Whatever else separates them, distributors are united in their experience that the demand for Asian content across platforms and genres is rising. On the eve of this year’s ATF market in Singapore, Malena Amzah spoke to companies around the world about what they’re seeing across Asia’s licensing & syndication market.  

Demand for Asian content is on the rise across the region as programmers, broadcasters and platforms close out the year and build their line-ups for 2024, distributors told ContentAsia ahead of the 2023 ATF market in Singapore. 

Even as budgets shrink and selection criteria tighten, more than 80% of local and international distributors we spoke to in October/November 2023 reported rising demand for Asian content across platforms in Asia. This includes free-TV broadcasters across multiple markets as well as domestic, regional and global streaming/online services.

Higher demand for Asian content is also emerging at platforms outside of Asia, led by Latin America, and followed by the U.S., Canada and Europe, and then by the Middle East, Africa and the U.K. 

Drama tops demand, with light and easy romcoms in the lead, followed by horror, BL (Boys Love)/LGBTQ, fantasy and animation. Predictably, K-drama of any type remains hugely popular, as does factual content that addresses sustainability, climate and wildlife topics.

There is mixed response to investment in Asian originals, including pre-sales. Twelve of the 26 distributors we spoke to said they had no plans to invest in original Asian content, but were not ruling out future investment. Six were already investing in their own shows and the other eight were a hard no. 

Markets that gained profile through 2023 include Cambodia, Indonesia, Mongolia, Thailand, Taiwan, Korea, Japan and Singapore. 

This is playing out in different ways, and has as much to do with marketing strategy, resource and focus as it does with the appeal of the stars and the stories for sale. 
Free-TV remains strong in many Asian markets, where subscription service take-up can be challenged and reach limited. This means a market-by-market distribution strategy can equal better returns than a single-sale to a platform for the region.    

Patience and the willingness to test titles have also turned out to be virtues. Indonesian free-TV, for example, has experimented with Thai drama for a while, but it wasn’t until August 2023 that demand surged, says Indra Suharjono, director and founder of Singapore-based I.E. Entertainment. Indonesia pick ups include supernatural drama series Nakee by free-TV channel Antv. Free-TV network NetTV has also started acquiring Thai drama.    

In North Asia, new ground is being broken in Taiwan, where public broadcaster Public Television Service (PTS) and television network, Elta TV, picked up rights to Thai blockbuster romance/time-travel series, Love Destiny, from BEC World/Channel 3. 

Across the region, regardless of market development and despite precarious advertising  markets, platforms still appear willing to experiment with formats and genres. 
In Singapore, the country’s largest media platform, Mediacorp, acquired 600 hours of Thai drama – including Love Destiny – in August 2023 for its domestic platforms, following up in November with its largest ever sale ever to Taiwan. 

The deal involves 2,000 hours of Mediacorp’s Chinese drama – including the upcoming suspense drama, Kill Sera Sera, Shero and Love at First Bite – and variety to Taiwanese streamer, KKTV. Variety shows include Dishing with Chris Lee and Fashion Refabbed. The titles will stream in KKTV’s new Mediacorp-branded programming belt scheduled to launch in January 2024. The deal is Mediacorp’s first with KKTV.

The need to try new things emerged across format adaptations in 2023 as well. 

An example of this is Tokyo Broadcasting System (TBS) Japan’s pick up of the Lego Masters format from Banijay Rights. Across the region, Mongolia’s revival continues, with adaptations including Your Face Sounds Familiar (Edu TV), Killer Karaoke (Central TV) and Spelling Star (Edu TV), says Rashmi Bajpai, Banijay Rights’ executive vice president – Asia.  

At the same time, support for the tried-and-tested remains strong with, among many others, multi-season returns of MasterChef Cambodia. 
 
Here’s what else distributors told us when we asked... 
  
Did Asian broadcasters and platforms change their acquisitions habits in 2023? 

“The change in Asian acquisition habits mirrors changes at a global level: local and global marketplace mergers have seen changes in the global supply chain and buying patterns. In this time of marketplace recalibration, we’re seeing a more cautious approach to content acquisitions. With discretionary spends under pressure, buyers are focusing on ‘must haves’ to sit alongside local productions and commissions, with decision making becoming much more data-driven. We are hopeful 2024 will see a return to typical buying habits with more appetite for the new as well as those undisputable marquis brands.” 
Augustus Dulgaro, Executive Vice President – Distribution, Asia Pacific, ITV Studios

More focused on their original productions, if they have the capability, if not, more localised content versus international.” 
Magdalene Cheung, Manager, Content Distribution & Business Development, Mattel East Asia 

“There is greater emphasis on local content offering and a preference for Asian content.” 
Rashmi Bajpai, EVP – Asia, Banijay Rights 

“Global trends are been reinforced: with budget for international acquisition reduced, the focus is made on originals and local production.”
Teremoana Seguin, Managing Director, Harbour Rights

The rise of streamers has increased the variety of titles and genres buyers are looking for.” 
Anna Alvord, Director, Sales & Operations, PBS International

“lots for foreign/non-English content have started opening.” 
Ruba Karatepe, Senior Sales Executive, Kanal D International

“In Malaysia and Korea, there seems to be more demand for long-running lifestyle series. There has been a decrease in general on pan-regional acquisitions, although with the right project they will invest.”
Robert Bassett, Senior Sales Manager, Passion Distribution

“They buy less foreign speaking content.” 
Sarah Zarka, Head of International Sales, Federation Studios

“Buyers are more selective given the challenging market conditions.”
Haryaty Rahman, EVP Distribution Asia, International, Fremantle

“Buyers are more selective as budgets shrink.” 
Wirata Laksanasopin, Licensing Manager, Workpoint Group Thailand

Buyers prefer smaller acquisition packages.” 
Redo Doron, Head of Sales Content & Licensing, MNC Content & Licensing

“They are quite open to content from other countries.” 
Laura Sampedro, Sales Manager, Atresmedia TV

Exclusive content and licensing as competition among broadcasters and platforms has driven a greater focus on securing exclusive rights to popular content. This has led to intense bidding wars and significant investments in original content production.” 
Sofia Zafir, Lead Marketing & Distribution, Primeworks Studios Malaysia

“Buyers are spending more time researching titles, looking carefully at factors like production quality and plot before they choose.”  
Ziraviss Vindhanapisuth, Vice President International Business, BEC World Thailand

What has had the biggest impact on your business in Asia in 2023?

“Digital platforms”
Ruba Karatepe, Senior Sales Executive, Kanal D International

“Less kids content acquisition from South Korea.” 
Magdalene Cheung, Manager, Content Distribution & Business Development, Mattel East Asia

“Being able to penetrate into the free-to-air space in Indonesia and two new markets (India and Taiwan).”
Indra Suharjono, Director and Founder, i.e. entertainment

“Global streamers and the need to window certain territories has complicated the market, but it also has energised the market so it’s a fascinating time to be in this business!”
Anna Alvord, Director, Sales & Operations, PBS International

“The fact that South Korea isn’t buying as much as they used to.”
Sarah Zarka, Head of International Sales, Federation Studios

“Evolution of the pay-TV landscape at pan-regional and national level impacting acquisition processes and higher demand in local content vs international content.” 
Teremoana Seguin, Managing Director, Harbour Rights

New OTT platforms come into the market has had a huge impact on our content distribution business.” 
Redo Doron, Head of Sales Content & Licensing, MNC Content & Licensing

“Platform adaptation. To align with the new regulations, we have had to invest in platform adjustments. This includes implementing content rating systems, enhancing content monitoring tools, and developing robust reporting mechanisms to ensure that our platform remains in compliance with the evolving legal framework.” 
Sofia Zafir, Lead Marketing & Distribution, Primeworks Studios Malaysia

“Covid”
Muhammad Izzat, Distribution & Marketing, Primeworks Studios, Malaysia

“We have to underscore profitability when we pitch formats. If a client is unable to find sponsors or ways of financing the project, the idea – no matter how exciting – will not be greenlit. We work very closely with our partners in securing sponsors and also generating alternative revenue streams that can aid this decision. These includes live streaming revenue, merchandising revenue and off-air event partnerships. We actively counsel our clients in maximising their social media revenues.” 
Rashmi Bajpai, Executive Vice President – Asia, Banijay Rights

Challenging market conditions which 
affect buyers’ spending power.” 
Haryaty Rahman, EVP Distribution Asia, International, Fremantle

“The global economic slowdown makes everyone more risk-averse. They are not willing to try new formats unless there are strong track records.”
Wirata Laksanasopin, Senior Licensing Manager, Workpoint Group Thailand

“The year 2023 was challenging for Asian content owners. We must compete with local contents and other international contents in particular markets. Still, we have the ability to provide our flagship content, Love Destiny 2, for publication or broadcast in a wide variety of Asian countries. In Thailand and the other countries where we’ve disseminated it, this show has become a phenomenon. The show has captivated Asian viewers and streaming services.”
Ziraviss Vindhanapisuth, VP International Business, BEC World Thailand

“We’ve seen a concentration in the demand for finished tape as buyers further distil what they want and where. This clarity helps us focus on solutions. Further, the rise of local productions coupled with cost inflation, which hoovers up spend plus the consolidation/restructuring, means that distributors like us need to be smarter in how they pitch. We lead with IP that is sponsorship friendly as well as audience-friendly, helping to find more cost effective ways to launch bigger productions.”  
Augustus Dulgaro, Executive Vice President – Distribution, Asia Pacific, ITV Studios

▶ Published in ContentAsia December 2023 magazine