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MPA report: Content investment in seven APAC markets grew four per cent in 2023
Mumbai: Media Partners Asia’s (MPA) 2024 Asia Video Content Dynamics report offers a comprehensive analysis of content investment, engagement, and viewership across TV, VOD, and theatrical sectors in seven key APAC markets: India, Korea, Indonesia, Philippines, Singapore, Thailand, and Vietnam.
The report reveals that content investment in these markets reached $15.5 billion in 2023, marking a four per cent year-on-year increase. This growth, while positive, represents a significant slowdown from the 2021-22 period, reflecting a post-COVID normalization of budgets and a rationalisation of local content investment in streaming VOD. India led the charge with a robust 12 per cent growth, driven primarily by sports content, while Indonesia followed with a solid five per cent increase. Korea, the Philippines, and Thailand managed modest gains, whereas Malaysia and Vietnam experienced contractions due to challenging advertising markets.
Korea and India continue to dominate the landscape, collectively accounting for 80 per cent of total content investment in 2023. Korea, a mature market, is expected to see flat overall growth, with expansion in streaming and film offset by TV’s secular decline. In contrast, India, with its relatively low 52 per cent TV household penetration, presents significant growth potential across all verticals through 2028. MPA projects that India will surpass Korea in total content investment by 2026.
Looking ahead, MPA forecasts a 2.7 per cent CAGR in total content investment across the seven markets, reaching $17.2 billion by 2028. This growth will be predominantly driven by India, with Indonesia and the Philippines also expected to show decent growth rates. Korea and Thailand are anticipated to experience limited growth, while Vietnam faces the most challenges due to weak TV advertising and rampant piracy.
The investment landscape is evolving, with TV (free-to-air and pay) still commanding the lion’s share at 64 per cent in 2023, followed by streaming at 26 per cent and film at 10 per cent. By 2028, TV is projected to retain over 50 per cent of industry investment, while streaming is expected to increase its share to 33 per cent, with film marginally growing to 11 per cent.
MPA vice president Stephen Laslocky offered insights on the shifting content dynamics:
“Korean content continues to lead the pack with world-class production values and compelling storytelling, though we’re seeing online original content costs inflate to as much as US$7 million per episode. Its extraordinary appeal is evident, accounting for over 30 per cent of content demand in Southeast Asia and Taiwan. The rise of streaming has significantly elevated storytelling and production quality, particularly in Thailand and Indonesia, where competition is intensifying. We’re seeing content from these countries, especially Thai titles, gaining traction across Asia.
It’s become clear that many traditional TV drama producers are struggling to compete with higher-end streamed video content. In contrast, quality film producers have embraced the flexibility of streaming and adapted with greater ease. Over the past year, as some ad revenues have permanently shifted to digital and streaming behaviour has become entrenched, we’ve observed TV production margins contracting across most markets. For online originals, streamers have become much more disciplined in their approach to budgeting and content strategy.”
The report also highlights significant trends in online video consumption. YouTube leads with over a billion monthly active users across the surveyed markets, with 732 million in India alone. TikTok has emerged as a formidable competitor in Southeast Asia, boasting 211 million total monthly active users across Indonesia, Malaysia, Philippines, and Thailand.
In the premium VOD space, Netflix maintains a strong lead in most markets, capturing between 40-70 per cent of viewership in Korea, Indonesia, Malaysia, and the Philippines. However, it faces stiff competition in Thailand from TrueID and in India from Disney+ Hotstar and Jio Cinema. Local players like Indonesia’s Vidio are also making their mark, while regional platforms such as Viu are leveraging Korean content and strategic partnerships to strengthen their positions.
The theatrical sector is still in recovery mode, with superhero franchise fatigue and Hollywood strikes delaying a return to pre-pandemic levels in most markets. India has already bounced back, with 2023 box office revenues exceeding 2019 figures. Other markets, excluding Korea, are expected to recover over the 2025-28 period. An emerging trend in film distribution sees a shift towards revenue-share models for internationally appealing titles, presenting new opportunities for Korean and Thai producers in particular.
As the APAC content landscape continues to evolve, the interplay between traditional and emerging platforms, coupled with changing consumer behaviours, will shape the industry’s future. The MPA report underscores the dynamic nature of the market and the critical importance of adaptability and strategic investment in driving growth across the region.
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Bill Ackman’s Pershing Square makes $64 billion bid to acquire Universal Music Group
Ackman pitches NYSE relisting plan as UMG board weighs unsolicited offer
The hedge fund has proposed a business combination that values UMG at €30.40 per share, representing a hefty 78 per cent premium to its current trading price. The offer includes €9.4 billion in cash alongside stock in a newly formed entity, with shareholders set to receive €5.05 per share in cash and 0.77 shares in the new company for each UMG share they hold.
Under the proposal, UMG would merge with Pershing Square SPARC Holdings Ltd and re-emerge as a Nevada-based entity listed on the New York Stock Exchange. The move is designed to boost investor visibility and potentially secure inclusion in major indices such as the S&P 500.
Pershing Square Capital Management ceo Bill Ackman argued that while UMG’s operational performance remains strong, its market valuation has lagged due to external factors. “UMG’s stock price has languished due to a combination of issues that are unrelated to the performance of its music business,” Ackman said, pointing to concerns ranging from shareholder overhang to delayed US listing plans.
Ackman also flagged what he sees as untapped potential in UMG’s balance sheet and a lack of clear capital allocation strategy. He added that the market has not fully recognised the value of UMG’s €2.7 billion stake in Spotify, alongside gaps in investor communication.
The proposed transaction would also result in the cancellation of around 17 per cent of UMG’s outstanding shares, while maintaining its investment-grade balance sheet. Pershing Square has said it will fully backstop the equity financing, with debt commitments secured at signing. The deal is targeted for completion by the end of the year.
UMG, however, has struck a measured tone. The company confirmed that its board has received the non-binding proposal and will review it with advisers. It reiterated confidence in its current strategy and leadership under Lucian Grainge, signalling no immediate shift in stance.
The proposal comes at a time when global music companies are navigating evolving investor expectations, streaming economics and capital allocation pressures. For Pershing Square, the bet is clear: sharpen the financial story, relist in the US, and let the music play louder in the markets.
Whether UMG’s board is ready to change the tune remains to be seen, but the spotlight on its valuation just got a lot brighter.
