APRIL 2019: While easier access to mainland China remains at the top of international entertainment companies’ lists of things to pray for and eagle eyes continue to be kept on changing regulations, gains are being made outside of thrill rides and blockbuster movies, and the quest for hap

APRIL 2019: Korea’s broadcasters and drama producers are waging epic battles daily in a high-stakes environment with stronger competition, exploding slots, and soaring production budgets.

APRIL 2019: Korean digital series, Wassup Man, has rewritten some of the rules for digital models.

APRIL 2019: Asia closed 2018 with 337 formats on air or commissioned across the region. Thailand was the biggest winner, topping the list with 70 titles. Vietnam came in second, but the win is a bit hollow given the volume of previous years.

Netflix premiered Taiwan’s Green Door globally at the weekend (16 March), saying the addition of the Mandarin title to its global slate increased “diversity and breadth of content”.

Korea’s epic drama battles continue, with intense competition among an increasing number of channels and expanding drama slots. On any given week, more than 20 premium long-form dramas compete for attention.