iWorld
APOS 2025 predicts that Asia’s screen economy will shift gears as digital eats into TV pie and growth slows
BALI : The 16th edition of the APOS Summit opened in Bali with a blunt forecast: Asia-Pacific’s media juggernaut is heading into rougher waters. “The next wave in Asia is here and it looks very different,” said Media Partners Asia founder Vivek Couto, addressing 550 delegates from across the region’s fast-evolving screen economy.
Asia’s screen count is booming—from 4.5 billion today to 5.5 billion by 2030—with smartphones still king, rising to 4.4 billion, and connected TVs becoming the fastest-growing segment at 13 per cent CAGR. Yet the party is winding down. After raking in $36 billion in new revenues during the pandemic-era gold rush (2020–25), the region now expects just $16 billion more over the next five years. The culprit? A steady erosion in traditional TV’s dominance.
“Monetisation is decisively shifting to digital,” Couto declared. TV, which currently commands 49 per cent of screen revenues, will sink to 41 per cent by 2030. In its place, premium video (SVOD/AVOD) will rise to 29 per cent and UGC/social video will power up to 24 per cent. Theatrical remains flat.
China and India dominate the region’s screen scale—72 per cent by 2030—while Indonesia, the Philippines and Thailand lead in screen growth. Three markets—China, Japan and India—will account for almost 75 per cent of screen revenues. But their playbooks couldn’t be more different.
China’s model is fuelled by short-form content, micro-dramas and a mature VOD sector monetised through ads and transactions. Japan stays TV-centric with high-ARPU SVOD and premium AVOD. India is firing on both cylinders with ads and value-led subscriptions across streaming and broadcast, and mobile-first, hybrid OTT platforms.
Local champions are holding their ground. JioStar is the fastest riser in India, on track to cross $1 billion this year. Australia’s Foxtel and Nine, Korea’s TVING, Indonesia’s Vidio and Thailand’s TrueID are proving that scale outside of global behemoths is not only possible—it’s profitable. “The new video economy isn’t just digital-native—it’s cross-platform,” Couto stressed.
YouTube still rules the roost, projected to hit $18–19 billion in regional revenues by 2030, followed by ByteDance’s Douyin and TikTok, which are closing in on $10 billion combined. Netflix dominates premium VOD beyond China, with Disney+ and Prime Video scaling in Japan, India and Southeast Asia. Japan’s U-Next is riding a strong mix of sports, local content and Hollywood imports.
Meanwhile, the creator economy is exploding—with over 100 million creators in 2024 expected to grow to 165 million by 2030. China’s micro-drama boom has already become a $7 billion beast, now expanding globally. “It’s part entertainment, part conversion funnel,” Couto said. Platforms are blurring content and commerce, particularly in China and southeast Asia, where creators are anchoring live shopping and branded content ecosystems.
Premium content is still critical, but the free-spending days are done. Investment in streaming originals is projected to climb from $17 billion to $21 billion by 2030, but platforms are asking tougher questions: What retains? What monetises? What builds the ecosystem?
Retail media is the region’s new digital ad workhorse, expected to drive $45 billion in spend by 2030—$26 billion in China, $10 billion in India and $9 billion in Japan. While SVOD and AVOD still rake in the bulk of video monetisation, it’s the integration of retail commerce and media that’s reshaping the ad game.
Couto’s closing pitch was a rallying cry for innovation: “Asia-Pacific leads the world in screens, time spent and innovation. We’re no longer just a consumption story—we’re a revenue engine. But this next phase is more competitive. Growth must be earned.”
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iWorld
Crocs India ropes in Rakesh Bedi for quirky new digital campaign
Veteran actor brings humour and nostalgia to brand’s latest ‘Crocshake’ film.
MUMBAI: Crocs has decided to shake things up quite literally by teaming up with veteran actor Rakesh Bedi for its latest digital campaign. The campaign, conceptualised by One Hand Clap, cleverly taps into the current wave of nostalgia and character-led content. It features Rakesh Bedi, who is currently enjoying renewed popularity after Dhurandhar, in a series of increasingly chaotic yet humorous everyday situations.
At the centre of the film is a simple handshake that spirals into a chain of unexpected twists, culminating in the fun “Crocshake.” The light-hearted narrative highlights how ordinary social moments can turn into memorable ones, perfectly aligning with Crocs’ brand ethos of individuality, comfort, and self-expression.
Crocs India country manager Manoj Juneja said the campaign reflects the brand’s desire to stay culturally relevant. “This collaboration with Rakesh Bedi blends humour, nostalgia, and contemporary trends to create content that entertains and sparks conversations,” he noted.
Rakesh Bedi added, “What I loved about this campaign was how naturally the humour came through. It takes a simple, everyday situation and turns it into something completely unexpected. It’s always exciting to be part of something audiences can instantly connect with.”
The campaign builds on Crocs India’s ongoing strategy of creating relatable, digital-first storytelling that resonates with a wide audience while staying true to the brand’s playful personality.
In a crowded footwear market, Crocs continues to stand out by keeping things fun, comfortable, and conversation-worthy proving once again that sometimes all you need is a good shake (or Crocshake) to make your mark.
