In August this year, India’s two ratings bodies – Broadcast Audience Research Council (BARC) and TAM Media Research – merged to create a single entity with measurement meters covering roughly 136,000 of the 800 million Indians watching TV.

Asia’s biggest, shiniest and most expensive regional formats year ever is drawing to a close. Other than unprecedented, is there a word or a phrase that sums up the year in regional formats?

ContentAsia turns 10 in 2016. That’s 228 newsletters by our birthday on 6 March 2016. 55 print magazines, plus specials and supplements focusing on kids, docs and formats. 10 issues of the annual The Big List directory. Squillions of dailies. Zillions of words. Online. Mobile. In print.

Hong Kong’s PCCW starts sharing its streaming love around the region from 2016 with a mobile platform that has a major advantage over everyone else in Asia with a mobile wing and an OTT prayer – rights to a whole lot of Korean drama that it is offering for free, some with subtitles eight hours af

Streaming platform Viki has picked up global rights to almost 100 hours of Malaysian scripted content from Kuala Lumpur-based production house Primeworks, ramping up competition for Asian content as a slew of regional on-demand streaming platforms – including Netflix – prepare to do battle.

China’s streaming gold rush moves into 2016 at full tilt, sweeping across every genre, carrying thousands of hours of U.S. content in its wake, and mirroring hyper-activity in the feature film production space.