screenings are already taking place, to which she responded that this new market will offer an organization around the screenings and content offers. "Buyers and distributors needed a central hub where everybody could centralize," she stated.
She also differentiated the event from what MIPCOM Cannes is. "What we're planning in London is a totally different format. It's a totally different event. It is not a major exhibition. We basically have plugand-play solutions for anyone who wants to come," she said.
Smith also announced that the event would focus more on future-based strategies for kids' productions. "One of the areas that we decided to move forward with is around the kids sector. So, we have now decided to create and organize a UK and Europe kids co-production summit," she explained. This initiative results from conversations with UK commissioners, including BBC and Sky, who supported the creation of more collaboration opportunities within the kids' sector.
At the heart of MIP London is its emphasis on connecting buyers,
producers, and distributors in a centralized venue. Buyers, who have the chance to attend for free this year, are prioritized with tailored invitation programs, exclusive lounges, and carefully curated showcases. This new structure streamlines their schedules while offering distributors and producers a stage to present their latest offerings. "We understand that change is always challenging. And I think there are straightforward ways to try it kind of out," concluded Smith.
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