Altmedia Weekly: East Meets West – How Asia and the West Are Rewriting Content Distribution

How Asia and the West Are Rewriting Content Distribution. This week, Jonathan dives into the buzz surrounding Content London 2024, ATF 2024 in Singapore, and the Asian Academy Creative Awards. The events highlighted the growing divide between Asian and Western strategies for distributing content—and how the global industry is adapting to new challenges and opportunities.

Diverging Paths in Global Content Distribution: How Asia and the West Are Rewriting Content Distribution

Content London 2024: Western Producers Seek New Windows

Content London 2024 wrapped up with a sharp focus on evolving distribution strategies. While Asia continues to build its integrated streaming-broadcast ecosystems, Western producers are aggressively exploring new platforms and revenue models. The rise of FAST (free ad-supported streaming TV) channels, hybrid AVOD/SVOD platforms, and experimental windowing strategies demonstrates the West’s response to fractured markets and declining linear revenues.

A prime example of this shift was the announcement that UK-based Woodcut Media is part of a group launching a FAST channel in Australia. This move encapsulates how Western producers are seeking fresh opportunities to monetize back catalogs and niche content in untapped markets. It’s a fascinating counterpoint to Asia’s focus on streaming-first strategies and thriving broadcast industries. Another example of How Asia and the West Are Rewriting Content Distribution.

Key highlights from Content London included:

• Drama and Unscripted Trends: Commissioners shared plans for 2025, with co-productions and high-concept formats taking center stage.

• AI in Content Creation: The AI Festival explored how artificial intelligence is transforming storytelling and production.

• International Drama Awards: This year’s winners underscored the global appeal of innovative and bold narratives.

• Future Distribution Models: Panels highlighted the divergence in distribution strategies between East and West, with the West leaning heavily into FAST channels and other experimental platforms.

LEAP: Taiwan’s Bold Play for the Global Market

I had the honor of judging the final pitches at ATF 2024 in Singapore for the LEAP Creative Lab, an initiative by the Taiwan Creative Content Agency (TAICCA) in partnership with South Korea’s Something Special and Hong Kong’s AR Asia Productions. This program aims to elevate Taiwanese producers by equipping them with the skills to create unscripted TV formats for the international market.

LEAP featured two main phases:

1. Master Class in Taipei: Fifty producers attended a workshop led by Korean format experts, focusing on creating export-ready unscripted formats.

2. Creative Development in Seoul: Eight standout companies underwent five months of mentoring, culminating in their pitch presentations at ATF’s “Masters Meet Masters” session.

The energy and ambition in these projects were inspiring. Schemes like LEAP aren’t just about fostering local talent; they’re building a bridge for Asian storytelling to reach global audiences.

Asian Academy Creative Awards: A Spotlight on Japan and New Zealand

I had the privilege of attending the Asian Academy Creative Awards this week, celebrating the best in regional television, film, and streaming content. This year, Japan and New Zealand shone brightly:

Japan’s Achievements:

• Best Feature Film: City Hunter garnered four national laurels, including Best Feature Film.

• Best Actor in a Leading Role: Ryohei Suzuki received the Best Actor National Win for his performance in City Hunter.

• MIRADOR – Soundscape Through Japan NHK won best dance music short and I make a special mention because i had a long and interesting conversation with the producer about NHK and her film before the awards, and i cant wait to watch it.

South Korea’s Triumphs:

• Best Direction (Fiction): Jang Young Woo and Kim Hee Won were recognized for their work on Queen of Tears, a romantic comedy featuring Kim Soo Hyun and Kim Ji Won.

• Best Actress in a Supporting Role: Yeom Hye Ran received acclaim for her performance in Mask Girl, a Netflix series where she portrayed a complex character navigating societal challenges.

• Best Original Production by a Streamer (Fiction): The thriller A Bloody Lucky Day was recognized for its gripping narrative about a taxi driver entangled with a serial killer.

Malaysia’s Achievement:

• Best Actress in a Leading Role: Susan Lankester was celebrated for her role in Rain Town, where she portrayed Aileen Choo, a mother confronting personal and familial challenges.

Philippines’ Recognitions:

• Best Actress in a Leading Role: Kathryn Bernardo was honored for her performance in A Very Good Girl.

• Best Actress in a Supporting Role: Kaila Estrada received the award for her role in Linlang.

These accolades underscore the diverse storytelling and production quality emerging from the Asia-Pacific region, highlighting its growing influence in the global entertainment landscape.

New Zealand and Australia

“Boy Swallows Universe”: This series, based on Trent Dalton’s bestselling novel, was a significant contender, having secured six national wins, including Best Drama Series and Best Actor in a Leading Role for Felix Cameron. These accolades propelled the series to represent Australia at the Grand Awards. eventually securing Best Screen Play for John Collee Netflix, Brouhaha Entertainment

Best Short Form (Scripted) “Medicine” McKegg Entertainment – New Zealand

For a comprehensive overview of the event, you can watch the official 2024 Gala Awards ceremony below

the PDF of the full list of recipients is here.

These wins highlight the diversity and quality of content coming out of Asia-Pacific, reinforcing the region’s role as a growing powerhouse in global entertainment.

Looking Ahead: East Meets West?

The big question remains: Can the diverging strategies of East and West coexist, or will one model ultimately dominate? Asia’s thriving broadcast-streaming synergy contrasts sharply with the West’s experimental approach to distribution, but both are adapting to the demands of a rapidly changing content economy.

As we close out the year, one thing is clear: the future of content lies in collaboration, innovation, and a willingness to embrace new models. Whether through the bold experiments of Western producers or Asia’s steadfast streaming-broadcast ecosystem, there’s plenty to watch—and even more to learn.

Jonathan Glazier

Media Consultant & Altmedia Newsletter Editor

Exploring the shifts shaping our content economy.