Asia’s content space has proven to be resilient in the past year when productions have been halted due to the ongoing pandemic. This year, we’ve seen multiple co-production deals being inked and hot new Original productions being launched, which says a lot about Asia’s thriving content space. 

But just how well did 2021 look for content and what’s in store for 2022? We’ve interviewed 10 media companies across studios, OTT platforms, and broadcasters to get their take on what the past year has been like and what the industry should expect in 2022.

Read what studios and OTT platforms had to say.

Broadcasters

Astro

Agnes Rozario, Director, Content, Astro

On content trends:

Live sport returned strong in 2021 and will be important in 2022 with the World Cup and its great timing of matches for Asia. In addition to watching our entertainment shows, Malaysians also watched a lot of news on Astro AWANI and Prime Talk and non-scripted content with the change in government and the pandemic to content with. 2021 also saw a greater consumption of less traditional storied Malaysian scripted content, our Astro Originals, produced at higher values and this trend, will continue in 2022 both on linear and on-demand.

Content strategy for 2022:

Content offerings are global, but consumers still want relevance so local content, both scripted and non-scripted, will still be a major differentiator to distinguish us from everyone else and will be paired with key acquisitions. We have been collaborating with the best creators and producers to ideate new shows and we’re very excited about what 2022 holds for us in this space.

On broadcasters and the changing media landscape:

OTT partnerships enable us to serve our diverse audience with an enlarged content offering so that they can find them all in one convenient place according to their interest along with the content that our audience likes and that we do best i.e. local and live events. We now have partnerships with streaming platforms that are owners and curators of great content – Netflix, Disney+ Hotstar, HBO GO, iQIYI and TVBAnywhere+, and are poised to integrate more of these. We also launched our own targeted OTT, sooka, for Malaysian millennials, with our live sport and our deep library of local content with an encouraging take-up so far.

CJ ENM HK

Mickey Ong, SVP & General Manager, CJ ENM HK (Singapore Branch)

On content trends: 

We continue to see increased investments in Asian content with more Global OTT platforms’ launches in Asia. The key interest is still in Korean content but there is diversification with the resumption of physical productions in many Asian countries like Indonesia and Thailand. 

Content strategy for 2022:

We operate two linear channel Brands – tvN & tvN Movies which serves Korean content. This year, we acquired much more movies and scripted series to feed a growing audience base, including the top Korean movie of the year Escape from Mogadishu, high-budget series like Jirisan, and Secret Royal Inspector & Joy. 

At the same time, we are making more inroads into local productions to cater to streaming needs. We co-produced a Taiwanese series Mom Don’t Do That and got picked up by Netflix for a 2022 premiere. Our first scripted series collaboration with Singapore’s IMDA, Venus on Mars, just started shooting in Taipei on 23 November and look out for more projects to be announced soon.  

Nippon TV

Chihiro Shizawa, PR & Marketing, International Business Development

On content trends:

Due to the stress caused by the pandemic worldwide, people sought an escape from reality in entertainment. Unscripted format Crush Park was conceived in response to these feelings, and was called “a stress-busting game show,” and it created an unrealistic world like a theme park.

Another keyword is “digital”, as the pandemic further accelerated remote and digitalized lifestyles, which was also reflected in entertainment. Unscripted format Money or Junk, launched in October 2021, is a game show with the concept of “Make money out of nothing!” in which contestants create something valuable using resources in remote locations and make money through e-commerce. It combined elements of digital business with traditional trends such as crafting and survival.

We believe these trends will continue in 2022. As for scripted formats, the guessing game element, popular in entertainment shows, is now trending in drama series.

Guilty Flag, a new scripted format launched for ATF 2021, is leading this trend. The story follows a man whose wife and kids suddenly disappear. He frantically searches for them but has no leads. To convince the police to start an investigation, he uses the power of social media to bring their disappearance to the public’s attention. However, speculative minds begin to think that maybe he is the “real” culprit, and all eyes are focused on him as he gets driven into a corner while trying to find answers to the hidden truth. In each episode, viewers can join in the excitement of guessing the true culprit, which makes this series go viral on social media in Japan.

Content strategy for 2022:

In 2022, we are not just about creating shows in-house and broadcasting/streaming them. We will also pursue projects with global partners aggressively.

Following the successes of our format co-development deals with Sony Pictures Television, Red Arrow Studios, The Story Lab, and ITV Studios, we are slated to announce the details of our scripted co-production project with Envision Entertainment of the UK in 2022 and are also searching for alliances with Asian companies.

Our strength lies in the creativity of our in-house creators, and when it is combined with the sensibility of global partners, we are able to create new formats and projects that have never been seen anywhere else.

On broadcasters and the changing media landscape:

Since we own Hulu in Japan, not only the viewers’ market shares on TV but also the number of views on streaming is a major indicator of the success of a program. The influence of OTT platforms cannot be overlooked when it comes to delivering content to wider audiences. In October, we partnered with Netflix to make 30 of our biggest drama series and entertainment shows available across Asia.

In terms of unscripted formats, we believe that one of the strengths of OTT platforms is that it allows us to create content that is more flexible in scale than TV and targets a specific audience segment. Based on our unscripted format Sokkuri Sweets, where contestants try to spot sweets that look identical to objects that surround us, US streaming platform The Roku Channel is streaming Eye Candy as a short and addictive 8-minute content series which is an example of how our 30-60minute episode formats can be scaled to fit what’s best for each platform/services to be competent for these times.

Tokyo Broadcasting System Television, Inc.

Akihiro Watase, Drama Planning Chief, Programming Department, TV Programming Division, Tokyo Broadcasting System Television, Inc.

On content trends:

Our prediction is 2022 will be completely different from 2021. Content trends popular this year are unlikely to continue to be popular next year, as today’s viewers are always looking for new interests and trends tend to change quickly. It’s important to stay on top of the latest wave and be able to deliver content that will draw the attention of viewers. Certainly, there are some universal trends that appeal to Japanese viewers. Stories of good prevailing over evil and heart-stirring cathartic drama are always loved by viewers, so we believe that content capable of combining such universal themes with recent trends will always do well.

Content strategy:

“Development of new original content” will be our main goal. Of the lineup of 12 shows greenlit for broadcast in 2022, 10 are our original shows. When it comes to maximizing monetization, the benefits of original content, or IP, cannot be emphasized enough, so we will continue to develop our original IP to optimize profitability.

On broadcasters and the changing media landscape:

The growth of OTT has vastly changed the way Japanese people consume video content. Watching what you want, when you want it is the mainstream way of viewing video content, especially among young people. As a broadcaster, it’s a challenge to have our share of the market greatly reduced, but we also see it as an opportunity for evolution, a chance to experiment with new ideas. On the broadcasting side, we’re flexing our creative ingenuity to grab the lead in the domestic market. Meanwhile, we’ll be launching a content production team devoted to streaming and distribution globally, with the goal of competing with the major OTT platforms to acquire market share outside of Japan.

TV5/Cignal TV

Belay Santillan, Vice President, Head of Cignal Entertainment

Content trends:

The Philippines is emerging from what has been more than a year and a half of forced hiatus brought on by the pandemic. We want to accompany our viewers on the road to normalcy and regain the dynamic vibrancy the Philippines has been known for as one of Asia’s dynamic economies prior to the crisis. Based on what worked with TV5, we noticed that the audience is looking for content that makes them feel good, offers hope, brings out joy, love, and family values. The themes are more positive and future-looking. TV5 in previous years has been known as the “Happy Network”; we want to keep it that way and bolster the Filipino’s spirit. This is the commitment to our audiences—that we are with them not only for the short term but in the years ahead as well. 

Content strategy:

The network has an open-door policy that invites talents and production initiatives from outside the network to compliment and/or augment our in-house production and creative efforts. So far, we have balanced both production or creative streams with no difficulty and at the same time live up to the general thrust that we have set for our programs that not only entertain but will also provide positivity. I think the industry, in general, is going through a re-examination of what the audiences want and/or look for on television, particularly for our young people who may be experiencing psycho-social stress brought about by the pandemic. We want to be helpful in that regard and to see that our programs provide a venue for all our audiences to find something in them that will give some measure of comfort or reaffirmation of what is good in themselves, in their relationships, and the world in general.

On broadcasters and the changing media landscape:

Traditional broadcasting is going through a revolution of sorts. The very concept of “mass audience” no longer is compatible with the burgeoning growth of the Internet or digital communications and its various apps such as YouTube. The age of streaming on-demand is upon us and we in TV5 for one, have incorporated “windowing” as part of our plans whenever we produce content. We do recognize that we may need to make slight adjustments to our content from traditional media platforms to digital platforms. We do not see other platforms replacing TV and that all media have areas to grow and prosper as people’s tastes and preferences do vary a lot and fads and styles change. Cliché as it may sound, “Content is King”; a good program should be able to deliver its objective regardless of platform. One size does not fit all when it comes to content and the multitude of ways that people react to it.

A version of this story appears in the December 2021 issue of Television Asia Plus.