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Kids Online platforms’ TIFFCOM opens plans in Asia to record highs @TIFFCOM Booth #A1-C8

50 buyers, record 371 TIFFCOM 2017 SPECIAL ISSUE exhibitors in Tokyo, organisers say C NTENT This year’s sixth annual Japan Con- tent Showcase (JCS/TIFFCOM) market バランスオブパワーフォーマットアジアで最も人気が子供オンラインプラッ opened in Tokyo Tuesday morning (24 ハリウッド対アジアあるフォーマット、ジャンルトフォームのアジア戦略 Oct) with record exhibitors, an uptick in buyers, a focus on the state of Japanese animation and a look at entertainment innovation and marketing. Key animation trends included the rise in short easy-to-produce/broadcast anime and fantasy animation, Hiromichi Masuda, vice chairman of The Associa- tion of Japanese Animations business committee, told delegates at the opening seminar on the current state of Japa- nese animation. Anime-based musicals and live con- certs were also on the rise, said Naofumi アカデミー賞受賞者 J・K・シモンズ Ito, Asatsu-DK Inc’s department director, ACADEMY AWARD® WINNER J.K. SIMMONS The rest of the story is on page five

Asia outreach A NEW ONE-HOUR DRAMA SERIES peaks at MIPCOM Visit the Sony Pictures Entertainment booth (C12) Local co’s bump up partnership efforts

This year’s MIPCOM market closed in Cannes on 19 October with unprecedented interest from Asian companies in global relationships and outreach. This is not just because Korean companies continue their frantic search to fill the ©2018 MRC II Distribution Company, LP.

hole left by the ongoing China freeze. Or 43856_MIP17_COUNT_APAC_AD_m1_edit_20171009.indd 1 9/10/17 6:56 pm because co-development, as difficult as 1_AdCover Japan layout.indd 1 16/10/17 11:20:02 it is, is in high gear for various reasons, including to comply with China’s IP-owner- www.contentasia.tv ship regulations. @contentasia /contentasia contentasia.tv /company/contentasia The full story is on page five

23 October -5 november 2017 page 1. c ntentasia 23 October-5 NOVEMber 2017 Page 2.

So this happened Astro countdown to 28 Oct horror debut during MIPCOM Original 3 A.M. series kicks off new ASEAN slate

Three national free-TV broadcasters in Southeast Asia have licensed season two of Sony Pictures Television Networks’ Asia’s Got Talent, giving the big-budget reality show broad mass-market reach in Indonesia (ANTV) and Vietnam (HTV3, DreamsTV) and extending reach among Thailand’s urban areas on two channels operated by BEC Multimedia/Channel 3.

A+E Networks Asia signed its first global factual co-pro with China’s state- backed media organisations – China Central Television (CCTV) and China International Television Corporation (CITVC). The full two-hour show, The Silk Road – Reborn, will air on History across Asia. A one-hour version will air in the U.S.

India’s Zee Entertainment Enterprises has ventured into high-end factual production for the first time, partnering with Smithsonian Channel to commission 4K/ UHD factual programme, Life of Earth from Space, from production company Talesmith. Thai actors Chansakorn “Hongyok” Kittiwattanakorn (left) and Tongpound “Namo” Tonggamnerd ITV Choice will air The Voice U.K. in Asia 24 hours after the original U.K. broadcast Malaysia’s Astro premieres its first original Astro plans to follow the TV series with a in an exclusive agreement that also cov- horror series, 3 A.M. Bangkok Ghost Stories, feature film in 2018. ers Africa/Middle East. The new season on 28 October, fast-tracking its premium “One year after the anniversary of the airs in early 2018, followed later in the originals ambitions for the region as well as launch of BOO, we are even more firmly year with the kids’ version. the expansion of its one-year-old in-house convinced of the appeal of stories that regional horror channel BOO. echo ASEAN supernatural folklore and Korea’s CJ E&M and UHD channel Insight The 13-episode series will air every Satur- experiences,” says Astro chief operating TV are co-producing two sports science day at 3am on BOO. officer, Henry Tan. shows looking at how athletes use tech The first episode, DJ, stars Thai actress/ The next projects are horror original, to improve performance. The films come singer Chansakorn Kittiwattanakorn (True Doors, A Philippines Horror Anthology, with ahead of the PyeongChang Olympics Academy Fantasia season 10, Yes or No Philippines’ producer Bianca Balbuena, in 2018. 2.5) and Paranyu Rojanawuthitham. The and action series Do[s]a, an Indonesian episode is the story of a DJ haunted by the production with Ifa Isfansyah and Salman spirit of a woman who committed suicide. Aristo along with a mixed Malaysian- Adapted from ContentAsia’s MIPCOM 3 A.M. Bangkok Ghost Stories was Indonesian cast. Dailies, published during the market in produced with Thailand’s Five Star Pro- “We are committed to developing high Cannes from 16-19 October. duction, which was behind the 3 A.M. quality Asian IPs (Intellectual Properties) feature film franchise. The first movie, by and premium Nusantara series via col- Full stories at www.contentasia.tv Kiatkamon Iamphungporn, was released laborations with renowned directors, writ- in 2012, with a sequel in 2014. ers and production studios,” Tan said. 23 October -5 november 2017 page 3. c ntentasia 23 October-5 NOVEMber 2017 Page 4.

the spacePage 4. GoDaddy goes for J b Asia’s Got Talent the place to look for the jobs that matter S2 talent involved in new digital campaign

Cloud platform GoDaddy has joined the Asia’s Got Talent season two sponsors’ list, two weeks after the show premiered on Sony Pictures Television Networks DEVELOPMENT MANAGER Asia’s regional channel AXN. The late- About Ideate Media entry partnership includes GoDaddy’s With offices in Kuala Lumpur and Los Angeles, Ideate Media is well positioned new digital campaign, “Bring Your Talent as a producer of choice for high quality scripted content in multiple Online”, which features customised con- languages for exploitation in emerging and developed markets. Our US TV series, Dirk Gently’s Holistic Detective Agency produced for BBC tent starring acts from Asia’s Got Talent. America and Netflix is now in season 2 and a slate of exciting feature films and TV series is ready to be rolled out in various markets in South East Asia. Known for our strong storytelling capabilities and production execution, we 13 years of losses are poised for a promising growth with more partnerships being formed with end for global brands. Responsibilities Taiwan’s MOD • Lead development cycle for selected projects from concept ideation, pitch, budget, evaluation and greenlight. Platform on track for 2m • Assist Head of Development in driving the company’s development slate including identifying potential projects, managing existing projects, subs by end 2017 providing creative oversight, managing development timelines and budget. Taiwanese telco Chunghwa Telecom Co • Manage company development activities including script evaluation, creative research, providing project reports and notes and preparing ended 13 years of losses on its Multime- pitch documents and proposals. dia On Demand (MOD) online television • Coordinate with the Production team through all production stages to platform this month, telling local media ensure the successful translation of script to screen. that it had gained 105,000 users since • Conduct market and creative research to provide intelligence and August this year. MOD now has 1.5 mil- analysis for slate development and exploitation strategy. lion subscribers, compared to 1.33 million Qualifications and skills at the end of 2016, and expects to hit • At least 5 years experience in a creative/development/production role in the 2 million mark by the end of 2017. the creative industries (writer, script editor, development executive, The latest success is being attributed creative producer, etc. in television, film, theatre, advertising). • Bachelor’s degree necessary, master’s degree a plus (a film school to the new regime – including a profit- qualification is a bonus). share arrangement with major content • Good knowledge of US, regional and local film and television marketplace. providers – ushered in at the end of last Knowledge of other markets a bonus. Broad contact base across the year when chairman David Cheng took local/regional market and good working relationships with writers, directors, producers, broadcasters. Ideally, enough familiarity with the international the reigns. Cheng supports a strong and U.S. marketplace to work effectively as part of a multinational content play, and has promised further team to develop concepts that work for audiences both regionally and improvements. Chunghwa has spent internationally. more than US$1 billion on the platform, • Excellent written and oral communication skills in English. Other major ASEAN languages a bonus. which launched in 2004. “Consumers • Good time management and problem-solving skills; self-starter; deadline- are backing [the company’s advocacy oriented with strong work ethic; passionate and knowledgeable about of] the right to choose content,” Cheng high quality drama across both television and film, with a strong proven was quoted in local daily, The Taipei track record of demonstrating sound creative judgment. Times, as saying. “There is still room for Please send your resume to Faizah Ibrahim at [email protected] us to enrich the content delivered on MOD,” he added.

Click here to see more job listings c ntentasia 23 October-5 NOVEMber 2017 Page 5.

From page 1: Japan Contents Showcase content strategic planning office, con- Asia outreach peaks at MIPCOM tent division. Local co’s bump up partnership/collaboration efforts Ito said overseas purchases of anime were at record highs of 459 titles in 2016 after the market’s virtual collapse in 2009 This year’s MIPCOM market closed in as a result of, among other things, Chi- Cannes on 19 Oct with one chart-topping nese regulations that stopped the broad- trend from Asia: unprecedented interest cast of anime in golden/prime time. Ex- in global relationships and collaboration. ports dipped from 248 titles in 2008 to 153 Although changing circumstances in in 2009, 172 in 2010, 160 in 2011 and 164 China and Korea are a driving force, the in 2012. noticeable shift in attitudes is not only be- Bulk acquisitions from 2014 – including cause Korean companies continue their from Chinese streaming platforms such frantic search to fill the hole left by the on- as iQiyi and Tencent – took the market going China freeze. Or because co-devel- from 195 titles to last year’s 459. This is opment, as difficult as it is, is in high gear unlikely to be sustained given Chinese for various reasons, including the effort to trends, which are shifting towards local IP, comply with China’s IP-ownership (as in, he added. China has to own everything) regulations. Singapore’s IMDA took prime space at MIPCOM This year’s conference agenda also MIPCOM newcomers this year, including to promote next month’s Singapore Media Festival looks at international co-production, ex- Thailand’s BEC World chief commercial of- pansion potential for Japan’s IP, and a ficer Ron Kamnuanthip, indicated a whole Not so much expansion for Korea, which look at Japanese content in China. different level of commercial interest. remains plagued by domestic labour dis- Stands on the exhibition floor are up The Philippines is also exploring a new putes. Ongoing strike action, obvious at 20% over last year. Of the 371 exhibitors, agenda, (hopefully, some say) supported the BCWW show in Seoul in September, 208 are Japanese and 163 from outside by government trade bodies eager to do spilled into Cannes in October. Clients of Japan. Overseas visitors are up 33% on for their creative industries what Korean, and partners reported a shrunken MIP- last year, organisers said on the eve of Singaporean and Japanese governments COM presence from MBC, one of Korea’s the opening. have done for years. big three free-TV broadcasters. This year’s exhibitors are from 27 coun- Some aren’t waiting: ASI Studios put its Deals made public during the MIPCOM tries and regions, including a 2.6x increase hand up in a bigger way than usual for week show lots of life left in linear in Asia at in mainland Chinese presence. Four ex- the Philippines for a share of attention the same time as on-demand dominates hibitors – Kazakhstan, Kosovo, Lebanon, for new animated series Barangay 143. headlines and the world moves further Lithuania – are first timers. Latin America Meanwhile, ABS-CBN’s finance head, into its blended entertainment future. also has its first pavilion on the show floor Catherine Lopez, made her MIPCOM de- Announcements included the first-ever this year. The biggest overseas presence but this year, clearly interested in expand- linear carriage for Nickelodeon. Perhaps is from Korea, Taiwan and Cambodia. ing international efforts under new boss ironically, the platform giving Nick a lin- Korea’s KOCCA director, Kyoung Eun Macie Imperial. ear landing is telco-owned streamer dTV- Lee, said participants in this year’s Ko- Asia’s expansion drive was led by Chi- Channel. rea pavilion increased to 22 from 18 last na, whose presence was once largely In Singapore, A+E Networks expand- year. confined to a safety-in-numbers national ed its footprint with telco Singtel, which The number of registered buyers’ hit 50 pavilion. Leading the spread beyond added five channels – History, H2, Life- as the show opened its doors at its new MIPCOM’s famed basement “bunker”, time, Crime + Investigation and FYI. The Ikebukuro venue. This is level with attend- production powerhouse Huace made expanded profile came three days after ance in 2015, which was at the time a an upstairs appearance with its biggest A+E unveiled its two wholly owned Korean record high. First-time buyers this year are delegation ever. With that dyke broken, channels – History Korea and Lifetime Ko- from Lebanon and Ukraine. others are likely to follow. rea – based out of Seoul. JCS is organised by Ministry of Econo- Japan also increased its profile, driven by For A+E, like others, October clearly my, Trade and Industry, Foundation for the Tokyo Olympics next year and public marked the start of a whole new era of Promotion of Music Industry and Culture, broadcaster NHK’s relentless push towards engagement in and out of Asia. UNIJAPAN, and The Association of Japa- 8K as much as by the success of Nippon The full MIPCOM wrap is at nese Animations (AJA). TV’s Mother scripted format in Turkey. www.contentasia.tv c ntentasia countryprofile 23 October-5 NOVEMber 2017 Page 6.

Laos In numbers Population...... 6.5 million Households...... 1.2 million Avg household size...... 5.3 TV households...... 700,000 TV penetration...... 58% Internet users (fixed/mobile)...... 1.2 million Internet penetration rate...... 18.2% Mobile phone subscribers...... 3.56 million Mobile phone penetration rate...... 53.1%

Source: companies, Lao Statistics Bureau

Free TV Lao National Television (LNTV) State-owned national broadcaster, LNTV, owns/operates two channels: LNTV1 (news, current affairs, politics, education, society, environment) broadcasting for Blue Planet II, BBC Earth on Laosat DTH 18 hours; and LNTV3, a 24-hour general entertainment service. LNTV’s interna- Television Lao (TV Lao) Chinese cable TV, company Yang Ch- tional content is mostly from China, South Television Lao (TV Lao) and the Depart- ing Sung Tu Electrical, and attempted to Korea, Japan and Vietnam. ment of Mass Media of the Ministry of In- curb Thai TV dominance by establishing formation, Culture and Tourism reached Lao Cable Television. The platform offers Lao Public Security TV (Lao PSTV) an agreement in Dec 2012 to create a pri- about 50 local, regional and internation- Lao PSTV is a 24-hour satellite station vate station to broadcast sports and arts al channels. The platform is 85% held by owned/operated by the Ministry of Pub- programmes. Located in Phonphanao Yang Ching Sung Tu Electrical and 15% by lic Security. The aim is to disseminate po- village in Xaysettha district, Vientiane, the Laos Ministry of Information and Culture’s litical information and to reinforce public company invested LAK16 billion/US$2 mil- Department of Mass Media. security. Established in April 2012, the sta- lion building the station complex, includ- tion carries only local content. ing broadcasting studios. TV Lao began Laos Digital TV (LDTV) Digital terrestrial broadcaster Laos Digi- Lao Star TV broadcasting in March 2013 following test screenings. The broadcaster now of- tal TV offers 54 TV channels, including in- Lao Star launched in Feb 2007 after the fers sports, news, documentaries, culture, ternational and regional (Chinese, Thai, Art and Cultural Promotion Club signed socio-economic affairs, business and Vietnamese) services, to about 50,000 a contract with Lao National Television in tourism-related programming, delivered households in Vientiane and three prov- Dec 2006 to create an entertainment TV via satellite and cable networks through- inces. The cost, including digital box in- channel under the supervision of the Min- out Vientiane and some provinces. stallation and two years’ subscription, is istry of Information, Culture and Tourism. LAK$610,000/US$75. Established in Nov The venture has a 30-year concession. 2007, Laos Digital TV is a joint venture be- Lao Star transmits 24 hours with a 100% lo- Pay TV/Cable/DTH tween mainland China’s provincial sta- cal schedule (70% produced in-house). tion Yunnan TV, free-TV broadcaster LNTV InfoSat-Laos and Lao Technology Development. MV Lao Television (MVLao) InfoSat-Laos established its DTH platform in MVLao was established in 2006 by Thai- Oct 2016 via a multi-year transponder (Ku- Laosat DTH land’s MV Television under the supervision band) deal with a Thai satellite operator, Laosat DTH launched in 2016 offering of Lao’s Ministry of Information and Culture. offering 15+ HD/SD channels. about 50 international and local chan- The 24-hour channel offers local/regional nels to all 17 provinces in Laos. programming spanning variety, drama Lao Cable Television series, kids and movies. Regional content In 2002, Lao’s Ministry of Information and Adapted/updated from ContentAsia’s partners include Hong Kong’s TVB. Culture entered into a joint venture with The Big List 2017

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23 October -5 november 2017 page 7. c ntentasia countryprofile 23 October-5 NOVEMber 2017 Page 8.

Myanmar In numbers Population...... 51 million Households...... 10.8 million Avg. household size...... 4.4 TV households...... 5.38 million TV penetration...... 49.5% Internet HH subs...... 675,275 Internet HH penetration rate...... 6.2% Mobile phone users...... 17 million Mobile phone penetration rate...... 33%

Source: companies, Myanmar’s Department of Population, Ministry of Immigration and Population

Free TV Myanmar National TV (MNTV)/ MITV/Channel 9 Media conglomerate Shwe Than Lwin Media operates three free-to-air TV channels – Myanmar National TV (MNTV), Grandpas Over Flowers, CJ E&M on Forever Group’s 4-Ladies Myanmar International TV (MITV) and Channel 9. The group launched com- Myawaddy Television (MWD-TV) mercial free-TV service MNTV in 2012, Telcos Myawaddy Television (MWD-TV) was es- and is also involved in subscription satel- tablished in March 1995 as MRTV-2 by Myanmar Posts and Telecommuni- lite service (SkyNet) and radio. Myanmar’s Ministry of Defence. MWD-TV cations (MPT) Myanmar Radio and Television broadcasts seven TV channels, includ- State-owned MPT operates under the su- (MRTV) ing MWD Music, MWD TV, MWD Variety, pervision of Ministry of Transport and Com- MWD Movie and MWD Documentary. Myanmar Radio and Television (MRTV) was munications and claims 23 million subs. Foreign acquisitions are mostly Korean established in 1980 by Myanmar’s Ministry drama and documentary series. MWD- Mytel of Information (MOI) and started broad- TV, which migrated to DVB-T in Nov 2011, Myanmar’s fourth telco, Mytel, which is casting in 1981. MRTV owns/operates 10 reaches about 60% of Myanmar. slated to launch in 2018, aims to attract TV channels, including Farmers Channel five million subs (95% coverage) by 2020. and a news service. MRTV started digital Pay TV Mytel is owned by Myanmar National Tele broadcasting (DVB T2) in Oct 2013. & Communications (MNTC), which was 4TV MRTV-4/Channel 7 formed in Jan 2017 by Vietnam’s Viettel 4TV, owned by the Forever Group, The Forever Group operates MRTV-4, a (49%) and two local firms Myanmar Na- launched in 2005 as MRTV-4 Internation- 24-hour free-TV station offering a wide tional Telecom (23%) and Star High (28%). al, offering local/international channels. variety of content, from news to Korean 4TV offers 80+ channels, including 19 HD Ooredoo Myanmar and Chinese drama. Second digital/ channels, for MMK8,900/US$8 a month. Ooredoo was awarded a licence in June analogue free-TV service, Channel 7, The Satellite HD package is also priced 2013 and began operations in Aug 2014. which launched in 2012 with Thailand’s at MMK8,900/US$8 a month for 60+ chan- The telco has also collaborated with re- BEC Tero, targets younger audiences. nels, including 20 HD channels. gional SVOD iflix and launched exclusive The group also operates 4-Ladies, a pay- iflix data packages in July this year. TV channel, which launched in early 2015 SkyNet DTH offering Korean entertainment such as Shwe Than Lwin Media group’s SkyNet Telenor Myanmar Grandpas Over Flowers, Dancing 9 and launched in Nov 2010 offering multi-play Telenor has been providing mobile and Get it Beauty from CJ E&M. The broad- services in Feb 2011. SkyNet broadcasts internet services using 2G and 3G GSM caster also offers two digital free-to-air 120+ SD/HD local/international channels. technology since 2014. channels, Maha Bawdi and Readers Monthly subscription fees start from US$14. Channel (literature). Adapted from ContentAsia’s The Big List 2017

Be included! Please send your details to Malena at [email protected] or +65 6846 5982 23 October -5 november 2017 page 9. c ntentasia events 23 October-5 NOVEMber 2017 Page 10.

What’s on where...

October 2017 24-26 TIFFCOM Tokyo, Japan

November 2017 6-8 CASBAA Convention Macau

29 Nov-1 Dec Asia TV Forum & Market (ATF) Singapore

29 Nov-1 Dec Asian Animation Summit Brisbane, Australia

30 Nov-1 Dec PromaxBDA Asia Singapore

December 2017 11-14 CineAsia Hong Kong

January 2018 11-12 vdontx asia Mumbai, India

16-18 NATPE Miami, U.S.A.

30 Jan-2 Feb 8th Asian Side of the Doc Bangkok, Thailand

March 2018 13-15 SPORTELAsia Singapore

19-22 Hong Kong FILMART Hong Kong

April 2018 4-6 Content Tokyo Tokyo, Japan

7-8 MIP Doc Cannes, France

7-8 MIP Formats Cannes, France

9-12 MIP TV Cannes, France

May 2018 9-11 Busan Contents Market, BCM Busan, South Korea

June 2018 7-9 Vietnam Telefilm Vietnam

11-13 DW Global Media Forum Bonn, Germany

26-28 BroadcastAsia Singapore

26-28 CommunicAsia Singapore

The full list of events for the year is available at www.contentasia.tv/events-list c ntentasia 23 October-5 NOVEMber 2017 Page 11.

Pakistan following for India’s Bigg Boss U.S. titles dominate Pakistan top 10, Parrot data shows c ntent

Editorial Director Nine U.S. television titles – including three Almost-classic sitcom Friends placed Janine Stein from streaming platforms Netflix – swept third behind Game of Thrones, which [email protected] Pakistan’s list of programming-in-de- leads by a long way, and Bigg Boss. The Assistant Editor mand for the week of 5-11 October, ac- three were the only titles that crossed the Malena Amzah cording to Parrot Analytics’ data. 20 million demand-expressions mark. [email protected] The sole non-U.S. title on the list is In- The three Netflix titles on the list are Research Manager dia’s Bigg Boss, a long-running version of teen suicide drama 13 Reasons Why, CJ Yong Endemol Shine format, Big Brother. which topped the Digital Originals list [email protected] The nine titles on the overall list are a with almost five times the number of de- Editorial Research Aqilah Yunus mix of old and new across a range of mand expressions than The Crown and [email protected] genres – various drama sub-genres, real- Marvel’s The Defenders, Narcos and Design ity and sitcom. Stranger Things. Rae Yong

Associate Publisher Pakistan: Top 10 Overall TV Shows (Americas, Europe) and VP, Rank Title Average Demand International Business Development Expressions™ Leah Gordon 1 Game of Thrones 52,847,863 [email protected] 2 Bigg Boss 31,850,652 Sales and Marketing (Asia) 3 Friends 23,729,048 Masliana Masron 4 13 Reasons Why 18,349,592 [email protected] 5 The Walking Dead 17,957,304 6 Narcos 14,917,518 To receive your regular free copy 7 The Flash 13,982,163 of ContentAsia, please email 8 Suits 12,308,546 [email protected] 9 Prison Break 12,270,539 10 Stranger Things 12,168,081 Published fortnightly by: Pencil Media Pte Ltd 730A Geylang Road Pakistan: Top 10 Digital Originals Singapore 389641 Rank Title Platform Average Demand Tel: +65 6846-5987 Expressions™ www.contentasia.tv 1 13 Reasons Why Netflix 18,349,592 2 Narcos Netflix 14,917,518 MCI (P) 091/11/2015 3 Stranger Things Netflix 12,168,081 4 Star Trek: Discovery CBS All Access 6,009,405 Copyright 2017 Pencil Media Pte Ltd. 5 House of Cards Netflix 6,002,744 All Rights Reserved. 6 Big Mouth Netflix 5,941,366 7 Daredevil Netflix 4,512,287 8 Ozark Netflix 4,144,103 9 The Crown Netflix 4,085,832 10 Marvel’s The Defenders Netflix 4,067,530 c ntent Date range: 5-11 October 2017 Market: Pakistan Daily news with Demand Expressions®: A global metric standard developed by Parrot ContentAsia Insider Analytics which represents the total audience demand being expressed email [email protected] for a title, within a market. Audience demand reflects the desire, engage- for subscription details ment and viewership, weighted by importance; so a stream/download is a higher expression of demand than a ‘like’/comment. Note: Local/regional content in this country is still being onboarded by Parrot Analytics