Tag: Media & Entertainment

Australia – Nine has announced a major strategic realignment of its streaming and broadcast division, revealing a new leadership structure and operational framework aimed at driving growth, accelerating innovation, and strengthening its market position across free-to-air and subscription platforms.

The announcement, made by Amanda Laing, Nine’s Managing Director of Streaming and Broadcast, is part of the broader Nine2028 transformation program and follows the introduction of the company’s new Group Operating Model and the formal creation of the Streaming and Broadcast Division earlier this year.

Set to take effect from 1 July 2025, the restructure introduces a series of new senior roles overseeing key areas across Channel 9, 9Now, and Stan — marking the first time these brands will be managed under a unified leadership team.

Key appointments include:

  • Michael Healy, Executive Director – Entertainment: With four decades of experience in content creation, Healy will now oversee entertainment across both free and subscription services. His extensive understanding of Australian audiences and local storytelling will be central to programming strategies across all platforms.
  • Cailah Scobie, Executive Director – Entertainment Content Acquisitions: Scobie brings a strong background in both free-to-air and paid media, known for her negotiation skills and ability to secure high-performing content that drives both advertising and subscriber growth.
  • Fiona Dear, Executive Director – News & Current Affairs: Dear continues her leadership of Nine’s news and current affairs division, tasked with further transforming 9News and ensuring strong editorial performance across all broadcast and digital channels.
  • Brent Williams, Head of Sport Production: Sport remains a major investment pillar for Nine, and Williams will unify the production capabilities of Wide World of Sports and Stan Sport to optimise output and resources. Amanda Laing will also lead strategic initiatives across the wider sports business, focused on rights, advertising, and partnership growth.

Two additional executive roles are being created to support the division’s commercial and brand strategies:

  • Chief Strategy Officer – Streaming and Broadcast: Recruitment is underway for this new role, which will support strategic planning and execution across Nine’s suite of products.
  • Chief Marketing Officer – Streaming and Broadcast: A new marketing leader will be appointed to coordinate brand strategies across platforms and enhance audience engagement.

In a further shift, Nine’s State Managing Directors — Kylie Blucher (QLD), Clive Bingwa (WA), and Sean O’Brien (SA) — will now report directly to Amanda Laing. This realignment aims to support market-specific growth across Nine’s streaming and broadcast businesses in those regions.

Profit and loss accountability has also been redefined, with three executives overseeing the group’s core platforms:

  • Hamish Turner, Executive Director – Channel 9, 9 multi-channels and 9Now: Turner assumes financial and strategic responsibility for Nine’s free TV and streaming services.
  • Dan Taylor, Executive Director – Stan: Taylor continues to lead Stan, a key growth asset for the group, with full P&L accountability.
  • Tom Malone, Managing Director – Radio: Radio operations remain under Malone’s leadership, contributing revenue and EBITDA to the broader Nine Group.

Commenting on the changes, Laing said: “There is immense opportunity to drive growth for the Nine Group, and we are already building strong momentum. While our streaming and broadcast brands have each performed well independently, our greatest strength lies in how we bring them together under the power of the Nine Group.

“These changes are the first step in unlocking that potential. We’re fortunate to have some of the industry’s most talented leaders, and I’m excited to harness their experience as we move into this next phase.”

The new structure is designed to streamline decision-making, promote synergy across platforms, and align Nine’s strategic and operational efforts more closely with evolving audience and advertiser needs.

Geopolitical concerns dominate the news, but in the Asia-Pacific region, a more subtle yet significant shift is taking place: Consumers are taking control. Driven by a desire for authentic and reliable information, consumers across APAC are actively reshaping their relationships with brands and media, moving away from traditional sources they no longer fully trust.

The 2024 Edelman Trust Barometer underscores this trend, revealing that 64% of APAC residents believe journalists and reporters are deliberately misleading – a higher level of distrust than they hold for government or business leaders (59%). This proactive stance is particularly evident in Malaysia, where a remarkable 75% of the population distrusts media sources, signaling a region-wide demand for transparency and genuine connection.

In response, some institutions are trying to rebuild credibility. Singapore’s largest media network, SPH Media Trust, set up a dedicated fact-checking service aimed at combatting misinformation and positioning itself as a trusted source of truth. However, these efforts to reinforce institutional trust face an uphill battle as consumers increasingly seek alternative sources. This declining trust in traditional media is driving people to more personalized media havens: Channels that are digestible, personality-driven, and emotionally resonant. People are increasingly choosing opinionated commentary over impartial reporting, turning to creators that they feel understand them.

One of the clearest examples of this shift is the rise of comedy as a cultural barometer. In Malaysia, Nigel Ng, the stand-up behind the viral Uncle Roger persona, has expanded his comedic empire globally with a new sitcom in development at ABC Signature. Fellow Malaysian comedian Kavin Jay, known for his unapologetic humour and cultural commentary, had a Netflix special that ranked among IndieWire’s top 10 comedy specials.

In India, comedians like Varun Grover and Vir Das continue to tackle taboo and political topics through humour, drawing strong Gen Z and Millennial audiences seeking authenticity and boldness in commentary. In China, the relationship between feminist comedian Yang Li and brands that mainly target men resembles a public stress test for the limits of expression.

During the “Double-Eleven” shopping festival, Yang Li’s satirical remarks on a livestream sparked backlash from male audiences. The topic “Has Yang Li gone too far?” garnered over 2 million views on Zhihu, China’s Quora-like platform, with over 1,500 user posts. This highlighted the volatile intersection between creator voices and public opinion.

This craving for authenticity extends well beyond comedy into the continued success of podcasts. Across the region, and particularly in Australia, long-form audio is thriving. Daily news briefings like ‘The Quicky’ and ‘The Briefing’ by Mamamia, are redefining accessible current affairs. Sports and pop culture podcasts led by personalities like Hamish & Andy and John Graham attract massive listenership by combining entertainment with a trusted perspective. The pattern is clear: Consumers are moving from institutional commentary to conversational intimacy.

This preference for authenticity is also reshaping how people evaluate platforms themselves. Australia’s relationship with tech companies has become increasingly complex. In 2024, the country introduced a landmark ban on social media access for children under 16 to prevent exposure to toxic content, with Prime Minister Anthony Albanese declaring: “Social media is doing harm to our kids and I’m calling time on it.” In parallel, the government mandated that digital platforms pay for credible journalism, a strong defence of editorial independence. Still, creator-led credibility continues to rise, with 31% of Australians now citing celebrities and influencers as their primary news sources.

Yet, analogue media’s quiet resurgence should not be overlooked. In tightly regulated environments like China, state-run newspapers remain among the most trusted sources. In Japan, Nikkei is actively modernising its positioning, targeting younger readers with campaigns that promote its journalism as a tool for career growth. In December 2024, e-Nikkei became the first digital news outlet in Japan to surpass 1 million paid subscribers, a 13% year-over-year increase. This signals a renewed appetite for premium, trusted content.

All of this unfolds against a backdrop of intensifying digital deception. Across APAC, fraud incidents involving deepfake images or videos rose by 1,530% between 2022 and 2023, making it increasingly difficult to distinguish reality from fabrication. In this environment, trust is fragile, and signals of legitimacy are more important than ever. A recent Twilio survey found that 70% of APAC consumers are more likely to trust a brand’s communication if it includes a verification badge, and 57% say that branded text messages improve trustworthiness.

Ultimately, as the media landscape fractures, power is shifting toward tailored media ecosystems that feel more human and emotionally safe. For brands, this moment demands a fundamental shift in strategy: To move beyond traditional advertising and embrace personality-led insights, long-form storytelling, and content that resonates deeply, not just broadly.

In a post-trust environment, it is not just about truth; it is about relevance and resonance. Brands must become active participants in the conversations that matter to their audiences, collaborating with trusted creators and investing in platforms that prioritise authenticity and transparency. The future belongs to brands that can navigate this fragmented landscape with agility, empathy, and a genuine commitment to building trust.

This thought leadership piece is written by Aditya Kilpady, Regional Strategy Director, UM APAC

The insight is published as part of MARKETECH APAC’s thought leadership series under What’s NEXT in Marketing 2025, a multi-platform industry initiative which features marketing and industry leaders in APAC sharing their marketing insights and predictions for 2025 and beyond.

Singapore – With the second season of the HBO Original series ‘The Last of Us’ recently premiering on Max and HBO on April 14, Max launched a hyper-local campaign that engaged fans in the Philippines, Thailand, Indonesia, Malaysia, Singapore and Taiwan. Through pop-ups at local festivals and shopping malls, high-energy sports event takeovers and viewing parties, Max transformed everyday spaces and activities into immersive experiences across the region. 

Pop-up experiences brought the show to life, allowing fans to step into an inspired post-apocalyptic world of The Last of Us. From April 13-15, Max leveraged Thailand’s biggest water festival, incorporating themed pop-ups at the festival’s hotspots in Bangkok, attracting fans and the public through interactive activities and social media contests across three locations. 

Meanwhile, fans in the Philippines also had the opportunity to pose for photos at on-ground activations at BGC in Manila with a replica of a wrecked car from the show’s setting and a sari-sari store at the PBA Provincial Games, adding a local twist. From April 14–20, a themed setup was also constructed in popular mall, VivoCity in Singapore, where fans eagerly took part in themed quizzes and shared social moments.

Moreover, takeovers at sports events were also held in the Philippines and Taiwan. This comprised the Premier Volleyball League Finals on April 10, the PBA Provincial Games on April 26 in the Philippines and the final takeover set to take place on May 14 at the UAAP Volleyball Finals. In Taiwan, the takeover took place at Fubon Gradian Baseball Games from April 26–27. In addition, Max held premiere viewing parties for invited guests in Indonesia, Malaysia and Taiwan.

As part of the activation rollout, a striking out-of-home campaign across Southeast Asia and Taiwan included 3D billboards in Metro Manila’s BGC district, wrapped sky trains in Bangkok, an immersive mural art in Kuala Lumpur, and digital placements in the busiest districts in the region.

To fuel the campaign’s digital momentum, Max held social media contests, including one in Indonesia that invited fans to share their heartfelt responses on what they would do if the person closest to them was infected, inspiring user-generated content. 

Australia – As SBS celebrates its 50th birthday in 2025, the public broadcaster has launched a new campaign highlighting its distinctive position in Australian media.  The tagline, “We Go There”, recognises the broadcaster’s history of taking risks, breaking boundaries, and boldly treading where others won’t.

The provocative film that can only be viewed on SBS sits within a larger campaign, created by Droga5 ANZ, part of Accenture Song. Directed by Damien Shatford from The Sweetshop. 

The campaign includes creative executions across television, outdoor and digital that reinforce SBS’s role as the network that continually dares to push the envelope, in a landscape where other networks and streamers offer generic and often homogenised content.

Jane Palfreyman, chief marketing and commercial officer at SBS, said, “At SBS we know who we are and in our 50th year this unique campaign pays tribute to that heritage. We are a national broadcaster who is prepared to truly go there. To challenge, to inform, and to provoke with purpose.

She added, “We also know many Australians affectionately, if not jokingly, think SBS stands for Sex Before Soccer… and we’re okay with that. This campaign acknowledges that legacy, as well as the place of trust that SBS has built in the minds of millions of Australians. Amid the intense competition in the streaming sector, this campaign acknowledges there are still some TV shows that really stand out – and these can only be found on SBS On Demand.”

Jane also quipped, “While the creative is playful, clever and encourages audiences to reappraise our brand, we’ve also thought carefully about how we show the various creatives in this campaign, in line with our standards and audience expectations.” 

The campaign is spearheaded with a 60 second film so daring and so SBS, it can’t be played anywhere but SBS.

Moreover, the campaign is also complemented by a series of billboards that leave everything to the imagination, featuring bold headlines that hint at the inimitable content on SBS On Demand. The media strategy and planning is led by Hearts and Science.

Meanwhile, Tara Ford, chief creative officer at Droga5 ANZ, commented, “This campaign is more than just provocative—it has all the DNA of SBS. Every scene represents something you’ll see on the platform that you won’t see anywhere else. Even the format—creating an ad that can’t be seen everywhere —brings that idea to life.”

Singapore – CNN’s head of Asia Pacific, Ellana Lee, has been elevated to the newly created global role of group senior vice president, general manager for APAC, and global head of productions, overseeing a brand-new team at CNN that will handle all aspects of multi-platform sponsored content at the network alongside her existing editorial responsibilities.

Effective immediately, Lee’s expanded role will see her guide a new global productions team, focused on developing and producing sponsored content across all platforms, and see the creation of new roles in the United States to strengthen and expand the existing Features team, currently based across Atlanta, Abu Dhabi, Hong Kong, and London.

In a CNN career spanning 25 years, most recently as SVP, Managing Editor Asia Pacific, & Global Head of Features Content, Lee has pioneered its highly successful approach to feature content, including major initiatives such as ‘Call to Earth’.

Lee, as the most senior executive outside the United States, will continue to be based at CNN’s Asia-Pacific headquarters in Hong Kong. As head of the Asia-Pacific region, she will also continue to shape CNN’s editorial output there, with overall responsibility for its slate of award-winning programming as well as its roster of correspondents and newsgathering teams across eight editorial operations.

Mike McCarthy, managing editor at CNN Worldwide, said, “Under Ellana’s leadership, our Features team has consistently innovated, delivering award-winning, multi-platform, editorially robust and engaging feature content that has attracted commercial partnerships with some of the world’s most dynamic and successful brands.  She will now bring that experience, creativity and skill to bear across the network, working in tandem with our digital, TV, product, programming, marketing, communications, and commercial teams globally.”

Kuala Lumpur, Malaysia – Star Media Group Berhad has promoted Lydia Wang as its new chief operating officer, effective 1 March 2025.

Lydia brings with her over 30 years of experience across diverse industries, including finance, retail, telecommunications, and education, with the last 11 years dedicated to SMG. Prior to her promotion, she served as SMG’s chief revenue officer, where she played a key role in driving corporate growth and leading business transformation initiatives. 

She is also the founder of the Asia ESG Positive Impact Consortium (AEPIC), the first of its kind in Asia, which unites media leaders from Malaysia, Indonesia, and the Philippines to champion sustainability through media. 

Additionally, she has been serving on the Council of the Malaysia Digital Association (MDA) since 2020 and will continue her tenure through 2026, advocating for digital transformation and innovation within the industry. 

Speaking on her promotion, Lydia said, “I am honoured to take on this role at such a pivotal time for Star Media Group. As the media landscape continues to evolve, I look forward to working closely with our talented teams to drive innovation, enhance operational efficiencies and unlock new growth opportunities. Together, we will build on SMG’s strong legacy, deepen audience engagement and deliver greater value to our stakeholders.”

Meanwhile, Chan Seng Fatt, CEO at Star Media Group, commented, “We are pleased to announce Lydia’s appointment as chief operating officer, a role that capitalises on her extensive experience and strategic acumen. Her leadership will be instrumental in driving SMG’s growth path, strengthening revenue diversification and unlocking new avenues for expansion. With a focus on operational efficiency, disciplined cost management and profitability, she will spearhead innovation, amplify value creation and reinforce SMG’s position.”

He added, “Her appointment underscores SMG’s commitment to innovation, operational excellence and business growth, ensuring the Group remains at the forefront of an evolving media landscape.”

Kuala Lumpur, Malaysia – KC Global Media has appointed Lee-Asha Dukhie as its new director and head of digital marketing. She will be responsible for overseeing all digital marketing efforts, working closely with Serious Media, the company’s marketing agency, to shape the company’s digital strategy across the organisation’s social media platforms, and digital properties.

With years of experience in advertising sales and marketing for both digital and print media, she will be at the forefront of driving innovative digital campaigns, expanding KC Global Media’s digital footprint, and connecting with audiences across digital and social platforms. 

Combined with a degree in psychology, this unique blend of expertise enables Dukhie to analyse audience behavior, anticipate trends, and design strategies that effectively connect with viewers on a personal level. 

George Chien, co-founder, president and CEO of KC Global Media, said, “We’re excited to welcome Lee-Asha to the team. We spent the past couple of years stabilizing our linear business and now is the right time to have dedicated resources focusing on our digital and social platforms. Lee-Asha brings a wealth of expertise in digital growth, content strategy, and audience engagement, which will be instrumental in advancing our digital marketing efforts and ensuring our content resonates with audiences in the region. Bottomline, she will ensure we are relevant.” 

He added, “We are also thrilled to extend our successful partnership with Serious Media as we look to expand our marketing efforts. The addition of a new director and head of Digital Marketing and the strengthened partnership with Serious Media mark important milestones for KC Global Media as the company continues to enhance its global presence and lead in the entertainment industry.”

Lee-Asha’s appointment follows the recent launch of KC Global Media’s distribution arm as an effort to expand its content sales and partnerships beyond the region. Through this, the company reaffirms its dedication to storytelling, showcasing culture, and contributing to global entertainment’s future. As part of its launch, KC Global Media partnered with production companies Mocha Chai Laboratories, Empire of Arkadia, and Monochromatic Picture.

The company had also announced a series of key promotions within its leadership team, designed to enhance strategic capabilities and drive revenue growth across the region. The promotions include Shirlene Wu as vice president and general manager for Taiwan & Greater China, Edith Goh as vice president of revenue and head of media and sponsorship sales, Bhuvnesh Kanwar as vice president of revenue and head of FAST (free ad-supported streaming television), and Bonnie Wiryani as vice president of revenue and head of content sales.

Singapore – A new report from MAGNA has indicated that global media owners’ ad revenues have reached US$933b in 2024, seeing up 10% in increase in line with mid-year expectations. For the media owners, the growth is driven by a combination of factors including cyclical events, digital innovation, and industry shifts.

Traditional media owners (TMO), encompassing television, radio, publishing, out-of-home, and cinema, saw a remarkable 4% increase in ad revenue, reaching US$274b. This marks the strongest performance in 14 years, excluding the post-COVID recovery of 2021. Key factors contributing to this growth include a record number of cyclical events like elections and major sporting events, as well as a 12% surge in non-linear ad sales, particularly ad-supported streaming, which now accounts for 25% of total TMO ad revenue.

Meanwhile, digital pure players (DPP), including search, retail, social, and short-form digital video, experienced even more substantial growth, with ad sales increasing by 13% to US$659b. This growth was fueled by strong performance in search/commerce ad formats, short-form video, and social media. Organic growth factors such as increased competition in e-commerce, the rise of retail media networks, advanced AI targeting, and improved monetization of short vertical videos further propelled DPP growth.

While the global ad market experienced a strong first half, growth slowed in the second half. However, the US market remained the largest, accounting for US$380b, followed by China at US$155b. Key dynamic markets in 2024 included France, the US, India, and the UK, while growth was more subdued in Japan, Canada, China, Germany, and Australia.

Industry-wise, CPG/FMCG, Government, Betting, and Finance were among the fastest-growing verticals, while Tech recovered and Travel slowed down. In 2025, MAGNA expects Auto, CPG, and Tech to be dynamic sectors.

Moreover, the ‘Big Three’ digital media owners, Google, Meta, and Amazon, continued to outperform the market, with ad revenue growth of 11%, 22%, and 21%, respectively. Their combined market share reached 51% of global ad revenue and 61% outside of China.

Looking ahead to 2025, the report forecasts the global ad market to grow by 6.1%, approaching the trillion-dollar mark.

Vincent Létang, EVP of global market research at MAGNA, said, “The strong growth of advertising spending in 2024, despite a challenging economic environment, was of course driven by an unusually high number of major cyclical events but, more fundamentally, media innovation is what attracts a growing share of marketing budgets into advertising formats.” 

He added, “Digital pure-play ad formats (search, retail search, social and short form video) are fueled by the rise of commerce media redirecting billions of dollars from trade marketing into digital formats. The growing reach of ad-supported CTV streaming makes cross-platform long-form video more attractive to advertisers as it now offers scale on top of addressability and brand safety. With no major cyclical drivers in 2025, MAGNA expects ad spend growth rates to slow, but the organic factors will remain at work, stabilizing TMO ad revenues, and growing DPP ad sales.”

Singapore – Sony Group is reportedly in talks to buy Kadokawa, the Japanese media conglomerate giant, according to a recent report from Reuters. In it, two sources familiar with the matter confirmed ongoing talks between the two parties.

The report also notes that should the talks be successful, a deal can be signed in the coming weeks.

Should the deal proceed, this will make Sony the handler of a large chunk of Japanese media offerings on a global scale, which encompasses physical and digital publications, game development, animation studios, as well as other related overseas subsidiaries and owned entities.

In 2021, Sony’s anime distribution service Funimation completed the acquisition of fellow anime streaming service Crunchyroll from global telco network AT&T for a disclosed amount of US$1.175b.

Since then, the company has expanded its reach to more markets globally, including in Asia-Pacific. Earlier this year, Crunchyroll made its move in Indonesia to launch a localised campaign to celebrate more localised content for Indonesian anime fans.

In a recent exclusive interview with MARKETECH APAC, Akshat Sahu, senior director of marketing for APAC at Crunchyroll stated then that the platform’s expansion is in response to growing appetite for anime content in region–albeit to increasing competition from other streaming platforms–local and international.

“We’re ramping up our expansion to meet this demand by bringing fans closer to the anime they love. Our aim is to create a localised experience that caters to the unique cultural and consumption preferences of each market. By expanding further into Southeast Asia, we aim to provide fans with seamless access to an extensive collection of anime and introduce them to new and exciting titles at the same time as they stream in Japan,” he said.

Manila, Philippines – Media company ABS-CBN has announced the retrenchment of 100 of its employees, accounting for the company’s 3% of its workforce.

The company has confirmed said news to MARKETECH APAC when reached out, citing the global decline in pay TV business, as well as the TV industry being hurt by lower consumer spending translating into lower advertising spends.

“We are committed to providing those affected with full benefits and support, and are deeply grateful for their many years of service to the company and to the public,” ABS-CBN said in a press statement.

Nonetheless, ABS-CBN has highlighted how its TV ratings continue to improve, as well as its film studio Star Cinema producing two box office-hitting titles ‘Unhappy for You’ and ‘Rewind’. 

It has also highlighted that its music business has gotten a strong boost from the popularity of girl band BINI–which has been notable lately for their brand collaborations with local brands like Jollibee, Modess, Surf, Sunsilk, amongst others.

ABS-CBN has struggled to maintain its revenue since its franchise on free TV and radio has been revoked by the National Telecommunications Commission (NTC) under the administration of President Rodrigo Duterte. Following that, the network has laid off more than 4,000 employees as it affected multiple verticals of the media company.

In 2023, its radio channel TeleRadyo also ceased operations, with its 630 kHz frequency taken over by a new ‘TeleRadyo Serbisyo’ done in partnership with ABS-CBN and Prime Media Holdings.

The media industry in the Philippines has been experiencing difficulties as well, which resulted in shutdowns like of CNN Philippines in January this year.