EDITOR'S NOTE (The AI-generated version follows my human version...): A subscription version of Chatgpt helped us to proofread this magazine. So when I asked the platform to “write 500 words on the state of the TV production industry in Asia” for this editor’s note, I should not have been surprised – and I wasn’t – when it gave me back a grammatically correct summary of challenges, laced with a bit of optimism, sprinkled with a fact here and a name there, just enough for ‘authenticity’ but not enough to bamboozle lazy readers or the shortcut-crowd. 

Were the 500 AI-generated words useful? As always, that would depend on need. Were they interesting? Bird’s eye, general, corporate, Cliff Note-y. So really, it depends on what you’re looking for. Will they set the world on fire? Not my world. Could I have printed it here? Sure. Would anyone know it was AI-generated if I had, heaven forbid, been unethical and not declared the use of AI? With minor adjustments, probably not, or at least not anyone who knows me even a little bit. 

The piece sounded like it had been through the corp comms mill and come out the other end safe, sanitised, accurate but with nothing actionable and zero that’s going to get me in trouble... and very little to hold onto, but not complete garbage. It sounded like a piece that could be posted on LinkedIN as an “insight” and generate ego-massaging flattery from people ‘investing’ in their network against a rainy-job-day. Or like the executive who turns up to an interview with notecards that say [‘we’re great, our plan is great, gamechanger, so much growth, etc]’. Sometimes, in a throw-back to the 1990s and the beginning of pay-TV, they even talk about the population of Asia and how great that is. The human version of my Chatgpt-written note. The lipstick-on-a-pig tactic.       

And then there were the answers to this request – suggest solutions to Asia’s TV production industry problems – from my paid-AI best friend. Challenge: “Addressing Budget Constraints” Solution: “Increase Co-Productions and Regional Collaborations”. Not exactly a eureka moment. A follow up question about the obstacles to increasing co-productions and regional collaborations in TV production pointed out differences in cultural, financial (unequal funding contributions), logistical and regulatory aspects across the region. Plus creative and language barriers. Censorship. Infrastructure disparities. Travel and visa restrictions. Also part of the solution suggested by Chatgpt is to repurpose exiting assets, like sets, props and costumes, and using tech, such as virtual production. Is this useful? Not to anyone who has spent 10 seconds actually doing the work.  

Chatgpt then suggests avoiding over-reliance on one platform by licensing to multiple buyers, and developing multiple revenue sources. At this point, I’m wondering if I’m wasting my $20 a month on this subscription. And then I remember that common-sense is not so common, and that part of the industry’s current problems were created exactly by not following sage pieces of advice they could have got from their grandmothers for free.  

The best part of the exercise was the fun I had playing with AI in the name of work. What did I learn? (1) That I love AI, which actually I already knew; (2) That Chatgpt is much more politically correct than I will ever be (and that could have its benefits); and (3) I need to find time for Claude.ai.   

The Chatgpt attempt at an Editor’s Note and at generating solutions to current problems is below... You be the judge. 

And here's the chatgpt version... Editor’s Note: The Evolving Landscape of Asia’s TV Production Industry

Asia’s TV production industry is undergoing a dynamic transformation, shaped by shifting audience preferences, technological advancements, and a growing appetite for diverse storytelling. In 2024, the region’s producers and platforms are navigating an era of immense opportunity—and equally significant challenges.

One of the defining trends in Asia’s TV production landscape is the rising prominence of locally crafted content with global appeal. Korean dramas, for instance, continue to dominate international streaming platforms, driven by their exceptional storytelling and high production values. Hits like The Glory and Queen of Tears demonstrate that emotionally resonant, culturally rooted narratives can capture global audiences while staying true to their origins. This success has inspired other markets, including Japan, India, and Southeast Asia, to experiment with globally competitive productions.

The regional demand for unscripted formats is also growing. Reality shows, game shows, and talent competitions dominate production schedules, often offering fresh twists on internationally recognized formats. Vietnam and Thailand, for example, have embraced formats like The Voice and MasterChef, adapting them for local audiences while maintaining their universal appeal. Notably, Asia’s producers are not merely importing ideas—they are innovating. Original formats like Korea’s The Masked Singer and China’s Sisters Who Make Waves have achieved global acclaim, demonstrating that the region is a wellspring of creative concepts.

However, challenges persist. Budget constraints and limited resources often stifle ambitious projects, particularly in smaller markets like Mongolia or Sri Lanka. Meanwhile, platform consolidation in major markets such as India has shrunk the number of content buyers, leaving producers vying for fewer opportunities. These dynamics force creators to make difficult trade-offs between scale and sustainability.

Technological advancements have emerged as both a blessing and a disruptor. Streaming platforms, led by global giants like Netflix and Amazon Prime Video, have amplified Asia’s creative output, but their algorithms favor data-driven content choices over experimental storytelling. Local platforms like Tencent Video, Disney+ Hotstar, and Viu have found themselves in an arms race to retain subscribers, resulting in a surge of high-budget productions but also increased pressure to deliver consistent hits.

Meanwhile, the cost of producing scripted series continues to rise, particularly in regions like South Korea and India, where high-profile projects demand top-tier talent and cutting-edge production facilities. This has driven a trend toward co-productions and international collaborations, enabling producers to pool resources and access new markets. Taiwanese series like The World Between Us and Wave Makers exemplify how socially resonant dramas can be co-financed and distributed globally, garnering critical acclaim while reflecting regional realities.

Another notable shift is the integration of digital and social media strategies into content production. Today’s viewers, with their short attention spans and penchant for viral moments, expect engaging digital extensions of their favorite shows. Producers now prioritize creating buzz-worthy content that can thrive across TikTok, Instagram, and YouTube.

Looking ahead, Asia’s TV production industry stands at an exciting crossroads. Its storytellers have a unique opportunity to redefine global entertainment, offering tales that resonate deeply across cultures. By balancing commercial imperatives with creative risk-taking, Asia’s creators can continue shaping the future of television—one compelling story at a time.

As the industry evolves, its resilience, innovation, and cultural richness will remain its greatest strengths. Here’s to another year of trailblazing storytelling from the heart of Asia.