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Dear Reader,
Welcome to the September-October 2025 issue of Television Asia Plus!
The year is almost at a close but surprises keep coming. Right when the pandemic hit, Quibi, a short-form streaming platform, had their ill-timed launch. Their goal was to provide bit-sized content catered to be watched and viewed during pocket times throughout the day in an ever busy landscape. But as the world went into lockdown, bit-sized content just didn’t have a place in the market.
Fast-forward now, and the microdrama boom is rapidly rising and taking over the internet by storm. By now, I am sure you’ve see the ads and clips of these dramas where it may seem like a fake ad promoting something else, but these are in-fact real content that’s produced in a rapid rate to fill the demand.
In line with that for this issue’s cover story, we have a piece about COL Group, and the launch of their production arm that’s feeding their flagship streaming app FlareFlow, and their rapid rise around the world
For our first feature story, we have that continues the discussion of microdramas, spotlighting global platforms based on research from Fabric
And our final feature story comes from KC Global Media and their partnership with Media Room Connect and Silver Trak Digital for their content management
Mathew Chan Editor
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Banijay Rights, the global distribution arm of content powerhouse Banijay Entertainment, has announced WOWOW, Japan’s leading premium pay TV broadcaster, has acquired six-part drama series Bergerac. Produced by BlackLight TV, part of Banijay UK, Jersey-based Westward Studios and supported by Visit Jersey for U and U&DRAMA in the UK, the 6 x 60’ series sees Damien Molony (The Split, Brassic, Crashing) star in the iconic role of Jim Bergerac.
In a deal negotiated by Rashmi Bajpai, EVP Sales Asia, Banijay Rights, WOWOW will launch the series on WOWOW Prime channel and WOWOW On Demand. The agreement follows previously announced international sales to broadcasters including NPO in Netherlands, VRT in Belgium, SVT in Sweden, YLE in Finland, NRK in Norway, DR in Denmark, BBC First in Poland, TVNZ in New Zealand and ABC
in Australia. Renewed last week for a second season, Bergerac premiered on U and U&DRAMA on 27th February in the UK and is U&DRAMA’s second-highest rated show ever.
Based on the original series created by Robert Banks Stewart, which starred John Nettles and ran for nine series on the BBC between 1981 and 1991, this modern re-imagining honours the iconic detective drama, but with a contemporary twist. Unlike
the original hit from the 80s, the new series sees one character-led murder mystery run across all six episodes, in place of a new storyline each episode.
Bergerac is written by Toby Whithouse , alongside Brian Fillis, Catherine Tregenna, and Polly Buckle. The drama also features Zoë Wanamaker as Charlie Hungerford, Philip Glenister as Arthur Wakefield and introduces Chloé Sweet Love a Jim’s daughter, Kim
Studio 100 International adds a spooky twist to its lineup: At this year’s Annecy International Animation Film Market the company presents Mortina (52 x 12’) – a standout expansion of its animation and live-action portfolio. This 2D animated mystery-comedy captures the
charming world of The Addams Family while adding its own warmth, humor, and playful tone.
Based on the international bestselling book series written and illustrated by Barbara Cantini, published by Mondadori Libri, the series follows 9-year-old zombie girl Mortina and her “alive-alive” friends Nora and Leo, as well as her loyal dog Tragedy and cousin Dilbert. Set in the delightfully decaying Crumbling Manor, the self-proclaimed Mystery Squad solves strange and comical cases such as recovering books hidden by a mischievous tongue or searching for BroccoGloomy, a weird vegetable that makes you sprout dragonfly wings.
With its unique blend of thrilling adventures and comedy, the book
sales exceed more than 600,000 copies in 30 countries – including Italy, France, Germany, Spain, the UK, the USA, Japan, and China. Mortina is co-produced by Cartobaleno (Italy) and Treehouse Republic (Ireland), commissioned by RAIKIDS (Italy) and RTÉ (Ireland), and targets children aged 5 to 8. The first 26 episodes are slated for delivery by the end of 2025, with the remaining 26 episodes following by the end of 2026.
Dorian, Head of Global Distribution at Studio 100 International, said, “Mortina is a delightful series that celebrates the power of being different and is packed with whimsical humor, energy, and heart. We are absolutely excited to bring this beloved book series to screens around the globe.”
Leading kids’ entertainment specialist CAKE has signed a deal for hit Korean animated adventure series Bubblegem
Bubblegem follows the magical adventures of Princess Purple, a
curious young mermaid who secretly journeys to the human world against the wishes of her father. When her mermaid identity is in danger of being revealed, her secret guardian, Pink Star, intervenes, accidentally scattering the ancient and powerful Bubblegem, across the land. Six fellow mermaid princesses are sent to help Purple recover the lost Bubblegems before they fall into the hands of the evil sea witch. Together, they must learn to adapt to life on land, navigating friendships and dealing with the everyday mishaps of school while protecting the human world at all costs.
Aimed at girls 6-9 years old, Bubblegem teaches children about friendship, co-operation with others and how working as a team can help you succeed. The series is supported by toys,
games, live events and a partnership with Toys ‘R’ Us in Korea. Further products are rolling out in Korea and China to support season 2. A third series has been greenlit for broadcast in Korea and China in 2026.
“ Bubblegem is a bright and adventurous series with real global appeal. Its strong storytelling, endearing characters and multiplatform success in Asia make it a perfect addition to our catalogue,” said Dominic Gardiner, Managing Director, Distribution at CAKE.
“We’re thrilled to be partnering with CAKE to bring Bubblegem to audiences around the world. With CAKE’s strong global reach and deep experience in kids’ content, we believe this collaboration will open up exciting new opportunities for the series to grow internationally,” said Yongkeun Na, CEO, Campfire Aniworks.
Nippon TV, Japan’s leading multiplatform entertainment powerhouse, and international studio and rights business, Blue Ant Studios, jointly announced that they have agreed to enter into a strategic partnership to expand development and production of Nippon TV Gyokuro Studios’ unscripted formats in the North American market. The partnership builds on the success of Blue Ant Studios’ adaptation of Nippon TV’s global hit format Old Enough!, including its first season in Canada and a highly anticipated second season planned for TVO and its YouTube channel.
Nippon TV and Blue Ant Studios both have a strong track record in unscripted formats: Nippon TV with global hits like Dragons’ Den/ Shark Tank, Old Enough!, Silent
Library and Eye Candy; and Blue Ant Studios with Race Against the Tide (recently adapted for BBC Factual and BBC Scotland), AllRound Champion (an NRK format now in its sixth season), The Jur y (a BAFTA-winning ScreenDog format, globally distributed by Blue Ant Studios and recently optioned in the US and Canada), Blown Away (Netflix) and other originals. Building on their combined track leadership, the partnership aims to capitalize on the collective expertise of both companies to create and adapt innovative unscripted formats for North American audiences.
The two companies will collaborate to further develop and ready original formats from Gyokuro Studio, Nippon TV’s new production arm for marketability to the North American market. The
partnership will be spearheaded by Tom Miyauchi, Head of the newly established Nippon TV Los Angeles Business Office (launching in July), alongside Matt Hornburg, CoPresident and Diane Rankin, EVP, Content Development & Commercial Strategy, both of Blue Ant Studios.
Warner Bros. International Television Production scores
Warner Bros. International Television Production (WBITVP) kicks off its attendance at NEM in Dubrovnik with the news that Impractical Jokers, the longrunning hidden camera prank show format, is heading to Lithuania. TV3 Group has commissioned a 24 x 30’ local version, making Lithuania the 14th territory to adapt the title. Production will begin later this year.
Originally created by the American comedy troupe The Tenderloins, Impractical Jokers has become a global comedy favourite. The U.S. original has seen 11 seasons and more than 300 episodes produced for truTV, including numerous spinoffs and specials. Internationally, the format has been adapted in several countries, including the UK, the Netherlands, Greece, Mexico, Sweden and Australia, where The Inspired Unemployed
(Impractical) Jokers, produced locally by WBITVP Australia, returns for its third season on Paramount+.
In each episode of Impractical Jokers, four comedian friends compete to embarrass each other in public with a series of outrageous, funny and entertaining dares. These challenges could include anything from eating the food off other people’s plates at a top restaurant to deliberately making a bad impression at a speed-dating event.
Four of Lithuania’s leading comedy talents will star in TV3’s Impractical Jokers. Antanas Sadauskas is a comedian and cultural innovator who also runs a successful comedy club; Markas Žukauskas is a fast-thinking and fearless stand-up comedian who thrives in unpredictable situations; Simanas Žurauskas is a stand-up comedian and high-
profile content creator known for his humorous takes on everyday life; and Viktoras Balykovas, a standout voice on the country’s comedy scene who is known for his sharp humour, relatable storytelling and strong presence on social media.
TV3 has previously adapted WBITVP’s competitive diving format, Celebrity Splash, for local audiences. The deal was brokered by Reema Patel, Director of Formats at WBITVP.
KC Global Media Co-founders, Andy Kaplan (Chairman) and George Chien (President and CEO), have officially joined Rein Entertainment’s Drug War: A Conspiracy of Silence as Executive Producers. KC Global Media will also oversee worldwide sales and promotional efforts for this highly anticipated project emerging from the Philippines. Set during the turbulent Duterte administration, the six-part, 40-45
minute series delivers a poignant and compelling portrayal of everyday life during one of the most impactful and polarizing political periods in Southeast Asia’s recent history. Directed by acclaimed filmmaker Shugo Praico, known for his work on Bagman (2019), the series features an impressive cast, including Ian Veneracion who won the Best Actor award at the 2022 Metro Manila Film Festival for his performance in Rein Entertainment’s A Silent Night (Nanahimik Ang Gabi). Joining him are Harvey Bautista known for his role in Pushcart Tales (2024), Jane Oineza known for her role in Amazon Prime’s Cattleya Killer, and the internationally acclaimed actor John Arcilla, the first Filipino to win the Volpi Cup for Best Actor at the Venice Film Festival for his role in On the Job (2021).
“At KC Global Media, we’re committed to elevating authentic Asian stories to the global stage,” said Bonnie Wiryani, Vice President, Revenue & Head of Content Sales, KC Global Media Distribution
“Rein Entertainment is thrilled to collaborate with KC Global Media Distribution on this ground breaking project,” said Lino S. Cayetano, President and CEO of Rein Entertainment.
This partnership with Rein Entertainment underscores KC Global Media’s commitment to bringing authentic and thoughtprovoking Asian content to a global audience, further strengthening its position in the international media landscape
ITV has recommissioned a fourth series of Trigger Point, starring Vicky McClure and produced by Jed Mercurio’s HTM Television. The announcement comes as filming concludes on the third series, which has been in production across London since January.
Series three of Trigger Point will air in the autumn schedule this year on ITV1 and STV and be available for streaming on ITX and STV Player, with series four coming to screens in 2026.
Series three also received a special honour in March when Her Majesty The Queen visited the Trigger Point set and met with the team to mark the start of ITV’s 70th year celebrations, and following the success of the series. The last series to have aired –
series two – averaged 8.1million viewers and was streamed 30million times on ITVX.
Trigger Point follows a team of bomb disposal officers, known as EXPOs, as they dedicate themselves to keeping the capital safe from explosive devices and terrorist threats. Leading actress Vicky McClure, who plays Expo Lana Washington, will film series four across the summer months.
The series is in association with All3Media International, who distribute the series internationally. The new series is written by Chris Brandon (Bloodlands) and will be directed by Jennie Darnell (Payback, Line of Duty) and
Nirpal Bhogal (DI Ray, Grace) with series producer Kristian Dench (The Capture, Red Eye) and block producer Kingsley Hoskins (The Road Trip, The Flatshare).
Executive producers are Jed Mercurio (Line of Duty, Breathtaking), Daniel Walker (Boat Story, The Tourist), Jessica Sharkey (Breathtaking, Derry Girls), Chris Brandon, and Vicky McClure.
Sphere Abacus (SA) has acquired two gripping feature documentaries that showcase the remarkable endeavours of astronauts in the US space program. Hannah Berryman’s latest film Spacewoman has been acquired for worldwide distribution, excluding North America, while Apollo 1, a Stopwatch Productions, 7T1 Films and Haviland Digital film, has been acquired for worldwide distribution excluding UK, Ireland, France & Germany.
Produced by Keith Haviland (Lancaster, Chasing the Moon, Gazza) and Natasha Dack Ojumu (Undercover: Exposing the Far Right, White Nanny Black Child, Blue Bag Life), Spacewoman, a Haviland Digital production in association with Tigerlily Productions, documents the life and career of retired NASA pilot and US Air Force colonel Eileen Collins. Apollo 1 is also produced by Keith Haviland, alongside Mark Craig (The Last Man on the Moon, Running for the Revolution)
and Ansgar Pohle (Riders of Destiny, The Elon Musk Story) and is the personal story of three exceptional astronauts who came together in America’s race for the Moon.
With an astonishing set of archival NASA materials, family footage and intimate interviews, Spacewoman (1 x 95’), which had its world premiere at DOC NYC last year, is a nail-biting tribute to Collins’ trailblazing career and a poignant portrayal of the emotional journey experienced by her family.
With exceptional access granted to the production team, Apollo 1 (1 x 101’) is a story of jeopardy, adventure, tragedy and recovery as told by those closest to the crew, featuring previously unseen personal archive footage. Three pioneering astronauts – Gus Grissom, Ed White and Roger Chaffee were tragically killed when disaster struck on the launch pad at Cape Kennedy during a preflight test in January 1967.
All3Media International has announced its first local format licenses in Latin America via an agreement with NBCUniversal International Networks & Direct To Consumer (NBCUIN & DTC) Latin America for The Traitors Under the deal, NBCUIN & DTC Latin America has acquired the rights to produce local versions of the hit reality competition format in Brazil and Mexico.
This deal reinforces The Traitors’ status as a global format phenomenon, with Latin America joining a roster of over 30 territories that have commissioned local versions. With the addition of Brazil and Mexico, the format has been licensed across six continents, continuing its rapid international expansion. Launched initially on RTL 4 in the Netherlands in 2021, The
Traitors has captivated audiences worldwide with its unique blend of psychological gameplay, strategy, and suspense. Its international appeal is further underscored by the strong demand for both format rights and finished tape across key global markets.
The agreement follows NBCUIN & DTC Latin America’s previous acquisition of all three seasons of the multi-Emmy-winning U.S. version of The Traitors, which audiences and critics across the region have widely praised.
The Traitors format was created in the Netherlands by IDTV, an All3Media company, The Traitors (Dutch title: De Verraders) was created and developed by IDTV and POSVIDEO, in cooperation with RTL Creative Unit.
Blue Ant Studios has announced the sale of rights for seasons 1-3 of investigative history series Mysteries from Above (30 x 60’, Blue Ant Studios) to A+E Global Media’s HISTORY Channel in the US. It was announced at Banff World Media Festival, the deal demonstrates the studio’s commitment to exporting their Canadian productions to the U.S. market and globally.
“This sale is a true reflection of Blue Ant Studios’ commitment to showcasing premium Canadian content on a global scale,” says Mark Bishop, Co-President, Blue Ant Studios. “Our continued dedication to exporting homegrown titles is key to helping cement Canada’s position
as a leader in our industry, and we’re excited to be doing so by expanding our existing partnership with A+E.”
The series sets out to investigate significant historic and contemporary sites from above with drone, satellite, and aerial photography. Each story begins with a view from above, which allows a unique perspective to understand the site below and
dramatically changes the way we see these mysteries, ourselves and the world around us. From eerie abandoned sites, to staggering natural marvels, to the evocative relics of ancient civilizations, the series uses cutting-edge satellites, drones, and aerial views to uncover long-forgotten secrets, solve earth-bound enigmas and explore bizarre natural phenomena.
CJ ENM HK works in close partnership with True CJ to license its Korean drama remakes in key Asian markets, specifically Hong Kong, India, Japan, Korea, Taiwan and Latin America. In addition to localizing popular Korean IPs into regionally relevant remakes, True CJ is also actively developing its own original content, further strengthening its creative pipeline. CJ
ENM HK supports the rollout of titles across the region, driving distribution and building brand recognition for both remakes and selected original productions under the True CJ banner.
In a key content partnership, Hong Kong’s myTV SUPER has premiered five Korean drama remakes from True CJ to date, including standout titles such as 23:23, Thank You Teacher, Start-Up, Emergency Couple and Yesterday Wife. The partnership continues to gain momentum with new titles set to premiere this year including Good Doctor and Dear My Secretary. The growing slate reflects rising market demand for wellexecuted, locally adapted Korean IPs that resonate with regional audiences.
Among the titles gaining industry recognition is Good Doctor, a remake of the acclaimed Korean medical drama.
True CJ will continue to deliver highimpact Korean drama remakes, with upcoming titles including the psychological thriller “Mouse” and the apocalyptic suspense drama “Happiness”—both of which have performed strongly in global markets and are being adapted to suit local audience tastes. In parallel, True CJ is also ramping up its slate of original productions, with several projects currently in development. The partnership with True CJ is a key part of CJ ENM’s wider strategy to localize Korean content through smart co-productions and IP licensing.
Even more ‘Navy CIS’. Joyn and SAT.1 secure the series ‘Navy CIS: Origins’ (NCIS: ORIGINS) narrated by Mark Harmon and celebrates the return of Agent Leroy Jethro Gibbs. The new US series from the ‘Navy CIS’ franchise will be available free of charge on Joyn one week before TV broadcast. The super streamer Joyn is also extending its content deal with over 1,000 episodes from the ‘Navy CIS’ franchise produced by CBS Studios and will also show all seasons of the US series ‘Elementary’, ‘Dr Quinn’ and ‘Charmed’ all distributed by Paramount Global Content Distribution – free of charge.
Henrik Pabst, Chief Content Officer of Seven.One Entertainment Group, ‘ The licensing content deal with Paramount Global Content Distribution is a success story for Joyn and SAT.1. By expanding
the collaboration, the new series “Navy CIS: Origins” and over 1000 additional episodes of the “Navy CIS” franchise will continue to be available for free on the super streamer Joyn. We are also bringing our viewers all seasons of the popular US series ‘Elementary’, ‘Dr Quinn’ and ‘Charmed’, offering the best Hollywood entertainment on our platforms at all times.”
“We are thrilled to be expanding our licensing deal with Seven. One Entertainment Group with
the newest series from the NCIS franchise, Navy CIS: ORIGINS,” says Dan Cohen, Chief Content Licensing Officer, Paramount and ‘Navy CIS‘ (’NCIS”) is produced by CBS Studios. ‘Navy CIS: Origins‘, “Navy CIS: LA” (’NCIS: Los Angeles‘), “Navy CIS: Hawaii” (’NCIS: Hawai’i‘) and “Navy CIS: New Orleans” (’NCIS: New Orleans”) are produced by CBS Studios. All series are distributed by Paramount Global Content Distribution.
Leading international distributor Bomanbridge Media and global kids’ media powerhouse, Sinking Ship Entertainment, have announced key broadcast sales in major Asian territories for the brand-new children’s series of Dino Dex and Odd Squad UK
An adventure-packed series, Dino Dex (13 x 22’), has been acquired by
leading broadcasters Youku in China and Japan’s NHK, which has licensed the series for both its 4K and E-Tele channels. Dino Dex has also been picked up by Thai PBS and Hong Kong’s SVOD channel, NOW TV for Hong Kong and Macau. This expands the franchise’s global footprint and brings the wonders of dinosaurs and discovery to young audiences in these key Asian markets. Dino Dex is set to air on NHK’s E-Tele channel, while Youku will launch the series on its platform later this year. Dino Dex is a spin-off of the hugely successful franchise, Dino Dana (52 x 22’), which was previously acquired by both Youku and NHK.
The deals were brokered by Bomanbridge Media and follows Sinking Ship Entertainment’s recent announcement of further broadcast
partnerships for Dino Dex, including ITVX Kids (UK), ABC Kids (Australia), beIN MEDIA GROUP (MENA), and Hop! (Israel). They join the show’s original partners, Amazon Kids+ (US), TVOkids, TFO, and Knowledge Network (Canada), and SVT (Sweden), cementing Dino Dex as a must-watch series for young viewers worldwide. Additional support was also provided by the Shaw Rocket Fund (Canada).
Beyond traditional broadcasting, Sinking Ship’s dinosaur franchise continues to thrive across multiple platforms. The official Dino Kids YouTube channel has now surpassed 1.7 million subscribers and amassed over 1.6 billion views, reinforcing the franchise’s massive global appeal and the growing demand for high-quality, dinosaur-themed kids’ content.
BBC Studios Asia has announced “12 Seas” co-production with Studio JanChi. This four-part series is the result of an initiative agreed by KOCCA and BBC Studios last year to co-produce, codevelop and distribute Korean factual content to the globe. Studio JanChi successfully won the pitch with their compelling series proposal, which will help take Korean stories to a wider global audience. This co-production comes hot on the heels of the recent success of “Deep Dive Korea: Song Ji Hyo’s Haenyeo Adventure” which saw BBC Studios Asia coproduce it’s first original with JTBC.
BBC Studios Asia will broadcast “12 Seas” (working title) on BBC Earth and BBC Player across Asia. Travel and adventure content is truly part of BBC Earth’s DNA and this title is part of BBC Studios Asia’s
commitment to content featuring Asian talent, locations and stories. BBC Studios will handle distribution globally outside of Korea.) The series will see adventurous duo and culinary superstars Chef Edward Lee and actor Ryu Sooyoung traversing South Korea’s coastline across four seasons and will unveil the secrets behind the country’s most iconic seafood dishes. From braving the rocky shores to harvest wild seaweed using the “Ttulidae” method, to joining local fishermen as they catch anchovies
with centuriesold bamboo fish traps, Edward and Ryu immerse themselves in Korea’s rich maritime heritage and discover how seafood isn’t just food in Korea –it’s deeply ingrained in the culture.
12 Seas will be co-produced by BBC Studios and Studio JanChi for broadcast on BBC Earth Asia and BBC Player in Asia in 2026. Studios JanChi holds the Korean broadcast rights for the series, while BBC Studios will distribute globally.
BBC Studios has announced an exciting new partnership with Tata Play Binge to expand access to BBC Player for audiences across India. This collaboration gives Tata Play Binge users access to a wide range of award-winning titles from one of the world’s most respected content providers. With this announcement BBC Studios gives more fans in India access to its diverse content library
and back catalogue of globally acclaimed British entertainment.
BBC Player offers an unparalleled, comprehensive catalogue ranging from different genres like iconic dramas, sharp-witted comedies, genre-defining documentaries, safe and trusted animated series for kids and family, gripping thrillers, inspiring factual programming and more. Audiences are in for a treat with celebrated BBC titles like Luther, Pride and Prejudice, Doctor Who, and Top Gear, along with critically acclaimed series such as Grand Indian Hotel, Citizen Khan, Mr Bean, and The Great British Bake Off. Food enthusiasts can indulge in culinary journeys with celebrity chefs Nigella Lawson in Nigella’s Cook, Eat, Repeat and Jamie Oliver in Jamie Oliver: Cooking for Less.
BBC Player also brings to screens the genre-defining natural history epic Planet Earth III. For young viewers, the offering includes engaging titles like Andy’s Aquatic Adventures, JoJo and Gran Gran, and Junior Bake Off, among many others, ensuring there’s something for every member of the family.
Speaking on the partnership Pallavi Puri, Tata Play’s Chief Commercial and Content Officer said, “This partnership underscores our commitment to bringing the best of global content to our viewers, all in one place. BBC Studio’s premium storytelling and rich library of highly celebrated shows perfectly complement our growing content roster, and we are confident that our users will love this addition.”
In response to increasing consumer fatigue from managing multiple streaming subscriptions, Cignal has launched Cignal Super, Southeast Asia’s first bundled streaming service offering premium international content through a single subscription. This initiative, developed in partnership with regional media agency Brandwith, signals a major shift in the OTT landscape, addressing growing demand for aggregation and affordability. The Cignal Super bundle debuts with Hallmark+, Curiosity Stream, Fuse+, Max (HBO Max), Viu, Lionsgate Play, Pilipinas Live and Cignal Play, which will ensure a diverse mix of scripted and unscripted entertainment, factual content, and culturally relevant programming. This launch marks
a strategic move toward streaming aggregation in Asia Pacific. This model is gaining global momentum as both consumers and providers seek sustainable alternatives to the fragmented SVOD environment.
“We’re witnessing a fundamental evolution in streaming,” said Monty Ghai, Founder & CEO of Brandwith. “Consumers are reaching a saturation point — not with content, but with complexity and cost. Bundles like Cignal Super simplify the experience, increase content discovery, and deliver real value. This is the model the market has been waiting for.”
Hallmark+: Expands its global reach with a curated library of original, uplifting, and feel-good movies and series, tailored for the Filipino market.
Fuse+: Targets younger OTT users with inclusive, pop-culturedriven programming across entertainment, music, and lifestyle. Brandwith, known for its work with telcos and media platforms across the region, played a key role in structuring the partnerships and licensing agreements behind the Cignal Super launch.
wedotv, the global ad-supported streaming TV network, has announced a distribution agreement with sooka, Malaysia’s leading streaming content provider, to bring four of its signature FAST channels to its platform. The deal marks wedotv’s second major expansion in the Southeast Asian market, following its launch earlier this year in Indonesia through Dens.tv. Now, via sooka, Malaysian viewers will now have access to wedotv movies, wedotv BIG stories (documentary and lifestyle content), wedotv sports, and wedotv amor (telenovelas).
“This partnership with sooka represents a significant milestone in our Southeast Asian expansion strategy,” said Philipp Rotermund, co-CEO of wedotv. “Malaysian audiences have demonstrated a strong appetite for diverse, quality content across
multiple genres. Our channel portfolio delivers precisely that range, from compelling films to insightful documentaries, engaging sports content, and captivating telenovelas. We see tremendous potential in this collaboration and hope sooka will be just the beginning of our journey to bring free, ad-supported programming to Malaysian viewers.”
The addition of these four channels strengthens sooka’s growing content library while providing Malaysian audiences with access to wedotv’s curated international programming.
Chu Young Lee, Director, sooka & NJOI said, “We are pleased to partner with wedotv to launch four new FAST channels on our platform. This collaboration reinforces our dedication to providing exceptional and varied entertainment for our
users. The inclusion of the wedotv channels brings our free channel portfolio to a total of 27, thereby expanding the breadth and depth of available content and enhancing our users’ viewing experience.” wedotv movies, wedotv BIG stories, wedotv sports, and wedotv amor are now free on sooka for all registered users. Users can sign up for sooka at no cost.
wedotv’s Asian expansion is being led by Greg Ang and Harold Gronenthal, who are based in Singapore.
Global provider of video streaming software and services, Accedo, has been chosen by ACUNMEDYA to manage its Turkish subscription streaming service, Exxen. In order to further its global footprint, ACUNMEDYA, has appointed Accedo to take full responsibility of operating, managing and enhancing the Exxen service, improving reliability and performance while optimizing the user experience for over 500,000 global subscribers.
ACUNMEDYA produces more than 5,000 hours of primetime broadcast television each year, operates two national mainstream
TV channels in Turkey, and even owns production companies and football clubs. This means that Exxen is able to deliver an engaging mix of its own original content, coupled with foreign productions and live sports events.
Accedo provided and managed an end-to-end solution including tech stack partners, user and content data migration, integrations, and apps for multiple connected TV, mobile, and web platforms. The technical operation of the service is being managed entirely by Accedo to ensure a smooth and consistent quality of service and user experience, even during peaks around live sporting events,
monitored by Accedo Insights, the award-winning observability service.
Meliksah İşcan, EVP ACUNMEDYA, commented, “In a rapidly evolving technological and commercial landscape, agility is key to sustaining growth. At Exxen, our complex and dynamic operations demand a flexible, future-ready platform strategy. Our partnership with Accedo and its end-to-end platform management marks a pivotal step in this direction. Accedo’s proven expertise in video solutions and its adaptive, collaborative approach have enabled us to streamline daily workflows, enhance user experience, and align our technology with our long-term growth strategy. This partnership allows us to focus on delivering high-quality content while ensuring that our platform remains scalable, efficient, and ready for continued expansion.”
ZEE5 has announced a bold new brand identity and strategic shift, reaffirming its positioning as India’s foremost homegrown platform. The relaunch marks a pivotal step in ZEE5’s evolution, anchored in the promise of “Apni Bhasha, Apni Kahaniyan” (Multiple Languages, Infinite Stories) and a sharper focus on culturally authentic narratives, language- driven personalization and cutting-edge technology.
With a new visual identity and a reimagined product experience, ZEE5 deepens its connect with its audiences. This strategic shift is built on three foundational pillars—content, experience, and affordability crafted to meet India’s next wave of digital demand. ZEE5’s language content strategy will deliver local, emotionally
grounded stories inspired by folklore, real-life heroes, and regional legends. Each language mandate will be structured as an individual vertical to ensure authenticity and scale.
With a view to increasing engagement, the platform’s new direction focuses on intuitive design and AI-powered personalization, providing tailored recommendations that resonate with users across all pin codes of India. Leveraging data-driven insights, ZEE5 ensures a more engaging and effortless user experience, enabling viewers to quickly access personalized recommendations and enjoy premiumquality streaming across all devices.
This strategic brand shift aligns seamlessly with Z’s brand promise, ‘Yours Truly, Z’, and marks a pivotal step in ZEE5’s evolution, setting the stage for the platform’s next
phase of growth. Reinforcing its commitment to hyper-local narratives at scale, ZEE5 continues to solidify its role as the definitive destination for diverse, multilingual content that resonates with audiences across India and beyond.
Prime Video and leading entertainment company, CJ ENM, has announced a strategic collaboration, securing multi-year worldwide distribution rights (excluding Korea and China) for high quality Korean content. The announcement was made at the World Audio Visual & Entertainment Summit (WAVES) in Mumbai, India, and underscores Prime Video’s commitment to making entertainment borderless by providing a global platform to Asian content.
Throughout the rest of 2025 and 2026, Prime Video will launch multiple new exclusive titles from CJ ENM, Studio Dragon and CJ ENM STUDIOS, starting with highly anticipated fantasy romance drama series, Head Over Heels, coming
in late June. Additionally, Prime Video will also add popular titles from CJ ENM’s rich and successful catalogue to its service including fan favourite rom-com drama Her Private Life, Another Miss Oh and famous detective series, Mouse, significantly expanding its Korean content offering for global audiences in 240+ countries and territories worldwide. As part of this global strategy, Prime Video will also offer subtitles in 28 languages and dubbing in 11 languages for all new Korean launches, enhancing accessibility for the service’s rapidly growing Korean content audience around the world.
“This strategic collaboration with CJ ENM reinforces Prime Video’s commitment to bringing the best of Korean entertainment
to our customers worldwide,” said Kelly Day, head of International & VP, Prime Video.
This strategic collaboration represents the latest investment in Prime Video’s growing slate of Korean content, which continues to attract viewers worldwide. Prime members will be able to watch these titles as part of their Prime membership, available at no additional cost.
OUTtv, the world’s leading LGBTQ+ streaming service, is continuing to expand its UK footprint with the launch of OUTflix Proud, its free ad-supported television (FAST) channel, on Freeview in the UK. Freeview audiences can enjoy OUTflix’s signature mix of LGBTQ+ original series, reality shows, documentaries, and feature films without a subscription, as part of Freeview’s line-up.
Freeview is the UK’s largest TV platform, used in over 18 million
homes and on 10 million main TV sets. Originally a broadcast-only service delivered by aerial, Freeview also offers FAST channels in the hybrid-streaming section facilitated by Global Distribution Services and powered by the cutting-edge SSAI and Consent Management Platform (CMP) allowing higher value programmatic advertising. OUTflix Proud is Freeview’s first dedicated LGBTQ+ channel, expanding UK access to queer content and creators to audiences nationally.
OUTflix Proud viewers on Freeview will be able to enjoy OUTtv’s slate of hit programming, from reality competitions and drag culture to scripted series and bold documentaries, including hit reality competition series. OUTflix Proud is a joint venture of OUTtv and Fuse Media, and a key part of Fuse Media’s inclusive lineup of diverse FAST services.
This launch builds on OUTtv’s recent international expansion, including new partnerships in the U.S., Asia-Pacific, and across Europe.
OUTtv is the world’s first LGBTQ+ television network and the leading LGBTQ+ streaming service with over 2000 hours of programming. Its top titles include Sew Fierce, For the Love of DILFS, and Drag House Rules, all of which will air on OUTflix Proud in the UK.
Kabelnoord, the leading telecommunications provider in the Northern Netherlands, has officially launched its new television service enabled and run by Zattoo, Europe’s leading TV- and Streaming-as-a-Service platform. Following last year’s announcement of the partnership, Kabelnoord now offers its customers an enhanced IPTV experience across multiple platforms.
The new Kabelnoord TV service is available on Android TV set-top boxes, Android TV, Apple iOS,
Android Mobile, and web browsers— ensuring a seamless, high-quality entertainment experience both at home and on the go. This wide device support meets today’s viewing preferences and allows for true multi-device flexibility.
As a regional fiber pioneer, Kabelnoord’s state-of-the-art network forms the ideal foundation for the IPTV solution provided by Zattoo. The new service leverages this infrastructure to deliver reliable and high-performance streaming, fully aligned with the operator’s commitment to innovation and local quality. In addition to a robust lineup of national and international channels, Kabelnoord TV features a curated selection of local content tailored to regional viewers. This ensures that the platform remains deeply relevant to its core user base in Friesland.
“Launching our new TV service with Zattoo marks a milestone for us and our customers,” said Daan van Beek, CEO of Kabelnoord. “Our close collaboration has allowed us to deliver a product that combines technical excellence with the personal touch our customers expect. The local content integration and platform usability are direct results of our joint commitment to quality.”
Jörg Meyer, Chief Commercial Officer at Zattoo, added, “We’re proud to support Kabelnoord in taking their next step in TV service evolution. Their dedication to optimizing the end-user experience from day one has been outstanding. This launch proves that regional ISPs can deliver IPTV offerings with us every bit as compelling as those of national players.”
The Hive Studio has announced the launch of its Greek base, The Hive Greece, in partnership with ANIMASYROS productions. The new base in Athens and partnership aims to unite talent and resources of the South Mediterranean region to strengthen the local animation industry and foster partnerships and European-wide co-productions.
The Hive Studio has established itself as an international creative hub, known for producing visually diverse and technically masterful animation across multiple genres and styles, including the Oscarnominated short film Letter to a Pig. The studio was founded by Oscarnominated producer Amit Russell Gicelter (Black Slide, Butterfly Kiss). Based in Athens, ANIMASYROS Productions is the production company behind the dynamic
animation film festival ANIMASYROS International Animation Festival, the largest of its kind in Greece.
The companies have collaborated on several projects, including the short film P, directed by Stelios Koupetoris and co-produced with the Greek Film Center. P recently received the ASIFA-Hellas Award for Best Screenplay, and was selected for numerous festivals including the Drama International Short Film Festival and the Tirana International Film Festival.
The new partnership will see The Hive Greece collaborate with local talent in the region to help strengthen the local industry’s presence in the global animation market. With a focus on internationally relevant stories that transcend cultural boundaries
as well as producing original Greek content, The Hive Greece will foster new content partnerships with European production companies supported by the 40% rebate on foreign investment. As well as production, the Greek branch will offer a variety of animation-focused courses for new talent, starting with the newly launched Toon Boom masterclass.
VICE Media has announced the acquisition of Cuba Pictures, an award-winning UK based television and film production company, from Curtis Brown Group, the leading talent and literary representation company. Cuba Pictures will become a label within VICE Studios, expanding the company’s successful UK scripted content
business. VICE Studios is behind the hit television franchise Gangs of London, the adrenaline-charged new series Atomic set to premiere on Sky, and the upcoming film Bad Apples with Paramount, starring four-time Academy Award nominee Saoirse Ronan. Cuba Pictures will continue to be led by Dixie Linder; she will report to VICE Studios Co-President Jamie Hall. Cuba founder Nick Marston will remain active with the company, working closely with the VICE Studios team.
The acquisition of Cuba Pictures follows VICE Media’s distribution deal with ITV Studios and recent acquisition of London Alley Entertainment, which combined with Pulse Films, creates one of the world’s largest commercials and music video production studios.
Cuba Pictures works with an extensive line-up of both established and up-and-coming writers and directors to produce distinctive, innovative content that appeal to international audiences. Among its television credits are Coalition which aired on Channel 4, winning the RTS award for Best Single Drama; BAFTA winning BBC One’s Jonathan Strange & Mr Norrell adapted from Susanna Clarke’s best-selling novel, BBC Two and RTÉ’s thriller Paula, as well as BBC1 and Amazon Prime ratings hit McMafia, inspired by journalist Misha Glenny’s highly successful book and starring James Norton.
VICE Media is owned by Fortress Investment Group, Soros Capital Management, and Monroe Capital.
Sony Pictures Networks India (SPNI) continues to expand its presence in the Hindi movie broadcast space with the launch of Sony MAX 1, a new channel designed to elevate the cinematic experience for linear TV audiences across the country.
Carrying the vibrant brand promise, “Filmon ka aisa chaska, jo dekhe
hakka bakka”, the channel brings an interesting mix of movies curated to captivate and entertain. The channel went live last May 2025, across major DTH and cable platforms, Sony MAX 1 is set to become the preferred destination for Hindi movie lovers. Rooted in the belief that films have the unique ability to transcend individual tastes and bring families together, Sony MAX 1 simplifies choice by curating an exciting line-up of titles across genres. From Bollywood blockbusters and regional gems to cult classics and popular Hollywood dubbed titles, the channel delivers an unmatched viewing experience that blends mass appeal with rich storytelling.
Tushar Shah, Chief Marketing Officer (CMO) & Business
Head – Movies, Regional and Infotainment Channels, Sony Pictures Networks India (SPNI), commented, “With a legacy of building impactful brands and a deep understanding of audience preferences, the launch of Sony MAX 1 is a step forward as we expand our Hindi Movies Cluster. The channel is all set to offer a curated movie-viewing experience on linear television, relevant to today’s viewer, rooted in family sensibilities, and designed for delight. “
Sony MAX 1 joins Sony Pictures Networks India’s (SPNI) celebrated Hindi movies cluster, complementing the flagship Sony MAX, home to the biggest hits, and Sony MAX 2, the channel for timeless classics.
MNC Software Inc., a global leader in software and network solutions tailored to the broadcast and media industry, has appointed Gencom Technology as an official solution partner to its global network program. Gencom has been the leading provider of integrated technology solutions and professional services for media businesses in New Zealand and the Pacific Island nations for more than 50 years.
MNC delivers value to broadcast and media operations through sophisticated software applications, including Mosaic for comprehensive monitoring and control, and Tessera, an advanced asset management platform. MNC also offers Tapestry for no-code orchestration, allowing users to create sophisticated workflows across MNC and other software applications. Additionally, through this partnership, MNC ensures
customers benefit from localized, high-quality technical support, tailored to their needs and efficiently provided within their own time zones.
“We are constantly talking to our customers about the tools they need, and researching the global market for the best offerings to meet those needs,” said David Barnard, managing director of Gencom. “Our view is that the MNC software applications are far advanced compared to its competitors, and we are keen to
show our customers how they can improve operational efficiency by adding them to their environments.”
Darren Frearson was recently appointed CEO of MNC Software, with the goal of ambitious growth and strategic development of the business. “A critical part of any successful business is ensuring potential customers fully understand the benefits of the product, and delivering those benefits within the commercial and operational goals of the user.”
7fivefive, a leader in media systems innovation and integration, is enabling the BBC Studios Global Media & Streaming team to scale its virtual infrastructure. As part of this collaboration, 7fivefive is delivering the remote editing backbone that supports postproduction and content-based workflows. To help realise the global media company’s cloud-first vision, 7fivefive is also working in tandem with Amazon Web Services (AWS), the selected cloud provider.
The partnership between 7fivefive and BBC Studios has guided digital transformation which began in 2020. 7fivefive’s cloud expertise now underpins the Global Media & Streaming teams’ post-production process, enabling creative teams to manage resources efficiently whilst collaborating across
different time zones. Throughout the project 7fivefive has provided strategic consultation, designing and implementing solutions that maximise responsiveness and reduce overheads.
As the media industry shifts to the cloud, BBC Studios has already embraced a framework that ensures the speed, flexibility, and cost effectiveness of its post-production operations over the long-term. The system is designed to dynamically scale active resources, with automated controls that enhance productivity. Virtual workstations can be provisioned and optimised based on real-time requirements, empowering users to self-serve without compromising on performance. Different teams receive customised resources that are best suited to specific creative
tasks, across editing, graphics, colour grading, compliance, and branding. The latest phase of the project harnesses the capabilities of Adobe and AWS within a unified cloud environment. Regional departments can seamlessly transition between projects, access secure content from anywhere, manage allocation, and act on data-driven insights. Predictive cost metrics and automated budget management are based on detailed analytics. This ensures that business objectives are met without compromising on creative quality or operational goals.
MwareTV, a leading provider of IPTV and OTT middleware solutions, has announced an exciting expansion of its TV services by integrating interactive TV games powered by Lala Games. This strategic partnership aims to enhance viewer engagement and provide a new dimension of entertainment for users across various platforms. Lala Games, powered by Gameflix. TV known for its extensive catalog of hyper-casual TV games, offers
a seamless gaming experience optimized for smart TVs. With intuitive controls designed for remote navigation, users can enjoy a diverse range of games without the need for additional hardware or complex setups. MwareTV supports 16 common platforms including mobile devices, tablets, and popular TV apps including AndroidTV, FireTV, Samsung, LG, Vidaa and Titan, ensuring broad accessibility across various ecosystems. The integration with MwareTV’s platform ensures that TV operators can effortlessly incorporate gaming into their existing services, creating new revenue streams through ad-supported and subscription-based models.
“We are thrilled to collaborate with Lala Games to bring interactive gaming to our TV platform,” said Sander Kerstens, CEO at MwareTV. “This partnership aligns with our mission to
provide innovative and engaging content, allowing TV operators to offer a more immersive experience to their audiences across all devices.”
The addition of TV games to MwareTV’s offering underscores the company’s commitment to evolving entertainment solutions that cater to modern viewing habits. By combining highquality streaming with interactive gaming, MwareTV continues to redefine the future of television.
Echoing this enthusiasm, Sharon Malkiel, Founder of Lala Games added, “Our goal has always been to make gaming accessible and enjoyable for TV audiences. Partnering with MwareTV allows us to reach a broader audience and deliver highquality, interactive entertainment directly to their screens.”
Vizrt has announced a new distribution partnership with Prase, the Italian valueadded distributor and part of the Midwich Group.
With 25 years of experience, Vizrt has helped define and reshape the way video is created and shared with the world, whether it is news, sports, TV shows, entertainment, live events, digital media, advertising or any other industry that requires video transmission. Vizrt provides innovative solutions for customers in the fields of graphics, cloud, remote and live production, live streaming,
sports production, virtual reality, virtual studios, infrastructure, and more.
By completing the certification process of Vizrt’s live production portfolio, Prase provides broadcast, live production, and system integrator professionals with innovative solutions, including the all-in-one production switcher TriCaster, state-of-the-art PTZ cameras, and IP-based lecture capture solution Viz CaptureCast. The combination of Vizrt’s powerful solutions and Prase’s regional expertise is ideal to develop and meet the needs of the content creator market in Italy and beyond.
“The needs of content creators and live production professionals are rapidly evolving. Vizrt is eager to work with the best distributors in the business to ensure that storytellers are well equipped and best supported to live their vision. Having Prase as a new partner in Italy means that every live production needs are taken care of in the region,” says Tatiana Zolotuskaya, Channel Account Manager, Vizrt.
“We are excited about this new partnership with a brand like Vizrt, which underlines Prase’s desire to grow and develop in the broadcast and live production sector, a process already underway for a few years and which represents a valuable addition to the Prase portfolio”, comments Davide Buonasorte, Rental & Broadcast Sales Manager, Prase.
Nippon TV, Japan’s leading multiplatform entertainment powerhouse, announced today that the company is launching Gyokuro Studio, pronounced “gyokoo-roh” studio, a production studio dedicated to content development for the global market and the launch of Nippon TV LA Business Office, a new business hub to be established in Los Angeles, CA, USA.
Gyokuro Studio based in Tokyo is a newly established studio that aims to develop 10 unscripted titles each year, reaching a total of 100 titles over the next 10 years, with plans to distribute them to audiences worldwide. The studio will “co-create” not only with top inhouse talent but also with leading external creators and production houses to deliver premium Japanese
content to the world, crafted with the same care and distinction as the most prestigious Japanese tea, “Gyokuro.”
Kenichiro Akiyama, who has served in key roles such as Chief Producer of multiple prime time entertainment shows at Nippon TV has been appointed as the Head of Gyokuro Studio.
Nippon TV LA Business Office is a new business hub to be established in Los Angeles, CA, USA. It will focus
on driving sales of content and IP in North America and LATAM, grow alliances with local distribution studios, and build a local production framework, among other endeavors.
Tom Miyauchi, who has served as the Head of Formats at Nippon TV and was instrumental in launching the Canadian adaptation of Old Enough!, has been appointed as the Head of Nippon TV LA Business Office and will be relocating to Los Angeles in June to launch operations from July.
Bodhitree Multimedia Limited, a leading content production company, has announced the appointment of industry veteran Sudip Roy as Group Chief Revenue Officer and the launch of its new division, Bodhi Tree Ventures. The new division has been established as a dedicated business unit for digital content monetization, focusing on building and managing IPs across platforms like YouTube and other digital platforms.
With over 25 years of experience in media revenue management, Sudip Roy brings a proven track record from leadership roles at Star News, Zee, Neo Sports, Network18, and TCM. Under his stewardship, Bodhi Tree Ventures will develop and operate specialized digital channels, retain and monetize proprietary IPs, and explore third-party content monetization opportunities.
With Bodhi Tree Ventures, the company aims to move beyond content creation and step into owning, scaling, and monetizing digital assets. This initiative, led by Roy and Mautik Tolia, is set to position Bodhitree Multimedia at the forefront of the digital-first entertainment landscape. The unit is modeled akin to a digital response arm, strategically structured to unlock new revenue streams.
Speaking about the development and new ventures, Mautik Tolia, MD, Bodhitree Multimedia Ltd, shared,
“We are delighted to welcome Sudip Roy to Bodhitree as we are entering a decisive phase of growth. His strategic acumen and deep understanding of driving revenue strategies and scaling digital businesses make him the perfect fit to lead Bodhi Tree Ventures. This new division marks a pivotal shift in our journey — from being content creators to becoming owners and monetizers of scalable digital IPs. This is an evolution toward owning and building a future-focused revenue model. Together, we aim to shape a resilient and forward-looking content business.”
Speaking about his new role, Sudip Roy said, “I’m thrilled to join Bodhitree Multimedia at this exciting phase
of growth. With the launch of Bodhi Tree Ventures, we are laying the foundation for a future-ready, digitalfirst business focused on scalable IPs, strategic partnerships, and innovative monetization models. I look forward to collaborating with Mautik and the team to build sustainable revenue engines and shape the next chapter of value creation for the company.”
With the launch of Bodhi Tree Ventures and the addition of Sudip Roy as Group CRO, Bodhitree Multimedia is poised to redefine the digital space and strengthen its leadership in the entertainment sector. The division is already operational with multiple channels and IPs under development. The company remains focused on delivering value to stakeholders through innovation and strategic expansion.
RIISE Productions has announced its global expansion with the promotion of Amy McCulloch to Global Head of Development, Film and TV. RIISE Productions, part of RIISE World, creates original film and television IP with global talent, and is now in development with production companies internationally.
Amy McCulloch joined RIISE after a long tenure at Disney AUNZ, where she created and produced several original scripted formats for digital and linear, filmed in Australia, New Zealand, Los Angeles and Hong Kong. She leads film and TV development at RIISE, overseeing and shaping their dynamic slate of original content, a role that is now expanding globally, in concert with RIISE’s growing slate. She has over 15 years of industry experience as a writer and creative producer.
The slate is built for entertainment and subtly positions a desirable sustainable lifestyle embedded in the life of protagonists and viewers. The core aim is to inspire global mainstream audiences with hope and provide the confidence to build a better world.
The scripted slate consists of compelling stories and complex characters to hook viewers and provoke conversation long after viewing. Past collaborations include a project with UK based writer and satirist Heydon Prowse, and upcoming scripted projects include collaborations with Rake creator Peter Duncan, and a feature film with horror writer, Natasha Le Petit.
The unscripted slate leans into celebrity and fashion, showcasing glamorous and desirable lifestyles. Unscripted formats include a show that profiles celebrities and their style, with on-the-spot integration of treasured wardrobe items with sustainable pieces and accessories.
Amy McCulloch, Global Head of Development, Film and TV, said, “I’m incredibly passionate about using our
platform for good, so it’s an honour to be a part of RIISE Productions at such a pivotal moment in its growth. The power of storytelling to inspire and shift perspectives has never been more apparent or more critical, and I look forward to collaborating with incredible talent worldwide to do this. With them we will create bold, engaging narratives that captivate audiences and spark meaningful conversations.”
Drawing on insights gained in a global career spanning financial markets, energy and media, she creates content to invite mainstream audiences into climate friendly lifestyles.
Something Special, the Seoul-based international Format agency founded by Format specialists Jin Woo Hwang (President & Executive Producer) and InSoon Kim (EVP & Head of Content) announced they hired well-known format producer Jacob (Jongbin) Han as the company’s Head of Productions. His first role will be to produce the full series of the heartfelt Unforgettable Duet commissioned by MBN and funded in part by a recently awarded KOCCA Fund.
Han comes from 12 years of production experience, including nine years as Senior Producer producing entertainment and doc programs at MBC (Korean terrestrial network). During that time, he was nominated as the Korean Producer Association’s Best TV Producer of the Year in 2021. He also won Best Programme Award from Korea Communications Agency (KCA), Dec 2020 for Mystery TV: Surprise, a Best Programme Award at MBC in Dec 2018; and an award for the Broadcast Critique Foundation for Broadcast Culture, Dec 2018. Just prior to his appointment at Something Special, Han worked at uhomes.com as Content Operation Manager, United Kingdom for two years as the head of the content operations team where he created and localized content for social media channels in Korea, Japan, Vietnam, Myanmar, and Thailand. He holds a MSc Media & Communications’ degree from the London School of Economics in the UK.
Unforgettable Duet is an original unscripted series that follows a dementia patient whose families gather mementos and a favorite song to help them recall the past. Together, they ride on a Memory Bus filled with these deeply personal mementos that reveal long forgotten life moments for each of the participants. The show then steps into the studio with an emotional Duet performance by the patient and family member, followed with a heartfelt tribute song to the participant from popular singing artists. This emotional musical series is a magical, healing experience helping the patient and their family to remember what is truly important.
Hwang and Kim stated, “Something Special are pleased to celebrate our 6th year in business with Jacob Han as our new Head of Productions who will oversee several of our projects, starting with the wonderful Unforgettable Duet this summer. His vast international production experience, along with our recent investment will help propel Something Special to the next level.”
Han commented, “I am thrilled to join Jin, InSoon and the entire Something Special team as Head of Productions. Something Special has been a leader of Korean Formats, breaking new ground by taking our formats onto the world stage. As my first project, I am honored to produce the full season Unforgettable Duet which was one of the highest rated specials last year.”
Finite Films & TV and Shoni Productions have announced they have appointed Aaron Anderson (Dangerous Liaisons, Riviera) as Head of Scripted Development to oversee and develop their growing scripted slates.
Aaron Anderson brings two decades of experience in high-end scripted development and production to his new role at Finite Films & TV. Most recently, he served at Sir Colin Callender’s Playground Entertainment, as Script Producer on the period drama Dangerous Liaisons for Starz and Executive Producer on the Channel 5 drama series All Creatures Great & Small.
Anderson held roles as Creative Executive at Ridley Scott’s Scott Free Productions, Development Producer at The Ink Factory, and led the film and television development team at Archery Pictures. His earlier work includes his role as Story Producer on Riviera for Sky Atlantic.
Anderson has committed his career to developing high-end scripted productions with global talent, bringing internationally relevant stories to the screen.
Working alongside Finite Films & TV’s founder and executive producer, Amy Gardner and the wider scripted team to bolster the company’s scripted slate, Anderson will overview its portfolio of projects currently in development.
The company slate includes the feature Brides directed by Nadia Fall, which premiered at Sundance earlier this year. Finite Films & TV’s Amy Gardner is an executive producer on the film. Its feature And Then Come the Nightjars is shortlisted for a 2025 Global Production Award.
Aaron will also be heading up scripted development for executive producer Dana Høegh’s Shoni Productions.
In 2024, Shoni co-produced Ruthy Pribar’s What Is to Come alongside Gum Film in Israel and served as executive producer for feature The Black Sea and upcoming releases Titanic Ocean and Apart from Her. Shoni founder Dana Høegh’s other credits include executive producing The Bike Thief by Matt Chambers and The End by Josh
Shoni are currently developing multiple
film and high-end TV drama projects.
Amy Gardner, Founder and Executive Producer at Finite Films & TV and Dana Høegh, Founder and Executive Producer at Shoni Productions say “Aaron has had such a stellar career and we are delighted to welcome him to the team. With such depth of experience in high-end scripted storytelling, Aaron is an invaluable addition. His appointment marks a significant moment for us and we are looking forward to expanding our scripted slates with Aaron at the helm.”
Aaron Anderson, Head of Scripted Development at Finite Films & TV says “I’m thrilled to be joining Amy at Finite Films and Dana at Shoni Productions and working with their exceptional teams. They have such an impressive track record of producing bold, distinctive and creatively resonant projects. I feel incredibly fortunate to be part of their next chapter and can’t wait to steer the development of their already exciting and ambitious slate of projects.”
Chinese media and IP giant COL recently announced the launch of its global content distribution division, cementing its position as the world’s largest reseller of microdramas. With over 1,000 titles available in both English and Chinese, COL is offering broadcasters, streamers, telcos, and digital platforms a turnkey library of serialised short-form content designed for mobile-native viewers worldwide.
Microdramas—fast-paced, emotionally engaging episodes often under two minutes—are redefining global viewing habits. Propelled by vertical video consumption, social storytelling trends, and a growing appetite for immersive but digestible formats, the genre is
fast becoming a staple in the evolving content landscape. “We’re not just witnessing a shift—we’re architecting the next era of entertainment,” said Timothy Oh, General Manager of COL’s Southeast Asia operations and Head of the International Press Center. “Microdramas are the storytelling language of a mobile generation: fast, emotional, and deeply immersive. At COL, we combine IP ownership, creative development, platform operations, and now global distribution—all under one roof. That gives us the insight and agility to help partners move quickly in a space where audience attention is won or lost in seconds.”
With more than 25 years of experience in content and IP, COL has long been a leader in the Chinese entertainment sector.
Oh, who previously held leadership roles at Sony Pictures Television Networks Asia and Microgaming, brings deep expertise in content, brand building, and global expansion. COL has already sold significant volumes of content across Asia and North America. With the formalization of its global distribution division, the company plans to scale further into more emerging digital-first markets.
Unlike traditional distributors, COL operates across the full microdrama value chain—creating original IP, overseeing production, and managing its own short-form video platforms including FlareFlow, Sereal+ and Unireel (Japan). This vertical integration enables COL to deliver tailored, data-informed programming for specific markets while helping partners move fast in a competitive attention economy.
Among its most successful titles is From Rags to Rank One《一品布 衣》 , a 105-episode historical epic that garnered over 238 million views in a single day and averaged 77 minutes of watch time per user, ultimately surpassing 1 billion cumulative views in China alone.
In fact, FlareFlow, its newest international microdrama platform which launched in late April 2025 has already broken into the Top 5 Entertainment Apps on Google Play in the U.S. and climbed to Top 8 on Apple’s iOS Entertainment App chart within weeks.
In just three months, FlareFlow has surpassed 10 million downloads across 177 countries and regions, while monthly user spend has grown by more than 500%. Audiences — particularly female aged 20– 35 — are now bingeing an average of 22 episodes a day, drawn by a finely
tuned rhythm of “empathy–conflict–release” storytelling. The platform already aggregates over 1,700 titles and is scaling up aggressively, with plans to produce 100 original dramas in 2025 and 180 in 2026. Content hubs in Mainland China and Los Angeles, along with production centers in both Asia and North America, are fuelling expansion. Genres span family conflict, romance and revenge, social realism, and suspense-driven comeback stories, supported in 11 languages across high-growth markets including the U.S., Germany, Japan, Brazil, and the U.K.
Recent breakout Mommy, It Hurts... Where’s Daddy? showcases FlareFlow’s winning approach. By reframing Eastern family conflict into Western family values, experimenting with narrative structures beyond the three-act arc, and aligning visual style to overseas tastes, the series quickly became a phenomenon. Over 40% of existing users tuned in within days
of launch, completion rates rose above market average, and subscription uptake increased by 2%.
COL is also exploring the future of content creation through AI-powered production pipelines. The company has already developed several AI-generated anime series and is actively integrating artificial intelligence into production workflows—reducing time-to-market and opening up new creative possibilities for serialized storytelling. Behind the scenes, FlareFlow runs on a sophisticated, battle-tested infrastructure that combines AI- assisted creation with a data-driven content optimization cycle. Teams run over 400 creative experiments per month — from hook strength testing to cultural adaptation trials — ensuring that every title is designed for maximum resonance and conversion.
“FlareFlow’s rise is not an easy feat — it is the culmination of years spent mastering content, audience insight, and changing consumption patterns. The roots
of COL have always been in digital storytelling, and we’ve transformed that heritage into a globally strategic platform that marries creativity, technology, and scale. Success in microdramas is never about chance; it comes from building the discipline to know when to spark emotion, when to drop the hook, and how to sustain engagement. That’s why FlareFlow is not just riding the wave of a trend — it is defining the future of this category worldwide.” said Ray Tong, CEO of COL Group
The momentum is extending worldwide. According to Sensor Tower (Aug 22 – Sep 20, 2025), FlareFlow now ranks Top 3 in Germany, Top 4 in Australia, and Top 5 in Canada among short-drama and entertainment apps. These milestones highlight
a fundamental change in global viewing patterns. Audiences who once defaulted to long-form series or films are increasingly turning to bite-sized, serialized storytelling that fits seamlessly into daily routines.
A recent report by Media Partners Asia underscores this shift: microdrama revenues in China have already surpassed the traditional box office, with COL’s IP portfolio driving much of that success. FlareFlow is now exporting this proven model to the world — adapting genres to local tastes: revenge, flash marriage, and family conflict dominate in Southeast Asia, while YA (Young Adult), werewolves, and CEOdriven dramas resonate strongly in Western markets.
To sustain this growth and strengthen the wider media ecosystem, COL is investing heavily in new infrastructure and partnerships:
• Over 30 international production teams across Los Angeles, New York, Canada, London, and Southeast Asia.
• Dual post-production centers in Beijing and Los Angeles to accelerate global delivery.
• The industry’s first Overseas Microdrama Production Studio in Hengqin, Greater Bay Area (China), set to be operational by end-2025.
With this foundation and a pipeline of 280 dramas, FlareFlow is not only scaling aggressively to serve global audiences, but also helping reinvigorate the media industry with new jobs, skills, and opportunities created across borders.
“This is not a passing trend in China or the U.S. — it’s a global shift in storytelling,” said Ray. “COL and FlareFlow are at the forefront of this evolution, scaling production and reshaping our content strategy to meet diverse worldwide demand. People have consumed vertical content since Instagram Stories and TikTok, but what’s evolving is the storytelling itself. FlareFlow is shaping that evolution for audiences everywhere.”
“What excites us most is that it isn’t just about FlareFlow’s growth – it’s about investing in an ecosystem,” added Timothy .“Our investments worldwide are helping the industry adapt and thrive as microdramas become part of everyday viewing.”
Since launch in April 2025, FlareFlow has surpassed15 million downloads across 177 regions, with monthly user spend increasing more than 500%. As adoption accelerates, FlareFlow is cementing microdramas as amainstream category that reflects how entertainment consumption patterns are changing worldwide.
Streaming keeps evolving, and the latest disruption comes from a format that fits perfectly into today’s mobile-first lifestyle: the microdrama. These are ultrashort episodes, typically between 1 and 5 minutes long, produced in vertical format and designed for smartphones. With stories built around constant cliffhangers, and genres ranging from romance to revenge and fantasy, microdramas deliver fastpaced narratives that keep audiences hooked.
The trend has seen an early adoption across APAC, especially in Singapore, and has since expanded to global markets. Much of its momentum might be traced back to platforms like TikTok, which normalized short-form storytelling and taught audiences to view fragmented content in quick bursts.TV users with an experience that mirrors traditional TV viewing, we’re starting to see innovative services being launched that promise to do exactly that. Might these types of services be exactly
The current rise of the micro-drama market didn’t happen in a vacuum. It was built on the foundation of previous attempts. Most notably Quibi, which showed that while the concept was visionary, it arrived too early. The platform struggled not only because of unfortunate timing—launching in the middle of lockdowns—but also because the market wasn’t yet primed for that kind of short-form storytelling. What Quibi couldn’t establish on its own has since flourished, as audience habits and industry models have finally caught up.
The evolution of microdramas reflects more than just a stylistic shift — it mirrors broader behavioral changes in streaming. According to Fabric Data, smartphone drama preference shows distinct regional variations. In UCAN, drama preference among smartphone viewers accounts for 53% of streaming, with the 25–34 demographic emerging with the highest preference. In APAC, where microdramas originated, dramas represent 47% of preference among mobile audiences, and unexpectedly, the most significant uptake comes from audiences over 55 LATAM records
47% preference, where younger audiences between 1624 lead the trend. Meanwhile, in EMEA, dramas capture 45%, with the 25–34 segment once again at the forefront. These data points confirm that microdramas are not confined to a single market or age group. Instead, they highlight how mobile-first habits are reshaping viewing preferences across generations and continents.
Mainstream streaming platforms have started integrating microdramas into their ecosystems to diversify their catalogs and capture new audiences. The strategy often begins on social media, where short teasers on TikTok or Instagram drive interest, before funneling users into apps for the full series.
ViX MicrO from TelevisaUnivision has opted for a completely free distribution model to maximize reach. Meanwhile, APAC pioneers like iQIYI and WeTV integrate microdramas into their premium VIP packages. These platforms typically release the first few episodes at no cost to spark engagement, then encourage upgrades to unlock the rest of the storyline. what’s needed to attract the viewers that remain hesitant to make the move from traditional TV to streaming TV?
While established services are adapting, dedicated platforms built exclusively for microdramas are leading the charge. Reel Short, for instance, already features +450 series in Mexico and +440 in Brazil. DramaBox and GoodShort have both surpassed one million downloads, while other challengers such as ShortMax, FlickReels, and RapidTV are building strong catalogs. In Latin America, VYCO has emerged as a significant player. Beyond distribution, it invests in original productions
with regional talent, tapping into local audiences and creating content that resonates with cultural nuances.
The unique appeal of microdramas lies not only in their length but also in the immersive experience they provide. Platforms are engineered for instant gratification, replicating the addictive flow of social media feeds. Navigation is designed for vertical viewing and single-hand use, while transitions between episodes are seamless,
creating a binge-worthy flow similar to infinite scrolling.
Monetization strategies also distinguish the format from traditional subscriptions. Most platforms adopt a freemium model, where the first episodes are free and later episodes are locked behind in-app purchases with coins or credits. Others rely on advertising or hybrid models, allowing users to remove ads with a onetime payment per title or per month. This gamified approach monetizes attention in new ways, proving particularly effective with mobile-native audiences.
The question now is whether microdramas represent a short-lived experiment or a new frontier in streaming. While it may be too early to declare them the definitive future of entertainment, they also might be more than
a temporary fad. With data showing global adoption, addictive narrative design, and monetization models tailored to modern viewership habits, microdramas are an interesting step in digital storytelling. For streaming services and content producers, the opportunity lies in embracing the format strategically, leveraging its immediacy and appeal to audiences who no longer have time for traditional drama.
KC Global Media is a global multi-media company with headquarters in Los Angeles and regional offices in Singapore, Taipei, Kuala Lumpur, Seoul and Beijing. Following the expansion of the company’s distribution arm, KC Global Media Distribution, and the growth of its global content offerings, the company identified the need for a dedicated screening platform. To meet this demand, they turned to Silver Trak Digital and its award-winning Media Room Connect solution.
Vice President, Revenue & Head of Content Sales for KC Global Media Distribution, Bonnie Wiryani
explained, “We were looking for a dedicated and secure screening platform and Silver Trak Digital proposed their Media Room Connect solution. The portal provides a custom domain within a fully KC Globalbranded environment, featuring our logos and brand colours, giving us full control over content curation and management. At the same time, Silver Trak Digital handles all backend technology and infrastructure, including robust security and delivery. The Media Room Connect solution resonated immediately with us.”
Karlz Varma, VP of Business Development at Silver Trak Digital added, “We are proud to
support KC Global Media in accelerating their distribution strategy through Media Room Connect. By centralising their screening workflows into one secure, branded environment, we’re helping to reduce duplication of effort and eliminate the use of unsecured links, multiple screener versions and presentation decks like PowerPoints. This not only streamlines operations but also strengthens trust with producers and speeds up decision-making by ensuring full-length screeners are watched promptly. Ultimately, it’s about making distribution smarter, faster and more secure so KC Global Media can stay focused on growing their business.”
KC Global Media had a clear and comprehensive set of requirements for Media Room Connect. The solution needed to provide a fully branded portal to showcase full length screeners, artwork, synopses and licensing details, all within a secure screening environment to protect pre-release and licensed content. In addition, user analytics and tracking were essential to gain insights into buyer engagement and interest.
Media Room Connect also had to be a costeffective solution without compromising on quality or performance, with a customisable UI to reflect KC Global Media’s branding and content categories.
It also needed to be installed and deployed quickly to align with KC Global Media’s tight launch timeline.
Wiryani continued, “Media Room Connect delivered a secure screening room portal that met KC Global Media’s needs on multiple fronts. The platform enables our team to easily aggregate screeners from global content partners and producers and curate them into a fully branded KC Global Media website. The interface supports customisable content presentation, including prioritising titles on the homepage and featuring promotional banners - all designed to align with KC Global Media’s brand identity.”
Security is a top priority for KC Global Media and Media Room Connect is equipped with studiograde DRM, automated dynamic watermarking and
individual user tracking, providing full confidence when sharing sensitive or pre-release content.
The platform’s dynamic watermarking technology eliminates the need to burn watermarks into the video manually, removing a traditional step in the workflow while maintaining full traceability and protection of content.
Wiryani added, “We required a solution deployable within a month and Silver Trak Digital rapidly
mobilised a dedicated team to meet this tight timeline. They delivered a secure, cost-effective and flexible platform ready for launch without compromise. As a result, we very much benefited from the flexibility and professionalism of the Silver Trak team and the Media Room Connect platform.”
When engaging with potential buyers, KC Global Media sends out secure screening links, protected by DRM and individual watermarking, ensuring only intended recipients access the material. They
also rely on viewer analytics to track engagement providing valuable insights into which titles resonate most and where interest is coming from. The workflow is straightforward, user-friendly and efficient.
Wiryani concluded, “With Media Room Connect, it is now easier to showcase our catalogue through the screening portal where buyers can conveniently access media kits, the show materials, trailers and screeners all in one secure place. It’s a seamless experience that eliminates the need to send unsecured links and our customers find it very easy to use and sign up.
We’re also gaining significant credibility from producers who are highly protective of their content. Media Room Connect, with its watermark features and customisable tools for selective viewing, has raised the bar in terms of security and standards for the licensors we work with.”
Today, Media Room Connect powers KC Global Media’s content distribution securely, supporting pre-release, post release screenings, collecting viewer analytics, and enabling global screeners to be uploaded and curated effortlessly, all within a costeffective and scalable solution tailored to their needs.
