Tag: entertainment

  • Netflix Replaces Content Head Bela Bajaria with Peter Rice Following 1,000 Job Cuts

    Netflix Replaces Content Head Bela Bajaria with Peter Rice Following 1,000 Job Cuts

    Netflix named former Walt Disney television chairman Peter Rice as its chief content officer on Thursday, replacing Bela Bajaria a day after cutting 1,000 jobs.

    The management overhaul follows a six per cent reduction in global headcount, marking the company’s steepest round of layoffs since 2022.

    Rice assumes responsibility for Netflix’s worldwide programming slate on October 26. His remit covers scripted and unscripted television series, feature films, and live broadcasts across all geographic territories. Rice previously ran Walt Disney Television and served as chairman of general entertainment at The Walt Disney Company after earlier leadership roles at 21st Century Fox.

    Executive turnover and restructuring

    Bajaria exits after ten years at the company. She joined Netflix in 2016 following her departure from NBCUniversal, where she ran Universal Television. Netflix co-chief executive Ted Sarandos initially hired her to build an unscripted television slate, alongside licensing deals and co-productions with external studios.

    Her rise through the executive ranks accelerated in 2020 when she became head of global television following the departure of Cindy Holland. Netflix promoted Bajaria to chief content officer in January 2023, placing her in charge of commissioning budgets that produced breakout global titles including Squid Game, Bridgerton, Wednesday, Beef, and Stranger Things. Film projects developed during her leadership included KPop Demon Hunters and Frankenstein.

    The content department restructuring reaches beyond top leadership. Netflix dismissed film vice president Doug Belgrad and film director Sheroum Kim this week as part of the broader staff reduction.

    Content economics and engagement pressure

    Streaming operators across Asia-Pacific face tightening production discipline as subscriber growth slows and returns on commissioned originals decline. Big-budget regional scripted productions carry high upfront risk, forcing platforms to balance expensive local prestige drama with low-cost unscripted formats and live sports broadcasting.

    Platforms such as YouTube and TikTok continue to siphon viewer minutes with user-generated video that costs nothing to produce. That shift leaves subscription video providers carrying heavy production balance sheets at a structural cost disadvantage against ad-supported social video platforms.

    Declining awards and shifting focus

    Prestige recognition for Netflix originals dropped sharply heading into the executive change. The service collected 16 Primetime Emmy Awards in 2026, down from 30 wins in 2025 and well below the record 44 awards it secured in 2021. The tally represents the platform’s smallest Emmy total in ten years.

    Sarandos credited Bajaria with broadening the company’s catalogue into unscripted programming and live events, including multi-year broadcast agreements with the NFL and WWE as well as live specials such as The Roast of Tom Brady.

    “I want to thank Bela for a decade of dedication, innovation, creativity and leadership,” Sarandos said in a statement.

    The schedule ahead

    Rice takes direct operational control of the programming pipeline on October 26 as Netflix finalises its production slate and capital allocation targets for 2027.

  • Sega Shifts Strategy from Selling Games to Building Transmedia Ecosystems

    Sega Shifts Strategy from Selling Games to Building Transmedia Ecosystems

    In October 2026, Sega outlined a shift in its commercial strategy toward multi-channel intellectual property ecosystems, moving away from a traditional reliance on packaged video game releases to drive core revenue across consumer markets.

    President Shuji Utsumi confirmed the Tokyo-based entertainment company is deploying films, retail licensing agreements, and direct fandom engagement to anchor franchise values across physical and digital storefronts.

    Building beyond standalone software

    The transmedia push prioritises cross-platform character exposure over single-title release schedules. Film adaptations and character merchandise now serve as primary customer acquisition channels rather than secondary promotional spin-offs, feeding consumer demand directly into software catalogues, physical retail merchandise, and digital brand platforms.

    Executive leadership under Utsumi is aligning internal development studios with external film distributors and consumer product licensees. The operational framework treats each intellectual property portfolio as an enduring franchise ecosystem designed to retain audience spend across multiple entertainment touchpoints.

    The read across for Asian licensing and retail

    For toy manufacturers, apparel licensees, and retail buyers across the Asia-Pacific region, Sega’s multi-channel pivot establishes continuous consumer engagement throughout product life cycles. Traditional video game merchandising relied on volatile spikes during hardware generation launches or standalone sequel debuts, leaving shelf space vulnerable during development lulls.

    A coordinated release calendar spanning theatrical distribution, streaming content, and physical consumer goods reduces operational inventory risks for commercial partners. The challenge for Sega lies in maintaining franchise quality across external licensing partners while protecting brand equity from overexposure in competitive consumer categories.

    Competitive pressure across regional peers

    Japanese entertainment conglomerates are systematically consolidating character portfolios to defend consumer wallet share against Western entertainment groups. Regional rivals such as Bandai Namco have accelerated cross-border licensing expansions across Southeast Asia to insulate balance sheets from domestic demographic contraction.

    Sega’s transmedia rollout establishes the operational benchmark for its upcoming pipeline of legacy properties, with management tracking audience engagement and cross-category licensing conversions as the next multi-platform releases enter international markets.

  • Netflix Expands Asia Production Budgets and AI Tools to Tackle Talent Bottlenecks

    Netflix Expands Asia Production Budgets and AI Tools to Tackle Talent Bottlenecks

    Netflix deployed artificial intelligence across 300 titles as it expanded production spending in Japan to bypass local network constraints. Company executives confirmed the strategy in October 2026.

    The streaming platform offers higher budgets and longer development schedules than domestic terrestrial broadcasters to secure original projects in Tokyo. That spending push culminated in the September 17 debut of “Plastic Beauty”, an eight-episode drama probing Japan’s cosmetic surgery sector produced under content executive Shin Takahashi.

    Takahashi served as executive producer on the series. Netflix aims to commission local stories that traditional networks avoid, but an acute shortage of technical production crew across Japan continues to limit project turnaround times.

    Deploying Artificial Intelligence Across 300 Productions

    To ease scheduling bottlenecks and rein in technical costs, the streaming service embedded artificial intelligence workflows across roughly 300 productions in its global catalog. Lee Sung-gyun, senior director of APAC production at Netflix, detailed the deployment at the Busan International Film Festival during an industry panel co-hosted with the Motion Picture Association.

    “Across around 300 Netflix titles, AI has actually been put to use in various ways,” Lee said. Crew teams apply machine learning to pre-visualization, concept art for production design, advance set dressing, editorial assembly, and visual effects.

    Eyeline, the proprietary visual effects studio owned by Netflix, demonstrated the technology. The studio runs hybrid production pipelines that blend live-action photography with generative digital tools. On the Netflix India title “Glory”, production teams used generative visual effects to build extensive crowd sequences that tight delivery dates would have otherwise eliminated.

    Production Cost Pressures and Talent Shortages

    Rising production expenses in Asia force entertainment operators to rethink line-item budgets. In Seoul, director Kang Yoon-sung estimated that generative tools cut 30 percent to 40 percent off standard feature budgets during pre-production testing on his naval action project “The Gulf of Aden”. Kang tested software from Chinese vendor Kling to output high-resolution footage at 4K resolution and 10-bit color, simplifying physical shooting schedules.

    For consumer platforms and production partners across Japan and South Korea, cost deflation at the technical layer shifts commercial use toward intellectual property owners. Studios adopting hybrid generative tools can greenlight complex scripts that previously failed financing hurdles. The bottleneck in Tokyo remains physical labour rather than capital, as terrestrial networks and streaming operators compete for a finite pool of directors, editors, and camera operators.

    Traditional Japanese networks operate on compressed broadcast cycles with lean budgets, leaving little margin for extended post-production. Long production runs bankrolled by streamers differentiate subscription products, but prolonged filming schedules tie up scarce local crew for months at a time.

    Building Out Original Regional Content

    Platform expansion follows a multi-year effort by streaming services to lock down proprietary Asian programming. In October 2025, Kang released “Run to the West”, billed as South Korea’s first feature to apply artificial intelligence across its full production run, co-directing with Kwon Han-seul to replace standard computer graphics.

    Streaming operators across the Asia-Pacific region now treat local drama as their primary customer acquisition engine. Netflix, Disney+, and local rivals continue to bid up regional script rights while investing in technical training workshops through programs such as Creative Asia.

    Next Steps for Asian Production Pipelines

    Netflix is monitoring viewer retention and completion data for “Plastic Beauty” to calibrate its next slate of Japanese live-action commissions. The company plans further technical demonstrations of its Eyeline hybrid visual effects pipeline at regional trade events through late 2026, targeting broader adoption among Japanese and South Korean production partners.

  • Universal Studios Japan to Expand Osaka Park for First Time with 30,000-Square-Metre Site

    Universal Studios Japan to Expand Osaka Park for First Time with 30,000-Square-Metre Site

    USJ will expand Universal Studios Japan in Osaka for the first time since 2001 after securing a 30,000-square-metre plot from the city government. The transaction adds roughly 5.5 per cent to the existing 540,000-square-metre footprint, which drew 16 million visitors in fiscal 2024.

    City officials confirmed the municipal government will lease the plot on the northern edge of the park to the operator. USJ approached the city in April 2026 to negotiate long-term access, aiming to build new attractions that increase visitor capacity.

    Expanding the Waterfront Footprint

    Nippon Steel currently leases the 30,000-square-metre parcel and will return it to the city in June 2027. Osaka Mayor Hideyuki Yokoyama backed the transaction as part of a broader municipal effort to revitalize the Osaka Bay waterfront district.

    Theme park operators across Asia are adding real estate to capture rising international tourism flows, competing directly with major resort expansions in Tokyo, Hong Kong and mainland China. In Osaka, physical boundary constraints have long limited USJ to redeveloping internal zones rather than adding raw land.

    Next Steps Toward the 2028 Lease

    Before construction can begin, USJ is running environmental surveys to test for soil contamination across the industrial site. The final lease contract between the municipal government and the park operator is scheduled for completion in 2028.

  • France Prepares Saudi-Backed Deal for Japanese Dragon Ball Theme Park

    France Prepares Saudi-Backed Deal for Japanese Dragon Ball Theme Park

    French regional authorities are preparing to sign an agreement with Saudi investors to construct a massive amusement park based on Japan’s iconic Dragon Ball franchise.

    The project targets a development footprint comparable to Disneyland Paris, backed by capital from a Saudi investment company.

    Valerie Pecresse, head of the Ile-de-France regional government, confirmed that French officials spent 18 months structuring the proposal ahead of bilateral talks in Paris. Talks between French President Emmanuel Macron and Saudi Crown Prince Mohammed bin Salman at the Elysee Palace anchored the negotiations, with the entertainment park forming part of a broader package of commercial accords.

    Site selection northwest of Paris

    Plans for the venue point to Courdimanche, a municipality northwest of the French capital. While officials have not disclosed total capital expenditure, the scale required to match major European destination parks typically demands billions of euros in infrastructure, ride engineering, and hospitality real estate.

    Licensing Japanese intellectual property for overseas locations has accelerated across the entertainment industry. Bandai Namco and affiliated Japanese rights holders have increasingly monetised manga and anime catalogues through physical retail, location-based entertainment, and global tourist hubs.

    Sovereign capital and Japanese entertainment assets

    Gulf investment entities continue to funnel capital into global media and interactive entertainment properties, diversifying state portfolios away from hydrocarbons. Saudi Arabia previously announced its own dedicated Dragon Ball park at the Qiddiya development project outside Riyadh, illustrating a focused campaign to secure long-term rights around Japanese pop culture brands.

    European operators face shifting consumer demand as audiences seek immersive, single-franchise destinations over traditional mixed-attraction venues. Commercial agreements spanning the site purchase, planning permits, and formal construction timelines remain subject to final sign-off following the bilateral summit.

  • Chiikawa Film Surpasses ¥10 Billion at Japanese Box Office

    Chiikawa Film Surpasses ¥10 Billion at Japanese Box Office

    Japan’s animated feature “Chiikawa the Movie: The Secret of Mermaid Island” surpassed ¥10 billion ($63 million) in domestic box-office receipts within 30 days of its July 24 debut.

    The release drew 7.66 million cinema admissions through August 23 across 447 theaters nationwide, including 65 IMAX screens. That run puts the title among the highest-earning theatrical releases in the country this year.

    Opening-day records and theatrical reach

    Directed by Kei Oikawa, the production is adapted from the character franchise created by the artist Nagano, which started on social media platform X in 2020. The story follows the title character alongside companions Hachiware and Usagi as an island camp excursion leads to an encounter with a sea creature named Siren.

    Commercial momentum built immediately on release. The film collected ¥990 million on its opening day alone, registering the seventh-largest first-day gross recorded at the Japanese box office. Revenue across the opening three-day weekend reached ¥2.24 billion.

    Expansion into interactive screening formats

    Character merchandise and spin-off media remain significant drivers of consumer spending across East Asian retail markets. For Japanese entertainment operators, converting short-form web comic properties into multi-billion-yen cinema franchises delivers substantial downstream demand for licensed goods, retail pop-ups, and brand collaborations.

    Exhibitors are now widening screening formats to sustain attendance into the autumn. The picture enters 4DX motion-seat auditoriums on September 5. Participating cinemas will then host singalong screenings in five prefectures on September 11, followed by synchronized light-stick events scheduled for September 23.

  • Zee Entertainment Sues Nykaa for Alleged Copyright Breaches in Instagram Reels, Seeks $210k in Damages

    Zee Entertainment Sues Nykaa for Alleged Copyright Breaches in Instagram Reels, Seeks $210k in Damages

    Zee Entertainment, a major Indian media conglomerate, has taken legal action against Nykaa, a prominent fashion and beauty retailer. The lawsuit accuses Nykaa of utilising Zee’s copyrighted music in Instagram reels as a marketing strategy for their products, a move that allegedly infringes on Zee’s licensing agreement with Meta Platforms. Zee Entertainment is seeking damages of US$210,000 for this alleged copyright violation.

    The Case Background

    The suit, filed in the Delhi High Court on April 3, contends that Zee’s licensing deal with Meta Platforms permits individuals to incorporate Zee’s music into their Instagram posts for non-commercial purposes. However, Zee alleges that Nykaa exploited several of its copyrighted songs in Instagram reels to promote products to its vast follower base.

    According to the lawsuit, Zee identified 12 specific Instagram reels where Nykaa purportedly used Zee’s licensed music in its product promotional posts. The court documents, while not publicly available, reportedly include screenshots from these reels as evidence of the alleged copyright infringement.

    During an initial hearing, Nykaa’s legal team informed the court that the 12 disputed links had been removed. The lawsuit documents, which amount to more than 900 pages, assert that Nykaa utilised Zee’s music “without obtaining any permissions/authorisations.”

    Zee is requesting the court to grant INR 20 million (approximately US$209,742) in damages to compensate for Nykaa’s alleged illicit use of its music.

    The Potential Impact

    Both Zee and Nykaa are major publicly traded entities in India’s entertainment and retail sectors, respectively. Legal observers suggest that the resolution of this case could potentially have broader repercussions.

    Aditya Gupta, a partner at Ira Law, pointed out that marketing departments frequently access content from music libraries without fully understanding the specific terms and conditions laid out by platforms like Instagram. He suggested that this case could offer much-needed clarity on the issue.

    Questions & Answers

    What is the basis of Zee Entertainment’s lawsuit against Nykaa?
    Zee Entertainment alleges that Nykaa used its copyrighted music in Instagram reels as a marketing strategy for their products, in violation of Zee’s licensing agreement with Meta Platforms.

    What is the requested compensation in the lawsuit?
    Zee Entertainment is seeking damages of US$210,000 against Nykaa for the alleged copyright infringement.

    What implications could this lawsuit have?
    Since Zee Entertainment and Nykaa are significant players in their respective sectors, the resolution of this case could set a precedent and offer clarity regarding the use of copyrighted music in social media advertising.

  • Luxury airline plans to give select passengers a Vision Pro to use as in-flight entertainment

    Luxury airline plans to give select passengers a Vision Pro to use as in-flight entertainment

    At least one airline is planning on offering the Apple Vision Pro to some passengers as part of its in-flight entertainment offerings. Beond is a Maldivian airline that flies to five destinations and calls itself the world’s first “premium leisure airline” with business class service that includes gourmet meals, seats that fold down completely allowing passengers to sleep more comfortably during a flight, and soon, in-flight entertainment led by the Apple Vision Pro.

    In a press release dated Thursday, Beond said that it will start  offering the Vision Pro to select customers on its flights to the Maldives. Beond’s fleet has just doubled to two after the airline took possession of its second jet and in the middle of this year, it will start flights from Milan, Dubai, and Bangkok to the Maldives.

    Tero Taskila, Beond’s Chairman and CEO, said, “The Apple Vision Pro will transform the inflight entertainment experience, and we will be first to offer it to select passengers. In addition to our existing and ever-growing library of inflight content such as movies and games, Beond will showcase stunning resort destinations and activities in the Maldives. We are working now with partners in the Maldives to prepare truly amazing footage.”

    The executive continued, “The inflight experience will build anticipation for passengers before they arrive in the Maldives. Offering the Apple Vision Pro is another step in our vision of delivering a premium travel experience to our customers, from the start to finish of their journey. We’re proud to be the first airline to deploy the technology.” The press release didn’t mention how many Vision Pro units would be aboard each flight, nor did it mention how the airline would determine which passenger(s) would get the opportunity to don the headset.

    Now that Beond has become the first airline to announce plans to offer the Vision Pro to passengers, we could see the larger commercial airlines add the Vision Pro to their in-flight entertainment offerings. Considering the number of larger capacity planes that airlines could order the headset for, Apple could get a windfall.

  • Apple brings its streaming service to Comcast devices in the US

    Apple brings its streaming service to Comcast devices in the US

    The partnership between Apple and Comcast enters a new era, as the Cupertino-based giant is bringing its streaming service to Comcast’s customers. In a joint statement earlier this week, the companies revealed that Apple TV+ will be available Comcast’s various platforms in the US.

    Starting this week, Apple TV+ will be available on Xfinity X1, Xfinity Flex, and XClass TV, but all eligible devices will be getting the streaming service in the coming days. The move follows Apple TV+’s launch on Sky devices like Sky Q and Sky Glass in the UK and Europe back in December.

    Furthermore, Comcast announced that between March 15 and March 21, its customers will benefit from a special offer, as Apple will provide Xfinity users with a preview of some of its most popular Apple TV+ original series and films across X1, Flex and Stream, no sign-up or sign-in required.

    Additionally, Xfinity customers will be able to watch the first seasons of many of Apple TV+’s popular shows, as well as the Apple Original film “Greyhound.”

    It’s worth noting that Xfinity customers who aren’t Apple TV+ subscribers are eligible for a three-month free trial of Apple TV+ when they sign-up via their Xfinity device by April 25.

    The newly added Apple TV+ service can be accessed by Xfinity customers by saying “Apple TV+” into the voice remote or by saying the name of a desired title from the streaming service.

  • Volvo And Google Extend Partnership For VolvoCars.OS

    Volvo And Google Extend Partnership For VolvoCars.OS

    Volvo and Google have announced that they are extending their partnership for Android Automotive which will not hook into a new user experience that the Swedish brand is developing called VolvoCars.OS. VolvoCars.OS uses an assortment of operating systems be it Android Automotive, QNX, and Linux. But the big deal is that it will hook into the cloud, or Android Automotive in its electric cars, and will also have a new front end for in-car displays.

    This is a more integrated approach mirroring what Google is doing with its other platform – wearOS on the smartwatch platform which is now merging with Samsung’s Tizen OS or even on the phone with its partnership with Reliance Jio in India for the Jio Phone Next. It is integrating more closely with OEMs and creating a more unique and customized experience.

    Of course, on the car, especially on Volvo’s cars, which are known the world over for their safety. This new UI is going to optimize safety. As always, this starts with a high-resolution infotainment screen and even a heads-up display, and everything will be available through voice, embedding the Google Assistant at the heart of the experience. Volvo and Google are already doing this, but what they will probably end up making is something more unique for Volvo than something stock that makes every Android Automotive car feel the same.

    “Our teams have spent a lot of time with Google to further develop and improve our user experience for the next generation of Volvo Cars,” said Henrik Green, chief technology officer, Volvo.

    “Especially in terms of safety, serenity, and simplicity, we have made great strides thanks to a deeper integration of design and technological development. We are convinced that it will allow us to create even better Volvo cars and set a new industry standard,” he added.

    Of course, these cars will also integrate better with mobile phones and the phone will act like a key leveraging a car key feature that Google unveiled at Google IO earlier this year. Volvo will also have an app that will connect you to everything else that comes with owning a modern electric car, the company claims in an official release.

    It is building features for paying for charging and connecting the with home devices and also pre-cooling and preheating the vehicle remotely. All these cars will also support OTA updates, but that’s something that has become a standard-issue these days with connected cars.

  • Vietnam tops world in growth of entertainment apps

    Vietnam tops world in growth of entertainment apps

    Vietnam was the world’s fastest-growing market for entertainment-based mobile apps last year, fueled by demand for video streaming services.

    Its growth score was 44.96, significantly higher than the global average of 24.27, according to a report by German mobile measurement firm Adjust. The report assessed data from nearly 3,500 apps released in 2018 and 31 countries based on four industry verticals, e-commerce, entertainment, gaming, and utilities.

    Adjust’s Mobile Growth Map uses the growth score, a new metric it developed, to chart the rise of apps in global markets. It is calculated by dividing the total app installs per month by the number of monthly active users for each vertical and country to reveal the rate of growth.

    The growth of entertainment apps in Vietnam was fueled by the demand for video streaming services, the report said. The country was seeing a trend of people switching from traditional TV to over-the-top media services which allowed them to watch movies and other shows online. Video streaming services, karaoke and music apps engaged users for long stretches of time, and presented an opportunity for diverse, relevant advertising, the report said. Russia was second behind Vietnam with a growth score of 44.21, followed by Thailand (36.61) and Colombia (34.87).

    Vietnam had also experienced robust growth in gaming apps with a growth score of 51.40 against the global average of 42.85 to place sixth in a list topped by Colombia.

    “The Asia Pacific is a perfect place to soft-launch a new app without the heavy lifting of full localization. Indonesia, Singapore and India, as well as Vietnam, Myanmar and Thailand represent great opportunities.”

    Vietnamese spend an average of four hours a day on their smartphones, 65 percent of that time on apps, according to a survey done last July by HCMC market research firm Q&Me. Around 64 million people, or over half of the country’s population, are online.

  • Porsche To Use Holoride’s Virtual Reality Tech To Keep Rear Passengers Entertained

    Porsche To Use Holoride’s Virtual Reality Tech To Keep Rear Passengers Entertained

    Porsche has collaborated with Munich-based entertainment firm Holoride to come out with a special Virtual Reality (VR) based entertainment device for rear passengers. Recently unveiled at the Start-up Autobahn Expo Day, the immersive virtual entertainment tech uses a VR headset with sensors, which is paired to the vehicle so that its content can be adapted to the car’s driving movements in real-time. With this new tech, the German luxury and sports carmaker is trying to show what entertainment could be like in the future for the backseat passenger in a Porsche.

    How this device essentially works is, suppose the car is being driven around the curve, the virtual vehicle that the passenger is traveling in, let’s say, for example, a space shuttle, will also change direction. The company says that this results in a highly immersive experience, which significantly reduces the symptoms of motion sickness. Although still in prototype stage, Porsche says In future, the system will also, for example, be able to evaluate navigation data to adapt the length of a VR game to the calculated duration of the journey. This technology can be used to integrate other entertainment services such as watching a film or even virtual conferences, the applications are many. Also, as Holoroid has an open platform approach, car manufacturers and content producers can customize the content to adapt to driving time, motion, and context.

    Nils Wollny, CEO of Holoride founded the entertainment tech start-up at the end of 2018 with his partners, Marcus Kuhne and Daniel Profendiner. Using the Start-up Autobahn platform, the up-and-coming company has now shown that their “holoride” software works seamlessly with manufacturers’ vehicle data for motion-synchronized, real-time generation of virtual reality (VR) and cross-reality (XR) content.

    Porsche will have the new VR technology on display and to experience at the upcoming Frankfurt Motor Show, from September 20, 2019. Under the motto “Next Visions. Change the Game – Create tomorrow”, Porsche is inviting innovators and partners to the motor show to discuss the future of mobility.

  • Nintendo makes comeback in Korea with Switch

    Nintendo makes comeback in Korea with Switch

    Nintendo, the Kyoto-based game company, returned to Korea. After almost disappearing over the past decade in the storm of mobile and online games, it is returning to the market with Switch, a retro console that marries the latest technology with old favorites, like Pokemon. A 41-year-old surnamed Kim, a father of three, recently found his new favorite hobby: playing Switch. His two favorite games are Diablo 3 and Legend of Zelda: Breath of the Wild, both of which he used to enjoy years ago at attending university.

    He now plays the latest versions.

    “To advance to a higher level on smartphone games, I have to spend a lot of time and money, so I lost interest,” said Kim. “As for Switch, it’s like the games I played when I was younger. Just like arcade games, I can save the game and can continue playing it where it ended whenever I want. Also, the game itself is not too difficult.”

    Plenty of people seem to agree with Kim.

    Global sales of Switch from its introduction in March 2017 through late 2018 totaled 32.27 million units, according to a report from Nintendo. On average, 33.5 Switch consoles have been sold per minute. A total of 163.61 million Switch titles were bought during the same period.

    The Switch ended 2018 as the year’s best-selling hardware platform both in unit and in dollar sales terms, according to a report from NPD Group, a U.S.-based market-research company. Both in units and dollars, the Switch was the best-selling game since Sony PlayStation 4 in 2015.

    The Switch boom is evident in Korea, where consoles are not generally very popular. The product has been generating 51 percent of game sales at Emart, the main marketing channel for Switch.

    According to a report from Korea Creative Content Agency (Kocca), the size of the console game market in Korea grew by 42.2 percent from 2016 to 2017. Sales of Switch – which totaled more than 110,000 units in the first month of its release in Korea in December 2017 – and the rise of the related software sales were major contributors to the game market expansion, the report argues.

    Revival of Retro

    Nintendo, which was founded in 1889 as a playing-card company, most recently became an icon of innovation around year 2000 when it introduced Nintendo DS and Wii. Each sold more than 100 million units, and the strong sales in Korea led to the development of similar games locally.

    The success was short lived. The market began to change around 2010 as smartphone games started to develop and lead the market. In 2011, Nintendo experienced its first annual earnings loss since it was listed on the stock exchange in 1983.

    The company sought a rebound the following year with the Wii U, but only 13 million units were sold.

    Nintendo suffered losses for three years, and its presence in the console game market gradually waned with the dominance of the Sony PlayStation 4 and Microsoft’s Xbox. Nintendo’s share price dipped to as low as 8,060 yen ($73) from its November 2007 peak of 70,500 yen. The company’s weak performance continued until 2016, when Nintendo shook the game world with Pokemon Go, its wildly popular augmented-reality smartphone game.

    The comeback was confirmed with the release of Switch the following year.

    Popular with young and old

    Nintendo’s timing couldn’t have been better. It released Switch just as the newtro trend was gaining ground. Newtro, a portmanteau of new and retro, is reviving many long-dormant styles and products.

    The most popular titles in the early days of Switch – Super Mario Odyssey, Legend of Zelda and Pokemon: Let’s Go, Pikachu! – are the latest versions of classic games that people now in 30s and 40s used to enjoy when younger.

    “Switch looks very similar to the portable arcade games that people now in 30s and 40s first used in their childhood,” said researcher Jang Min-ji from Kocca. “As the generation that grew up with these games now has purchasing power, similar games are bought by people in that generation.”

    “Even younger people – those in their teens and 20s – who have never experienced these games, are finding Switch refreshing in that unlike smartphone and traditional console games, users can carry it around and play it while in bed, not to mention connect the games to television. Such charms of Switch have captivated people across age groups,” Jang said.

    The global newtro trend was evident at Consumer Electronics Show (CES), held in Las Vegas in early January. Though many people gathered to experience Sony’s state-of-the-art games with virtual reality and augmented reality, bigger crowds gathered at booths for classic games, like Street Fighter II and Double Dragon.

    “It has become a new trend for people in their 30s and 40s to reminisce about their past, while the younger generation fulfills their fascination for the newtro style,” said Kim Gyeong-geun, a merchandiser at a local toy seller, Toy Friends.

    Growing tired of mobile games

    Another key contributor to the growing demand for classic games is the gradual loss of interest in mobile games, which dominated the local market over the past several years. Players are growing tired of the free-to-play model, which is employed by the majority of mobile massively multiplayer online role-playing games (Mmorpg).

    With free-to-play mobile games, players can download the game either for free or at a low price, but they are compelled to spend more to improve the gaming experience.

    In a report on the success of Switch, Lee Taek-su from KB Research wrote, “In the past, most people did not agree with the idea of spending money on console game software that costs between 50,000 won [$44.40] and 60,000 won, since they could easily play mobile games for free or for around 1,000 won to 2,000 won. But as a growing number of players start to have the experience of spending much more cash on mobile games, their perceptions have started to change.”

    The diversity of games that could be interesting to people of different ages and gender, and the fact that these games can be enjoyed by multiple people at once through the connection of hardware, are few reasons Switch is gaining popularity.

  • LG U+ expected to acquire CJ Hello this week

    LG U+ expected to acquire CJ Hello this week

    LG U+’s plan to acquire cable TV company CJ Hello could be finalized as early as this week. Progress with the deal has been slow since Korea’s smallest mobile carrier first began considering the acquisition early last year. Industry sources said Monday that the deal is mostly finalized and, with a board meeting scheduled on Thursday, is likely to be concluded this week.

    With the acquisition, LG U+ will become the second-largest player in the domestic paid TV market. KT, with both an internet protocol TV (IPTV) service and satellite subsidiary KT Skylife, is currently the market leader.

    Paid TV services in Korea include cable TV, satellite TV and IPTV.

    LG U+ will likely acquire a 53.92 percent stake in CJ Hello from CJ’s entertainment arm CJ ENM. The cost is expected to be around a trillion won ($888.6 million).

    The acquisition would give the mobile carrier more negotiating power when acquiring or producing content. The carrier could also be in a strong position to lure CJ Hello’s 4.16 million subscribers, as of the first half of 2018, to its mobile service by offering favorable rates.

    LG U+ is already using its partnership with Netflix to attract more customers to its mobile and IPTV service.

    Once the mobile carrier decides to go ahead with the deal, it then needs to be approved by the Fair Trade Commission (FTC), the Ministry of Science and ICT and the Korea Communications Commission. In 2016 when SK Telecom tried to acquire CJ Hello, then CJ HelloVision, the deal fell through as the antitrust body disapproved on the grounds that the acquisition could hurt fair market competition.

    This time, though, FTC head Kim Sang-jo hinted during a recent interview that the commission would take a more positive stance regarding the deal considering the rapid changes in the media market. Kim questioned whether broadcasting and telecommunications can be considered completely separate in a quickly changing market.

    It is still to be seen whether LG U+ will more explicitly announce its intent to acquire CJ Hello and expand its paid TV services. The carrier is holding a press briefing for the launch of a new IPTV service targeting senior citizens in Seoul. Many questions are expected to focus on the acquisition deal and future IPTV strategy.

    Competitors KT and SK Telecom are also considering acquiring cable broadcasting companies to counter LG U+’s move. KT is reportedly interested in acquiring cable broadcasting company D’Live, which has a 6.45 percent share of the Korean paid TV market as of the first half of 2018. KT and KT Skylife control more than 30 percent of the market while CJ Hello owns 13 percent and LG U+ has 11.41 percent.

  • HMV saved by Sunrise Records, but some stores will close

    HMV saved by Sunrise Records, but some stores will close

    Canadian firm Sunrise Records has emerged as the buyer of collapsed music chain HMV, beating competition including Sports Direct owner Mike Ashley. The firm will buy 100 stores out of administration, securing 1,487 jobs. But 27 stores will close, resulting in 455 redundancies. Sunrise Records chief executive Doug Putman said he was “delighted to acquire the most iconic music and entertainment business in the UK.”

    No price was given.

    Canadian entrepreneur Mr Putman, 34, bought the retail chain Sunrise Records in 2014. He previously bought HMV’s Canadian business in 2017, expanding his small chain into a national operation with 80 outlets.

    Mr Putman is also President of Everest Toys, the largest toys and games distribution company in North America. He said that HMV was a “fantastic, heritage brand”. He also said the chain would be looking to stock more vinyl records, in response to customer demand.

    HMV owner Hilco, which took the company out of its first administration in 2013, has blamed a “tsunami” of retail challenges for the latest collapse.

    These include business rate levels and the increasing use of streaming services to deliver music and movies.

    HMV sold 31% of all physical music in the UK in 2018 and 23% of all DVDs, with its market share growing month by month throughout the year.

    However, the music industry expects physical entertainment sales to shrink by another 17% this year.

    Will Wright, partner at KPMG and joint administrator said: “We are pleased to confirm this sale which, after a complex process, secures the continued trading of the majority of the business.

    “Our immediate concern is now to support those employees that have unfortunately been made redundant.”