12-18 November C NTENT 2018 www.contentasia.tv l www.contentasiasummit.com

ABS-CBN’s iWant reboot nigh New platform goes up with with 6 digital originals

Glorious

Phillipines’ broadcaster ABS-CBN goes live and commercial on its revamped iWant streaming service on Saturday, 17 Novem- ber, with six original shows, including the reboot of Chito Roño’s iconic Spirits Re- awaken. The slate ranges from romance and showbiz to horror. Films on the new platform include Glorious, starring Angel Aquino and Tony Labrusca; and 10-epi- sode comic anthology series, Alamat ng Ano. The ad-supported iWant will carry ABS-CBN library content along with new and original titles.

MasterChef SG tops Ch5 charts 8-episode show closes with 900,000 viewers

MasterChef didn’t quite hit a million viewers during its eight-week run, but the almost 900,000 total viewers who tuned in made the show the most- watched local variety series on English- language Channel 5 since the new mea- surement system kicked in exactly two years ago. The finale on 21 Oct attracted 277,000 viewers. The season drew more than 100,000 unique viewers on streaming platform Toggle. 12-18 November 2018 page 1. C NTENTASIA 12-18 November 2018 Page 2.

Taiwan production steps up Nowhere Man, Memory Eclipse in 2019

Taiwan stepped out of ’s giant production shadow in the past few weeks, standing in its own limelight with two new television series – Nowhere Man and Memory Eclipse – slated for global/regional release in 2019. Nowhere Man is Netflix’s first Mandarin-language original television series. Shooting started in Taiwan in early October, with Joseph Chang and Alyssa Chia in the lead roles. Original content director Erika North said during Netflix’s 8 November showcase in Singapore that the series would “break assumptions about Chinese-language content”. Nowhere Man, written and directed by DJ Chen, follows WHO WANTS TO BE NORMAL ANYWAY? death row inmate Quan who learns of his son’s kidnap while waiting to be executed. To save his son and protect his family, Quan plots a jailbreak, only to find himself in an content that captivates... even more dangerous collision. Cora Yim, SVP and head of Chinese entertainment at Fox Networks Group Asia, is driving the second series, Memory Eclipse, a five-episode anthology themed around the music of legendary Chinese pop singer Teresa Teng. Memory Eclipse, co-produced by John Chong (Infer- nal Affairs) with Taiwan’s Winday Culture, will be shot be- tween Taiwan and . The series is directed by Win- day Culture founder, Charles Sun.

Mediacorp lights up local stories

Singapore’s is prepping its first stage-to-screen adaptation of an iconic musical milestone as the domes- tic media behemoth turns its attention to what it’s best placed to do: shine a light on local stories. Details to come on 20 November at a shiny event with the country’s film- makers and directors, including national icons Dick Lee and Michael Chiang.

Go-jek quiet on video team exit BODY NIGHTMARES TURNED INTO DREAMS

Indonesia’s Go-jek is said to have reworked its video con- @all3media_int tent strategy and team, although there is no official word all3mediainternational.com yet on what the company plans to do with its streaming ser- vice Go-Play or its content creation arm Go Studios. Insiders say content execs driving the original video strat- egy, including studio head Christopher Smith, are no longer in the building. Go-jek has so far not responded to questions about the changes. In April, the ride-sharing/payments platform said the sub- scription video business with daily/weekly/monthly access would be driven by new content creation unit, Go-Studios. 12-18 November 2018 page 2. 12-18 November 2018 page 3. C NTENTASIA 12-18 November 2018 Page 4.

We were given tainted blood. Slowdown & decline plague Asia pay TV MPA flags further consolidation: eye on A+E, Sony

A combo of slowdown and decline ating more synergies and bargaining has hit the Asia-Pac pay-TV sector as power in the process, Couto says. key markets transition to online video Following Fox/Disney, WarnerMedia and internet TV delivery. (Warner Bros, HBO, Turner); and Discov- New data from Media Partners Asia ery/Scripps, MPA flags more consoli- A CBC ORIGINAL PRODUCTION (MPA) highlights major growth in In- dation, with A+E and Sony among the dia/South Asia. Subscriber growth has most likely candidates. moderated but remains robust in Ko- Pay-channel subscription fees are BASED ON TRUE EVENTS | 8X60 rea and the , MPA execu- expected to grow at 2% CAGR over tive director Vivek Couto says. 2018-23 to US$10.8 billion by 2023. “Subscriber and ARPU growth is fun- will remain a key growth driver while damentally challenged across much of Australia, Japan and Korea will remain Southeast Asia, Australia, New Zealand scalable for incumbents. “There will and Taiwan, and advertising is under continue to be significant rationalisa- A wrong beyond words. pressure across most markets ex-India,” tion in Southeast Asia, Hong Kong and he says. Taiwan,” Couto says. The fight to make it right. “In the context of such challenge, advertising revenues are expect- most pay-TV operators are rationalis- ed to grow at 5% CAGR over 2018-23 ing content budgets, investing mostly to reach US$16 billion, driven largely by in their own channels, local and Asian growth in India. channels and sports rights while ratio- India’s importance as a mainstay for nalising spends on third-party channels pay channels will only be underscored across Hollywood entertainment, kids, by 2023 as it will contribute almost 50% factual and lifestyle.” to the Asia ex-China pay channel and Content spend across a number of CP revenue pie. these genres has started to move on- Seven media groups – 21st Century line with the growth of OTT, MPA’s new Fox, Disney, Sony, WarnerMedia, CJ, www.amcstudiosinternational.com report, Asia Pacific Pay-TV Distribution, Sun TV, Zee – have more than 40% shows. share of revenues accruing to chan- At the same time, large scale IP- nels and content providers from the owners in entertainment and sports Asia ex-China pay-TV industry in 2018. are likely to move direct-to-consumer The remainder is split between interna- with OTT offerings of their own. tional groups (Discovery and Viacom Global media M&A will have a sig- for instance), strong local incumbents nificant impact in Asia as key players (India, Japan, Korea, Taiwan), success- grow scale through the consolidation ful new entrants (BeIn Sports) and pay- of channels and IP under one roof, cre- TV operator invested channels. 12-18 November 2018 page 4. 12-18 November 2018 page 5. C NTENTASIA 12-18 November 2018 Page 6.

Indonesia TV/print ad spend up 5% Big spenders are gov’t & political parties, Nielsen says

Indonesia’s advertising spend on tele- Online services category was sec- vision/print in the nine months from ond at Rp2.4 trillion/US$162 million – an January to end September this year increase of 45% – followed by the hair was up 5% to Rp114.4 trillion/US$7.8 bil- care category, with spend of Rp2.1 lion, according to Nielsen data. trillion/US$142 million. Tobacco/ciga- In the third quarter of 2018, ad spend- rettes were also in the top five catego- ing was up 4% compared to the same ries, with spend up 8% to Rp1.6 trillion/ quarter last year, reaching a total of US$108 million, along with face care, Rp39 trillion/US$2.6 billion. which was up slightly by 0.2% to Rp1.5 Nielsen said television ad spend was trillion/US$101.5 million. “stable”, growing at 9% to Rp93.8 tril- Nielsen also said live sports events lion/US$6.4 billion and remained the had become an ad revenue driver. largest contributor to ad spend during Calling sports activity in the third the third quarter. quarter “lively”, Nielsen said events Government and political parties such as the World Cup and the Asian contributed Rp2.9 trillion/US$196 million Games were “a momentum for indus- to total spend – an increase of 40% – in try players and brand owners to com- the three months from July-September. pete to intensify their ads, especially The country’s biggest television ad- on television”. vertiser was the Ministry of Health, Viewership data shows that the 2018 which spent Rp523.8 billion/US$35.5 Asian Games reached 85.4% of TV million, an increase of 30% on last year. viewers in Indonesia. The highest rated The General Election Commission match was between Indonesia and (KPU) was the biggest print advertiser, Hong Kong, with a rating of 9.4% and contributing Rp517.3 billion/US$35 mil- a share of 35.6%. lion over three months. The South Su- The World Cup also pushed viewer- matra Regional Government relied on ship up significantly, with total reach print as well, spending Rp115.9 billion/ of about 65%. US$7.8 million (an increase of 14%).

Epic drama drives Tencent 2019 slate Chinese streamer trawls ancient kingdoms for ideas

Chinese streaming giant Tencent is million copies of his novels have been adapting a slew of epic period pieces sold worldwide. for its 2019 drama slate. The Northern Song Dynasty is the The originals include new versions of setting for a fourth epic series, Held in Jin Yong’s The Heavenly Sword and the Lonely Castle, inspired by Imperial Dragon Saber and Demi-Gods and China’s Emperor Renzong. Semi-Devils, as well Xifei’s Royal Love in Also being given the Tencent treat- the Palace, drawn from the Qing Dy- ment for the upcoming slate is com- nasty story of the legendary Empress puter-game based fantasy title, Chi- Xiaoshengxian. nese Paladin. The Jin Yong remakes were an- Tencent is also returning flagship talent nounced only days after the legend- show, Produce 101, next year, this time ary Hong Kong martial arts author’s with the hunt for a boy band. The debut death at the age of 94. More than 300 series this year featured a girl band. 12-18 November 2018 page 6. 12-18 November 2018 page 7. C NTENTASIA 12-18 November 2018 Page 8.

Heliconia’s MasterChef Junior triumphs Thai production house tops ratings charts

Thai production house Heliconia H Group ey Drop Thailand, I Can See Your heads into the finale of the new season of Voice Thailand and The Mask Project MasterChef Junior (17 x 90 mins) in early A – were also on the same chart. December on a ratings high for the time The concept behind the new Thai slot. MasterChef Junior is “flavour of Thai- The local version of the cooking com- land”. The idea is “to give audience petition format debuted on 19 August this opportunites to revisit Thai culinary year on BBTV Channel 7 and airs Sundays, arts that have been forgotten”, Heli- 6.20pm-7.50pm. conia says. The 7th episode, aired on 30 Septem- Contestants come from across the ber, topped variety programming charts country, “not only from Bangkok but in Thailand for the whole of September, many who lives in rural areas to best with 4.5% average ratings, according to represent the whole nation. Two of Nielsen Thailand data provided by pro- the three judges are Thai Royal fam- ducer Heliconia H Group. ily members to strongly emphasise Three other international formats – Mon- being Thai,” the company adds.

Astro shorts head for S’pore film fest media co picks 10 SEA up&coming directors

Malaysia’s media company pre- from Southeast Asia”. mieres 10 new short films from up-and- Directors are Amanda Nell Eu coming directors around Southeast Asia (Malaysia); Anysay Keola (); at the 29th Singapore International Film Kavich Neang (); Le Bao Festival on 2 December. (); Makbul Mubarak (Indo- The films – all based on the theme of nesia); Nicole Midori Woodford (Sin- love – were commissioned by Astro’s A- gapore); Nik Amir Mustapha (Ma- List art house film channel. Astro said the laysia); Sharifah Amani (Malaysia); 10 directors represented an “extensive Sheron Dayoc (Philippines); and mix of up-and-coming cinematic talents Sorayos Prapapan (Thailand). 12-18 November 2018 page 8. C NTENTASIA 12-18 November 2018 Page 9.

It’s the beginning of a very positive transformative force.”

Reed Hastings, CEO, Netflix, in Asia for the first See What’s Next: Asia event in Singapore

“The internet is changing everything, just can. And that change alone has really ing stories and sharing them. like movies did, just like television did... improved storytelling, allowing serialised “What does sharing stories really do? the old art form is getting an extension television... to be developed and shared It builds connections. There are very with the new technology,” Netflix chief around the world,” he said. few things today that build connections executive, Reed Hastings, told media The second big change was personali- between different cultures. And one of and partners from 11 countries gathered sation. “Finally, what the internet allows them... is entertainment.” in Singapore on 8 November for the first is global sharing. There has never been “You get to see different kinds of See What’s Next: Asia showcase. a global television network until now,” people living in different ways from you In his opening, Hastings said Netflix was he said. and you realise that we are all pretty “doing several big things because of Hastings singled out “big shows like much the same, we have many of the what the internet allows”. Kingdom” and “small shows like Shirkers” same joys, hopes and aspirations,” he “First is on-demand. It sounds simple. to illustrate the power of global sharing. said. You can watch it when you want... you “What we do is very special. We invest “With Netflix, and the way we share can binge view. Until Netflix, you could in stories and we commission some of those stories, combined with persoal- binge a book and you could stay up the best stories around the world. In isation and on-demand, it’s the very late reading a book but you couldn’t particular with Asian filmmakers and sto- beginning of a very positive transforma- binge television. And now of course you rytellers throughout Asia, we are produc- tive force.” C NTENTASIA 12-18 November 2018 Page 10.

Kingdom is not just a K-drama. It’s great content from Korea that anyone who has not seen a K-drama can enjoy.”

Minyoung Kim, Netflix’s director, content Korea, at the first See What’s Next: Asia event in Singapore

Korean epic zombie drama, Kingdom, is region on Netflix next year. stories...creatures that are always hungry. not “just a K-drama”, says Minyoung Kim, The series, set in the 15th and 16th cen- I wanted to give a twist to zombies as Netflix’s director of content for Korea. “It’s turies during the Joseon dynasty, is the people impacted by the plague”. great content from Korea that anyone story of a crown prince sent to investigate Speaking through a translator, she said who has not seen a K-drama can en- a spreading plague and uncovers a zom- the series had a level of violence that joy,” Kim told delegates at the streaming bie epidemic that threatens the country. was not seen on traditional television. platform’s first showcase in Singapore on Kingdom director, Kim Seong-hun (The “There’s a lot of blood, heads being 8 November. Tunnel, A Hard Day), told the showcase chopped off, people getting killed”. Kingdom premieres on 25 January 2019, audience through a translater that the She also said she had been planning and is possibly the most expensive series series explored the themes of “desire the drama since 2011 but couldn’t get it out of Korea at a rumoured US$1.8 million for power and normal people fighting produced before the Netflix commission. per episode. against monsters... the Joseon dynasty Minyoung Kim said Netflix discovered Netflix has not disclosed the production has a subtle quietness and calm that is Kingdom by asking Kim Eun Hee what budget, and said only that the second destroyed by a strong desire for power,” story she wanted to tell. season had already been greenlit. he said. “We strongly believed [Kingdom] could Kingdom is part of a slate of 100+ new Writer Kim Eun Hee (Signal), said she not be made in the traditional system,” and returning originals from across the had always been interested in zombie she said. C NTENTASIA 12-18 November 2018 Page 11.

We seek out filmmakers who have a strong point of view, a vision.”

Simran Sethi, Netflix’s India content lead

“We seek out filmmakers who have a originals announced during the show- India; Anthony Maras’ Hotel Mumbai, strong point of view, a vision,” Netflix’s case in Singapore. Eight original films based on the true story of the attacks India content lead, Simran Sethi, said and one new original series, ranging in Mumbai in 2008; period piece Bulbul; during Netflix’s Asia showcase in Singa- from horror to fantasy, are being made Upstarts, about three college gradu- pore on 8 November. in India for next year, Netflix said. ates from small-town India captivated Sethi said the streaming platform had The new original series is Typewriter, by start-up mania; Sachin Kundalkar’s been looking for stories from books about a haunted house and book that Cobalt Blue, about a brother and sister across India – including an option on a stir the imagination of young, wannabe who fall in love with the same man; Salman Rushdie novel. She also said a ghost hunters, and a dog, determined to Music Teacher, about an emotionally priority was amazing stories “that need capture the ghost that plagues a notori- troubled music teacher; and Firebrand, long-form television to tell properly”. ous home in their Goa neighbourhood. directed by Aruna Raje and produced Among these is Leila, based on The original movies include direc- by Priyanka Chopra, about a successful Prayaag Akbar’s novel, which is cur- tor Sachin Yardi’s Chopsticks, about a lawyer and sexual assault survivor. rently shooting in Delhi. Sethi described girl who seeks out an enigmatic con During the showcase, Netflix also pre- Leila, directed by Deepa Mehta, as a to help recover her stolen car from a miered the trailers for Rajma Chawal, a “powerful story about a mother’s quest goat-loving, crazy Mumbai gangster. humorous family drama, which releases to find her daughter” and said it was The film is produced by Ashvini Yardi/ globally on Netflix on 30 November; “important for us to find amazing fe- Vineyard Productions. and Selection Day, based on Aravind male filmmakers to tell the story”. Films also include Madhuri Dixit- Adiga’s book about two brothers raised India is Netflix’s most active market in produced 15th August, a Marathi film by an obsessive father to be star cricket 2019, taking more than half of the 17 about the struggles of middle-class players. 12-18 November 2018 page 12. C NTENTASIA 12-18 November 2018 Page 13.

Who said what at the Asia Video Summit in Hong Kong....

Storytelling OTT is not never goes out a license of fashion.” to print money. Henry Tan, incoming CEO. Astro Some players will collapse in a heap. It’s a tough place to be.”

Jonathan Spink, CEO, HBO Asia

There is People an intense are watching content. They battle for are not watch- talent.” ing technology.” David Weiland, EVP, Asia BBC Studios Janice Lee, MD, PCCW Media Group

The most effective My content way to influence cannot come consumers with or at the same advertising is to speed. There’s no use content that does not look like way I can beat

advertising.” the pirates.” Grace Paul, Regulatory Director, Singtel Tencent senior director of open media platform, Xu Haohao

Piracy is not If an expert just an en- tells you forcement issue. that they know It’s a commercial the future, they issue as well.” are either drunk Cheah Yewkuin, Director, Senior or lying.” Counsel, Global Content Protection and Litigation, 21st Century Fox Kamal Khalid, MD, Group OUT NOW!

Free & fair: Oona digs in Channels: 2018’s new, axed & repackaged PLUS: iQiyi boss Gong Yu, Watch in Asia, DramaFever (aka OTT roadkill), Singtel’s super-aggregator & more

All in the latest issue of ContentAsia...in print+online

For editorial info, contact Janine at [email protected] To advertise in any of ContentAsia’s publications or online, contact Masliana at [email protected] (Asia, Australia and Middle East) or Leah at [email protected] (Americas and Europe)

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contentasia C NTENTASIA countryprofile 12-18 November 2018 Page 15. Malaysia

In numbers

Population...... 32.5 million Households...... 7.7 million Avg. household size...... 4.1 TV households...... 7.3 million Pay TV penetration rates...... 84.1% Broadband subscribers...... 2.6 million Broadband penetration rates...... 117.9% Mobile phone subscribers...... 36.2 million Mobile phone penetration...... 134% Fixed telephone subs...... 6.5 million Fixed telephone penetration...... 19.8%

Source: companies, Department of Statistics Malaysia (population, HH/size, TV HH), Malaysian Communications and Multimedia Commission (pay TV/BB/mobile/fixed-tel)

Ejen Ali, Primeworks Studios’ 3D animated series about a boy accidentally recruited into a secret spy agency

Broadcast channels tertainment, reality, science/education, TV9 news, magazines, dramas and movies. TV9 is one of four free-to-air (FTA) TV 8TV TV AlHijrah targets Muslim and non-Muslim stations operated by Media Prima. The Free-TV network 8TV began operations in adults below 40 years old, and is owned channel targets young urban , Jan 2004 and transmits free to the West and operated by Malaysia’s government- offering a mix of reality, entertainment, Coast of Peninsular Malaysia and Kuan- owned Al Hijrah Media Corporation. drama and comedy programmes. Me- tan on the UHF band and nationwide on dia Prima acquired the channel n Sept TV1/TV2/TVi the Astro pay-TV platform. 8TV targets 2005, and launched the rebranded TV9 Founded in April 1946, Malaysia’s public 15-24 year old urban youth and Chinese in April 2006. broadcaster, Radio Television Malaysia audiences, offering a mix of local and in- (RTM), operates two national TV channels ternational programming. – news/entertainment service TV1and TV2, DTT which offers 80:20 local and acquired/ Natseven TV launched ntv7 in April 1998 international entertainment content. An Astro NJOI as Malaysia’s third private free-to-air sta- agency under the Ministry of Information, Astro Njoi is a free-TV platform by sub- tion. Media Prima acquired Natseven Communication and Culture, RTM also scription platform Astro. TV in 2005. ntv7 targets 25+ year old ur- operates 36 radio stations, digital TV ser- MYTV banites and Chinese viewers with variety vice TVi on Astro, and free online video- Founded and established in 2014, MYTV shows, drama series, movies, news, sports on-demand/catch-up platform MyKlik. Broadcasting has been appointed by and music content. TV3 the Malaysian government to develop TV AlHijrah TV3, set up in June 1984, was Malaysia’s and operate the infrastructure and net- Established in Sept 2009 as Malaysia’s first privately owned free-to-air TV chan- work facilities for Digital Terrestrial Televi- first Islamic TV service, TV AlHijrah started nel. Owned and operated by media con- sion (DTT) services in the country in order broadcasting in 2010. The aim is to edu- glomerate Media Prima, TV3 schedules to migrate the national broadcasting cate, entertain and unite the community. are predominantly local and mass market system from analogue to digital. MYTV The offering is predominantly local, rang- for Malay-speaking audiences. Content licensed DVB-T2 decoders also provide ing from kids/youth and sitcoms to en- includes local drama, entertainment, re- access to free-to-air (FTA) service known ality talent and factual programming. as myFreeview.

Adapted from ContentAsia’s The Big List 2018 C NTENTASIA 12-18 November 2018 Page 16.

Subscription browser. dimsum launched in Nov 2016 service also offers free catch-up of select and offers about 10,000 hours of content content from TV1 and TV2. Astro (movies, drama series, documentaries, Netflix launched in 1996. variety shows, Animations and kids pro- Netflix launched in Malaysia in Jan 2016. As at July 2018, Astro serves 23 million in- gramming from Hong Kong, Malaysia, Basic subscription is RM33/US$7.80 a dividuals in 5.6 million households (76% of China, Japan, Taiwan, Thailand, Sin- month (one screen, SD). Standard plan Malaysian household), who are able to gapore, South Korea and Indonesia). is RM42/US$9.90 a month (two screens, watch Astro content on all screens and Monthly subscription is RM13.90/US$3.30 HD). Premium plan costs RM51/US$12 a on demand, including TV, laptop, tablet with 30 days free access and five concur- month (four screens, HD/UHD). and phone. rent connections.

playTV@unifi unifi TV hurr.tv Owned and operated by Telekom Ma- Unifi TV (formerly HyppTV) is an IPTV ser- Launched in April 2016, hurr.tv is a vid- laysia (TM), unifi PlayTV (formerly HyppTV vice owned and operated by Telekom eo streaming platform carrying origi- Everywhere) is an OTT TV extension of Malaysia (TM). Unifi TV offers upwards of nal content featuring home-grown tal- TM’s IPTV service, unifi TV. PlayTV@unifi 100 channels, including 67 HD. Unifi TV, ent via hurr.tv’s website and YouTube, is available to both unifi subscribers and which is offered as part of a triple-play which now has nearly 17 million views non-subscribers. service (internet, TV, voice), also has an and 98,000 subscribers (Sep 2018). hurr. tv, which stands for Hip, Urban, Relevant OTT extension playTV@unifi (see online Spuul and Real Television, targets viewers aged TV). TM registed 2.3 million broadband A global streaming service launched in 15+. Content focuses on lifestyle, fashion, subscribers in October 2018. 2012 targeting the South Asian Diaspora fitness, travel, music, events and contem- with HIndi and regional language movies. porary issues. Online/OTT/Broadband iflix tonton Malaysian media conglomerate Media ALTBalaji iflix is a streaming service based in Ma- Prima’s over-the-top service, tonton, of- Direct-to-consumer subscription video- laysia with a broad expansion remit fers live streaming, catch-up, premium/ on-demand platform offering Indian that covers the Middle East and de- original content and entertainment ar- content. Launched in Malaysia in April veloping markets in Asia. Launched in chive of over 36,000 hours for free to users 2017 as part of its global rollout. May 2015, iflix offers access to 50 linear in Malaysia via YouTune and standalone channels and another 30 by the end apps. Content comes primarily from Me- Amazon Prime Video of the year. iflix also offers more than dia Prima’s terrestrial networks – TV3, TV9, Launched in Asia/globally, including 20,000 hours of international and re- ntv7, 8TV. tonton, which launched in Aug Malaysia in Dec 2016 as part of its Asia/ gional/local TV series and movies. The 2010 in Malaysia, has ended its SVOD tier global rollout. Amazon Prime Video costs service costs RM10/US$2.50 a month in offering and ceased regional services in US$2.99 a month for the first six months, Malaysia. Some content is offered for Singapore and in Aug 2018. starting with a free seven-day trial, and free. iflix is owned by investment com- then US$5.99 a month. pany Catcha Group and Evolution Viu Media Capital. Distribution partners Hong Kong telco PCCW launched Viu Astro GO in Malaysia are telcos TM, Digi, Maxis, in Malaysia in Feb 2016 as a standalone Astro Malaysia Holdings launched Astro Celcom and UMobile. app and via partnerships with Telekom GO in May 2012. The mobile platform of- Malaysia, Maxis, Digi and U Mobile. The fers 91 local/international live channels iTunes offering includes local content from and more than 25,000 hours of VOD con- Apple launched its VOD service iTunes in partners such as media conglomerate tent with selected content available to Malaysia in January 2016, offering movie Media Prima and production/distribu- download. The Astro GO app had been purchase (HD/SD/4K/HDR) and movie tion house Double Vision, along with downloaded 5+ million times and had 1.9 rental (HD/SD). Viu’s regional tentpole Korean offering million registered users (July 2018). MyKlik from CJ E&M, KBS, MBS and SBS. Con- dimsum MyKlik, owned/operated by state-backed tent for Malaysia is subtitled in Bahasa dimsum is a Malaysian streaming service broadcaster Radio Television Malaysia Malaysia, English and simplified Chi- operated by SMG Entertainment Sdn (RTM), is a free online video portal offer- nese. Ad-free option with access to Bhd, a part of Star Media Group, focus- ing live streaming of six RTM’s channels, premium content costs RM10/US$2.44 a ing on Asian content delivered via mo- including national free-TV channels, TV1 month and there is no limit to the num- bile and smart TV apps as well as web and TV2, as well as 22 radio channels. The ber of simultaneous access devices.

Adapted from ContentAsia’s The Big List 2018 C NTENTASIA 12-18 November 2018 Page 17.

Only registered members can save/ ers, the production of 2018’s romantic/ America and Netflix worldwide. download videos. comedy film Crazy Rich Asians, 2016’s comedy drama series Gap Year season Juita Viden WebTVAsia one and Netflix’s 2014/5 epic mini-series Established in 1978, Juita Viden has mul- WebTVAsia was founded in 2013 by Marco Polo in Malaysia. The company tiple production units under its banner. In Prodigee Media as an online multi-chan- also produces feature films, TV movies addition to producing television (reality, nel network (MCN) for Asian content. The and TV commercials. variety, drama, game shows) and fea- service, which manages over 3,000 video ture films (Malay, Chinese) for the domes- channels, commands 270 million sub- Double Vision tic market. Juita Viden is also involved in scribers globally with 25 billion minutes of Double Vision produces more than 200 regional co-production with broadcast watch time monthly. hours of content a year across a range partners such as SCTV (Indonesia) and Ho of genres. Credits include the region’s Chi Minh TV (Vietnam). YuppTV first adaptation of scripted format The YuppTV in Malaysia costs from RM9.99/ Bridge; Malaysia’s first live-animated/spe- Kyanite TV US$2.40 a month. The service offers more cial effects drama format Ryujin Juwara; Kyanite TV is an independent production than 300 live South Asian TV channels Malaysia’s first international Emmy-nomi- company with more than 10 years expe- across 14 Indian languages, 5,000+ Bol- nated drama A Time For Us; and the first rience with international companies and lywood/regional movies from India; and season of MasterChef Malaysia. Double advertisers. 100+ TV shows. Vision launched in 1988, and is the pro- Les’ Copaque duction arm of integrated media group, Animation studio Les’ Copaque Produc- Vision New Media, which operates pro- tion is widely known for series Upin and Production Facilities duction and post-production facilities. Ipin, about a pair of five-year-old twins, Pinewood Iskandar Malaysia Studios Global Station Upin and Ipin, in a Malaysian village. The Pinewood Iskandar Malaysia Studios Established in 2000, Global Station has series has aired across the region. Les’ Co- is a fully integrated production facility been involved in the production of local paque was founded in 2005. offering 100,000 sq ft of film stages, 24,000 adaptations of scripted formats, includ- Matavia Reka sq ft of TV studios with an audience ing Alamatnya Cinta (Full House) in 2018, Matavia Reka provides production and capacity of 1,260, along side 37,000 sq ft Dendam Aurora (Tuscan Passion) in 2017; location services for film/TV companies. of workshop space, as well as production Lara Aishah (La Loba) in 2016; and Memo- Specialises in factual and travel content. offices, hair/make-up/dressing rooms ri Cinta Suraya (A Love to Remember) in Production credits include Surviving Bor- and post-production facilities as well as 2015. Global Station was also involved in neo and Wildlife Defenders for Dis- a 65x65m green-screen water tank and drama series, Haryati, in Indonesia, Wadi covery Channel. post-production facilities. Unung (Australia), Dia Bukan Maryam (Mecca) and Suria di Cordoba (Spain). MIG Pictures Production Homegrown Productions MIG Pictures started in 2000 and special- ises in the production of Malay films and Launched in 2004, Homegrown Produc- TV drama series. Astro Productions tions is mostly known for comedy reality Astro Productions has been producing Maharaja Lawak. The production house content since 1996, including developing Monsta was also involved in singing formats Malay- new content formats for the local and re- Monsta (formerly known as Animonsta sian Idol and One in a Million season one. gional markets. Studios) specialises in 3D animated films/ Ideate Media TV series and merchandising. Its first pro- Ideate Media develops, produces and duction, BoBoiBoy, about superheroes Established in 1996 by Astro Malaysia commercialises high-end scripted con- BoBoiBoy and his friends fighting aliens, Holdings, Astro Shaw specialises in mov- tent for global audiences, working across aired regionally on Disney and was made ie production, producing more than 75 multiple formats and genres, including TV into a movie released in 2016. A second titles across genres in Malay, Chinese series, feature film and digital content. Pro- movie is slated for release in 2019. and Indian languages. The company duction credits include Sydney Sailboat, also acquires and distributes movies for a pre-school animation (in syndication Nafalia Corporation Nafalia Corporation was established in theatrical/non-theatrical release in Ma- worldwide); Tombiruo: Penunggu Rimba, Dec 2002 specialising in TV/film produc- laysia and the region. a film adaptation of a novel by Malaysia’s tion and distribution of local/foreign Ramlee Awang Murshid; and two seasons Biscuit Films syndicated content. Regional partners of live-action TV series, Dirk Gently, for BBC Biscuit Films was involved in, among oth-

Adapted from ContentAsia’s The Big List 2018 C NTENTASIA 12-18 November 2018 Page 18.

include Radio Televisyen Brunei (RTB), TELCOS voice and messaging services via pre- China’s Jiangsu Broadcasting (JSBC) paid, post-paid and broadband plans. and Singapore’s Suria. Celcom U Mobile launched Video-Onz, a free Mobile telco Celcom Axiata has 76% 4G unlimited data service, in April 2016. Primeworks Studios LTE coverage and 90% coverate in Ma- The service allows free streaming of Primeworks Studios is the content creation laysia. The telco has upwards of nine mil- apps/sites, including Facebook, You- subsidiary of media conglomerate, Me- lion pre-/post-paid mobile subscribers. Tube, Viu, Youku, Astro Go, YuppTV dia Prima. Primeworks Studios has been and dimsum. producing TV content since 1984 and fea- Digi ture films since 1994, generating close to Digi.Com (Digi) provides mobile voice, 4,000 hours of content annually for various internet and digital services to 11.8 million Government/ platforms. Primeworks’ productions air on customers in Malaysia. Digi has about 7.5 Regulators the Media Prima group’s four commer- million 4G LTE subscribers (Sep 2018). The cial television channels (TV3, ntv7, 8TV, company is listed on the main market of Rhizophora Ventures TV9). The company distributes its content Bursa Malaysia Securities Berhad and is Rhizophora Ventures, a wholly owned through Primeworks Distribution. part of global telecomms provider, Tele- subsidiary of Malaysian government in- nor Group. Digi commenced operations vestment unit Khazanah Nasional, was Prodigee Media in Malaysia in May 1995 and obtained its set up to oversee Khazanah’s invest- Malaysian entertainment group, Prodi- 3G spectrum licence in 2008. ments in creative and media content. gee Media, was founded in 2005 as a Khazanah’s biggest media investment music/artist management company and Maxis has been Pinewood Iskandar Malaysia has expanded to include film production Maxis provides mobile and internet con- Studios. services. The company also operates on- nection services to 10 million subscribers line platform WebTVAsia. (Sept 2018) in Malaysia. Malaysian Communications and Multimedia Commission (MCMC) Red Communications Telekom Malaysia (TM) Aims to establish Malaysia as a global Red Communications launched in 1999, TM, Malaysia’s broadband and inte- centre for communications/multimedia specialising in entertainment and informa- grated information and communications information and content services. tive content focusing on women, kids and group, offers communication services youth. The company’s production slate (broadband, data, fixed-line) to 2.3 mil- National Film Development ranges from documentaries to branded lion broadband customers (Oct 2018). Corporation of Malaysia (FINAS) content long/short form series and fea- Established in 1981, FINAS is tasked with ture films. Red Communications launched U Mobile promoting film production in Malaysia. feature-film subsidiary, Red Films, in 2004. Launched in 2007, U Mobile offers data,

Adapted from ContentAsia’s The Big List 2018

Be included! Please send your details to Malena at [email protected] or +65 6846 5982 C NTENTASIA 12-18 November 2018 atfprogrammepicks Page 19.

Transformers Rescue Bots Academy A group of young Bots fresh from Cybertron ( Shot, Whirl, Medix, Hoist and Wedge), have the honour of being the first-ever class to enroll in Earth’s Rescue Bot Training Academy and learn how to become Earth heroes through hands-on experience. Length: 52x11 mins Hasbro Studios Has- bro Studios Asia-Pacific, 1106-9 World Commerce Centre, Harbour City, 11 Canton Rd., Tsim Sha Tsui, Hong Kong T: +852 2738 8391 ATF Stand # F28 Chop Chop Ninja Adventure-comedy series Chop Chop Ninja follows the exploits of rookie Chop Blue Chop Ninja Iro and his three best friends Blue takes viewers on a provocative at the Ninja Academy. From fighting journey into the ocean realm, witness- baddies to mastering the ninja art of ing a critical moment in time when the stillness, Iro applies ninja technique, atti- marine world is on a precipice. Half of tude, and most of all heart, to everything all marine life has been lost in the last 40 he does. They are called upon to defend years. By 2050, there will be more plastic the Academy, the City of Rizon and will in the sea than fish. Featuring passion- discover the true value of being a Chop Total Dramarama ate advocates for ocean preservation, Chop Ninja. Length: 40x11 mins + 40x90 this high impact documentary takes Outrageous and totally random prequel mins GoldBee c/ del Secretari Coloma, audiences into their world where the to the multi-award winning Total Drama 2 - 08025 Barcelona, Spain T: +34 93 159 story of our changing ocean is unfold- franchise, Total Dramarama re-introduces 22 12, +34 665 467 853 ATF Stand # H34 ing. Length: 1x90 mins and 1x60 mins, 4K favourite cast members aging them down and HD Blue Ant International 130 Mer- from teenagers to toddlers. The cast may be ton Street, Toronto, M4S 1A4, Canada pint-sized but their fully-formed teen person- T: +1 416 646 4434 ATF Stand # K20 alities make them wise beyond their years as they unleash a tirade of destruction on an unassuming Chef, who quickly retreats to his staff room when the going gets tough! From creators Tom McGillis and Jennifer Pertsch, Total Drama first hit screens in 2007 withTotal Drama Island. The first animated reality se- ries, Total Drama was an instant hit and ten years later, airs in over 260 countries. Length: 52x11 mins CAKE 5th Floor, 76 Charlotte Street, London, W1T 4QS, United Kingdom T: +44 (0) 207 307 3230 w: www.cakeenter- tainment.com ATF Stand # F32

The Enemy Within Mega Man: Fully Charged In this fast-paced, spy-hunting thriller, Erica A regular robo-kid, Aki Light, discovers Shepherd (Jennifer Carpenter) is a brilliant secret programming that transforms him former CIA operative, now known as the into Mega Man! Fully-charged adven- most notorious traitor in American history, tures await as Aki balances his robot life serving life in a Supermax prison. With no- with his superhero exploits. To protect where else to turn, FBI Agent Will Keaton Silicon City, Mega Man must battle (Morris Chestnut) begrudgingly enlists Shep- the wickedest of Robot Masters. Time herd to help track down a fiercely danger- to go Mega! Length: 52x11 mins DHX ous and elusive criminal. While Shepherd and Keaton have different motivations for Media 207 Queens Quay West, Suite bringing the enemy to justice, they both know that to catch a spy...they must think like 550, Toronto, Ontario, M5J 1A7, Canada one. Length: 13x60 mins NBCUniversal International Singapore 10 Anson Road, #06-01, T: +1 416 363 8034 ATF Stand # H31 International Plaza, Singapore 079903 T: +65 6675 1296 ATF Stand # Suite number: 5003 C NTENTASIA

2018

Channels Programming Tech

Asia’s definitive media content and services directory C NTENTASIA events 12-18 November 2018 Page 21.

What’s on where...

November 2018 28-30 Asian Animation Summit Seoul, South Korea

December 2018 3-4 PromaxBDA Asia Singapore

5-7 Asia TV Forum & Market, ATF Singapore

9-10 Dubai International Content Market Dubai, U.A.E.

January 2019 17-18 Vdonxt Asia Mumbai, India

22-24 NATPE Miami, U.S.

March 2019 5-7 SportelAsia Macau

11-12 INTV YMCA Jerusalem, Israel

18-21 Hong Kong FILMART Hong Kong

April 2019 3-5 Content Expo Tokyo Tokyo, Japan

6-7 MIP Doc Cannes, France

6-7 MIP Formats Cannes, France

8-11 MIP TV Cannes, France

23-25 APOS Bali, Indonesia

May 2019 8-10 Busan Contents Market (BCM) Busan, Korea

L.A. Screenings 14-17 L.A., U.S.A. (Studio screenings TBC)

27-28 DW Global Media Forum Bonn, Germany

June 2019 5-7 MIP China Hangzhou, China

6-8 Vietnam Telefilm Ho Chi Minh City, Vietnam

18-20 BroadcastAsia Singapore

18-20 CommunicAsia Singapore

August 2019 21-23 BCWW Seoul, Korea

28-29 ContentAsia Summit Singapore

September 2019 26-29 Gwangju ACE Fair Gwangju, South Korea

October 2019 12-13 MIP Junior Cannes, France

14-17 Mipcom Cannes, France

The full list of events is available at www.contentasia.tv/events-list C NTENTASIA 12-18 November 2018 Page 22.

Sabrina, Nas’ 1-minute videos rock HK Palestinian-Israeli social star beats The Handmaid’s Tale C NTENT

Editorial Director Hong Kong consumers looked at their 26-year-old social media star Nuseir Janine Stein entertainment schedules in the last Yassin’s Nas Daily. The one-minute vid- [email protected] week of October, and clearly found eo series beat Hulu’s The Handmaid’s Assistant Editor American teen supernatural horror more Tale and closed in on Netflix’s House of Malena Amzah compelling than anything else... with the Cards; less than 2,000 demand expres- [email protected] exception of The Walking Dead. sions separated the around-the-world Research Manager The Chilling Adventures of Sabrina, adventures of the Palestinian-Israeli Har- CJ Yong which premiered on Netflix on 26 Octo- vard graduate from the fictional activity [email protected] ber, topped the territory’s digital origi- in the U.S. White House. Editorial Research Aqilah Yunus nals charts for the week and attracted The only Asian title on the top 10 overall [email protected] enough demand to command second list was Japanese manga series, My Hero Design place on the overall list. Academia, which came in ninth behind Rae Yong The week’s moment-to-note was the everything from horror and superheroes performance of Facebook Watch’s to comedy and Stephen Colbert. Associate Publisher (Americas, Europe) and VP, International Business Development Leah Gordon Hong Kong: Top 10 Overall TV Shows [email protected] Sales and Marketing (Asia) Rank Title Average Demand Masliana Masron Expressions™ [email protected] 1 The Walking Dead 506,466 2 Chilling Adventures of Sabrina 340,114 To receive your regular free copy 3 Marvel’s Daredevil 338,141 of ContentAsia, please email 4 The Flash 294,881 [email protected] 5 American Horror Story 283,459 6 The Big Bang Theory 282,465 Published fortnightly by: 7 Modern Family 272,216 Pencil Media Pte Ltd 8 The Late Show With Stephen Colbert 257,888 730A Geylang Road 9 My Hero Academia 255,386 Singapore 389641 10 Game of Thrones 247,529 Tel: +65 6846-5987 www.contentasia.tv

Hong Kong: Top 10 international Digital Originals MCI (P) 091/11/2015 Rank Title Platform Average Demand Expressions™ Copyright 2018 Pencil Media Pte Ltd. 1 Chilling Adventures of Sabrina Netflix 340,114 All Rights Reserved. 2 Marvel’s Daredevil Netflix 338,141 3 Black Mirror Netflix 180,888 4 The Man In The High Castle Amazon Prime Video 165,303 5 The Haunting of Hill House Netflix 141,704 6 Stranger Things Netflix 137,736 7 Castlevania Netflix 132,818 8 House of Cards Netflix 107,888 9 Nas Daily Facebook Watch 106,041 10 The Handmaid’s Tale Hulu 104,431 C NTENT Date range: 25 - 31 October, 2018 Market: Hong Kong 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