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Made with China:
Asia
The new norm?
Page 16
TBIvision.com November 2018
MRS W I L S O N
How well do you know the one you love?
@all3media_int
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pOFC Asia18.indd 1 19/11/2018 19:40
GORDON RAMSAY, GINO D’ACAMPO AND FRED SIRIEIX COOK UP A STORM ON A ROAD TRIP AROUND EUROPE
brands that resonate...
THE CULINARY BOOT CAMP SERIES
THAT’S ‘HELL ON WHEELS’
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PIFC-01 All3Media TBI Asia18.indd 2 16/11/2018 12:58
LO UD ER . P ROUDER. DEA DLI ER.
WELCOME TO THE BOYS’ CLU B
PIFC-01 All3Media TBI Asia18.indd 3 16/11/2018 12:58
p02 JKN Global TBI Asia18.indd 1 19/11/2018 11:09
TBI Asia 2018
Welcome Contents
As Singapore gets ready to welcome 4 The TBI Interview: Hooq
Asia TV Forum delegates, this year’s Hooq CEO Peter Bithos details the Singapore-headquartered
edition of TBI Asia – incidentally my platform’s hyper-local plans
first as Editor of this 30-year-old brand
– points to a palpable shift in attitudes 8 Propagate’s Asian ambitions
around business in the region. Harold T. Owens, co-founder of Lore producer Propagate Content,
Not only is there more understanding on working with emerging markets and what’s in store post-
by the international production and Electus acquisition
distribution community around the
rules of play – made with China, as 12 Viacom’s Voot joins the premium ranks
opposed to made in China, for starters (for more on that, check Viacom 18’s Sudhanshu Vats lifts the lid on taking the AVOD
out our deep-dive on page 16) – there is also an exceptional level of platform into the SVOD arena
innovation out of major markets.
Take Viacom 18’s Indian streaming service Voot, for example, 14 Sri Lanka’s star is Rising
which is quickly breaking out of the purely AVOD space and Hiru TV’s director of acquisitions and content Nilendra
launching a premium product that will soon be on offer in the UK. Deshapriya takes TBI inside the five-series deal for Rising Star
And then there’s Finnish telco Elisa’s plans to launch a Nordic
streaming offering in China – a service that could reach up to 245m 16 Made with China
households – not to mention Singapore-headquartered Hooq, International distributors are finding new ways of working with
which is striving to build out episodic content in emerging markets. China’s changing regulations. Andy Fry investigates
Perhaps Propagate Content co-founder Harold Owens says it best
when he points to a new “international connectivity” between East 20 East Asian format trends
and West. The Lore and Charmed producer tells TBI about the A+E- K7 Media’s APAC manager Michelle Lin breaks down the
backed business’s plans to strike more creative partnerships out of shifting life cycles for formats out of the region
Asian markets.
Finally, if you needed further proof that some of the most exciting 22 Nordic noir heads to China
pacts in television are currently coming out of Asia, check out our The inside story behind Finnish telco Elisa’s Nordic TV launch
Dealmakers section, which profiles the key execs – all of whom in China
happen to be women – making major plays out of the region.
24 The Dealmakers
Yours Sincerely, The key individuals shaping the Asian content landscape
28 Last Word
TVF International’s China lead Julian Chou-Lambert on best
practices for scaling ‘the Great Firewall’
Manori Ravindran
Editor Manori Ravindran • manori.ravindran@knect365.com • @manori_r Printed in England by Wyndeham Grange Ltd, Southwick, West Sussex BN4 4EJ
Television Business International (USPS 003-807) is published bi-monthly (Jan, Mar, Apr, Jun, Aug and
Managing editor Kaltrina Bylykbashi • kaltrina.bylykbashi@knect365.com • @bylykbashi Oct) by Informa Telecoms Media, Maple House, 149 Tottenham Court Road, London, W1T 7AD, United
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For the latest in TV programming news visit TBIVISION.COM TBI Asia November 2018 3
p03 Contents Asia18MRMCKB.indd 3 19/11/2018 18:43
THE TBI INTERVIEW HOOQ
Brata
Hooq gets hyper-local
Hooq CEO Peter Bithos tells TBI how he is transforming the Singapore-based streamer from the ‘home
of Hollywood’ to the home of hyper-localized content for emerging markets. Kaltrina Bylykbashi reports.
I
n what is now one of the most competitive after makes at most US$350 a month, do not such an audience is a “very hard challenge” and
SVOD environments in the world, have a long-established culture of paying for hasn’t been done yet according to Bithos. But
Hooq – the WarnerMedia, Sony Pictures content and are yet to see regular, high-quality since 2015, the company’s core aim has been,
Television and Singtel–owned streamer episodic content that is localised. and continues to be, to adapt the common
operating in Southeast Asia and India – “Most services [in Asia] are attempting to European/US-based monthly subscription
is looking to differentiate its service by targeting reach the iPhone customer base, and we’re model to work at scale in Southeast Asia.
the hard-to-crack mainstream audience across going after the Android customer base, to put it While in pursuit of its goal, Hooq has been
emerging markets. simply,” says Bithos. able to innovate on two significant fronts. The
Based in Singapore, the streamer serves local Apple’s iPhone is more likely to reach the platform was the first in the world to offer
audiences as well as those in India. But it is the quickly growing middle classes, like those download rights for its Hollywood content,
emerging territories such as Indonesia, the more often seen in India and China. Android, ahead of regional competitors and the likes of
Philippines and Thailand that it has recently set in-turn, looks to a wider consumer base and Netflix and Amazon.
its sights on. entices them with a lower price point. Hooq is also the first platform to have offered
As Bithos describes it, the audience Hooq is Creating a monetisable business model for “sachet pricing”, giving audiences access to
4 TBI Asia November 2018 For the latest in TV programming news visit TBIVISION.COM
p04-06 Hooq Asia18FINAL.indd 4 05/12/2018 11:08
THE TBI INTERVIEW HOOQ
seven-day subscriptions since 2015. It continues investment areas, from an incremental dollar Diverging strategies
to experiment with new ways of delivering perspective, so we want stories in Southeast
content to consumers, recently introducing Asia for Southeast Asia,” says Bithos. Despite its investment in Bhak, Hooq’s
one-day packages in Indonesia for as low as Hooq currently has 30 original titles either strategy in India is shaping up to look quite
US$0.25 cents. on the platform or in the pipeline across the different from that of emerging markets.
“Monthly subscriptions in Southeast Asia region. In Indonesia, these include 20 original In the territory, Hooq is looking to be the
don’t work,” says Bithos. “There will be days movies, one drama series and two pilots. prime destination for English-language
when the customer doesn’t have money, so A recent addition to the platform is Indonesian content licensed from Hollywood studios.
our various packages across territories are crime drama Brata, which is co-produced with Its landmark partnership with Hotstar in
an example of us addressing the needs of the telco Telkomsel, while movie original Marlina October defines how different its approach
market.” The Murderer in Four Acts has already proven is in the market, which is more developed
Hooq’s most ambitious plan yet, however, is popular since its premiere in February. in production and services, compared to
to offer 100% localised programming to these The company will also roll out two movies Southeast Asia.
audiences - at the very least offering subtitling - in Thailand and two pilots for development in Under the deal, Hooq act as an OTT
and to create original, episodic content. Singapore, in addition to the release of Bhak. channel on Hotstar at no extra cost to the
“We have to do a lot of different experiments. consumer. It will bring its wide library of
Building episodic We have done co-productions with studios, series and movies from Warner Bros., Sony
telcos and directors, so we have lots of different Pictures, Lionsgate and Miramax to Hotstar’s
The “bulk” of content on Hooq’s service in business models that we’ve been trying,” adds already packed portfolio of HBO, Fox and
emerging markets is a result of licensing. With Bithos. “We’ve also done hybrids where we Disney titles.
access to Warner Bros. and Sony content, it launch a movie that we take to the box office, “As of today, we’re on Vodafone, we’re on
holds titles such as The Flash, Supergirl, and followed by episodic.” Airtel and there’s more coming. We have the
The Big Bang Theory and brings them to new For the second year in a row, Hooq will also largest Hollywood catalogue of any of these
audiences. launch a pilot from Hooq Filmakers Guild players,” says Bithos.
But in Southeast Asia, the company has which encourages filmmakers, directors, Hooq’s local-language strategy also differs
recently doubled its local content in certain producers and screenwriters to enter a here. Whereas in Southeast Asia all content is
markets. Across Indonesia, Thailand and the competition scheme where they can win delivered in local language, it’s mixed in India.
Philippines, local programming now accounts US$30,000 to produce a pilot. But even here Hooq aims to have all Hollywood
for more than 50% of viewing minutes,
according to the company.
“Most of what we try to do is lead and
differentiate with local. We have great
Hollywood content, we have great regional
content, but we’ve really doubled on local,”
explains Bithos.
“I suspect the bulk [of content] will be
licensing for some time, but we’re trying as
fast as the ecosystem can allow, to shift to
episodic originals. There’s a limit on how fast
you can do that because there are not that many
opportunities to produce great stories at scale in
the region.”
Up until now, audiences in emerging
markets have either relied on movies or high-
volume series for entertainment, with very few
limited series available from the region.
Hooq is attempting to shift these tastes by
The Tick
increasingly investing in local talent across the
emerging markets and building out a library
with more of these titles. It established talent
development competition Hooq Filmakers
Guild in 2017, leading to a new Indian original,
Bhak, for the platform, and has ramped up its
investment in originals as a result. Marlina
“Original content for us is one of our largest
For the latest in TV programming news visit TBIVISION.COM TBI Asia November 2018 5
p04-06 Hooq Asia18FINAL.indd 5 05/12/2018 11:08
THE TBI INTERVIEW HOOQ
titles dubbed in at least two or three regional
Indian languages by the end of 2019.
“In many cases in India, many of the great
Hollywood titles that you would know, like The
Flash or Supergirl, may have never been seen in
a local language like Tamil, Telugu or Bengali,”
says Bithos. “So we’re out to change that and try
and be one of the first players to highly localize
deeply in all the territories we operate in.”
This shifting strategy could prove wise.
India is a quickly maturing market with some
stiff competition within its borders from Fox’s
Hotstar and Viacom18’s Voot to Amazon and
Netflix – which described extensive plans for
the market during its third quarter earnings
report this year.
Instead, Hooq has focused its streaming
capabilities on Southeast Asia’s largest
Bhak
market, Indonesia. With 260m people to
serve, the nation has become an attractive
market for the company, where it has year of Hooq’s freemium layer, with live Netflix, in particular, has suggested that it
introduced a string of new offerings to serve streaming of nine Indonesian free-to-air TV will look at varied price points for the region,
its audiences. channels in Southeast Asia’s largest market. recently testing a cut-price mobile-only offering
Most recently, it launched a skinny bundle Among the channels now provided are in Malaysia. In addition, in an interview with
package, which will roll out regionally at a JakTV, MNC TV and RCTI. India’s Economic Times Netflix CEO Reed
Hastings also expressed the desire to support
content in Asia with more regional languages
“We’re trying, as fast as the ecosystem will allow, and storytelling styles.
to shift to episodic originals. There’s a limit to how But Bithos doesn’t see these platforms as
fast you can do that because there are not many competition quite yet. “We’re not trying to
opportunities to produce great stories at scale in take on Netflix anywhere. They’re after very
the region.” different customers than we are. We’re really
Peter Bithos, Hooq after a mass-market play and they’re after high-
end customers and that’s okay,” he explains.
“We’re more deeply local and way more
later date. This will mean the streamer will The competitors differentiated in local content by a mile. We
offer 20 pay-TV channels including Discovery will never stop on that, so our belief is if you
Channel, Animal Planet, TLC, Dreamworks Hooq is using its efforts in the emerging want to match the mass-market customer
and E!, with local language subtitles across its spaces as a point of differentiation in a market you have to have content that speaks to them
premium offering. that is developing at break-neck pace. and while we’ll always have great Hollywood
Pay-TV penetration in Indonesia is very low, Ampere Analysis data across Asia shows content– and won’t try to differentiate there –
accounting for around 10% of its population. that Hooq’s 2.6m subscribers are dwarfed by we’ll try and differentiate with amazing local
For the first time, many Indonesians will be platforms such as iQiyi, which draws near programming.”
able to access titles such as Keeping Up with 50.1m. Amazon and Netflix are also growing In the meantime, Hooq will stick to its core
the Kardashians or BattleBots, for as little as 25 their presence in the region drawing 9m and territories until it has pinned down a business
cents a day – a first in the region. 5.7m, respectively. model that truly works for a mass-market
“It’s not a bolt-on or an additional Meanwhile, Hooq’s direct competitors iflix Asian audience, according to Bithos.
purchase; it’s part of the offering so that in and Viu have 4.9m and 2.6m subscribers, “We’ve seen players go to 30-40 countries
addition to on-demand Hollywood content, respectively. and do that before they have the right business
you get 20 channels of pay-TV on your phone While Hooq frequently leads with new model, which we think is a very foolish idea,”
on any device. For the first-time millions of innovations, the streamer still has competitors he says. “We’ve stuck to our knitting and
Indonesians have access to something they snapping at its heels. It may be taking a step we’re really interested in creating a consistent
have never had access to before,” explains back in India, but its focus on Indonesia and business where we are. We might see a future
Bithos. lower-tiered price points are also becoming a in Vietnam - it’s always been an important play
The move follows the launch earlier this target for other companies. in Southeast Asia - but we’re not rushing.” TBI
6 TBI Asia November 2018 For the latest in TV programming news visit TBIVISION.COM
p04-06 Hooq Asia18FINAL.indd 6 05/12/2018 11:08
4K REMASTERED
ATF G26
FORTUNE STAR MEDIA LIMITED
EMAIL: FORTUNESTAR@STARTV.COM.CN WWW.FORTUNESTARMEDIA.COM
pXX Fortune Star TBI Asia18.indd 1 01/11/2018 12:20
COMPANY PROFILE PROPAGATE
Running Wild with Bear Grylls
Propagate’s Asian ambitions
Ahead of his debut at the Asia TV Forum, Propagate Content co-founder Howard T. Owens tells TBI his
plans to break into the Indian market and what’s to follow the business’s recent acquisition of Jane The
Virgin producer Electus. Manori Ravindran reports.
K
nown for bringing hit formats tells TBI, highlighting the potential of the Indian – or “elevated IP”, according to Owens – and
such as Mexico’s Ugly Betty and market. sending it to major markets, but it can also help
the UK’s The Office to the US, the “India is burgeoning at the premium scripted to establish local content generation hubs, provide
founders of Propagate Content level. Whether it’s Apple’s Shantaram or expertise in building writer’s rooms or send over
are now poised to apply the firm’s Amazon’s Inside Edge, these are examples of big showrunners.
founding principles of “international connectivity” scripted tentpole series that are getting traction “We are interested in lending our expertise to
to Asian markets. and getting noticed in the global market.” the process,” explains Owens. “The goal would be
Set up by former Nat Geo boss Howard T. Owens The territory’s burgeoning middle class – to have these emerging global markets ultimately
and Ben Silverman in 2016, the A+E Networks- predominantly under the age of 30 – and extensive create their own storytelling infrastructure, which
backed business received a major cash injection smartphone penetration opens the doors to new we can then support from elsewhere. That’s the
via merchant bank The Raine Group earlier this creative partnerships for the likes of Propagate. roadmap.
year – a hefty investment that has empowered the “We just need the right opportunity for “Propagate is at its best when it’s working with
producer-distributor to expand its global horizons. premium video content production and creation. creatives and crafting ideas and pushing forward
The impetus going forward is to partner with That stems from being both opportunistic, and production stories that need to be told.”
“independent voices” around the world, and also knowing where growth is coming from Raine Group backing will ultimately see
expand strategically in key markets such as India, globally,” explains Owens, who will deliver a the business partnering with local production
China and Korea. keynote at the Asia TV Forum in Singapore. communities across Latin America and the
“There are stories that need to be told, and The business remains one of the first ports of Middle East to develop, produce and distribute
diverse voices that need to be celebrated,” Owens call when it comes to plucking out a hit format original formats.
8 TBI Asia November 2018 For the latest in TV programming news visit TBIVISION.COM
p08-09 Propagate TBI Asia18MH.indd 8 19/11/2018 19:23COMPANY PROFILE PROPAGATE
The business recently struck a deal with US
cable channel FX to develop hit Colombian format
La Niña for the US market. The show follows
Sarah García, aka La Niña, as she struggles to
reintegrate into society after living as an enslaved
teenage sicaria (hit woman) for the most ruthless
drugs cartel in Mexico.
Elsewhere, Propagate has signed a development
deal with Jack Ryan actress Dina Shihabi for a
scripted series based on the Saudi-American
experience.
Earlier this year, the business invested in
Edouard de Vésinne’s French prodco Incognita
and Owens notes that another investment has
Jane The Virgin
been made in the French market. A Brazilian deal
is also in the works.
“We also have projects going in Mexico City and they are reviewing personnel and “all of the The talent piece of the Electus deal – which
other parts of Latin America and we are looking at assets” at play. hands Propagate a majority stake in Artists First
the rest of Europe as well,” he says. “We are getting a sense of how everything will along with a minority stake in Authentic Talent &
Propagate International head Cyrus Farrokh work together. One of the most attractive things Literary Management – is particularly important
adds that he is looking to replicate the formats deal about Electus is their international assets, which for growth in the near future.
recently struck with Greek broadcaster Antenna are excellent.” Led by Peter Principato, Artists First produces
in an emerging market through a relationship Headed by John Pollak, Electus International ABC comedy Black-ish, Freeform spinoff
with a local production company. has more than 4,000 hours of library content, Grown-ish, and ABC’s The Gong Show, while
The Greek pact, struck in October, sees the including titles such as NBC’s Running Wild with clients include Will Arnett, Jordan Peele, Ed
businesses team up to develop, produce and Bear Grylls and Starz’s Wrong Man. Helms, Tiffany Haddish, Awkwafina, Jon Chu
distribute original formats and content.
Two original series are currently in development
and set to air in 2019. The first production is
a local version of the Propagate game show “Propagate is at its best when it’s working with
format Wham-O’s Slip ‘N Slide for Ant1 TV, and creatives and crafting ideas and pushing forward
a second series is hidden camera prank show My production stories that need to be told.”
Best Friend’s Fear, which finds an unsuspecting Howard T. Owens
individual set up by their best friend for an
unforgettable prank.
“There is no template that will see us doing
each territory exactly the same but we’re Earlier this year, the producer-distributor and Tracee Ellis Ross. Founded in 2001, the
being opportunistic in fulfilling the needs of created a new international co-production model company has offices in Los Angeles, New York
broadcasters and streamers in various markets,” for unscripted programmes dubbed ‘6/26’. The and Chicago.
says Farrokh. process saw four broadcasters – Australia’s Nine “It allows us a shortcut to what can be
Network, France’s TF1, Germany’s Nito (part a frustrating and cumbersome part of the
Electus acquisition of RTL Germany) and Nordics-based MTG – development and pitching process,” said Owens.
coming together as a ‘sales coalition’, similar to “When you work with great talent, it allows
Last month, the business acquired Running Wild distributor DRG’s Atrium project. you to streamline that process and garner
With Bear Grylls producer-distributor Electus “We really like their creativity,” says Owens. stronger deal positions. It enables you to basically
from IAC, while also taking the business’ “They have a good array of domestic productions determine where you want to make your show.
majority stake in talent agency and Black-ish in the US that are really additive to what we’re “And now that the networks and streaming
producer Artists First. already doing with our strong production services are having to present distinct DNA,
The deal was negotiated by Propagate president platform, along with the international business.” it’s also becoming more important for us to
Greg Lipstone, who joined the business from There is also a natural synergy between determine where we want to be and where to
All3Media America earlier this year, along Propagate and Electus, given that Silverman place our best content and creative assets.”
with Propagate’s VP of finance and corporate founded the company with IAC in 2009. With Electus in hand, access to a raft of
development Kelly Fancher. Meanwhile, Farrokh was previously senior VP high-profile talent and further international
Owens said the two firms are currently going and head of sales at Electus International, before investments in sight, Owens says the future is
through a “true integration” process in which joining Owens and Silverman in 2017. “limitless”. TBI
For the latest in TV programming news visit TBIVISION.COM TBI Asia November 2018 9
p08-09 Propagate TBI Asia18MH.indd 9 19/11/2018 19:23p10-11 Global Agency TBI Asia18.indd 2 16/11/2018 18:22
p10-11 Global Agency TBI Asia18.indd 3 16/11/2018 18:22
COMPANY PROFILE VOOT
Viacom’s Voot joins the
premium ranks
Viacom 18 group CEO Sudhanshu Vats tells Manori Ravindran how Indian streaming service Voot is
quickly transforming from a wholly AVOD proposition into a multi-faceted SVOD platform that extends
well beyond India and into the global market.
I
n the race to capture India’s 300m the platform – which is owned by Viacom 18, expected to total around 90,000 hours per
streaming video users, Viacom’s a JV between Viacom and Indian channel year, collectively – to these platforms, apart
AVOD service Voot is scaling the operator TV 18 – is the third largest digital from select feature films.
ranks with an aggressive expansion platform in India, behind 21st Century Fox- Instead, they were steadfast in holding
strategy that is leaving global SVODs backed streamer Hotstar and Sony’s Sony on to all rights for most of their content: a
Netflix and Amazon well in its wake. LIV service, but well ahead of Amazon Prime strategy that has enabled them to build out
Launched in beta mode in May 2016, the and its estimated 10m subscriber base and their digital platforms into heavy-hitting
ad-supported streaming player is quickly Netflix’s 1m subs, according to Viacom’s in- VOD services.
evolving from a catch-up player for Viacom house data. A second crucial difference between the
India channels, such as Colors TV and MTV, Unlike the US market, where Netflix and US and Indian markets is that Netflix first
to a go-to destination for feature films and Amazon built their businesses on the backs launched Stateside with a US$8/month
original programming. of hits from the major studios, Indian media service when monthly cable bills cost around
With around 45m monthly users that players such as Viacom, Fox, Sony, Zee and US$80, providing enormous value to
engage for an average of 50 minutes per day, SunTV were loath to license their content – consumers.
12 TBI Asia November 2018 For the latest in TV programming news visit TBIVISION.COM
p12-13 Voot TBI Asia18MRMCKB.indd 12 19/11/2018 18:56COMPANY PROFILE VOOT
film space,” says Vats, noting that plans are
India’s internet users VOD domination already in place for feature films co-produced
with China and Canada.
For now, the platform is focused on making
400m 15% a concerted push into the premium space – a
strategy that is increasingly congruent with the
in total of market behind “data revolution” that has seen data packages
a paywall become highly affordable across India.
“We expect India will have close to 700m
streaming video users by 2020 and is likely
300m 85% to follow China from the perspective of digital
business model development,” points out
internet video users use VOD model Vats.
(VOD, SVOD, etc.) “If you go back around five years, China
had around 400m streaming video users, but
in 2018, that number has doubled to 800m.
Similarly, five years ago, they were also a
largely free VOD market, just like India, but
now around 15% of the Chinese market is
It has proven difficult, however, to extrapolate and Chinese platforms and broadcasters. paywalled.”
that unit price in India, where a cable bill of “As we go forward, we are looking to launch Vats reckons that as India reaches 700m
roughly US$3/month can get consumers close a dedicated product for Voot Kids that will sit streaming video users, a similar 15% of the
to 300 channels, completely undermining the behind a paywall,” explains Vats, noting that country’s digital video content will also fall
value of a Netflix subscription, which has yet to there will be a strong educational element to behind paywalls.
be lowered for the Indian market. the SVOD service. Going forward, Voot is also looking to target
Sudhanshu Vats, group CEO of Viacom 18, On the drama front, Voot has commissioned the Indian diaspora around the world, and will
says the platform produces around 15,000
hours of local content per year, all available
in Hindi, English and six other regional
“We expect India will have close to 700m streaming
languages.
video users by 2020 and is likely to follow China
The service is currently free – with revenue
from the perspective of digital business model
coming exclusively from ads – but the business
development.”
is moving towards a freemium model that
will paywall some premium content and is Sudhanshu Vats, Viacom 18
expected to launch mid-2019.
While a pricing strategy is still being worked
out, the former Hindustan Unilever exec, who around 18 hours that span an array of regional launch in the UK this autumn as a paid service
joined Viacom in 2012, notes that “with cable content. Other programming originates from on Virgin Media, where the platform will be
bills being so low, the fees for a subscription the film studio Viacom 18 Motion Pictures, available as an app.
service in India should be around the US$3 which has a stable of recent feature films, “Virgin customers will have access to
mark as well.” including Andhadhun and Padmaavat, and everything on Voot,” says Vats, adding that
recently launched digital content studio monthly pricing will fall in single-digit pounds.
Voot originals Tipping Point. “Some of our Hindi content is already
“They will produce both web series and films available in the UK on channels such as MTV
Currently, 60% of viewing on the platform for our offering that will be fairly Bollywood- and Colours TV, but we have a lot of content
revolves around catch-up programming, while focused,” says Vats. in different dialects, and together with our
20% is targeted at “shoulder content” – extras While Voot has yet to strike any output deals shoulder content and originals, it’s of great
The Tick
from programs such as Big Brother and Roadies with US studios for English-language content, interest to the diaspora audience.”
which are then branded as digital exclusives. plans are underway to selectively place some of Ultimately, Viacom 18 hopes to expand Voot
The remaining 20% is divided equally these programs on the premium platform. into 20-odd countries, all of which have strong
between Voot Originals, which constitute Indian diasporas. Eventually, the app will be
around 100 hours of local programs such as Global ambitions rolled out globally.
Feet Up With The Stars, Jamtara and It’s Not “The plan is to present a fairly chunky
That Simple, as well as kids content, some of International co-productions are also on the offering globally. We own the rights, so we can
which is acquired from the likes of Japanese cards, though “first explorations will be in the do that,” he says. TBI
For the latest in TV programming news visit TBIVISION.COM TBI Asia November 2018 13
p12-13 Voot TBI Asia18MRMCKB.indd 13 19/11/2018 18:56COMPANY PROFILE HIRU TV
Sri Lanka’s star is Rising
Hiru Star
A local adaptation of Keshet International’s Rising Star is having a transformative impact on Sri Lankan
broadcaster Hiru TV. Manori Ravindran reports.
A
“renaissance” in Sri Lankan Wants To Be A Millionaire? in 2000. to be imported from Singapore. Meanwhile,
entertainment programming “The biggest problem at that time was that training for Sri Lankan execs and crew took
has led to more demand than there was no telephone infrastructure, and that place in India, where the show had aired since
ever for large-scale offerings format demands telco partnerships because of 2000, hosted by Bollywood mega-star Amitabh
that leverage audience elements such as the hotline. That was all new Bachchan on Star Plus.
engagement. to Sri Lanka,” he says. However, homegrown entertainment
Unlike the island nation’s monolithic Entertainment programming has only programming is now firmly ensconced in the
neighbor to the north, India, it has taken time gained significant traction in the last two landscape, says Deshapriya, pointing out that
for Sri Lanka to progress from the soap operas decades, with free-to-air broadcaster Sirasa there has been a “paradigm shift in terms
– known locally as ‘teledramas’ – as well as TV breaking through in 2005 with singing of programming as well as viewership and
Sinhala-language music programs and sporting competition Super Star, which became a interaction”.
events such as cricket that have dominated the nationwide hit thanks in large part to advances “The most important element of the equation
market for decades. in telco infrastructure that allowed audiences to is the viewer, who has a device in their hands.
Nilendra Deshapriya, director of acquisitions vote via text message. They become the driving force of storytelling,
and content for Hiru TV and parent company Millionaire eventually followed on Sirasa and that’s why these shows have taken Sri
Asia Broadcasting Corporation, and previously TV’s sister channel MTV in 2011 – marking Lankan TV audiences by storm, and still
a prominent director in the TV industry, has the nation’s first major international format continue to bring in high ratings,” he explains.
been at the forefront of the reality boom in Sri adaptation – but it was a “very slow process” The popularity of interactive shows was the
Lanka, having first attempted to adapt Who and most materials and equipment needed impetus behind Hiru TV’s headline-grabbing
14 TBI Asia November 2018 For the latest in TV programming news visit TBIVISION.COM
p14-15 Hiru TBI Asia18MRMCKB.indd 14 19/11/2018 19:12COMPANY PROFILE HIRU TV
deal for Keshet International’s singing format According to Deshapriya, the program has channel was confident the show would be a
Rising Star – an order that amounts to five brought some acclaim to the six-year-old Hiru success from the get-go.
seasons of 52 x 90 minute-episodes, making TV, which was in many ways an ideal broadcast The business also took into account the
it one of the highest-volume format deals in partner for the format, given its major backing investment required to launch the format,
recent history. from parent company ABC, which equipped including the technical infrastructure around
Hiru with state-of-the-art technology ahead of the app as well as the studio equipment
International opportunity
Originally created and produced by Israel’s
Tedy Productions and Keshet Broadcasting, “The most important element of the equation is
the format has had a chequered history, having the viewer, who has a device in their hands. They
launched in Cannes in 2013 to widespread become the driving force of storytelling.”
interest, but courting controversy a year later, Nilendra Deshapriya, Hiru TV
when ITV scrapped the show ahead of launch
amid concerns over cost and lackluster ratings
in the US.
The format’s blockbuster debut at MIP has its launch, and has expanded it into one of the required for set pieces such as Rising Star’s LED
gone down as one of the last major format largest channels in Sri Lanka. wall, which features the photos of app users
launches in Cannes, although its post-market “We were all aware that programs such as who are engaging with the show.
fall from grace in the West has become American Idol, X Factor and Got Talent have “The early finales of Sirasa’s Super Star rated
something of a cautionary tale for buyers to changed the international TV landscape, but higher than Sri Lanka winning the Cricket
exercise more patience around acquisitions. we all thought Rising Star was a real beauty,” he World Cup. These shows become a religion,
However, Rising Star largely overcame its says. and we had the confidence that it would
wobbly start, and has now sold in more than 35 “It’s one of the first live TV shows where the deliver,” says Deshapriya.
territories, including Brazil (Globo), Indonesia audience can vote through a mobile app via Indeed, the program has delivered high
(RCT1), China (CCTV) and Greece (Antenna). handheld device, and where their photos show ratings and the exec describes its reception
Deshapriya first encountered the format at up on screen in real time.” in the country as something of a “cultural
MIPCOM in 2013, and later saw it adapted in The format’s physicality, with a wall going up phenomenon”.
India on Viacom-owned channel Colors TV, when contestants reach a certain percentage of Going forward, ABC is looking to develop
though bringing the format to Sri Lanka was votes, was also of interest. “The whole strategy more homegrown entertainment formats,
the brainchild of ABC chairman Rayynor Silva, was to take things to the next level for the but will continue to acquire international titles
who brokered the deal earlier this year. channel,” adds Deshapriya. selectively.
The show – which is titled Hiru Star and While some territories tend to move carefully Alongside competition from local players
billed as Sri Lanka’s first live reality program ahead of local adaptations of an international such as Sirasa and entertainment channel TV
– recently wrapped its first season, airing in a format, generally testing the waters with just Derana, Hiru TV is now competing with the
7.30pm slot on Saturday and Sunday evenings. one series order, Deshapriya explains that the likes of encroaching SVOD players, such as the
Malaysia-headquartered iflix, which launched
in Sri Lanka in 2016 alongside streaming giant
Netflix.
But Deshapriya remains confident that Sri
Lanka’s “reality renaissance” can continue
unfettered for local broadcasters, so long as
they continue to keep audiences engaged with
interactive programming.
“When it comes to reality television,
storytelling evolves to a completely different
level, because once the auditions and casting
The Tick
are complete – whether it’s for Rising Star
or Who Wants To Be A Millionaire?, you see
regular people aspiring to become something
more, and audiences want to take part in that
journey.
“All these elements come together in a
single episode, and that can be amazing for our
Rising Star
market. Hiru Star has had a huge impact.” TBI
For the latest in TV programming news visit TBIVISION.COM TBI Asia November 2018 15
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Humans
Made with China:
Is it time to transcend the quota narrative?
International distributors are increasingly finding new ways of navigating the mixed messages
shrouding China’s ominous content quotas and censorship rules. Andy Fry investigates.
I
n recent times, international content being overly protectionist around its content (SAPPRFT) said a prominent feature
companies have been confronted and too lenient on format IP theft. of China’s film and TV industry was its
with two conflicting narratives when These mixed messages have been especially “openness”, citing partnerships with the likes
it comes to China. On the one hand, evident in 2018. At MIPCOM, Fan Weiping, of HBO Asia, Sony Pictures Television and Fox
the country has been pitched as a fast- deputy director of China’s powerful industry Networks Group.
growing market with a voracious appetite for regulator State Administration of Press, Only a month earlier, however, the TV
content, but on the other, it stands accused of Publication, Radio, Film and Television trade press was buzzing with news that China
16 TBI Asia November 2018 For the latest in TV programming news visit TBIVISION.COM
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was pushing ahead with content restrictions have to be premium in order to cut through.” Show and Pop Up and Tom Hardy-fronted
that would outlaw foreign TV shows from TBI understands that Tencent is currently period drama Taboo to Youku and Alibaba.
primetime, restrict imports and clamp down reducing its documentary acquisitions due to Commenting on the Taboo sale, Maggie
on content that “deviates from socialist core the quotas, meaning that factual is affected. Liang, managing director and executive
values.” producer, says: “What interested me about
One show that immediately fell foul of Business booming despite quotas Taboo was that the storyline was universal,
the latter injunction was streaming platform making it suitable for Chinese audiences.
Youku’s adaptation of NBCUniversal’s Saturday As it happens, a lot of the above is already Although it is a tough piece of TV, we did
Night Live, which was cancelled in July. happening, as networks and platforms have the necessary editing to satisfy the Chinese
More recently, format protection watchdog known about the proposed content quotas for censor.”
FRAPA raised the specter of format theft some time. In Liang’s opinion, focusing on content
at MIPCOM, with co-chair Jan Salling Chris Bluett, VP sales for Asia-Pacific and quotas obscures the fact that China is still
telling TBI that China was dealing with Benelux at Cineflix Rights, says, “The big moving in the same direction as other
“serious infringement issues” and that some factual volume deals have gone from the developed markets.
companies “have no interest in importing”. market for now as buyers are having to be more “China is becoming a lot more selective
So where exactly does the truth lie? selective, so our recent deals have focused about the shows they pick. They want well-
Seemingly, somewhere in between. on key franchises like Cineflix Productions’ known casts and captivating storylines. And
One executive with decades of experience Mayday: Air Disaster and Impossible Pictures’ they want a balance between foreign and local
brokering partnerships with China tells World War II’s Greatest Raids.” content, as most countries do.”
TBI that the Chinese market is so vast that Bluett’s experience is reflected in other It is undeniable that the loss of high-volume
“everything can be true at the same time”. recent sales to China, such as A&E’s Knightfall deals is a blow to distributors but it is not
“What is clear is that revenues made from and Studiocanal’s The Child In Time. catastrophic when you consider the sheer
China go up every year. Streaming platforms Studiocanal’s head of international sales number of Chinese platforms.
like Tencent, iQiyi and Youku have helped Beatriz Campos confirms that the market is Bluett says China is still in his “top-tier”
make China the top revenue-generating looking for marquee titles: “The Child in Time among Asia revenue generators – and a
market in Asia for many distributors.” benefited from the fact that it starred Sherlock’s market he is planning to target in 2019.
Similarly, Kelvin Yau, SVP and GM for Benedict Cumberbatch, who is well known in William Tan, MD of Endemol Shine
Greater China at BBC Studios Distribution the region. That allowed us to create strong China, echoes that view. “Many markets have
dubs China a “vibrant, dynamic market.” competition.” restrictions and China is no exception. But I
BBC Studios Distribution works with all the Meanwhile, content broker The Media have not seen evidence that China is not open
major broadcasters and platforms in China Pioneers has just sold kids series The Moe for business.”
including CCTV, SMG, Tencent, Youku, iQiyi,
BesTV and Migu.
“Natural history is popular as is Sherlock.
Broadly, public broadcaster CCTV favours
serious documentaries and the streamers
are more commercial, but everyone wants
quality.”
The point is illustrated by analyst firm
IHS Markit, which says China is the second-
biggest spender on TV content in the world
($10.9bn in 2017), with 46% (5bn) attributed
to international content acquisition, including
sports rights.
So how do we square this assessment with
China’s content quotas? According to one
senior distribution executive, the real shift
relates to volume deals.
“The main negative impact will be felt by
online platforms that don’t produce much
content and rely on high-quality foreign
content to attract and retain subscribers,” the
exec tells TBI.
“Big volume sales into China are likely to
The Child in Time
be highly limited and foreign content will
For the latest in TV programming news visit TBIVISION.COM TBI Asia November 2018 17
p16-19 China Asia18MRMCKB.indd 17 19/11/2018 19:14TERRITORY FOCUS CHINA
a copro with Bilibili on China’s Hidden Kingdom
at MIPCOM.
October Films executive chairman Denman
Rooke has just visited China as part of a UK
producer delegation and is working with 3C
Media and Bilibili on a food-related concept.
Rooke notes there is “undoubtedly a creative
appetite for co-production in China” but points
out two key challenges.
“The first is that the funding model is very
different in China, so it takes time to agree a
Fuji TV’s Dating China
structure. Secondly, you need to find a subject
that can satisfy China’s content restrictions but
also appeal to the global market.”
Alongside co-production, there has also been
increased scripted format activity.
At MIPCOM, SPT president Wayne Garvie
cited Chosen, a partnership between iQiyi
and Huaso, a JV between CCTV-6 and SPT.
Endemol Shine, meanwhile, licensed Humans
to China and has just signed an agreement with
Blue&White&Red Pictures and IP specialist
Cloudwood to make a Mandarin-language
version of Broadchurch.
Elsewhere, Fuji TV has just agreed a far-
reaching partnership with Shanghai Media
Group. It has also licensed large volumes of
content to Youku and negotiated a Chinese
remake of Confidenceman JP.
“In recent years, about 20 of our titles
have been remade in China,” says Takayuki
Hayakawa, VP of content creation and
Dynasties
distribution at Fuji TV. “Typically, the Chinese
examine each title’s [track record] closely before
Jianing Shen, EVP of CITVC, the and European content is not always tailored choosing, but Confidenceman JP was signed
commercial arm of Chinese public broadcaster to suit Chinese demands: “For example, with during the writing process.”
CCTV, reiterates the SAPRFT view that China TV series, we prefer daily rather than weekly Hayakawa believes part of Fuji’s success is
is open for business, pointing to the first broadcasting, so the average number of down to the shared cultural heritage enjoyed
China International Import Expo in Shanghai episodes for Chinese TV series is about 40.” by China and Japan. But like Liang, he doesn’t
in November, and noting that CITVC is fully have concerns about content restrictions.
committed to helping international firms do Co-pros remain the way forward “I’ve heard that some European countries
business with China. are demanding that SVOD distributors such
“Every year, CITVC imports a large amount While volume deals may be temporarily on as Netflix purchase a certain amount of local
of content, including dramas, documentaries hold, there is a counterveiling trend towards content. Restrictions in China are structured
and movies. It has imported 5,000 episodes international co-production, explains Shen. the same way. In my view, quality overrides any
from more than 50 countries.” Among numerous CITVC-backed examples, restrictions,” he said.
According to Shen, 2018 alone saw CITVC Shen cites Lands of the Sky River (CITVC,
import more than 100 international movies National Geographic Channel Asia); Origin What’s the future for formats?
and dramas, such as Reckless Bride (Thailand), (CITVC, Left Bank Pictures and SPT), and
A Love to Remember (Mexico), Solo (Ireland), Riding the Ocean Dragon, co-production However, two issues that international content
and Lessons of a Dream (Germany). between CITVC, CCTV-10 and Australian companies do need to monitor are the following.
The exec says editorial restrictions are producer SeaLight Pictures. Firstly, iQiyi CEO Gong Yu’s ambition to spend
primarily used to control “violence, terrorism, Further, BBC Studios and Tencent have a more on original content implies there will be
sex and other elements.” copro agreement for natural history series less need and resource among streamers for
The real issue, she contends, is that US Dynasties while FNG’s Nat Geo Wild announced acquisitions.
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p16-19 China Asia18MRMCKB.indd 18 19/11/2018 19:15TERRITORY FOCUS CHINA
Secondly, there seems to be a slight Besides, says Rebecca Yang,
softening of attitudes to Korean content, CEO of content broker IPCN, the
which was banned two years ago following copycat criticism should not deflect from
a political dispute. Korean TV content is so China’s burgeoning creativity.
popular in mainland China that, should official “We introduced formats like Got Talent,
restrictions be lifted, it would provide stiff The Voice and So You Think You Can Dance
competition for content from the rest of the to China. But we’ve shifted more towards
world. digital and short-form because that’s where
And what of FRAPA’s format theft concerns? the creativity is happening. We have an online
The problem originates from regulations that music network called Channel R and have
limit the number of foreign entertainment launched formats like Street Credit, which
formats that Chinese broadcasters can acquire. we believe can work both in China and
While the intention was to stimulate original internationally.”
Chinese IP, it has resulted in some copycat Endemol Shine’s Tan echoes this point,
disputes. stressing that the company is keen to own and
South Korean producer CJ ENM, for example, export Chinese IP.
alleged that iQiyi copied its talent show Produce “We have sold non-scripted formats like The
101. However, Jin Woo Hwang, head of formats Brain and MasterChef. But China has grown to
and development, used MIPTV to stress this become a hotbed of creative talent, ideas and
was not a general criticism of China - noting entrepreneurs, and our Chinese entity has
that other streaming platforms like Youku and responded by establishing co-development
Tencent “do their best for the formats industry. deals with the likes of Youku and Hunan
IP theft is clearly an issue that China still TV.
needs to address. But it hasn’t prevented “We are also working closely with
breakthroughs such as Tencent’s acquisition of CCTV to create a version of The
Kids Got Talent from Fremantle China and Syco Nation’s Greatest Treasures that will
Entertainment. appeal to our global clients.” TBI Kids Got Talent
Kitty is Not a Cat The Cul de Sac Daisy & Ollie
Kids comedy animation – 52x12’ Teen and older children live action – 18x23’ Pre-school animation – 52x7’ and 1X22’
When a girl arrives on the door step of a household Rose wakes to find the adults in her world have Daisy & Ollie encourages young children to be
of cats they are forced to look after her with hilarious mysteriously vanished and she must face the dark curious and question the world around them, these
and charming results. forces and protect her siblings. questions can be from the sublime to the ridiculous.
Jetpack Distribution • Tel: + 44 7495 608453 • www.jetpackdistribution.tv
Asia TV Forum 2018 Stand: G34 • Executive attending: Gillian Calvert Ridge, head of global sales
p16-19 China Asia18MRMCKB.indd 19 19/11/2018 19:15TRENDS WATCH K7 MEDIA
From imitation to innovation:
East Asian formats are on the rise
K7 Media’s APAC manager Michelle Lin breaks down the shifting life cycles for formats out of Asia, and
predicts which territories could next have its moment on the international stage.
J
apan, without a doubt, is the pioneer
in the Asian TV industry as far as
format sales are concerned. It is the
only Asian country in K7 Media’s
Top 100 Travelling Report, with hit
formats Hole in the Wall, Dragon’s Den
and Ninja Warrior exported to as many
as 45 countries worldwide.
It is why the country’s neighbours, such
as Korea, were quick to take inspiration from
the nation’s emerging business in the early
2000s, developing shows that were close in
likeness and almost certainly would not pass
muster in today’s more stringent IP-protective
industry.
Such obvious “inspiration” can often be found
in developing media industries, as up-and-
coming producers seize on proven concepts
and ideas to catch up with the international
market. China’s top streaming platform iQiyi,
The Nation’s Greatest Treasures
for example, attracted the negative attention of
CJ ENM for alleged copycat titles Produce 101
and rap show Show Me the Money as China approach works in practice. Zhejian TV and Korea’s SBS have co-developed talent show
opened up to global sales. purchased the format for $4.8m from Korean Fan Wars, debuting in Korea this month. UK
In reality, what the Korean industry saw from broadcaster SBS in 2014. Korean crew then indie Zig Zag Productions and Korean producer
China is very similar to what the Japanese saw travelled to China to co-produce the first IMTV are currently working on Dating Detectives
from Korea a few decades ago. However, in season. Zhejian took more creative control for for CJ ENM’s tvN channel, with BBC Studios
the long term, the appeal of copycat formats subsequent seasons, with SBS still assisting, Distribution holding international rights outside
diminishes as domestic industries gain but by April 2017 Zhejian TV produced season the UK and Korea.
confidence and their own identity, and original five by itself, albeit with a name change to skirt What will be the next countries to rise up the
formats gradually dominate. Chinese government regulation. format ranks? Thailand and Vietnam lead other
Chinese broadcasters and producers are Now, China has transformed into a producer South East Asian countries, with over 50 formats
now reaping the benefits of legally licensing of formats rather than just a consumer, with each licensed in the first half of 2018, according
Korean formats, with their built-in quality prominent examples including CCTV’s The to trade outlet Content Asia. Furthermore,
and popularity. Most importantly, China Nation’s Greatest Treasures, Hunan TV’s NBCUniversal has already entered the Thai
is taking full advantage of the ‘level-up’ The Sound, and Youku’s Dunk of China. market with 2017’s Singer Auction from local
opportunities gained from working More than ever before, co- production company Zense Media.
directly with Korean producers - or at productions and partnerships between The growth from imitation to innovation
least they were before the imported Asian and Western media entities are happens rapidly when skills and knowledge are
formats cap was introduced by attracting attention and becoming shared across borders. By all indications, players
China’s media watchdog commonplace. Banijay Group from different parts of the world are becoming
SAPRFT in 2016. more united in the quest for global formats that
Running Man is one can thrive in a media landscape where old borders
example of how this Dating Detectives no longer apply. TBI
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p20 Trends Watch Asia18 MRMCKB.indd 20 19/11/2018 19:18You can also read
